Nls channel

Great for this) and cycle through the 32 channels for that desk. If you have a pulse, it will be obvious. i was wondering how you do that .. cycle through the channels .. now i see thank you so much .. cheers johnUPDATE: been having some fun with this for the past Hour .. you can get some nice Glue without pushing too far .. Last edited by jwh1192; 5th August 2017 at 09:52 PM.. Lives for gear Joined: May 2012 Posts: 1,334 🎧 10 years Quote: Originally Posted by Harry_O ➡️ You may be right. But my point was more, why not use (if this is the case, as all the presentations hint) the variety of all the modelled channels and groups INSIDE ONE SAME DESK TYPE? Do you mean using the 32 different channel emulations within each desk instead of just channel 1?Some DAWs will automatically "cascade" NLS as you instantiate it on each track — for example, in Pro Tools, you can simply highlight all tracks and use Opt+Shift to load NLS on each track, and the modeled channel numbers will be cascaded consecutively (i.e. 1, 2, 3, 4, and so on). This could explain why it isn't immediately apparent in certain demonstration videos, as some users don't have to change NLS channels manually. Quote: Originally Posted by tkaitkai ➡️ Do you mean using the 32 different channel emulations within each desk instead of just channel 1?Some DAWs will automatically "cascade" NLS as you instantiate it on each track — for example, in Pro Tools, you can simply highlight all tracks and use Opt+Shift to load NLS on each track, and the modeled channel numbers will be cascaded consecutively (i.e. 1, 2, 3, 4, and so on). This could explain why it isn't immediately apparent in certain demonstration videos, as some users don't have to change NLS channels manually. to address both of you cats !! the different channels are a really nice feature .. and you can put a Mike Channel on your Kick and Snare / with Nevo on Toms .. and send them all through VCA's of different kinds then send the whole thing through a master !!! very versatile ... Lives for gear Joined: Nov 2007 🎧 15 years Quote: Originally Posted by tkaitkai ➡️ Do you mean using the 32 different channel emulations within each desk instead of just channel 1?Some DAWs will automatically "cascade" NLS as you instantiate it on each track — for example, in Pro Tools, you can simply highlight all tracks and use Opt+Shift to load NLS on each track, and the modeled channel numbers will be cascaded consecutively (i.e. 1, 2, 3, 4, and so on). This could explain why it isn't immediately apparent in certain demonstration videos, as some users don't have to change NLS channels manually. If not all 32, but anyway use the option of the NLS use more variation of channels and groups per a mix - why else the Waves had

Using Avid’s Eleven plug-in. I also placed an NLS Channel module on the first insert point of that effects return channel as well.I set both NLS Channel modules to bypass and first listened to the unmodified recorded bass signal coming into the console from the Virtual Soundcheck Pro Tools rig. I listened through the PFL solo bus and then routed it to the stereo outputs. I monitored the signal both in my headphones and through the Genelec 1031’s I’m using for nearfields at this particular rehearsal. Once I was familiar with the original sound, I toggled to the VCA page (Fig. 2) and assigned the bass DI and bass effects signals to VCA 1. This mixer section lets the user affect all inputs assigned to the VCA group from the various master VCA controls. I then switched the effect in on the input channels.The first thing I noticed was that the sense of space occupied by the bass seemed to expand. I dialed up various settings on the Drive control adding increments of harmonic distortion to the signals. I decided that a Drive level of 4.0 for the DI signal and 3.0 for the amp simulation yielded the most satisfactory result when listening to the PFL’d signal. I was impressed by the incredible degree of positive change imparted to the sound of the bass by simply running through the individual Channel modules. The audio product was discernibly more complex and accessible to the ear.My personal preference for the overall Studio setting on both the Channel and Buss NLS modules was the “Spike” SSL 4000 option. If I was impressed by the results from the properties the NLS Channel imparted to the input signal, then I was blown away when I experienced the overall effect by engaging the Buss module (Fig.

Modelled more than one instance per desk?. That question rose when I watched the tutorials and other presentations, no of those used more than one channel and one group, loosing part of the idea modelling a desk (or 3 desks in this case). Gear Head Joined: Jun 2002 Posts: 67 🎧 20 years Quote: Originally Posted by Harry_O ➡️ One comment/question:I just purchased the NLS, never believed I will, but price (~€20) was too lucrative to pass, after reading some very positive user comments. After reading the manual and watching all the available tutorials/presentations in the Yotube, I wonder why NONE of the presentations have tested in practice the results of the option using different buss groups and variation of different channel modellings. I guess the sonic differencies of different channels and groups of the SAME desk are rather subtle, but why model those if none use that option?Your user experience of that? How often you use different groups just because of getting variation, or is it just for separating and adjusting different song elements? P.s. I have't not yet started my first NLS session. Some of the channels can be quite different, but it really depends on the console. The "Mike" console has the most differences from channel to channel. For example, as memory serves I think somewhere around 11 or 12 you get a big bass bump. The "Spike" console channel to channel differences are not nearly as much as "Mike". "Nevo" is most consistent from channel to channel.Dave

Just because of getting variation, or is it just for separating and adjusting different song elements? P.s. I have't not yet started my first NLS session. I have noticed that. Most of the demos and tutorials seem to take it as an entire desk.It does not mean you have to do it that way Spike may be good on the drums, but Nevo might be better on musicDon't forget to use the buss Lives for gear Joined: May 2012 Posts: 1,334 🎧 10 years Quote: Originally Posted by Harry_O ➡️ One comment/question:I just purchased the NLS, never believed I will, but price (~€20) was too lucrative to pass, after reading some very positive user comments. After reading the manual and watching all the available tutorials/presentations in the Yotube, I wonder why NONE of the presentations have tested in practice the results of the option using different buss groups and variation of different channel modellings. I guess the sonic differencies of different channels and groups of the SAME desk are rather subtle, but why model those if none use that option?Your user experience of that? How often you use different groups just because of getting variation, or is it just for separating and adjusting different song elements? P.s. I have't not yet started my first NLS session. I think most NLS users fall into one of two camps: people who use it to emulate the sound of highly revered consoles, and people who use it as an overt distortion unit.In the case of using it as a console emulation, it makes sense to stick with one desk, as this would be "truer" to the original sound and would more accurately recreate the tonality and character of that particular desk. This is, of course, theoretical — in practice, you might find that you like the sound of using the SSL across your drums, the EMI across your synths, and the Neve on the stereo bus.Personally, I'm not 100% sold on software emulations as a means to recreate the sound of an analog console. I had an album mixed on an SSL 4000E, and that sound is quite difficult to replicate ITB. Not impossible, of course, but no small feat by any means. Console emulations will help get you closer, but they're just one piece of the puzzle. I often end up using just a few instances of VCC to soften up harsh guitars and one instance on the stereo bus to give life to the overal mix. But I also know people who use NLS, VCC, Satson, etc. across every track, and their mixes definitely sound fantastic. Whatever works! Lives for gear Joined: Nov 2007 🎧 15 years Quote: Originally Posted by tkaitkai ➡️ I think most NLS users fall into one of two camps: people who use it to emulate the sound of highly revered consoles, and people who use it as an overt distortion unit.In the case of using it as a console emulation, it makes sense to stick with

And drive I actually need. The subtle accumulation is a lot better than trying to tune individual channels to sound good.I still really love Satson and Britson though, I have developed a trust in those 2. Quote: Originally Posted by smoke ➡️ I have been warming up to NLS lately again. The workflow is actually excellent and really fun in the box. I think now that my 'listening' and taste has gotten better, I am better at determining how much input and drive I actually need. The subtle accumulation is a lot better than trying to tune individual channels to sound good.I still really love Satson and Britson though, I have developed a trust in those 2. i just bit the 29.00 bullet !!! i was more curious to try it without a demo limitation .. thx for your input !!! Lives for gear Joined: Nov 2007 🎧 15 years One comment/question:I just purchased the NLS, never believed I will, but price (~€20) was too lucrative to pass, after reading some very positive user comments. After reading the manual and watching all the available tutorials/presentations in the Yotube, I wonder why NONE of the presentations have tested in practice the results of the option using different buss groups and variation of different channel modellings. I guess the sonic differencies of different channels and groups of the SAME desk are rather subtle, but why model those if none use that option?Your user experience of that? How often you use different groups just because of getting variation, or is it just for separating and adjusting different song elements? P.s. I have't not yet started my first NLS session. Lives for gear Joined: Jul 2014 🎧 10 years Started using this again after moving to a more powerful computer a while back. Nothing else really smooths out and pumps up stuff like this does and I've tried pretty much every saturator out there. One of these days I'll havta get Phoenix as I think it will play better in this workflow possibly. I was able to put Satin back into my workflow and using the RPA800 456 preset with the In cranked to around 8 db made it even better. Also added Tapedesk with the N-80 on with variations of the vocal warmer preset. Note that this is an 88/96k workflow with Airwindows Console4 in Pro Tools. Quote: Originally Posted by Harry_O ➡️ One comment/question:I just purchased the NLS, never believed I will, but price (~€20) was too lucrative to pass, after reading some very positive user comments. After reading the manual and watching all the available tutorials/presentations in the Yotube, I wonder why NONE of the presentations have tested in practice the results of the option using different buss groups and variation of different channel modellings. I guess the sonic differencies of different channels and groups of the SAME desk are rather subtle, but why model those if none use that option?Your user experience of that? How often you use different groups

(The Cure, Siouxsie and the Banshees, Dido, Faithless, Manic Street Preachers, U2), heard on such timeless recordings as Pink Floyd’s The Dark Side of the Moon; and the Neve 5116 console custom-made for Yoad Nevo (Bryan Adams, Pet Shop Boys, Sugababes, Goldfrapp, Air).I have been using Waves’ SSL Buss Compressors since they were introduced to warm up the individual outputs of my Avid VENUE desk. I was therefore excited to see if utilizing more modeled 4000 series SSL console sounds would benefit my live mixes in the same positive manner. I gave some thought to which specific inputs might benefit most from analog summing behavior. My immediate conclusion was to experiment with the three mono cornerstones of any live mix: kick drum, bass guitar and lead vocal.A property that I have missed in the digital world is the way mono signals are spread evenly and richly across the stereo image created by a top-performing analog console. “Center” in digital technology always seems rather narrow and confined to my ears — a small line down the middle, while I would rather hear a statement with a broad stroke. I always find myself looking for ways to enlarge a sound’s center presence without simply resorting to increasing volume. I decided that a good experimental candidate for the initial implementation of NLS plug-in would be on bass guitar.» In the Real WorldFollowing the instructions in the user guide, I placed an NLS Channel module (Fig. 1) on the first insert point of the bass input strip (the VENUE offers four insert points) to simulate the coloration of an analog preamp and a Buss module on the first insert of the stereo bus. In order to create a little acoustic space around a bass DI signal, I often add in a little amp/cabinet simulation