Publisher : OwmHammer
Website : ownhammer.com
Format : WAVE
Quality : 24 bit 44.1, 48, and 96 kHz mono
Description : The well-known and beloved “metal” library, in which I have cut out everything “unnecessary”.
Both volumes are combined, leaving only 200 ms long pulses, with sampling frequencies of 44.1, 48 and 96 kHz, and with minimum phase conversion. Removed speaker and cabinet mixes. Removed “Quick-Start”, “Summary” and “A1 Pick”. You can see the final size for yourself.
Cabinets and speakers :
“212 ZLFB” is based on the Zilla Fatboy 2×12 cabinet .
· “H75” based on Celestion G12H-75 “Creamback” speakers .
· “LYN” based on Celestion G12-50GL “Lynchback” speakers .
· “V30” based on Celestion Vintage 30 speakers .
“212 ZLSF” is based on the Zilla Super Fatboy 2×12 cabinet .
· “M25” based on Celestion G12M-25 “Greenback” speakers with 6402 cone .
· “V30” based on Celestion Vintage 30 speakers .
· “WLV” based on Celestion WH-80 Wolverine speakers .
“412 DZL” is created on the basis of the Diezel front loaded 4×12 cabinet .
· “12K” based on Celestion G12K-100 speakers .
· “GOV” based on Eminence Governor speakers .
· “V30” based on Celestion Vintage 30 speakers .
“412 EDVH” is based on the EVH 5150 III 4×12 cabinet .
· “EDVH” based on Celestion G12EVH speakers .
· “SHF” based on Sheffield 1230 speakers .
· “V30” based on Celestion Vintage 30 speakers .
The “412 EMPR” is based on the Emperor 4×12 cabinet .
· “C65” based on Weber Ceramic 1265 speakers .
· “H100” based on Celestion G12H-100 speakers .
· “V30” based on Celestion Vintage 30 speakers .
“412 MAR” is based on a Marshall Mode Four 4×12 cabinet .
· “EDVH” based on Celestion G12EVH speakers .
· “T75” based on Celestion G12T-75 speakers .
· “V30” based on Celestion Vintage 30MF speakers .
“412 MES” is based on the MESA/Boogie Standard/Oversized 4×12 cabinet .
· “G80” based on vintage Celestion G12-80 speakers (original “Classic Lead” ).
· “H30” based on Celestion G12H-30 75 Hz “Creamback” speakers .
· “V30” based on custom MESA/Boogie Celestion Vintage 30 speakers .
“412 ORN” is based on the Orange PPC412 4×12 cabinet .
· “H30” based on the 1971 Celestion G12H-30 75 Hz “Greenback” speakers .
· “M25” based on Celestion G12M-25 “Greenback” speakers with 6402 cone .
· “V30” based on custom Celestion Vintage 30 speakers for Orange Amps .
Microphones and their mixes
MICROPHONES :
“57” is created on the basis of a dynamic microphone Shure SM57 , modern production.
“70” is based on the Microtech Gefell UMT70S condenser microphone .
“121” is based on the Royer R121 ribbon microphone .
“160” is based on the Beyerdynamic M160 ribbon microphone .
“414” is based on the AKG C414 B-ULS condenser microphone .
“421” is based on a vintage Telefunken MD421/5 dynamic microphone .
“MID” is created on the basis of the AEA R92 ribbon microphone located in the center of the cabinet .
“REAR” is based on a vintage Neumann KM84 condenser microphone placed in the back of the cabinet .
“ROOM” is created on the basis of a vintage Neumann KM84 condenser microphone located in the room .
“BOLD” MIXES :
is a proprietary mix that pushes the mids forward and slightly rolls back the lows and highs.
“CHUNK” is based on the fatter sounding versions of the BOLD and PROG mixes.
“CUT” is based on a combination of two microphones 57 located on and off-axis of the speaker.
“JS” is based on a multi-mic configuration created by John Simons.
“MDRN” is based on a combination of microphones 57 and 421.
“OH1” is based on a combination of microphones 57 and 121.
“OH1F” is based on the fatter sound of a combination of microphones 57 and 121.
“OH2” is based on a combination of microphones 421 and 121.
” OH2F” is based on the fatter sound of the 421 and 121 microphone combination.
“PROG” is a proprietary mix that fits perfectly with today’s progressive music styles.
“SP2” is based on a multi-mic configuration created by Scott Peterson.
Bonus :
In the folder “Power Amps IR’s”, there are impulses taken from the website Overdriven.fr of guitar tube power amplifiers, but resampled to 44.1, 48 and 96 kHz (the original frequency was 88.2 kHz), requantized to a depth of 24 bits (the original depth was 32 bits), and subjected to minimum phase conversion (in case anyone wants to mix amplifiers with different tubes ). These pulses must be placed in a circuit between the preamp and the cabinet pulses. Of course, if you are using guitar amp emulation, then the power amp section will need to be turned off, leaving only the preamp section. The letters “D” and “P” with numbers in the file names indicate the “Depth” and “Presence” values, respectively. Experiment!
