115 VVRB音箱采样自
Based on a Fender® Vibroverb 1x15 combo.
E130喇叭采样自
Based on a 1981 JBL® E130 speaker.
箱体
“115 VVRB”基于并寻求重新创建的Fender®Vibroverb 1×15开回组合的声音。
扬声器
“ E130”基于并试图重现1981年生产的15英寸8欧姆JBL®E130-8的声音。
开发人员说明
机柜（115 VVRB）
“与该制造商的大多数敞开式机柜一样，较薄的松木结构使其本身具有较低的刚度和共鸣结构，尽管非常开放的后盖可防止箱体内部发生很大的反射。这将产生开放清晰的声音，使扬声器可以进行大部分讲话。”
扬声器（E130）
“ OwnHammer系列中的E130-8标本在博物馆/时间胶囊的NOS条件下是无懈可击的，对于他们所做的事情来说听起来简直令人难以置信。JBL吉他扬声器往往有很多中上端和高端，而在这种情况下，对于这款扬声器来说，无疑是一个清晰的顶部（有助于清理空间，以便将电子管Screamer放在前面），它在当今还被用作高保真音响系统中的低音扬声器组件，这种一致性表现得淋漓尽致。与人们通常认为的D120这样的扬声器相比，E130的响应和锥度都非常均匀。”
这个组合
“对于那些寻求永恒的，传奇的音乐家史蒂夫·雷·沃恩（Stevie Ray Vaughan）闻名的典型的德克萨斯蓝调调音的人来说，这是最好的起点。尽管最肯定的是折衷的装备库，但使用此驾驶室和扬声器配对是最重要的SRV声音的核心，并且可以在很多场合在他的背线中看到。一旦您通过这些IR播放，您就可以“获得它”，而且不用说Strat的拾音器击中了Fender®类型分体边缘的放大器听起来很棒，应该不足为奇！”
MICS
16精心且策略性地放置单个麦克风文件
7个行业标准麦克风：
57-87-121-160-414-421-84（aux）
61种精心制作的专有多麦克风混音
每个麦克风和混音文件有8种声音变化，
行业领先的捕捉技术和演示
主要生产/母带级信号链
英文概要
THE CABINET
The “115 VVRB” is based on and seeking to recreate the sound of a Fender® Vibroverb 1x15 open back combo.
THE SPEAKER
The “E130” is based on and seeking to recreate the sound of a 15 inch, 8-ohm, JBL® E130-8 speaker made in 1981.
THE CAPTURE CHAIN
This library’s captures were driven by a neutral/reference power amplifier. As such they are ideal for use with
accurate modeling platforms and tube amps sent to dummy load + line out devices. No expenses spared major
production/mastering grade conversion, cabling, and outboard analog gear were employed throughout.
THE MICS AND MIC MIXES
MICS
Auxiliary Placements
• “AUX” is a mixture of the FLOOR, MID, REAR, and ROOM captures.
• “FLOOR” is comprised of a floor-plane placed vintage Neumann® KM84 condenser microphone.
• “MID” is comprised of a mid field placed AEATM R92 ribbon microphone.
• “REAR” is comprised of a cabinet rear placed vintage Neumann® KM84 condenser microphone.
• “ROOM” is comprised of a room placed vintage Neumann® KM84 condenser microphone.
Condenser Microphones
• “87” is based on a vintage Neumann® U87.
• “414” is based on an AKG® C414 B-ULS.
Dynamic Microphones
• “57” is based on a modern production Shure® SM57.
• “421” is based on a vintage Telefunken®/Sennheiser® MD421-5.
Ribbon Microphones
• “121” is based on a Royer® R121.
• “160” is based on a Beyerdynamic® M160.
MIXES
• “599” – a mixture of the three most popular microphones for recording electric guitar cabinets
• “ALL” – a single position from each of the microphone category types mixed together
• “BALANCED” – a mix where no certain frequency range(s) dominates the spectrum
• “BEEF” – a solid and meaty sound that is centered and tightly packed around the low mids
• “BIG” – contains a large and full bottom end, but without being overly dark
• “BITE” – lots of top end and teeth
• “BOLD” – forward midrange with a slightly relaxed top and bottom end
Page 4
• “BROWN1” – a recreation of the infamous “brown sound”, as it was in the early years of the legendary tone
• “BROWN2” – a softer and more pleasing derivative of the “brown sound”, more reminiscent of later years
• “CHUNK” – a bulky and meaty tone that resonates in the lower midrange
• “CLASSIC” – a page from classic rock, for those about to rock
• “CUT” – very tight low end with a cutting upper midrange
• “DENSE” – a weighty sound that still remains balanced throughout
• “EARTH” – exudes a solid, mellow, warm, earthy tonality
• “EVEN” – a mix that results in a very flat frequency response, within the context of the given cab/speaker
• “FAT” – fat with thick lows and low mids, but still retaining clarity and definition
• “FIRE” – burning upper mids with seared edges
• “FORWARD” – an up-front sound, utilizing a specific technique that has been used on numerous platinum albums
• “FULL” – retains a very full body without killing the top end, very popular over many years for live use
• “GRIT” – provides excellent clarity and an aggressive, edgy mid range
• “HAIR” – offers a sound with a substantial amount of hair on the top end
• “HARD” – similar to Forward, but with a harder and more stiff edge to the tonality
• “IRON” – a strong, ‘in your face’ and transformer saturated sound that is both clear and dense
• “LEAN” – tight and light on the bottom end, and neatly organized in the mids through the highs
• “MODERN” – even but still modern sounding and somewhat aggressive
• “OLDE” – very reminiscent of the origins of electric recordings: soft, subdued, rich, and full
• “PARADOX” – a balanced tone built around the contrasting coupling of very dark and very bright components
• “POCKET” – right in the pocket for guitar as accompaniment, healthy and even but slightly reserved
• “RIP” – healthy upper end clarity with a dose of fatness
• “SCOOP” – elevates the top and bottom end, resulting in a slight mid scoop and forward sound
• “SCREAM” – rude, aggressive, and a sound that is absolutely refusing to not be heard
• “SMOKE” – slightly dark and hazy sound, with a more transparent rather than spongy midrange
• “THICK” – very robust, particularly in the lower midrange, while still retaining some upper-mid life
• “VINTAGE” – smooth top end with a soft, syrupy midrange with a round bottom end
• “WARM” – warm and full in the low mids and midrange
For mixes that have “1”, “2”, etc. or “A”, “B”, etc. iterations noted at the end of the file name, unless otherwise
noted or described above mix “1”/”A” will be brighter with less bottom end, and mix “2”/”B” will be darker with
more lows, and so on and so forth.
SUMMARY
The multi-microphone mix file in the “Summary” folder fits somewhere in the middle of the brightness and
darkness scale of the OwnHammer pre-made mix types, and captures the general tonality of the cab and speaker.
ADDITIONAL VOICINGS
In addition to the natural Mics and Mixes folder contents are alternatively voiced files, which are as follows:
Bright (BR) Accentuates the high end, and can be useful with overly dark guitars, pickups, amps and amp
models, cabinets, speakers, etc.
Dark (DK)
Stifles the high end, and can be useful with overly bright guitars, pickups, amps/amp models,
cabinets, speakers, etc, as well as in live show context where high decibels and bright sound
reinforcement equipment that primarily accentuates percussion and vocals need counter
balancing.
Mid Boost (M+)
Accentuates the midrange, and can be useful in counter balancing bright or scooped amps/amp
models, guitars and pickups, bus processing, and/or playback systems – especially PA’s at high
volumes (similarly to the Dark files). Mid Boost IR’s can also be appropriate for exposed and
center panned solo/lead guitar sections in both tonality and feel, or personal/artistic preference
to mid heavy tones.
Mid Cut (M-)
Removes some midrange and sub-low end, similar to slightly raising the presence and depth on a
tube amp, and can be useful in counter balancing muddy or stuffy amps and amp models, guitars
and pickups, bus processing, and/or playback systems, especially busy mixes for more aggressive
and busy sounding music.
Soft Shelves (SS) Gently lifts the top and bottom end.
Tight 1 (T1) Tightens up the sound and removes some low mid ‘wooliness’ to sit more clearly in dense mixes.
Tight 2 (T2) Similar to Tight 1, but without sacrificing as much low mid body.
FILE FORMATS
This library contains files in wave audio (.wav) format for use in any convolution reverb loader, be it plug-ins in
DAW based hosts or external hardware devices. These files are universally formatted in 44.1 kHz, 48 kHz, 88.2 kHz,
and 96 kHz sample rates for both the Mono and TrueStereo segments. All files have been minimum phase
transformed, which is a mathematical process that above all and in addition to other elements allows for impulse
responses to be universally time, phase, and polarity aligned, no matter the source. To this end, these IR’s can be
blended perfectly with any IR that has also been minimum phase transformed.
MONO FILES
Mono files are simply that, single channel files, and are the basic format for impulse responses. These files are 208
milliseconds in length, which will assist in loading platforms that are bound by 20,000 sample length ceilings. In
addition to this scenario, the 208 millisecond length could potentially help with CPU usage on less powerful
systems or where track and instance counts are high. If in doubt about which will be appropriate in your loader
between the Mono and TrueStereo files, the Mono files will be the more commonly accepted of the two.
TRUESTEREO FILES
TrueStereo is an OwnHammer original concept, implementation, and market first format. On a technical level,
these are stereo format, 2 channel files, where each side is completely unique but the combined result center pan
resolves when fed with a mono/center panned source, and does so without being lopsided and/or introducing the
strange and fatiguing phase anomalies that are found in the common and primitive tactic of blending in frequency
and phase imbalanced left/right room mics. Every file in the TrueStereo segment is pure in its makeup, and only
consists of the mic or mic mixes described in the file name while still retaining unique stereo channels.
The OwnHammer TrueStereo format can help give extra spread and separation for stereo effects, and in a general
sense in a mix of double (or more) tracked guitars with less possibility for a shrinking field when struck notes on
opposing sides of the sound field are very similar in timing, pitch, and amplitude. The TrueStereo format does not
function like a Haas precedence effect, and will not transform a mono source into a faux left/right panned output.
OEM PLATFORM FILE FORMATS
部分IR截图
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