There are other factors in play if one intends to capture a *proper* FF IR BTW. One would be the *room* being used (walls, ceiling). Transducer size is the variable in determining how far the walls/ceiling must be, how far the mic must be to capture the influence of the cab, etc.
Java's links in post 11 are good IMO.
More:
Old Fractal forum, Jay's replies are gold IMO.
Another old forum/Jay
Insight from Angelo Farina
IMO, between Jay, AlbertA, and Angelo Farina, all the knowledge concerning IRs with regard to speakers/cabs is there for the taking. Implementing the knowledge properly and effectively is the key though.
IMO, and since it was how I was shown, utilizing a strict practice while learning is key. Keep records of everything. Measure, take pictures, etc. Every time you capture an IR, also capture a direct signal of you playing guitar through a patch, as well as the mic'd signal. This will allow you to compare the mic'd signal with the direct one plus the resultant IR afterward. IMO, the Axe is an invaluable tool for this. I utilized my computer for the IR capture process though, as it afforded me greater control and flexability. I use
Octave for my convolution processes, Axe-O-Matic to convert to Axe .syx, and AlbertA's utilities for various things.
In the end, if done properly, an IR can nearly identically replicate the mic + speaker + mic pre portion of a recorded signal. If the cab is to be part of the equation, this can also be accounted for, but requires proper attention as well. The room is a separate consideration IMO. There are certain (various amounts of subtlety) nonlinear, time variant aspects that will be missing/static, but these can often be accounted for decently enough as part of the compromise IMO.