OwnHammer – Impulse Response Libraries – 412-GTR MAR-CB M-BB-55 V3-Mix (Kemper Profiling Amp, Axe-Fx, WAV)

Content :

1173 wav files
69 kipr files
207 syx files
Cabinet
The 412-GTR MAR-CB is based on a 1970’s Marshall “checkerboard” 1960B 4×12 cabinet.
SPEAKER
The M-BB-55 is based on a 1977 16-ohm Celestion T2633 55-Hz cone “black back” G12M.
MICS
’57’ Based on a Shure SM57 dynamic microphone.
This microphone was given multiple placement positions across the face of the speaker from brighter and closer to the center (00) to darker and further out on the cone (10). These numbers do not represent any unit of measure.
‘121’ Based on a Royer R121 ribbon microphone.
‘414’ Based on an AKG C414B-ULS condenser microphone.
‘421’ Based on a Telefunken MD421 / 5 dynamic microphone.
This microphone was given multiple placement positions across the face of the speaker from brighter and closer to the center (00) to darker and further out on the cone (10). These numbers do not represent any unit of measure.
Mixes
The V3-Mix folder contains several variations of files which significantly alter the accomplished sound, increasing versatility and tonal variety. These factors and unique features are outlined below.
Mix
The singular “Mix” file is the configuration for which the V3 Mix methodology is based around, deviated from, and further compartmentalized. If you want to get a base panoramic view of the sonic landscape of this library, start here before venturing into other mix configurations or single microphone positions to mix on your own.
PRECISE & RAW
Time and phase alignment can be powerful tools, both for and against you.
– Precise –
Traditional thinking is that microphones should be perfectly time and phase aligned to achieve the best results. The PRECISE mix files do exactly that, mixing files that are one hundred percent time and phase coherent. This yields a sound that is crisp and detailed, with no phase smear.
– Raw –
In the real world, often times a multi-microphone configuration into a console is going to have time and phase alignment imperfections. Either the engineer just “eyeballed” the microphones – not compensating for variations in the placement of the transducer element inside the microphone housing and any further time of flight delay incurred by internal microphone components or downstream outboard – or the microphones were purposefully offset ever so slightly to achieve an effect. The RAW files include slight imperfections in the time and phase alignment of the inherent captures so as to induce these anomalies, which can result in a tamed high end, and add girth and character to the midrange. This can greatly increase touch and feel, as well as give the sound a crunch not possible by perfectly aligned captures.