The OwnHammer Multi-Mic Collection libraries provide a massive array of microphone and placement options for the discerning tone connoisseur that wants micro-level control over their guitar sound. The best power amp, DA/AD converter, cables, and microphone preamps for recording electric guitar are in the chain, and microphone selection and placement can cover all manner of source tones, even with just a single cabinet and speaker. The inherent techniques and overall sampling methodology allows for much diversity in this regard, and the readymade mixes give a fantastic starting point for experts and beginners alike.
The 412-GTR MAR-CB is based on a 1970’s Marshall “checkerboard” 1960B 4×12 cabinet.
The M-PR25-A and M-PR25-B are based on 1971 16-ohm Celestion T1221 75-Hz cone “pre-Rola” 25-watt G12M’s.
THE MICS AND MIC MIXES
In this library, the speaker cabinet was sampled with many microphones and capture types. For microphones with position numbers 00 through 10, these positions represent movement across the face of the speaker from brighter and closer to center (00) to darker and further out on the cap or cone (10). These numbers do not represent any specific unit of measure and are just sequential arbitrary definitions.
Below are explanations of the mic models and pre-made mix types: 2011C
– Based on a DPA 2011C condenser microphone. AE2500
– Based on an Audio Technica AE2500 dual element dynamic and condenser microphone. ARTIST MIXES
– Mix-KK is based on a multi-mic configuration used by songwriter, engineer, and producer Kato Khandwala.
– Mix-OH1/2 are based on multi-mic configurations used by OwnHammer owner and operator Kevin Rowe.
– Mix-SP1/2 are based on multi-mic configurations created by Scott Peterson. AUXILIARY
– FF-KM is based on far field captures taken with a vintage Neumann KM84 consenser microphone.
– FF-TC is based on far field captures taken with an Earthworks TC30 consenser microphone.
– The far field captures were taken in a silent reflection free outdoor environment. Captures go from directly on axis (1) to progressively further off axis (5).
– Floor is based on a floor plane placed AEA R92 ribbon microphone.
– MF is based on a mid field placed AEA R92 ribbon microphone.
– Rear is based on a vintage Neumann KM84 condenser microphone.
– Room is based on a vintage Neumann KM84 condenser microphone.
– Sub is based on a Yamaha SubKick dynamic microphone. C414
– Based on an AKG C414 B-ULS condenser microphone. E906
– Based on a Sennheiser e906 dynamic microphone. FATHEAD
– Based on a Cascade FatHead II ribbon microphone. I5
– Based on an Audix i5 dynamic microphone. KM84
– Based on a vintage Neumann KM84 condenser microphone. M88
– Based on a Beyerdynamic M88 dynamic microphone. M160
– Based on a Beyerdynamic M160 ribbon microphone. MA200
– Based on a Mojave Audio MA200 condenser microphone. MD421M
– Based on a modern production Sennheiser MD421 Mk-II dynamic microphone. MD421V
– Based on a vintage Telefunken MD421-5 dynamic microphone. MD441
– Based on a vintage Sennheiser MD441 dynamic microphone. MIX-HG
– A multi-mic combination most ideally suited for high gain guitars, pickups, amps, and tones. MIX-LG
– A multi-mic combination most ideally suited for low gain guitars, pickups, amps, and tones. MIX-MG
– A multi-mic combination most ideally suited for mid gain guitars, pickups, amps, and tones. PHASE OUT MIXES
– The “Phase Out” mix files utilize slight time and phase misalignments that can result in a more pleasing touch, feel, and frequency response than perfectly aligned mics in multi-mic mixes. This alignment type slightly rolls off the high and low end, and provides a more complex and interactive midrange that while still useful in studio applications, can be very beneficial in live sound and individual practice applications.
The PO-Cut mix is more forward and direct, while PO-Fat is more full range and all purpose. PR20
– Based on a Heil PR20 dynamic microphone. PR30
– Based on a Heil PR30 dynamic microphone. R92
– Based on an AEA R92 ribbon microphone. R121
– Based on a Royer R121 ribbon microphone. SM15
– Based on a modern production Shure SM57 dynamic microphone angled at 15 degrees off-axis, pointed inward. SM30
– Based on a modern production Shure SM57 dynamic microphone angled at 30 degrees off axis, pointed inward. SM45
– Based on a modern production Shure SM57 dynamic microphone angled at 45 degrees off axis, starting at the speaker center and pointed outward toward the cone (ala the popular “Studio Fredman 45” technique). SM57M
– Based on a modern production Shure SM57 dynamic microphone. SM57V
– Based on a vintage Shure Bros Unidyne-III SM57 dynamic microphone. SM7B
– Based on a Shure SM7B dynamic microphone. TC30
– Based on an Earthworks TC30 condenser microphone. U70
– Based on a Microtech Gefell UMT70S condenser microphone. VP88
– Based on the mid element of a Shure VP88 condenser microphone.
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.