Free cabs: Pacific Woodworks 1x12 with EVM12L

    Attached is a zip file that contains kipr files of my take of impulse response captured from a Pacific Woodworks 1x12 with EVM12L made in 90's.

    As far as I researched I've never seen any IRs of that cab, so I hope it helps if you wanna go for 90's LA tone like Michael Landau. I guess it works well with the profiles of rack preamps like CAE3+SE.


    In the zip file, you will see 4 kipr files shooted from different mic positions.

    The mic positions are indicated by the end number of the file name that corresponds to the red dots in the picture below.


    All the IRs were captured using SM57 for microphone, Midas XL48 for microphone preamp and RME Fireface UFX.


    Hope you like it!



    Quote from Vinny Burns

    I used a couple of these Pacific Woodwork cabs that we hired from Andy Brauer in 1988 along with some Bradshaw systems. They recorded really well. Thanks for posting. Will give them a try.

    Very honored to hear you have downloaded my cabs. I guess back in 1988 you recorded with some top studio quality equipment (like SSL, Neve...), so to be honest I'm not sure if my cabs provide what you got at that time.

    I'd be very grateful if you could share ideas on tweaking to fill in the gap between your memory/experience. Thank you.

    Quote from kyo gt

    Very honored to hear you have downloaded my cabs. I guess back in 1988 you recorded with some top studio quality equipment (like SSL, Neve...), so to be honest I'm not sure if my cabs provide what you got at that time.

    I'd be very grateful if you could share ideas on tweaking to fill in the gap between your memory/experience. Thank you.

    For those LA sessions. It was at Joni Mitchell’s private studio in her house in Bel Air.

    For the stuff we had already recorded in the UK it was SSL but we actually bypassed the SSL preamps and Mike Shipley had bought a few Focusrite ISA110 modules that we tracked the guitars through.

    Joni’s studio had a Trident desk in it but I am 100% sure we would have still inserted the Focusrite ISA110 preamps to keep consistency with what we had done in the UK.

    To be honest, a 57 through your Midas shouldn’t sound too different than a Focusrite ISA preamp. I have an ISA828 8 channel pre and an ISA 220 in my studio. The ISA are actually quite transparent preamps.
    Will definitely get round to trying your cab profiles within the next few days. So glad they showed up. I always regretted not picking up a couple of those Pacific Woodwork cabs back then. They were impossible to track down in the UK by the time I bothered to look for them.

    Once again. Thank you for posting.


    PS. A good way of finding a cabs sweet spot is to get a set of headphones on, turn up and just listening to the hiss of the cab through the headphones, sweep the mic backwards and forwards, up and down across the speaker until you find the most intense hiss. It can be anywhere and on a 4x12 etc , you might have to sweep all 4 speakers to hear the one that is the most intense. It’s really obvious when sweeping for this sound.
    Simply mark it with a chinagraph pencil and unless you change the speaker, that sweet spot will always be there. Don’t use tape to mark it as it changes the sound around the mic.

    Quote from Vinny Burns

    For those LA sessions. It was at Joni Mitchell’s private studio in her house in Bel Air.

    For the stuff we had already recorded in the UK it was SSL but we actually bypassed the SSL preamps and Mike Shipley had bought a few Focusrite ISA110 modules that we tracked the guitars through.

    Joni’s studio had a Trident desk in it but I am 100% sure we would have still inserted the Focusrite ISA110 preamps to keep consistency with what we had done in the UK.

    To be honest, a 57 through your Midas shouldn’t sound too different than a Focusrite ISA preamp. I have an ISA828 8 channel pre and an ISA 220 in my studio. The ISA are actually quite transparent preamps.
    Will definitely get round to trying your cab profiles within the next few days. So glad they showed up. I always regretted not picking up a couple of those Pacific Woodwork cabs back then. They were impossible to track down in the UK by the time I bothered to look for them.

    Once again. Thank you for posting.

    Wow, thank you so much for your detailed explanation on the 1988 recording session! I always love to learn what type of equipment was used in the studio.

    I guess it's "Out of the Silence" session that you're talking about. Embarrassed to say I didn't know that album until now, just checked it out and really loved it. The guitar tone is exactly what was in my mind when I decided to get Pacific and to shoot IRs from it.

    Hope you like my cabs and looking forward to your feedback as well!

    Quote from kyo gt

    Wow, thank you so much for your detailed explanation on the 1988 recording session! I always love to learn what type of equipment was used in the studio.

    I guess it's "Out of the Silence" session that you're talking about. Embarrassed to say I didn't know that album until now, just checked it out and really loved it. The guitar tone is exactly what was in my mind when I decided to get Pacific and to shoot IRs from it.

    Hope you like my cabs and looking forward to your feedback as well!

    Thank you so much. ? Yes, it was our first album Out Of The Silence.

    The majority of the recordings (distorted rhythm and main solos) was all done in the UK with a Mesa Mk3 head and a Marshall 260w JCM800 angled 4x12 cab.
    Everything else though was the various Bradshaw systems with Boogie amps through the PW cabs. So, all the intros, cleans and every other solo and ad-lib guitar throughout the songs. There was definitely as much done through the PW cabs.
    They really are great cabs and you should keep hold of it.

    Quote from Jemjulio

    I was there. If I remember correctly , Joey Tempest sang like crap... Throat trouble I think.

    Soprry OP ..back to topic :)

    I don’t remember Europe’s show that night. Joey nailed it every time I watched them though (which was most nights) and we did something like 58 shows with them. It was a great tour to be on and it was a party from January until we finished in April. ?
    It was Kee’s birthday while we were in Madrid and one of Europe’s crew got married while we were in Madrid too so I do remember getting very drunk in the hotel on one of the nights we were there ?