Micing a cabinet is a whole different story, than listen to it by ear in the real room. With the deeflexx system, it`s a similiar thing. Hoovi from deeflexx told us some tips&tricks, how to mic with deeflexx, and we did some deeflexx mic.-positions for the cabIR.eu Axe-Fest Library (MR-1960AX-G12M25 & DZ-212FL-G12K100 Cab-Packs):
deeflexx diffuse the waves, spread it nearly to all directions in 3 dimensions. As an effect, also the reflexions of the room (walls, floor, ground...) increase potentially. So in fact, the listeners sweet spot position in the room widens enormous. It`s a bit, like if you playing a 8x12 full-stack loud in a big room environment: The sound is everywhere, it fills the room completeley...
Micing up with deeflexx, even more doing IRs is another story. You can get with deeflexx mic positions and miced sounds, you won`t get without. But from a "frequency response" point (and phase) point of view exclusiveley - NOT from a "3D `amp-in-the-room` feel" point of view.
The whole "3D `amp-in-the-room` feel" point has more to do with reverb tails, early reflections and (different) run-times of the reflexions, also between your two ears. To transfer these "room listening" experience the most authentic to a headphones experience, using binaural-Head-Mics system would be theoretically the tecnique with the most authentic results. We had the oppurtunity to do some captures with such a (extremely expensive) binaural System from Sennheiser on the DZ-212FL-G12K100 shooting.
Normally room mics and / or back cabinet mic positions will trapping this "room feeling" best. Here an comparison of cab-IRs from nearfield, back-cabinet and two stereo panned room mics positions side by side. Listen with headphones!
NO algorithm reverbs or convolution reverbs in the following sound samples! The reverb-effect is the natural reverb in those room/back in the 500ms long cabinet IRs, we include in our Cab-Packs:
If you mix those positions and keep the original run-times (no auto trim, no MPT, but authentic RAW files) at least of the room and back cabinet IRs you can get a result like this:
Note, that this sample based on IRs with 500ms length, enough to reproduce the reverb tails, the room reflections produce. The Axe-Fx`es Ultra-Res format represent not such lengths, because realtime convolution cost tremendous CPU processing, Ultra Res represent 170ms 8192 Samples. Far more, than every other hardware solution. Far enough to represent ultra-realsitic close-mic captures. Also long enough to represent first room reverb influences, but NOT long enough to represent the full length of room/ambient mics reverb trails of NOT completely (!) dry rooms/environments.
As an result, Ultra-Res truncate IRs to 170ms - an effect like a "gated reverb" is the result, IF (!) the content of the IR reflect much "reverb" (loud and long, as you`ll find it normally in room and/or back cabinet positions). For close micing positions, this length is by far long enough!
Here a second example: Same sample, but with truncated time at 170ms (which Ultra-res reflects):
Only this effect was the reason for the decision to offer two sample-lengths in our "pro IR series", like the
cabIR.eu OR-4X12. Beside the 500ms version a especially prepared .wav format, prepared for conversion into the Axe-Fx UR format: A 170ms (8192 Samples) long version, which did NOT truncate the reverb tail tail after 170ms, but fade it smoothly out within the time, Ultra-Res format represents. And that`s what it sounds then:
1. 500ms truncate to Ultra-Res (170ms) - 2. 170ms fade out version - 3. 500ms full length:
ONLY Stereo panned room mics + rear-cabinet mic position:
Like above, but with Close-Mic. mixed in addition:
Hope this helps a bit to understand the whole thematic
(soundsamples above are just test-mixes for the AMBIENT-Mix ratios for the new cabIR.eu "pro IR series", but not the
cabIR.eu OR-4X12, which is the first released Cab-Pack from this series...)
