Thanks!
I have never been a fan of using only NF mic techniques, despite that being the "norm" on recordings. In fact, when recording in a studio, I have sacrificed and compromised for years (prior to digital and *unlimited* numbers of tracks) in order to NOT rely upon a single (or even two, or three) close-mic tracks of each guitar part. When it comes to modelers, and especially the use of IRs, I have been at a loss concerning the use of (predominantly) NF IRs (et al). For live use, close-mic solutions were always a trade-off, and shy being afforded a "portable room" of some sort, or (gasp!) going with a DI solution, mandatory.
What Scott describes has become a HUGE solution for, what is for me at least, been quite a sore spot in "the great modeling compromise." I had tried both NF and FF previously, and had even experimented with blending various NF IRs in DAWquencers via the use of LePou's "LeCab" plugin (simple, brilliant, free! piece of goodness). Jay's FF IRs were the missing piece for me.
With that plateau attained, the next one in sight is to craft my own set. I have finally reduced my cab + speaker choices down to four cabs, and five speakers. To capture their "essence" to the greatest degree possible in the form of multiple IRs would (likely) be... sonic nirvana. For me. I have always loved blending, concocting. One of my 4x12s houses a disparate set of speakers; Dean Markley branded Celestion 85w plus some 200w jukebox speakers. Alone, each is awful. Together, they work... for me. The problem I face now is: how to best perform this "capturing"?
Oddly enough, I can read Jay's posts describing how to capture FF IRs, but I remain unsure about certain details without pictures, or better yet, video, showing the process. It is how my brain works. I could perform each step as described, but due to my neuronal demand and scrutiny of detail, doubt will infect the process for me until resolved. For instance: Jay states to place the microphone on the ground. Literally. Would placing the mic mere hairs above the ground secured to a mic stand not be better? What about cabinet placement? Orientation (say, for a 2x12)? What is the optimum dB for the *sweep*? When doing the off-axis, is the origin the center of the mic, the tip, or the end? Is z-plane orientation best left *flat*?
As subjective as recording techniques can be (with certain objective foundations), I see this recording journey requiring an initial objective foundation that needs to be experienced before any experimenting occurs (well, for me at least). I suppose it is also lazy, and possibly a bit "Gimme gimme! Now, now, now!" of me, to want these answers when I could invest hours.. scratch that, days, and possibly weeks... deriving these answers via research and application. Even with answers here, I will still perform the research as a means to greater understanding. A simple, "Here, do this to get that" has never sufficed for me, and never will. Why, what, and how remain forever perched.