Tired of looking for the "perfect" Cab? :D me too but this helps a bit imo

  • Here is something i'm working on right now.

    Of course the "perfect" Cab does not exist

    but, i tried to mess with the cab i aready had instead of buying much more, i think i spend 150E only on CAB Irs last year :D

    first some samples, then the explanation.

    this is already in rig exachange for example
    and here is the before and after

    the theory behind it is easy
    1.Pink noise is the one thing all speaker manufacrturers use for measuring their stuff, so this has to translate well on all systems.
    2.Eqing a signal that has bumps and holes everywhere can be very hard for further eqing or fitting it into the mix.

    i think this is common knowledge but write me if i should explain it further, maybe i make a video also.
    my solution:

    making the Gutiar Cab more linear, with a slight fall of should end up in a perfect starting point for further eqing
    pink noise has a falloff of -10dB per "decade" (it is dekade in german i don't know if that is the right word in eglish :D )
    mine has less because i let my ears decide a bit more on it but i will make more in the future :)

    let me know what you think!

    btw i made this with Two notes blend ir, and torpedo live then profiled all that and so on it was a lot of work guys !

  • I found "my perfect" speaker cab...for 75% of the type of amp and music I like to play.

    That being said, there are always going to be other types of amps and music styles that need something different. I'm still hunting for those.

    Pink noise and EQ changes are two dimensional. IRs' are three dimensional and accounts for phase relationships. Having done the whole EQ thing over a decade ago, although the tone improved, the phase got messed up and resulted in some weird distortion that didn't please the ear. For me, I only use a small amount of EQ to sweeten a mix, but don't depend on it for my core sound.

    So what really makes up the final product we hear? Think about ALL the variables that contribute from start to finish. Wood types and how all the pieces are put together to resonate as a whole, pickup types with all the various elements (magnet material matters a lot) , pickup position(s) along the strings, pickup height (very important for phase at the very start of the signal chain), string contact point materials (nut, bridge and tail), string size and composition, tone circuits (if you use them...I do at times), amp design (pick your favorites for not only tone and distortion, but also compression and dynamics), quality of tubes (sweet harmonics or harsh flat distortion), amp EQ (mud and buzz, or phase coherent clarity?), speaker type (i.e. real "vintage" or MODERN "vintage"?...not the same at all), cabinet type...size...wood, and finally (maybe the most altering element) microphone placement position(s) and microphone model(s) ..and even the room they all are in!

    All of this matters, and neglecting attention to detail on any part of this will have an "amplified" effect. But where I see the most confusion on the final stage of the sound...the one that so many struggle with concerning a live mix...is the constant battle between "live amp in a room" and "ready for mix tracking" tone. Not the same thing, is it? Close micing a cabinet will never sound like what you hear in the sweet spot of your amp in a room. Fitting into a real live mix is often a combination of live amp on stage and close miced tone coming out the FOH. The goal is to get the room sound with mic effects being minimal.

    Can you have your cake and eat it too? I believe you can. The key is to keep the "core" midrange tone signature realistic sounding (like the amp you love and hear in a room), and get the low end and top end to fit into the mix. Do as much as you can through the whole signal chain without external EQ. Only resort to EQ when nothing else can be done to get you that last little bit fitting you into the mix, as the more you use it, the more the PHASE relationship becomes skewed. So when you address ALL of the elements carefully up to the final "capturing" elements, think big on the spectrum of amp tone you capture. It's much easier to reduce bandwidth...than build it up from final post EQ. The end result can actually be like the amp in a good room with NATURAL enhancements from careful microphone placement and capture. If you are seeking that tone, but are not a profiler yourself, you have to hunt for it until you find it. But in order to know it when you hear it, you have to know what it sounds like to begin with.

    I'll always remember the live guitar sounds I heard from Queensryche on their Mindcrime tour, as well as Godsmack in Philadelphia back around 2009 as best examples of live FOH tone. Defined and BIG, but every element of the tone from the speaker type to the guitar wood used could be clearly heard and identified. That was proof (to my ears) that it CAN be done, and that the organic qualities of proper phase alignment can achieve such focus and clarity that even the wood of the guitar used could be heard. The "perfect" cabinet requires the perfect mic capture!

    One final thought on cab IR's...If you dislike a cab for "fizz" or "buzz", or find one too dark and distant, it's probably because the person who adjusted all the tone elements up to the speaker selection (important) was using the mic placement to compensate for something else that was lacking up to that point. This is why many cabs don't "fit" our individual situations of tone up to that point.Using mic placement to do anything other than capture the amp as it naturally sounds in a room will always have this effect. I believe it best to "keep it real" (as much as you can) from start to finish. ;)


  • Thanks for your thoughts ! :) , but i think you get something wrong about that correction software...

    well only external eqs ( analouge ones and IIrs-infinite impulse responses/digital eqs- ) cause this phase issues
    FIRs (finite impulse responses) that are used for Impulse responses don't flip the phase or cause problems
    and even if there would be problems in the first place you could correct that too in the software ...
    and as you see in the time and phase curve of the graphs changing the eq withing a FIR software is way better then just eqing a signal.
    the only downside is latency but this appears already when you use any FIR.

    So it has absolutely no downside to correct issues within that software... the eq you apply in there will be added permanently to the FIR and
    just how i said you can see and correct the phase also within Blend IR ...

  • pink noise has a falloff of -10dB per "decade" (it is dekade in german i don't know if that is the right word in eglish )

    "Octave" is the word. In this context, it's the range between x and 2x. For example, between 100Hz and 200Hz.

    So if I understand you correctly, you're blending a pink noise IR with a normal IR to produce a combined IR that is "smoother" with less peaks and valleys in the frequency response.

    Is that correct?

  • no i just edit the ir within the blend ir editor. So i use the internal eq to get the curve even but not a "white noise" even but a pink noise even with the slight fall off the have the same amout of energy in every octave ... imo this helps a lot an like i explained it editin the FIR has advantages to just eqing it afterwards and you have to do less eqing. I sit backstage right now, i played with the kemper in Passau today with Michael Ammon and the sound guy today had to do zero percent eqing, that is pretty rare but sofar imo that works very well

  • oookay

    Today i made IRs in our unechoic chamber

    I used:
    A Brüel and Kjaer measurement mic
    Sennheiser Evo 900
    Shure Sm57

    I used also a
    Felleretta cab, 1x12 halfopened.
    Celestion Seventy80 speaker

    I made linearized duplicates, that should traslate very well on all systems due to their more linear frequency response.

    I used Blend IR so the resulting file is a .tur so if you have "wall of sound(free)" or other two notes product you should be able to use them.
    I will also make some profiles with these cabs.

    SO here they are!

    with spectrums out of the unechoic chamber you should have in recordings the uncolored sound of this speaker, even the cab since it is halfopened should not make such a big difference.
    (closed cabs have a strong resonant frequency and below it a sharp falloff... open cabs don't have this ... )