IRs York Audio presents the MRSH M20 in .Wav format based on Marshall with 20w Greenbacks!

Third-party impulse response pack
York Audio

York Audio

Fractal Fanatic
Vendor
I liked my '76 Marshall "Checkerboard" 4x12 cab with 25w Greenbacks... but I LOVE it with 20w Greenbacks! It's an entirely different animal that gives me "guitar face" every time I play it. There's something about that classic "knock" you hear that just feels right. Here's a clip with the Plexi 2204 model using Mix 03.




Here's a clip of all of the multi-mic mixes included in the pack.



The York Audio MRSH M20 is based on a 1976 Marshall 4x12 “Checkerboard” cabinet loaded with UK made Celestion Heritage G12M20 speakers. The 20 watt Greenback has huge low end, woody mids, and crunchy highs. This cab pairs well with classic British amps, but also screams with high gain. With a wide selection of single microphone captures along with top notch pre-made multi-mic mixes, this cab can handle vintage vibe or modern aggression with ease.

Mics included in this Cab Pack:
57 - based on a Shure SM57
58 - based on a Shure SM58
421v - based on a vintage Sennheiser MD421
421m - based on a modern Sennheiser MD421
906 - based on a Sennheiser e906
SM7 - based on a Shure SM7b
58 - based on a Shure SM58
121 - based on a Royer R-121
160 - based on a Beyerdynamic M160
313 - based on a Shure KSM313
414 - based on an AKG C414
 
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Jarick said:
What's the difference between this and your Fractal Greenback cab?
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Quite a lot, actually. For starters, this one has a completely different speaker. It’s the 20-watt Greenback, also known as Van Halen’s favorite speaker. The speaker tone itself is quite different from the 25 watt Greenback... kinda like how a UK V30 is a different animal than a Chinese V30.

Second is the capture method. I’ve upgraded my rig quite considerably, and the clarity is much more obvious in these new packs. For the Checkmate M25 Pack, I had specific mic positions on the speaker and didn’t know how they would sound until I shot the IR. I don’t want to reveal my process here, but now each shot is incredibly intentional. I use a mic robot to fine tune the frequency response and literally nudge it in 1/16” increments in any direction until the shot is perfect and natural.

Instead of using a bunch of files ranging from bright to dark, each microphone has 5 ear-tuned captures designed to work with any guitar and any amp using basic controls. Dynamic mics have several additional off-axis shots as well for more tonal diversity.

Tone-wise, this pack is way more open sounding on the top end, and the 20w Greenback has lots of juicy low end, so Plexi amps sound full even though they’re not bass-heavy amps. This one just sounds “like a Marshall.” I’ll make more clips when I have time, but every one of my select beta testers ga e me late responses because they couldn’t stop playing their guitars.
 
York Audio said:
Quite a lot, actually. For starters, this one has a completely different speaker. It’s the 20-watt Greenback, also known as Van Halen’s favorite speaker. The speaker tone itself is quite different from the 25 watt Greenback... kinda like how a UK V30 is a different animal than a Chinese V30.

Second is the capture method. I’ve upgraded my rig quite considerably, and the clarity is much more obvious in these new packs. For the Checkmate M25 Pack, I had specific mic positions on the speaker and didn’t know how they would sound until I shot the IR. I don’t want to reveal my process here, but now each shot is incredibly intentional. I use a mic robot to fine tune the frequency response and literally nudge it in 1/16” increments in any direction until the shot is perfect and natural.

Instead of using a bunch of files ranging from bright to dark, each microphone has 5 ear-tuned captures designed to work with any guitar and any amp using basic controls. Dynamic mics have several additional off-axis shots as well for more tonal diversity.

Tone-wise, this pack is way more open sounding on the top end, and the 20w Greenback has lots of juicy low end, so Plexi amps sound full even though they’re not bass-heavy amps. This one just sounds “like a Marshall.” I’ll make more clips when I have time, but every one of my select beta testers ga e me late responses because they couldn’t stop playing their guitars.
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Interesting, I think I'll have to pick up one or two of your packs (looking at the Matchless and Zilla as well) and try them.

I thought I saw on one of your posts, did you kind of simplify your IR approach as well?
 
Jarick said:
Interesting, I think I'll have to pick up one or two of your packs (looking at the Matchless and Zilla as well) and try them.

I thought I saw on one of your posts, did you kind of simplify your IR approach as well?
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Yeah, the approach is way more simple. Basically all of the shots are "Producer Favorites." I approached this pack the way I'd want to experience a set of IR's. Fewer shots, but better shots. Fine tuned mixes with simple file names (the manual has a list of the mixes and mics used). You load up your amp and set it how you like it, scroll through some mixes or singles until you find the one with a voice you like, then adjust your amp knobs if you want it darker or brighter. These are all tried and true mic positions for stage and studio, so it's easy to find something familiar and inspiring.
 
York Audio said:
Yeah, the approach is way more simple. Basically all of the shots are "Producer Favorites." I approached this pack the way I'd want to experience a set of IR's. Fewer shots, but better shots. Fine tuned mixes with simple file names (the manual has a list of the mixes and mics used). You load up your amp and set it how you like it, scroll through some mixes or singles until you find the one with a voice you like, then adjust your amp knobs if you want it darker or brighter. These are all tried and true mic positions for stage and studio, so it's easy to find something familiar and inspiring.
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Obviously you'd want me to buy them all, but if I'm starting with just one which would you say is the "must have" of the four new sets?
 
Here's a clip of all of the mixes in the MRSH M20 Cab Pack. I used my Les Paul through the Brit 800 model and zero post processing. It's got that Marshall snarl that feels fantastic!

 
Jarick said:
Obviously you'd want me to buy them all, but if I'm starting with just one which would you say is the "must have" of the four new sets?
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Awe man... asking me to pick a favorite Cab Pack is like asking me which one of my kids I love more. They're all wildly unique, which is why I chose these four for the launch. Something for everyone. I'd say listen to the clips and see if one inspires you more than the others.
 
York Audio said:
Awe man... asking me to pick a favorite Cab Pack is like asking me which one of my kids I love more. They're all wildly unique, which is why I chose these four for the launch. Something for everyone. I'd say listen to the clips and see if one inspires you more than the others.
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Man I think I need the Marshall pack too after hearing that recording. Dang
 
Early thoughts on the Marshall impulses, they are pretty bright. The Ownhammer ones I was using sound pretty dark and muffled in comparison. But I think they are too bright to be able to use with the high cut so far up. I want to play around with some of the single mics today to try, especially the off axis 57's.
 
Jarick said:
Early thoughts on the Marshall impulses, they are pretty bright. The Ownhammer ones I was using sound pretty dark and muffled in comparison. But I think they are too bright to be able to use with the high cut so far up. I want to play around with some of the single mics today to try, especially the off axis 57's.
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Did you feel that my clips were too bright? Also, what amp are you using? Just turn down the treble or presence until the top end feels right to you. And you can use the 10k high cut if that sounds better to you.
 
No, they weren't too bright. I pretty much put the 1st mix on and then scrolled through amps listening to how they sounded. I was trying to use high cuts full up on 20k. Typically I do high cuts around 8.5k-10k depending on the IR. To be clear, they aren't BAD bright, they are just brighter than what I'm used to! So my first step was to scroll through different amps and hear how it worked with your impulses rather than dropping into a patch designed for a very different sound.

That's where I wanted to try the off axis mics too...a 57 straight up on a speaker can be ear splitting, so of course tilting off axis can help quite a bit. These are usually hit or miss for me in impulses but you have a good ear so I'm interested to see how it works. In the impulse world people tend to blend the bright 57 with a warm ribbon mic to balance out, but I often hear a lot of pumping in the low end especially with high gain. Recently I've been raising the low cut on the amp input EQ to compensate but also wanted to play with the off axis dynamics and see if that balances better.

In other words, rather than using a very full range mix and cutting a lot of highs and lows to control, I want to play with an off axis dynamic that would naturally roll off those highs and lows a little more.
 
Jarick said:
No, they weren't too bright. I pretty much put the 1st mix on and then scrolled through amps listening to how they sounded. I was trying to use high cuts full up on 20k. Typically I do high cuts around 8.5k-10k depending on the IR. To be clear, they aren't BAD bright, they are just brighter than what I'm used to! So my first step was to scroll through different amps and hear how it worked with your impulses rather than dropping into a patch designed for a very different sound.

That's where I wanted to try the off axis mics too...a 57 straight up on a speaker can be ear splitting, so of course tilting off axis can help quite a bit. These are usually hit or miss for me in impulses but you have a good ear so I'm interested to see how it works. In the impulse world people tend to blend the bright 57 with a warm ribbon mic to balance out, but I often hear a lot of pumping in the low end especially with high gain. Recently I've been raising the low cut on the amp input EQ to compensate but also wanted to play with the off axis dynamics and see if that balances better.

In other words, rather than using a very full range mix and cutting a lot of highs and lows to control, I want to play with an off axis dynamic that would naturally roll off those highs and lows a little more.
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I would check out Mix 03. That’s my favorite Mix for Marshall growl. Mix 01 was designed for slightly darker amps like the Friedman models. I’ll post a clip comparing the MRSH M20 Mix 03 vs the Checkmate M25 with default cab block settings (master hi cut at 10k) and you can hear the difference.

If you’re used to darker or muffled IR’s, the clarity in these will make them sound brighter by comparison. Chances are that patches made with muffled IR’s will have more top end added to them to compensate for the lack of top end information in the IR. When a capture is accurate, you can treat your amp model like the real thing and set your basic B,M,T,P controls like you would on the actual amp to get the low end, midrange, and top end the way you like it.

To sum it up, our ears act much like our eyes. If you’re in a dark room for a long time, even a cell phone screen can be blindingly bright because your eyes are used to the darkness. In a well-lit room where your eyes have adjusted to the light, that same cell phone screen isn’t blinding anymore. The brightness didn’t change... your eyes acclimated to the environment. In the case of guitar tones, if you’re used to hearing something dark or muffled, something natural may feel bright to you. If you’re used to hearing real mic’ed up guitar cabs, you’ll wonder why some IR’s sound like there’s a blanket over the cab. That’s why I always tell my beta testers to listen to my stuff with fresh ears when they try it. It gives the most honest perception of the tone.
 
Jarick said:
Early thoughts on the Marshall impulses, they are pretty bright. The Ownhammer ones I was using sound pretty dark and muffled in comparison. But I think they are too bright to be able to use with the high cut so far up. I want to play around with some of the single mics today to try, especially the off axis 57's.
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So here's a clip using the HBE 2018 C45 model through the MRSH M20 Mix 03 IR vs. the Checkmate M25 with the same mics in similar positions. I used the standard 80hz-10k cut in the Cab Block for both IR's. To my ears, the MRSH M20 is bigger and feels wider even with a mono guitar track. The Checkmate M25 just sounds like it has less of everything going on, and a spikier midrange... and it makes me want to re-shoot those speakers with my new rig.

All that to say, you'll hear a significant difference between the two. Clips 1 and 3 are the MRSH M20, and clips 2 and 4 are the Checkmate M25.

 
York Audio said:
So here's a clip using the HBE 2018 C45 model through the MRSH M20 Mix 03 IR vs. the Checkmate M25 with the same mics in similar positions. I used the standard 80hz-10k cut in the Cab Block for both IR's. To my ears, the MRSH M20 is bigger and feels wider even with a mono guitar track. The Checkmate M25 just sounds like it has less of everything going on, and a spikier midrange... and it makes me want to re-shoot those speakers with my new rig.

All that to say, you'll hear a significant difference between the two. Clips 1 and 3 are the MRSH M20, and clips 2 and 4 are the Checkmate M25.

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The M20 definitely sounds more open and M25 more midrange focus. Both are cool speakers to have. Looks like I’ll be adding the M20 pack to my collection.
 
Yeah that's exactly what I was hearing. There's a lot more high end coming through for the M20 so that's why I want to try the off axis 57 as well as roll the high cuts down as well. I did also like one of the M160 mics on its own for this speaker.
 
they're all really balanced frequency wise, lots of room to add your own power amp resonance or post EQ. Did these wav packs use a flat tube amp for power or a solid state? I don't hear any amp coloration other than the AFX3 model, just the wooden box humming like an acoustic guitar and the modeled JCM800 transformer ringing like a freaking glass bell...you are selling the Paramore sound and I'm stoked!
 
shatteredsquare said:
they're all really balanced frequency wise, lots of room to add your own power amp resonance or post EQ. Did these wav packs use a flat tube amp for power or a solid state? I don't hear any amp coloration other than the AFX3 model, just the wooden box humming like an acoustic guitar and the modeled JCM800 transformer ringing like a freaking glass bell...you are selling the Paramore sound and I'm stoked!
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Man, thank you so much for the kind words! I’m glad you’re liking them! I think Cliff does an excellent job of capturing the power amp color, so I prefer using a solid state power amp to let the amp modeling shine. Sounds like you can hear the difference. :)
 
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