ACC CONSOLE Neb Manual

Copy all "n2p" files to your Nebula "Programs" folder and copy all "n2v" files to your "Vectors" folder.

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The Programs

ACC – THE AMERICAN CLASSIC CONSOLE FOR NEBULA PRO consists of 20 Programs: You will find these under “CDS/ACC”. Go to the Sub-Category “CON” to choose this collection of classic “console” programs

Programs are sampled at 96kHz and are tested to retain accuracy at 44.1kHz and 48kHz sample rates with the latest version of Nebula Pro. They are designed to be used with the ‘Reverb’ instance of Nebula Pro.

A note about setting levels

Many people have questions about the best way to set up their audio files, DAW tracks, buss groups, or Nebula Pro plug-in and program libraries as it pertains to volume levels.

I will cover this topic more in depth in a blog, video, tutorial, and eBook time permitting.
What you need to know for now pertains to this collection and to other libraries created by CDS.

Because programs like this collection, often classified as “preamp” programs in NebPro, focus around the ability to recreate a very wide dynamic range from the original hardware device, you are able to choose your level-setting options however you wish, and you are still recreating the same levels from the hardware emulated.

This means that if you wish to process all of your files by normalizing them to a certain maximum or averaged volume, you may do so. If you wish to leave files at whatever levels they are recorded and set levels using DAW track faders, you can do so. If you wish to calibrated your DAW levels based upon a VU level based on an RMS, like -18dB=0 dBFS, or 0dB VU, or a -20dB, -24dB, -12dB weighting or any other setting, you will get the same analog response from the program you run inside NebPro.

The analog nature of these programs is not just based around the dynamic range and best average, min,. or max. level setting, but on the variants that are involved in analog that do not exist in digital. Specifically, this is in regards to “lighter” lower level settings versus pushing the gain “into the red”. The point is that analog tends to get a little more interesting, non-linear, and even driven or distorted, when pushed beyond a certain point.

If you place all attention in setting averaged levels to match a monitoring calibration, you may not be fully aware of the capabilities in coloring your sound intentionally, even subtly, by pushing levels a little harder. For this purpose, it is helpful for you to also know that my programs are edited to a max peak=real digital 0dB, meaning that you can take your files and push them all the way to 0dB digital and you are going into the most pleasant coloration of the analog signal without going over. So, no matter how you wish to run your files, levels, programs, you can choose to set low levels, averaged levels, or prevent from peaks going over, and you will get the same natural reaction from the NebPro programs from CDS.

ACC-BUSS

This program provides you with the Buss group section of the original American console.
Use this program in your DAW’s Buss groups to mimic the response of the real analog console.
This program contains the Console’s harmonic distortion in addition to the realism of the frequency spectrum.

ACC-BUSS C

This is the same as above without any harmonic distortion.

ACC-MAIN

This program provides you with the Main outputs of the original American console.
Use this program in your DAW’s Main Outs to mimic the response of the real analog console.
This program contains the Console’s harmonic distortion in addition to the realism of the frequency spectrum.

ACC-MAIN C

This is the same as above without any harmonic distortion.

ACC-C1-L-EQ-IN

This program provides you with the full signal path of a channel from the original American console.
This program provides the use of the channel’s line input with the EQ circuit engaged. Use this program on your DAW’s individual tracks to mimic the response of the real analog console.
This program contains the Console’s harmonic distortion in addition to the realism of the frequency spectrum.

ACC-C1-L-EQ-IN C

This is the same as above without any harmonic distortion.

ACC-C1-L-EQ-O

This program provides you with the full signal path of a channel from the original American console.
This program provides the use of the channel’s line input with the EQ circuit bypassed. Use this program in your DAW’s individual tracks to mimic the response of the real analog console.
This program contains the Console’s harmonic distortion in addition to the realism of the frequency spectrum.

ACC-C1-L-EQ-O C

This is the same as above without any harmonic distortion.

ACC-C1-M-EQ-IN

This program provides you with the full signal path of a channel from the original American console.
This program provides the use of the channel’s microphone input with the EQ circuit engaged. Use this program in your DAW’s individual tracks to mimic the response of the real analog console.
This program contains the Console’s harmonic distortion in addition to the realism of the frequency spectrum.

ACC-C1-M-EQ-IN C

This is the same as above without any harmonic distortion.

ACC-C1-M-EQ-O

This program provides you with the full signal path of a channel from the original British console.
This program provides the use of the channel’s microphone input with the EQ circuit bypassed. Use this program in your DAW’s individual tracks to mimic the response of the real analog console.
This program contains the Console’s harmonic distortion in addition to the realism of the frequency spectrum.

ACC-C1-M-EQ-O C

This is the same as above without any harmonic distortion.

ACC-C2-L-EQ-IN

This program provides you with the full signal path of a second channel from the original American console.
This program provides the use of the channel’s line input with the EQ circuit engaged. Use this program in your DAW’s individual tracks to mimic the response of the real analog console.
This program contains the Console’s harmonic distortion in addition to the realism of the frequency spectrum.

ACC-C2-L-EQ-IN C

This is the same as above without any harmonic distortion.

ACC-C2-L-EQ-O

This program provides you with the full signal path of a second channel from the original American console.
This program provides the use of the channel’s line input with the EQ circuit bypassed. Use this program in your DAW’s individual tracks to mimic the response of the real analog console.
This program contains the Console’s harmonic distortion in addition to the realism of the frequency spectrum.

ACC-C2-L-EQ-O C

This is the same as above without any harmonic distortion.

ACC-C2-M-EQ-IN

This program provides you with the full signal path of a second channel from the original American console.
This program provides the use of the channel’s microphone input with the EQ circuit engaged. Use this program in your DAW’s individual tracks to mimic the response of the real analog console.
This program contains the Console’s harmonic distortion in addition to the realism of the frequency spectrum.

ACC-C2-M-EQ-IN C

This is the same as above without any harmonic distortion.

ACC-C2-M-EQ-O

This program provides you with the full signal path of a second channel from the original American console.
This program provides the use of the channel’s microphone input with the EQ circuit bypassed. Use this program in your DAW’s individual tracks to mimic the response of the real analog console.
This program contains the Console’s harmonic distortion in addition to the realism of the frequency spectrum.

ACC-C2-M-EQ-O C

This is the same as above without any harmonic distortion.

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About The Hardware

About the ACC AMERICAN Classic Console FOR NEBULA PRO

The ACC is a classic console from the late 70’s. It is one of several hundred original line “ACC” desks built by the original company before licensed out to its second owners in 1978. It sports the original 2520 op-amps and original transformers, and the mid-70’s iteration of the classic 550″A” eq modules.

The “ACC” is one of the best sounding consoles in the history of recording, and today holds its place just as it did in the late 60’s and 70’s. The 2520 comes from origins of its predecessor, the Melcor op-amp. The entire line is based upon the original Jensen op-amp design that has influenced everything from “ACC” to John Hardy mic preamps and Millennia Media products.