Высококачественные гитарные импульсы с частотой дискретизации 44.1, 48, 88.2, и 96 kHz.
Раздача представлена в виде образа ISO, т.к. иначе торрент-файл получается размером более 3-х Мбайт.
40068 WAV файлов
CABINET
The 412-GTR MAR-CB is based on a 1970's Marshall "checkerboard" 1960B 4x12 cabinet.
SPEAKER
M-PR25-A Based on a 1971 16-ohm Celestion T1221 75-Hz cone "pre-Rola" 25-watt G12M. Forward, with a lively top end. M-PR25-B Based on a 1971 16-ohm Celestion T1221 75-Hz cone "pre-Rola" 25-watt G12M. Smooth and warm, with a round bell like tonality. M25-MIX A combination of M-PR25-A and M-PR25-B to bring the best of both worlds.
MICS AND MIC MIXES
In this library, the speaker cabinet was sampled with many microphones and capture types. For microphones with position numbers 00 through 10, these positions represent movement across the face of the speaker from brighter and closer to center (00) to darker and further out on the cap or cone (10). These numbers do not represent any specific unit of measure and are just sequential arbitrary definitions. Below are explanations of the mic models and pre-made mix types: 2011C Based on a DPA 2011C condenser microphone. AE2500 Based on an Audio Technica AE2500 dual element dynamic and condenser microphone. ARTIST MIXES Mix-KK is based on a multi-mic configuration used by songwriter, engineer, and producer Kato Khandwala. Mix-OH1/2 are based on multi-mic configurations used by OwnHammer owner and operator Kevin Rowe. Mix-SP1/2 are based on multi-mic configurations created by Scott Peterson. AUXILIARY FF-KM is based on far field captures taken with a vintage Neumann KM84 consenser microphone. FF-TC is based on far field captures taken with an Earthworks TC30 consenser microphone. The far field captures were taken in a silent reflection free outdoor environment. Captures go from directly on axis (1) to progressively further off axis (5). Floor is based on a floor plane placed AEA R92 ribbon microphone. MF 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. Sub is based on a Yamaha SubKick dynamic microphone. C414 Based on an AKG C414 B-ULS condenser microphone. E906 Based on a Sennheiser e906 dynamic microphone. FATHEAD Based on a Cascade FatHead II ribbon microphone. I5 Based on an Audix i5 dynamic microphone. KM84 Based on a vintage Neumann KM84 condenser microphone. M88 Based on a Beyerdynamic M88 dynamic microphone. M160 Based on a Beyerdynamic M160 ribbon microphone. MA200 Based on a Mojave Audio MA200 condenser microphone. MD421M Based on a modern production Sennheiser MD421 Mk-II dynamic microphone. MD421V Based on a vintage Telefunken MD421-5 dynamic microphone. MD441 Based on a vintage Sennheiser MD441 dynamic microphone. MIX-HG A multi-mic combination most ideally suited for high gain guitars, pickups, amps, and tones. MIX-LG A multi-mic combination most ideally suited for low gain guitars, pickups, amps, and tones. MIX-MG A multi-mic combination most ideally suited for mid gain guitars, pickups, amps, and tones. PHASE OUT MIXES The “Phase Out” mix files utilize slight time and phase misalignments that can result in a more pleasing touch, feel, and frequency response than perfectly aligned mics in multi-mic mixes. This alignment type slightly rolls off the high and low end, and provides a more complex and interactive midrange that while still useful in studio applications, can be very beneficial in live sound and individual practice applications. The PO-Cut mix is more forward and direct, while PO-Fat is more full range and all purpose. PR20 Based on a Heil PR20 dynamic microphone. PR30 Based on a Heil PR30 dynamic microphone. R92 Based on an AEA R92 ribbon microphone. R121 Based on a Royer R121 ribbon microphone. SM15 Based on a modern production Shure SM57 dynamic microphone angled at 15 degrees off-axis, pointed inward. SM30 Based on a modern production Shure SM57 dynamic microphone angled at 30 degrees off axis, pointed inward. SM45 Based on a modern production Shure SM57 dynamic microphone angled at 45 degrees off axis, starting at the speaker center and pointed outward toward the cone (ala the popular “Studio Fredman 45” technique). SM57M Based on a modern production Shure SM57 dynamic microphone. SM57V Based on a vintage Shure Bros Unidyne-III SM57 dynamic microphone. SM7B Based on a Shure SM7B dynamic microphone. TC30 Based on an Earthworks TC30 condenser microphone. U70 Based on a Microtech Gefell UMT70S condenser microphone. VP88 Based on the mid element of a Shure VP88 condenser microphone.
