Get ready for more Ownhammer

and they are definitely different than others out there. i'm not going down the road of saying one is better than the other, every one will have a preference and some may work for one application better than another, but these are GREAT ir's, and this cab sounds fantastic. meaty but not boomy, cuts but not harsh or thin. sounds equally good with V30's/75's and a Friedman or with Alnico's and a Matchless.

That's been a hard thing for me to find in the past, a cab that sounds good with all speakers, and so far this one nails it. for someone who uses base tones to cover a lot of ground instead of trying to replicate specific tones to the "t", i love the consistency of the same cab with different speakers for different amps.
 
I love this multi-speaker concept.

For live shows, I use the same IR's when / if I switch amp models for consistency and to avoid FOH / monitor woes.

This multi-speaker concept sounds like it will let me change IR's without wrecking my channel EQ?
 
barhrecords said:
I love this multi-speaker concept.

For live shows, I use the same IR's when / if I switch amp models for consistency and to avoid FOH / monitor woes.

This multi-speaker concept sounds like it will let me change IR's without wrecking my channel EQ?
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for me it has so far. allows me to use the same ir with different speakers across different amps. I like it as much for my Friedman patches as I do my Matchless patches, as much for my rock tones as i do my country tones.
 
Okay, so, here's the deal. I'm pretty much done with this now, just have a couple more speakers to sample and a couple more "OH" multi-speaker mixes to finish up to where I am comfortable dropping this info as nothing is going to change from here. This first library contains 64 different kinds of 12 inch speakers (10 inch speakers will be a different library), and 10 "OH" multi-speaker mixes. Each of these speakers has 10 files:

Mics
- CND (based on a Microtech Gefell UMT70S)
- DYN (based on a modern production Shure SM57)
- RBN (based on a Royer R121)
- REAR (based on a vintage Neumann KM84)
- ROOM (based on a vintage Neumann KM84)

Mixes
- HG (high gain)
- MG (mid gain)
- LG (low gain)
- SP1 (Scott Peterson mix, version 1 (Studio Mix Libraries))
- SP2 (Scott Peterson mix, version 2 (Multi-Speaker Collection Libraries))

This is all done with my Bryston (solid state amp), Prism Orpheus (conversion), BAE 1073mp mic amp, and Vovox cables.

Here is the speaker list. Some of the OH mixes are not finished yet, so they don't have all the text as they are among the last couple of things I have left before this is ready to post on the site:

- - - - - - - - - -

The 417-H is based on a 1977 8-ohm Altec 417-8H.

The ALN-BLU is based on a 2009 15-ohm Celestion T4436B G12 Alnico Blue.

The ALN-SLV is based on a 1969 8-ohm Celestion T1656 "pre-Rola" Alnico Silver.

The ALP-12 is based on a 1994 8-ohm Eminence 12ALP.

The BS-90 is based on a 2014 8-ohm Celestion T3989 Celestion "Black Shadow", made in England for Mesa Boogie.

The CL-80-OR is based on a 1979 15-ohm Celestion T3103 G12-80.

The CL-80-RI is based on a 2010 16-ohm Celestion T3878A Classic Lead.

The D-120 is based on a 1970's 8-ohm JBL D120F.

The EDVH is based on a 2013 15-ohm Celestion T5670B G12-EVH, made in England.

The EV-L is based on a 2010 16-ohm Electro Voice EVM-12L Classic.

The EV-S is based on a 1980's 8-ohm Electro Voice EVM-12S.

The EV-SRO is based on a vintage 8-ohm Electro Voice SRO-12.

The FN-42 is based on a 1977 15-ohm Fane 122142 "Hiwatt purple back".

The G65-OR is based on a 1982 8-ohm Celestion T3053 G12-65.

The G65-RI is based on a 2010 15-ohm Celestion T3054B G12-65, made in England.

The GC-12 is based on a 2006 16-ohm Celestion T5475A G12C.

The GOV is based on a 2014 8-ohm Eminence Governor.

The H-BB-55 is based on a 1977 15-ohm Celestion T1281 55-Hz cone "black back" G12H.

The H-BB-75 is based on a 1978 15-ohm Celestion T1217 75-Hz cone "black back" G12H.

The H-CB-75 is based on a 2013 8-ohm Celestion T5890B 75-Hz cone "Creamback" G12H-75, made in England.

The H-PR-55 is based on a 1969 15-ohm Celestion T1281 55-Hz cone "pre-Rola" G12H.

The H-PR-75 is based on a 1971 8-ohm Celestion T1234 75-Hz cone "pre-Rola" G12H.

The H-RI-55 is based on a 2010 15-ohm Celestion T1281B 55-Hz cone "Heritage" G12H, made in England.

The H-RI-75 is based on a 2014 8-ohm Celestion T1364B 75-Hz cone "Heritage" G12H, made in England.

The H-SB-75 is based on a 2010 16-ohm 75-Hz cone Scumback H75.

The J-SB-75 is based on a 2010 8-ohm 75-Hz cone Scumback J75.

The J12-BB is based on a 2008 16-ohm Jensen Jet Alnico Blackbird.

The J12-CN-OR is based on a 1964 8-ohm Jensen C12N.

The J12-CN-RI is based on a 2003 8-ohm Jensen C12N.

The J12-CR-OR is based on a 1966 8-ohm Jensen C12R.

The J12-PN-RI is based on a 2009 16-ohm Jensen P12N.

The J12-PQ-OR is based on a 1959 8-ohm Jensen P12Q.

The J12-PR-OR is based on a 1961 8-ohm Jensen P12R.

The J12-PR-RI is based on a 2003 8-ohm Jensen P12R.

The K-100 is based on a 2009 8-ohm Celestion T3585A G12K-100.

The L-BB is based on a 1978 8-ohm Celestion T1632 "black back" G12L-35.

The LYN-BK is based on a 2013 8-ohm Celestion T5797A G12-50GL “Lynchback”.

The M-BB-55 is based on a 1977 16-ohm Celestion T2633 55-Hz cone "black back" G12M.

The M-BB-75 is based on a 1975 15-ohm Celestion T1221 75-Hz cone "black back" G12M.

The M-CB-75 is based on a 2013 8-ohm Celestion T5864B 75-Hz cone "Creamback" G12M-65, made in England.

The M-HW20-75 is based on a 2013 15-ohm Celestion T1221B 75-Hz cone "aged" 20-watt G12M for the Marshall "handwired" series.

The M-PR-55 is based on a 1971 15-ohm Celestion T1511 55-Hz cone "pre-Rola" G12M.

The M-PR20-75 is based on a 1966 15-ohm Celestion T1221 75-Hz cone "pre-Rola" 20-watt G12M.

The M-PR25-75 is based on a 1971 16-ohm Celestion T1221 75-Hz cone "pre-Rola" 25-watt G12M.

The M-RI20-75 is based on a 2010 15-ohm Celestion T1221B 75-Hz cone "Heritage" 20-watt G12M, made in England.

The M-RI25-75 is based on a 2014 16-ohm Celestion T1221 75-Hz cone 25-watt G12M, made in England.

The M-SB-75 is based on a 2010 16-ohm 75-Hz cone Scumback M75.

OH-ALN-UK is a multi-speaker collage consisting of the ALN-BLU and ALN-SLV.

OH-ALN-US is a multi-speaker collage conisisting of the .

OH-CHUNK is a multi-speaker collage consisting of the GOV and V30-EN-08, with a second dynamic mic (906) in place of the condenser.

OH-DJENT is a multi-speaker collage employing a unique mic configuration used by the music group that coined the phrase for this genre.

OH-G12H is a multi-speaker collage consisting of the .

OH-G12M is a multi-speaker collage consisting of the M-BB-55, M-PR20-75, M-PR25-75, and M-PR-55.

OH-GREEN is a multi-speaker collage consisting of the .

OH-METAL is a multi-speaker collage consisting of the .

OH-PROG is a multi-speaker collage consisting of the V30-EN-08 and V30-MB-08, with a second dynamic mic (906) in place of the condenser.

OH-MDRN is a multi-speaker collage consisting of the LYN-BK, V30-EN-08, and V30-EN-16.

The SUN-TRN is based on a 1970's 16-ohm Sunn Transducer.

The T75-OR is based on a 1985 16-ohm Celestion T3760 G12T-75.

The T75-RI-08 is based on a 2013 8-ohm Celestion T3781A G12T-75.

The T75-RI-16 is based on a 2010 16-ohm Celestion T3760A G12T-75.

The T75-SS is based on a 1991 16-ohm Celestion T3760 "skunk stripe" label G12T-75.

The TEX is based on a 2005 16-ohm Eminence Texas Heat.

The V-TP is based on a 2013 8-ohm Celestion T5901A G12V-70 "V-Type".

The V30-CH-08 is based on a 2008 8-ohm Celestion T3903A Vintage 30, made in China.

The V30-CH-16 is based on a 2005 16-ohm Celestion T3904 Vintage 30, made in China.

The V30-EN-08 is based on a 2001 8-ohm Celestion T4335 Vintage 30, made in England.

The V30-EN-16 is based on a 1999 16-ohm Celestion T3904 Vintage 30, made in England.

The V30-EWH uses the same speaker as the V30-EN-08, with a second dynamic mic (441) in place of the condenser.

The V30-MB-08 is based on a 2012 8-ohm Celestion T4335B Vintage 30, made in England for Mesa Boogie.

The V30-MB-16 is based on a 2014 16-ohm Celestion T4416B Vintage 30, made in England for Mesa Boogie.

The V30-MV-08 is based on a 1988 8-ohm Celestion T3896 G12V "Marshall Vintage", made in England.

The V30-MV-16 is based on a 2001 16-ohm Celestion T3897 G12V "Marshall Vintage", made in England.

The V30-ORNG is based on a 2010 16-ohm Celestion T3904B Vintage 30, made in England for Orange Amps.

- - - - - - - - - -

So as it is now, that's 740 unique IR's. If I add speakers to my stable at a later time and I still have the cab(s) shot in these libraries, those speakers will be added to the library as a free update.

Why these mics? They all represent different elements of the soundscape, in terms of character and thanks to the placements, frequency response. Ask any high profile tracking engineer and they'll tell you that a lot of the time, the high profile mixing engineers ask for a pass with a dynamic, condenser, and ribbon on the guitar tracks they are sent from the sessions. Boom, now you have that same power, and infinitely more so due to the amount of speakers provided. The sky is the limit.

Many have also said that major magic happens when you start mixing all the different kinds of speakers that I have. High profile artists as well, for example, this video is just laden with OH IR's. At THIS POINT IN THE VIDEO Steve pretty much makes this exact point about the power of mixing contrasting speakers. With this new library style, all of the options are right there out of the gate, and the single position per mic type increases the speed and ease at which you can mix different kinds of mics from different kinds of speakers. The sheer power is simply astonishing. I've been having a blast coming up with the OH mixes, and frankly that's just the tip of the iceberg.

I really and truly think everyone is gonna flip for these. :)
 
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ownhammer;1207647[... said:
So as it is now, that's 740 unique IR's.
Click to expand...

I'm thinking "awesome" and "oh dear lord" at the same time. Managing IR's is such a pain. Watching that video reminded me how nice other tools are :

- select cab style (1x12, 2x12, 4x12)
- select speaker type
- select mic
- select position
- rock out!

In fact, I've written about this before : http://forum.fractalaudio.com/axe-f...-configuration-type-mic-mic-position-etc.html

With all the heavy-hitting brainpower at Fractal and our IR providers, I'm sure someone could figure out a way to make this nicer. Please?
 
Nah, it's as easy as pie, not overwhelming in the least. :)

Pull up Cab Lab 3, click the Browser button and pick the OwnHammer\Fractal\212-GTR_MAR-66\Multi-Speaker-Collection folder. Right there you can drag and drop any of the files into a live mixer channel, and the browser window is large enough that scrolling through it is visually very simple. You can start with a given speaker and set the levels of the mics to where they click, then try dragging the same mic from different speakers over top of that channel to retain the same mix levels. All of these IR's are universally time aligned to be where they need to be in relationship to the others, so you don't need to mess with time of flight offsets and can set everything to non-minimum phase transformed to get the very best sound with no time spent messing with time/phase adjustments. I do this using the plugin version in a DAW instance, I assume (and I suppose I could be completely wrong as I have never used it) that the standalone version allows for audio passthrough to/from the Axe-Fx for live auditioning.

If looking at that is a chore (isn't here, but, different strokes for different folks), you can open that directory in Windows Explorer, then search the directory for SP2. Copy all the results then paste them into a new directory. This way you can just rifle through a fantastic representation of the speaker to see what you do an do not like. The amount of files should never be an issue with these as it is very, very simply laid out in terms of options. For the most part I don't even bother with the individual mics unless I am wanting to try to make some new concoction.

For me personally, if I'm shooting for high gain tones I try the HG mixes in the usual suspect speakers and amp types, same with mid gain (MG), low gain (LG), and live/practice/all purpose studio use (SP2). With the above setup, takes literally less than 2 minutes to go through the entire library to find something that works wonderfully! :D
 
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I appreciate your perspective, and hope that your post above is somewhat tongue-in-cheek.

I live in Axe-Edit. I'm not just working with my cabs, but also amps, delays, reverb, etc.

I've loaded hundreds of cabinets into my XL. That is my starting point. From there, I want to go through the steps I described above:

- cab size
- speaker type
- mic type
- mic placement

Native Instruments "Guitar Rig" does this nicely with their "Control Room Pro" module:

CRP.jpg

Logic's "Amp Designer" plugin is equally nice. I'm sure there are many other examples. Those UIs are fun and easy to use. The experience in AxeEdit is not.

I'm all about tweaking, but I also want a good return on my investment of time and, IMHO, we're not there yet with cab IRs.
 
Also, the OH mixes were intended to also cut down on time for users mixing and matching things. A good chunk of the testers I hear speaking a lot about those and I myself am also spending most of my time using those files. Not everything is for everyone though, and that's okay too. :)
 
Yeah, I actually did something very similar to that in Nebula years ago, pretty much identical save for the pictorial GUI. Shame that didn't catch on more or I'd still be doing it now. My hope is to return to Nebula once I am finished doing all the actual capturing and have liquidated my inventory. If a software developer ever came to me and wanted to work on something like that, it sure would be a dangerous combination...
 
ownhammer said:
Also, the OH mixes were intended to also cut down on time for users mixing and matching things. A good chunk of the testers I hear speaking a lot about those and I myself am also spending most of my time using those files. Not everything is for everyone though, and that's okay too. :)
Click to expand...

Yes, the mixes help.

Right now, I tend to use what ends up in the firmware as it seems we get a few great new cabs with each one. I've kinda given up on wading through the swamp that is my IR collection...

</grumping> and good luck with the upcoming release!
 
Just wanted to interject something here on a more personal note concerning one speaker in particular with these new beta IR's.

One of my all time favorite speakers was (and now is again) the original G12-65. With the previous IR's of this particular model of speaker, (regardless of the producer) well... most have left me somewhat underwhelmed and disappointed to say the least... to the point of me genuinely questioning my taste for this speaker and thus searching elsewhere for "IR nirvana". That was a blessing in disguise 'cause I've come to really love other models of speakers immensely that have since become staples for me in my cab blocks.

When I had the opportunity to give the original G12-65 another whirl with these new beta files, I was honestly wasn't expecting in how I responded... to grin from ear to ear as I use to with my real life Marshall cab with these speakers in residence. This time round my experience with this "mad dog" of a speaker was a whole new kettle of fish.
After about 15-20 minutes of checking these new G12-65 IR's out, I emailed Kevin and word for word,
Kev... which original G12-65 did you use!!!!!
Click to expand...
('cause he has six original G12-65's)
Now that's what I'm talking about!! FAWK !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Click to expand...
Well he emailed me back and told me he used the one he always had used for capturing... Wow... night and day but I know the cab played a big role in this as well.

I consider this to be a complete, "about face" with this speaker for me because of, "Kevin does what he does" with his process/methodology/experience and one hell of an ear. I was very pleased and impressed with the, "OH and SP" Mix IR's that it has me just beaming once again over this speaker. Can't wait to spend more time mixing up some of my own. Dumble/fusion tone guru's... you are in for a treat here.

Bravo Kevin... Bravo !! :applouse::encouragement:

Fanboyism ? Not really. Just telling it like it is.... well... maybe a little bit: lol... but moreover... the truth. ;)
 
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Oh yeah, i can tell you.

I tested the pack Kevin posted yesterday 4.5.2015 to the beta testers and holy "#¤¤. I mean wow, i thought the V3 mix versions were great, but this is much more "clear" and "real" and "chunky" etc.
It might be the 2x12" focus that's affecting too, but i really really think that the quality is once again better. Did a backing track and tested loads of different speakers, and they all kinda just fit in with almost no tweaking.

Call this hype but i really am a bitch towards IR's and i am relieved that OH exists and these are about to come down!
 
Hope that the 1977 Fane Purple Back will be what other Fane IRs wasn't!
They are rated in the tones mythology as the "Hi-Fi PA speakers lent to the guitar tone" and they really are (I have two of them into my SA212 Hiwatt Custom 50 Combo).
Dunno if the Kev render of those hi quality speakers will be the "DG heaven" I hope. Will try, compare with my real thing and will post my impressions!
Anyway... from the IRs producers I'm long waiting a serious Fane + WEM cabinet IRs Collection
and from FAS a Cornish Pedal Collection
 
There are 3 different kinds of vintage speakers associated with the fabled 70's Hiwatt tone. The type I have currently is darkest tonally of the bunch. I'm always searching for the other two kinds/models to complete the set, so far they are proving to be like hen's teeth though... I've not tried the new production replicas like in the SA212, but I imagine the speakers would be easier to come by if they were on par!
 
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Not in these specifically. Please see post #24 for info on mics, mixes, speakers, and such. Just as well, please also do not overlook the phrase 'if it does well, there are a lot of other very cool things to follow' in post #18. There is a lot of meaning and foreshadowing in those words, both the positive and not so positive inferences. ;)
 
Detch said:
my money is ready.

Excuse me if i miss something, it'll be 2x12" only, no 4x12" this time?
Thank you
Click to expand...

Correct, this upcoming library is a closed back 2x12 (except for the REAR capture, which is taken with a half back baffle configuration). An extremely versatile one at that though - with this cab, all the speakers, and the included mics/positions, it covers a LOT of ground. If this library does well, I'll be able to continue sampling and will certainly do loads of other cabs of all different sizes and speaker configurations. People have only seen about half of what I have at my disposal, should I have the funding to continue the work I would like to be able to get to all of them!

lqdsnddist said:
Sounds awesome, my wallet is waiting lol

Speaking of waiting....4x10 loaded Greenback cab...... ;)
Click to expand...

...and I have 4 4x10's (2 closed back, 2 open back) waiting in the stash with the Greenbacks and lots of other cool and some super rare 10 inch speakers, hopefully I will be able to sample them! :)
 
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