High-quality guitar pulses with sampling rate: 44100/48000/88200/96000 Hz in .wav format with a pulse length of 200 and 500 msec
Over 161 000 files, taken by different microphones in all sorts of positions.
Content
CABINETS AND SPEAKERS
The “212 ZLFB” is based on a Zilla Fatboy 2×12 cabinet.
– “H75” based on Celestion G12H-75 Creamback speakers.
– “LYN” based on Celestion G12-50GL Lynchback speakers.
– “V30” based on Celestion Vintage 30 speakers.
The “212 ZLSF” is based on a Zilla Super Fatboy 2×12 cabinet.
– “M25” based on 6402 cone Celestion G12M-25 speakers.
– “V30” based on Celestion Vintage 30 speakers.
– “WLV” based on Celestion WH-80 Wolverine speakers.
The “412 EDVH” is based on an EVH 5150 III 4×12 cabinet.
– “EDVH” based on Celestion G12EVH speakers.
– “SHF” based on Sheffield 1230 speakers.
– “V30” based on Celestion Vintage 30 speakers.
The “412 EMPR” is based on an Emperor 4×12 cabinet.
– “C65” based on Weber Ceramic 1265 speakers.
– “H100” based on Celestion G12H-100 speakers.
– “V30” based on Celestion Vintage 30 speakers.
The “212 ZLFB” is based on a Zilla Fatboy 2×12 cabinet.
– “H75” based on Celestion G12H-75 Creamback speakers.
– “LYN” based on Celestion G12-50GL Lynchback speakers.
– “V30” based on Celestion Vintage 30 speakers.
The “212 ZLSF” is based on a Zilla Super Fatboy 2×12 cabinet.
– “M25” based on 6402 cone Celestion G12M-25 speakers.
– “V30” based on Celestion Vintage 30 speakers.
– “WLV” based on Celestion WH-80 Wolverine speakers.
The “412 EDVH” is based on an EVH 5150 III 4×12 cabinet.
– “EDVH” based on Celestion G12EVH speakers.
– “SHF” based on Sheffield 1230 speakers.
– “V30” based on Celestion Vintage 30 speakers.
The “412 EMPR” is based on an Emperor 4×12 cabinet.
– “C65” based on Weber Ceramic 1265 speakers.
– “H100” based on Celestion G12H-100 speakers.
– “V30” based on Celestion Vintage 30 speakers.
CUSTOM MIXES
EVEN
“EVEN” provides a very balanced and almost ruler and pencil drawn response across the midrange, with both a tidy
bottom and smooth.
Under the hood: a 50/50 blend of the 212 ZLFB V30 and 212 ZLSF WLV
FIRE
“FIRE” brings the heat, with an aggressive top end and raucous midrange. For those that just want to watch the
world burn!
Under the hood: a 50/50 blend of the 412 EDVH SHF and 412 EMPR H100
GAIA
“GAIA” is the Earthly mother of tone in the HHC2 and represents the center of the sonic spectrum from this
collection.
Under the hood: a 50/50 blend of the 212 ZLSF M25 and 412 EMPR V30
SOAP
“SOAP” exudes a warm but clear bell like character for when you need to clean things up, lower the gain, and
to bring in single or split coil sounds.
Under the hood: a 50/50 blend of the 212 ZLFB H75 and 212 ZLSF V30
THOR
“THOR” is a thunderous behemoth that is going to put the hammer down with a thick low end energy and
authority.
Under the hood: a 50/50 blend of the 412 EDVH EDVH and 412 EMPR V30
SINGLE CABS SPEAKER BLENDS
In the Single Cabs section, each of the four cabinets contains mixes of two speakers for all available speaker types
within that enclosure. The naming convention is an indication of sonic characteristics
combined and is as follows:
“Speaker 1 + Speaker 2” – where the speaker is listed first is the dominant one in the mixture.
SUMMARY
The mix files in the “Summary” folder are based on a 57 + 70 + 121 mic combination. This mix fits somewhere in
the middle of the onset of darkness. There is a single file
representing each individual cab / speaker combination.
V30 CAB BLENDS
In the V30 Cab Blends section, cabinets are mixed in pairs using the files from the V30 section of each.
The naming convention is an indication of sonic characteristics as they are combined and is as
follows:
“Cabinet 1 + Cabinet 2” – where the cab is listed first is the dominant one in the mixture.
THE POWER AMP
This library’s captures were driven by a mostly neutral tube power amplifier. While the total frequency response
is largely even that of a solid state reference amplifier, the common tube amp deviation traits are present that
both liven and thicken. As such, they are ideal as-is with respect to the 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 GUITAR TUBE AMP DRIVEN IR’S
As aforementioned, the IRs in this library were driven with tonally neutral tube based power amplification. There
is a very quick, simple step that can be applied to replicate
tube power amp with the Presence and Depth set to 0, which results in a mid scoop.
To simulate 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 full 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
sound source and tonal preference.
THE MICS AND MIC MIXES
In this library, the speaker was sampled with many microphones and capture types.
For microphones with position numbers 00 through 10, these representations represent movement across the face of the
speaker along the relative sweet spot from the brighter and closer to the center (00) to the darker and further out on the cap
or cone (10). These numbers do not represent any specific unit of measure.
definitions.
Positions labeled “EDGE” place the microphone near the rim of the speaker cone, but still in a tonally usable area.
Positions labeled “FRED” place the microphone at the very center of the speaker at a 45 degree angle, ala the off
axis component in the popular “Studio Fredman 45” technique.
Below are explanations of the mic models and pre-made mix types:
MICS
“57” is based on a modern production Shure SM57 dynamic microphone.
“70” is based on a Microtech Gefell UMT70S condenser microphone.
“121” is based on a Royer R121 ribbon microphone.
“160” is based on a Beyerdynamic M160 ribbon microphone.
“414” is based on an AKG C414 B-ULS condenser microphone.
“421” is based on a vintage Telefunken MD421-5 dynamic microphone.
“MID” 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.
MIXES
“CHUNK” is based on a more “fat” sounding version of the BOLD mix.
“BOLD” is a proprietary mix that has a forward midrange with a slightly relaxed top and bottom end.
“CUT” is based on an on-axis 57 and off-axis 57 mic combination.
“CUT + 121” is based on a 121 added to the Quick-Start CUT mix.
“JS” is based on a multi-mic configuration created by Jon Symons.
“MDRN” is based on a 57 + 421 mic combination.
“OH1” is based on a 57 + 121 mic combination.
“OH1F” is based on a more “fat” sounding 57 + 121 mic combination.
“OH2” is based on a 421 + 121 mic combination.
“OH2F” is based on a more “fat” sounding 421 + 121 mic combination.
“SP2” is based on a multi-mic configuration created by Scott Peterson.
QUICK START CONTENTS
The Quick Start folder contains the OwnHammer picks for the most universally ideal single mic and mix positions.
Though your mileage may vary, this is a great starting point to get an idea of the sound of the cab, speaker,
mics, and mixes, and discovering which options you may wish to explore further in the auditioning process.
MID BOOST FILES
In the Quick Start folder, all the contents have a traditional entry from the Mics and Mixes sections, as well a
Quick Start contents exclusive feature: the mid boost alternate voicing. The Mid Boost files end with an “M +”, and
can be useful in counter balancing bright or scooped amps or amp models, guitars and pickups, bus processing,
and / or playback systems – especially PA’s at high volumes. M + 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.
WAVE AUDIO FORMAT FILES
The Wav folders contain 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
channel count.
For information on loading of these files into the host of your choice
manual and additional text files in the directory structure, please refer to their website or documentation.
FILE DECAY TAIL AND MINIMUM PHASE TRANSFORMATION
This library contains various configurations of decay (reverb) tail truncation level and minimum phase
transformation. These elements can change the sound as well as the compatibility with various platforms or ease
of use when mixing.
WAV-200MS
Files in the Wav-200ms folder have had the decay tail to 200 milliseconds. This shorter truncation level
may assist in loading platforms. If you use the full 500 millisecond files
and your IR loader throws an error stating that you are attempting to use files that exceed the sample length
note, not the sample rate. In addition to this scenario, and the 200 millisecond files
CPU could not be useful.
WAV-500MS
Files in the Wav-500ms folder exhibit the full, uninhibited decay tail. These files will contain all of the reflective
information of sound. In some instances, minimum phase
transformed files in this folder may be slightly more in the 200ms directory,
however, this is just a side effect of the involved math. This
phenomenon is dependent on the data inside each unique IR, and is not consistent.
MPT
Files in the “Mpt” folder.
Minimum phase transformation destroys all phase information contained within an IR file, and has a sonic result
that may work better or worse for a given situation or taste. Above all, minimum phase transformation achieves a
global time and phase alignment for IRs from any source or creator. All non-Mpt’d OwnHammer files are
universally time aligned to be 1st party compatible for blending, however if blending with 3rd party content, Mpt’d
files will be in time.
EVEN
“EVEN” provides a very balanced and almost ruler and pencil drawn response across the midrange, with both a tidy
bottom and smooth.
Under the hood: a 50/50 blend of the 212 ZLFB V30 and 212 ZLSF WLV
FIRE
“FIRE” brings the heat, with an aggressive top end and raucous midrange. For those that just want to watch the
world burn!
Under the hood: a 50/50 blend of the 412 EDVH SHF and 412 EMPR H100
GAIA
“GAIA” is the Earthly mother of tone in the HHC2 and represents the center of the sonic spectrum from this
collection.
Under the hood: a 50/50 blend of the 212 ZLSF M25 and 412 EMPR V30
SOAP
“SOAP” exudes a warm but clear bell like character for when you need to clean things up, lower the gain, and
to bring in single or split coil sounds.
Under the hood: a 50/50 blend of the 212 ZLFB H75 and 212 ZLSF V30
THOR
“THOR” is a thunderous behemoth that is going to put the hammer down with a thick low end energy and
authority.
Under the hood: a 50/50 blend of the 412 EDVH EDVH and 412 EMPR V30
SINGLE CABS SPEAKER BLENDS
In the Single Cabs section, each of the four cabinets contains mixes of two speakers for all available speaker types
within that enclosure. The naming convention is an indication of sonic characteristics
combined and is as follows:
“Speaker 1 + Speaker 2” – where the speaker is listed first is the dominant one in the mixture.
SUMMARY
The mix files in the “Summary” folder are based on a 57 + 70 + 121 mic combination. This mix fits somewhere in
the middle of the onset of darkness. There is a single file
representing each individual cab / speaker combination.
V30 CAB BLENDS
In the V30 Cab Blends section, cabinets are mixed in pairs using the files from the V30 section of each.
The naming convention is an indication of sonic characteristics as they are combined and is as
follows:
“Cabinet 1 + Cabinet 2” – where the cab is listed first is the dominant one in the mixture.
THE POWER AMP
This library’s captures were driven by a mostly neutral tube power amplifier. While the total frequency response
is largely even that of a solid state reference amplifier, the common tube amp deviation traits are present that
both liven and thicken. As such, they are ideal as-is with respect to the 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 GUITAR TUBE AMP DRIVEN IR’S
As aforementioned, the IRs in this library were driven with tonally neutral tube based power amplification. There
is a very quick, simple step that can be applied to replicate
tube power amp with the Presence and Depth set to 0, which results in a mid scoop.
To simulate 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 full 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
sound source and tonal preference.
THE MICS AND MIC MIXES
In this library, the speaker was sampled with many microphones and capture types.
For microphones with position numbers 00 through 10, these representations represent movement across the face of the
speaker along the relative sweet spot from the brighter and closer to the center (00) to the darker and further out on the cap
or cone (10). These numbers do not represent any specific unit of measure.
definitions.
Positions labeled “EDGE” place the microphone near the rim of the speaker cone, but still in a tonally usable area.
Positions labeled “FRED” place the microphone at the very center of the speaker at a 45 degree angle, ala the off
axis component in the popular “Studio Fredman 45” technique.
Below are explanations of the mic models and pre-made mix types:
MICS
“57” is based on a modern production Shure SM57 dynamic microphone.
“70” is based on a Microtech Gefell UMT70S condenser microphone.
“121” is based on a Royer R121 ribbon microphone.
“160” is based on a Beyerdynamic M160 ribbon microphone.
“414” is based on an AKG C414 B-ULS condenser microphone.
“421” is based on a vintage Telefunken MD421-5 dynamic microphone.
“MID” 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.
MIXES
“CHUNK” is based on a more “fat” sounding version of the BOLD mix.
“BOLD” is a proprietary mix that has a forward midrange with a slightly relaxed top and bottom end.
“CUT” is based on an on-axis 57 and off-axis 57 mic combination.
“CUT + 121” is based on a 121 added to the Quick-Start CUT mix.
“JS” is based on a multi-mic configuration created by Jon Symons.
“MDRN” is based on a 57 + 421 mic combination.
“OH1” is based on a 57 + 121 mic combination.
“OH1F” is based on a more “fat” sounding 57 + 121 mic combination.
“OH2” is based on a 421 + 121 mic combination.
“OH2F” is based on a more “fat” sounding 421 + 121 mic combination.
“SP2” is based on a multi-mic configuration created by Scott Peterson.
QUICK START CONTENTS
The Quick Start folder contains the OwnHammer picks for the most universally ideal single mic and mix positions.
Though your mileage may vary, this is a great starting point to get an idea of the sound of the cab, speaker,
mics, and mixes, and discovering which options you may wish to explore further in the auditioning process.
MID BOOST FILES
In the Quick Start folder, all the contents have a traditional entry from the Mics and Mixes sections, as well a
Quick Start contents exclusive feature: the mid boost alternate voicing. The Mid Boost files end with an “M +”, and
can be useful in counter balancing bright or scooped amps or amp models, guitars and pickups, bus processing,
and / or playback systems – especially PA’s at high volumes. M + 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.
WAVE AUDIO FORMAT FILES
The Wav folders contain 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
channel count.
For information on loading of these files into the host of your choice
manual and additional text files in the directory structure, please refer to their website or documentation.
FILE DECAY TAIL AND MINIMUM PHASE TRANSFORMATION
This library contains various configurations of decay (reverb) tail truncation level and minimum phase
transformation. These elements can change the sound as well as the compatibility with various platforms or ease
of use when mixing.
WAV-200MS
Files in the Wav-200ms folder have had the decay tail to 200 milliseconds. This shorter truncation level
may assist in loading platforms. If you use the full 500 millisecond files
and your IR loader throws an error stating that you are attempting to use files that exceed the sample length
note, not the sample rate. In addition to this scenario, and the 200 millisecond files
CPU could not be useful.
WAV-500MS
Files in the Wav-500ms folder exhibit the full, uninhibited decay tail. These files will contain all of the reflective
information of sound. In some instances, minimum phase
transformed files in this folder may be slightly more in the 200ms directory,
however, this is just a side effect of the involved math. This
phenomenon is dependent on the data inside each unique IR, and is not consistent.
MPT
Files in the “Mpt” folder.
Minimum phase transformation destroys all phase information contained within an IR file, and has a sonic result
that may work better or worse for a given situation or taste. Above all, minimum phase transformation achieves a
global time and phase alignment for IRs from any source or creator. All non-Mpt’d OwnHammer files are
universally time aligned to be 1st party compatible for blending, however if blending with 3rd party content, Mpt’d
files will be in time.
Publisher : OwnHammer
Format : WAV
Quality : 24 bit 44/48/88/96 kHz mono / stereo
Format : WAV
Quality : 24 bit 44/48/88/96 kHz mono / stereo
hi!
the link doesnt work!!
The link works, but you need to go through it many times for the right one to popup… You should get in the upper top right corner a “Skip this Add”, click on that on a popup should appear “Oppen Utorrent” and then you are good. Just got it….