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 412-GTR BOG-ST is based on a Bogner Standard 4×12 cabinet. – THE SPEAKER – The M-SB-75 is based on a 2010 16-ohm 75-Hz cone Scumback M75.
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 magesy download 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 magesy download 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.
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.
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.
Impulse response files created for and compatible with: – Fractal Audio Axe-Fx and Axe-FX II – Kemper Profiling Amplifier – Convolution Reverb Hosts