The OwnHammer V3 Mix Libraries provide a flexible, simple, and unique set of tone sculpting options useful for both novice and expert users alike. The best power amp, DA/AD converter, cables, and microphone preamp for recording electric guitar are in the chain, and microphone selection and placement can cover all manner of source tones. The inherent techniques and overall sampling methodology allows for much diversity in this regard, and the choice of speaker and cabinet will most dictate what compliments and achieves the desired tone.
THE CABINET The 212-GTR BOG-SH is based on a Bogner Shiva open back 2×12 cabinet.
THE SPEAKER The V30-CH-16 is based on a 2005 16-ohm Celestion T3904 Vintage 30, made in China.
THE POWER AMP This library’s captures were driven by the highest quality solid state reference level power amplifier. This configuration provides superior detail and intimacy for styles and tones other than extreme gain. As such they are ideal for use with accurate modeling platforms and tube amps sent to dummy load + line out devices. For platforms that need the little extra scoop of modestly configured guitar tube amp driven files, this is quickly and easily accomplished by implementing the following simple post processing adjustment:
SOUNDING LIKE A GUITAR TUBE AMP With the files contained in this library there is a very quick, simple step that can be taken to simulate the sound of a guitar tube power amp with the Presence and Depth set to 0, similar what is offered in legacy OwnHammer speaker cabinet impulse response libraries. To replicate this sound, following the cabinet IR loader add an EQ with a parametric bell curve set to -3 dB at 400 Hz. Adjust the Q/bandwidth to roughly where the edges of the curve start to make the initial cut around 100 Hz on the low side and 2 kHz on the high side. If necessary, adjust the Q/bandwidth to taste from here to best suit your sound source and tonal preference.
THE MICS In this library, the speaker cabinet was sampled with the following four microphones: 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. 70 Based on a Microtech Gefell UMT70S large diaphragm condenser 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. AMBIENT Based on a vintage Neumann KM84 small diaphragm condenser microphone placed straight out from the cabinet, and furthest away of all captures. FLOOR Based on an AEA R92 ribbon microphone placed along the floor plane straight out from the cabinet. REAR1 Based on a Shure SM57 dynamic microphone placed on the rear of the cabinet. REAR2 Based on a vintage Neumann KM84 small diaphragm condenser microphone placed on the rear of the cabinet. ROOM LEFT Based on a vintage Neumann KM84 small diaphragm condenser microphone placed on the left side of the room. ROOM RIGHT Based on a vintage Neumann KM84 small diaphragm condenser microphone placed on the right side of the room.
THE 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. 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.
WAVE AUDIO FORMAT FILES The Wav folder contains files in .wav format for use in any convolution reverb loader, be it DAW hosts or external hardware devices. These files are formatted in 44.1 kHz, 48 kHz, 88.2 kHz, and 96 kHz sample rates in mono and stereo (dual mono) channel options for greater compatibility potential. For information concerning loading of these files into the host of your choice beyond what is included in this user manual and additional text files in the directory structure, please refer to their website or documentation.