Amp in the Room?

[FractalAudio]

Try this:
Make a patch with no cab block.
After the amp put a Filter block. Reset to make sure all parameters are at default values.
Set the type to Lowpass.
Set the Order to 4th.
Set the Freq to ~5000.
Set the High Cut Freq to ~5000.

Adjust the Freq and High Cut Freq to taste. For more aggressive tones increase both to 6000 or so. For warmer tones decrease both to 4000 or so.

Now, to add some "character" put a Graphic EQ or Parametric EQ block after (or before) the Filter block. Boost 125 Hz a little. Play around with some of the midrange and upper midrange bands to change the character of the tone. This is what I used:
31: 0.0
63 Hz: 0.6
125 Hz: 4.57
250 Hz: 0.25
500: 0.0
1K: -5.0
2K: -2.27
4K: 1.95
8K: -1.0
16K: -5.77

The reasoning behind this is that there is no such thing as a "flat" speaker. All speakers, even really expensive monitors have peaks and dips in the response. That's why they all sound different. The primary thing a guitar speaker does is roll off the highs aggressively at somewhere between 4K and 6K Hz. The Filter block replicates the rolloff but lets the natural response of the speaker come through.

 

[electronpirate]

Eeeenteresting. (Scurries to the studio...)

 

[chris]

Interesting... RIP Cab Block 2007 - 2018

 

[2112]

I just fired this up and didn't mind it at all. I'm using Adam A7X monitors so it's still not as directional as a guitar speaker but that's not a bad thing IMO. Otherwise;

 

[chris]

I’ve personally never had an issue or missed any “amp in the room” sound. A major component of that sound is volume, with your sound bouncing off of anything for that spatial feeling. And in tests people do leave that part out, wanting the “amp in a room” 3D feeling out of headphones (or even in one side only headphone in one case).

A cool concept either way.

 

[Manny Fufish]

Sounds great here! Cool how you can adjust the frequencies in detail to ‘roll your own’. Running though Event Opals in my practice room. Tomorrow I’ll try it with my other setup through my CLRs.

 

[Marco Fanton]

this is very interesting! Thank you!

 

[Rex]

This is slick. It's like Roland cab simulation from back in the GP days. I'm not sure how much "amp in the room" flavor it adds, but what it does give you is a way to sculpt your cab to fit the mix, instead of scouring through the IR library until you find one that's closest to what you want.

Any reason you couldn't just as effectively use the Amp block's EQ in place of the GEQ?

 

[MrGuitarabuse]

And just like that the market for 3rd party IRs was gone

 

[Rex]

And just like that the market for 3rd party IRs was gone

Nah. It'll still be there.There are so many flavors and nuances of IRs; it'll still be rewarding to search for just the "right" one.

 

[Marco Fanton]

This is a quick test... amazing!!
Grazie Cliff

 

[DLC86]

The result is somewhat similar to using dephase or smoothing with an IR I think

 

[Piing]

I've just made another experiment to give a little bit of #ampintheroom without losing the personal character of your IR:

Filter block in parallel with the CAB
Type = Lowpass
Order = 4th
Freq = 125 H
Hi Cut = 500 Hz
Level = 6dB
Bypass mode = Mute

 

[2112]

I’ve personally never had an issue or missed any “amp in the room” sound. A major component of that sound is volume, with your sound bouncing off of anything for that spatial feeling. And in tests people do leave that part out, wanting the “amp in a room” 3D feeling out of headphones (or even in one side only headphone in one case).

A cool concept either way.

I'm right there with you on that.

Considering recorded and live tones all rely on a mic'd cab IR's aren't going anywhere. I much prefer them nowadays.

 

[Highcastle_of_Tone]

The amp in the room was never a big deficit for me, but I have really like sending a relatively dry (usually just amp) output to a Matrix GT/Port City OS 212 in addition to the AxeFx output. It sounds huge even at lower volumes.

 

[666was999]

What I want from an IR and what an IR should add to the sound is some kind of timbre, some kind of special voice that happens somewhere in the mids and highs. That is the part that let's you recognise which speaker it simulates.
The outer ends don't matter in that regard.

Unfortunatly the outer ends are always a part of the IR, so even when you like the voice you often won't take a certain IR because of the wrong overall shape.

It would be better to have EQs for the outer ends and crossover markers that let you choose where the block refers to the IR and where it refers to the EQs at outer ends. That way you could set up the outer ends by eqs and they would stay similar when you audition collections. That would allow for a much faster workflow when walking through large collections.

 

[NeoSound]

Try this:
Make a patch with no cab block.
After the amp put a Filter block. Reset to make sure all parameters are at default values.
Set the type to Lowpass.
Set the Order to 4th.
Set the Freq to ~5000.
Set the High Cut Freq to ~5000.

Adjust the Freq and High Cut Freq to taste. For more aggressive tones increase both to 6000 or so. For warmer tones decrease both to 4000 or so.

Now, to add some "character" put a Graphic EQ or Parametric EQ block after (or before) the Filter block. Boost 125 Hz a little. Play around with some of the midrange and upper midrange bands to change the character of the tone. This is what I used:
31: 0.0
63 Hz: 0.6
125 Hz: 4.57
250 Hz: 0.25
500: 0.0
1K: -5.0
2K: -2.27
4K: 1.95
8K: -1.0
16K: -5.77

The reasoning behind this is that there is no such thing as a "flat" speaker. All speakers, even really expensive monitors have peaks and dips in the response. That's why they all sound different. The primary thing a guitar speaker does is roll off the highs aggressively at somewhere between 4K and 6K Hz. The Filter block replicates the rolloff but lets the natural response of the speaker come through.

Time for EQ page added to the cab block?

Also wonder if you capture this as an ir and blend it with another ir in the cab block?

 

[Brucegregori]

Try this:
Make a patch with no cab block.
After the amp put a Filter block. Reset to make sure all parameters are at default values.
Set the type to Lowpass.
Set the Order to 4th.
Set the Freq to ~5000.
Set the High Cut Freq to ~5000.

Adjust the Freq and High Cut Freq to taste. For more aggressive tones increase both to 6000 or so. For warmer tones decrease both to 4000 or so.

Now, to add some "character" put a Graphic EQ or Parametric EQ block after (or before) the Filter block. Boost 125 Hz a little. Play around with some of the midrange and upper midrange bands to change the character of the tone. This is what I used:
31: 0.0
63 Hz: 0.6
125 Hz: 4.57
250 Hz: 0.25
500: 0.0
1K: -5.0
2K: -2.27
4K: 1.95
8K: -1.0
16K: -5.77

The reasoning behind this is that there is no such thing as a "flat" speaker. All speakers, even really expensive monitors have peaks and dips in the response. That's why they all sound different. The primary thing a guitar speaker does is roll off the highs aggressively at somewhere between 4K and 6K Hz. The Filter block replicates the rolloff but lets the natural response of the speaker come through.

So in this patch, not using a cab block and using the filter block instead is kind of like replicating the actual speaker simulation.

 

[levipeto]

It really adds what I have been missing! Thank you!
Not tone wise, but feel!

 

[lqdsnddist]

This is similar to how non-IR based cabinet simulators like the HK Red Box and Palmer work, right ?