Library Creator: Michael Angel,

    Manual Index

    The Programs
    About The Classic 80’s Collection


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

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    The Programs


    The CLASSIC-80S CONSOLE FOR NEBULA PRO consists of 120 programs: You will find these in your CDSoundMaster Classic Console Nebula category under CDS>CCC>C80, all sampled at 96kHz and 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.

    The original console that this collection comes from was built according to production in the early 1980’s and has recently been fully restored. It is the most popular and arguably the best sounding of all consoles in the “70” and “80” series. There have been many clones, remakes, reissues, and channel strip variations over the years, but you are using the real classic console in your 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.

    Program Description:

    This is a large collection, but once you understand the naming scheme for programs, you will see it is very simple to follow. Here is an example:


    The “C80” in the name stands for the Classic 80’s Console.

    The “D” in the name stands for “Direct Outs” designating that this is the channel from the console going through its entire signal path directly out.

    “EQIN” means that the channel’s eq circuit is engaged and present in the signal path, but it is set flat.

    “ALL” means that the entire dynamic range from beyond unity gain to very quiet is found in this program.

    “K11” means that all distortion kernels are being used for this program.


    This program follows the same description as above, but the eq circuit is disengaged and removed from the signal path. The following variations exist for all programs within this collection:


    This means that the entire set of repetitions of samples exist in this program. It is the most advanced sample set from loudest setting to quietest setting. This is also the most non-linear.


    This means that the top selection of loudest sample repetitions are in this program set. These are the highest above the noise floor and closest to unity, so they are the most linear set where harmonics are produced primarily from pushing the electronics at a clean setting.


    This stands for “Medium High”, representing the next range of dynamics. Harmonics here are still relatively clean, but are in between the more clean set and beginning of the noise floor.


    This is the lighter set of dynamic samples representing a low signal above the noise floor, but still a moderate amount of harmonic content above the noise floor.


    This is the quietest set of samples above the noise floor and the harmonics represent the variation from the signal and the noise floor.


    This represents the highest harmonic distortion count.


    This means that the program uses 7 distortion kernels instead of 11.


    This has a reduced distortion count of 5 kernels.


    This is the same program with distortion kernels removed.

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    About The Classic 80’s Console Collection

    About The Classic 80’s Console Collection For Nebula Pro

    The The Classic 80’s Console Collection For Nebula Pro has been created to provide you with extensive use of the original hardware console inside your DAW. For best results, we recommend setting up operation in the same manner as you would use the physical console. If you wish to use this in the form of a digital recording pathway controlled by analog inputs to each digital input, then use a single instance of the “C80D” program that you wish to use on each channel in your mix.

    If you wish to color the sound of your group buss selections as well, use the “C80G” program. You can place a “C80M” instance in your two track master out section if you wish to include the sound of the console in your final output summing stage.

    Keep in mind that the primary difference in a channel direct out and master out is that the master section of the console is a final summing stage which provides a very similar sound as the channel itself, but with a very subtle extra coloration. The group buss section adds a second stage in between these two, which gives the most variation in signal among the three types.

    For the most unique sound, we recommend using the “EQIN” option, since the eq is set flat but it is engaged, there is an extra hint of sound in the signal chain.

    For computers with the most available resources, we recommend using the “ALL” programs that are also “K11” programs. These carry the entire dynamic range of the console. If limited in resources, you will find that the “K7”, “K5”, “CLN”, and “HI”, “MHI”, “MED”, and “LOW” program options provide you with a palette of choices to work from. Each program choice comes with its own unique tailored set of sound. If you use one of these to make use of instance count, consider the decision based upon whether you wish to get the cleanest sound, the most colored sound, or a combination of the two. Use the “K7” option if you only need a little more power. Choose “HI” for the cleanest range of dynamics from the console, and “LOW” for the quietest dynamic selection, which produces harmonics between a low signal and noise floor. For general use in reduced resources, the “MHI” dynamic range is a common level above the noise floor but lower than unity gain.

    For those looking for the maximum in analog authenticity and using maximum resources, we recommend operating the console in full emulated analog mode, turning the DAW into a virtual studio as originally inspired in the “RASS” library. We highly recommend placing an instance like the “C80DEQIN-ALL-K11” on your channel, followed by an instance of R2R and TB+ followed by a second instance of “C80DEQIN-ALL-K11”. This gives you the entire effect of sending your sound through the console channel direct out, to the tape for recording, and back to the console for mixing. You can group mix sections together in a group buss using the “C80G” as a single instance. Place a single instance of a “C80M” program on your master out section of your DAW.

    For the best analog effect, place the “C80M” program of choice in your chain ahead of your final limiting and other choices. If you use an R2R machine for mastering, place it just after the “C80M”.

    Always make sure to test your levels going in and out of Nebula Pro instances. The program will tell you if you are overloading the plug-in itself. You can also control the amount of harmonic drive effect with the input gain and drive function.

    The programs in this collection are edited to a slightly higher harmonic content volume than some CDSoundMaster collections. Since you are using this library as a virtual console, it is assumed that your source wav files may be covering a very wide dynamic range and source recordings may be very low or relatively high. If you work at +0dB max and have a very limited dynamic range, you may choose to reduce the drive setting by a dB or two, but it is optimized to sound good as it is loaded. If you are working with quieter files or using the K-System to one degree or another, you should be able to load the programs without adjustment, but can still choose to operate the programs even cleaner if you desire. The programs are optimized to color your sound, at levels just a few dB above unity, at a max of +0dB.

    I truly hope that you enjoy this new library and are as blown away by the wonderful character of this console as we are.

    God Bless You.

    Michael Angel

    CDS is Classically Defined Sound