BIGbox✘: Modern Classics

Product Description

The Modern Classics collection captures the big cabs and even bigger sounds of rock, hard rock and metal. We sampled a few small cabs for added flavor. Sculpt a truly epic tone.

Treat yourself to impulse responses from 22 iconic speaker cabinets. Bring life to lifeless simulations. Add some oomph to your amp sim hardware. Or, crank your tube amp to 10 at any volume.

For Redwirez' 10th anniversary we've reimagined our collection with 10 years of customer feedback in mind.  Yes!  They sound different. They sound better!

Cabinet IR mixing tips: Hone Your Tone

What’s New in the Anniversary Edition

• Longer. Now 200ms for better bass definition.
• Smoother. Advanced processing to remove unwanted acoustic artifacts.
• Cleaner. Less noise, better SNR.
• Easier. Presets for commonly used studio techniques.
• Mix ready. We filter out the rumble and buzz. IRs sit better in the mix.

Why Redwirez

Each BIGbox cabinet is sampled at 0, ½, 1, 2, 3, 4, 5, 6 and 12 inches – at up to 6 different speaker positions. This systematic sampling method results in a "grid" of IRs with small, linear changes between them. Because the samples are predictable you can pick a starting point from our "Dialing in your tone" checklist or choose a preset, then quickly zero-in on the perfect sound.

You can use the same micing techniques used in a studio because each library is like a real cab. You like the graininess of your 57, but it has a little too much sizzle, then move it closer by an inch. You want two 57s with one off-axis. Go for it. You want to mic the cone and boost those highs for more air. You can.

A good guitar tone is built with many moving parts. Your setup is unique. Don't settle for someone else's idea of good tone. Hone your own.

What You Get

The collection contains both raw IRs and mixIR³ IR modules.

IRs are packaged as WAV audio files in a variety of sample rates. They can be loaded into most any convolution software or hardware.

MixIR³ IR modules are for use with Redwirez mixIR³ only. Each module contains all IRs for a single cabinet in one file.  Loading up an IR module in the mixIR³ brings up a point-and-click visual interface for selecting mics and mic position. Modules also provide controls for tweaking the cabinet's impedance curve and bass response.

The mixIR³ plug-in is not included with the Modern Classics library. 

Clips Made with Redwirez IRs

Hard Rock: no EQ, no compression, so TURN IT UP!
Helix: Bogner Uberschall
Headrush FX: Satriani Style
Helix: EVH Brown Sound
AxeFx: More EVH Brown Sound
Helix: Bogner Shiva - Jonn Mayer Style
AX8/CAA3: Various Styles
Helix: VOX AC15 + TS808
Helix: Matchless Country Ballad

IR Features

• 22 iconic speaker/cabinets used on some of the greatest recordings EVER
• Sampled with 14 industry-standard microphones, each with their own special sound
• Up to 6 mic positions to dial in the right tone for your amp
• 9 different mic distances for different amounts of proximity effect, cabinet and room sound
• 200ms IRs packaged in common sample rates: 44.1, 48, 88.2, 96kHz
• Aligned for better phase coherence. Mix multiple cabs and mics without comb filtering.
• Uncompromising signal chain. Cabs driven by a super-clean power amp, captured with classic Neve preamps and top-notch converters.
• Compatible with a wide range of recording software and hardware. If your plug-in or device can load a WAV file then it is likely compatible.

mixIR³ Module Features

• Exclusively for the Redwirez mixIR³
• All current Redwirez cabs can be loaded as modules into the mixIR³
• Navigate a virtual 3D cab to visually sculpt your tone
• Accurately model tube amp and speaker interaction with cab-specific impedance curves.
• Easily adjust cabinet bass response
• Equal loudness compensation. Constant level across IRs so you can make decisions based on tone not volume.
• MixIR³ plug-in is not included with the Modern Classics library

IR Sampling

Speaker cone sampling positions.

Speaker cone sampling distances.

Redwirez IRs are sampled using a rigorous system. As a result, the change from one IR to the next is consistent and predictable. This allows you to dial in the perfect tone.

We sample the upper left (or top) speaker of each cabinet using up to 6 positions. The positions are (as shown above):

• Cap center
• Cap 45° Off Axis
• Cap Edge
• Cap Edge 45° Off Axis
• Cone
• Cone Edge

Off-axis means the mic as tilted at a 45° angle rather than pointed directly at the speaker.

For each speaker position, we sample at up to nine distances: 0", 0.5", 1", 2", 3", 4", 5", 6", and 12".

The mic will pick up different aspects of the cabinet depending on the mic position. The farther the mic is from the speaker, the more bleed it will pick up from the other speakers in the cabinet.

The cap position is the brightest. It has the most high end. The closer you move to the cone position, the less high-end you will hear.

Mics also thin out as they get farther from the speaker. This is caused by the proximity effect exhibited by cardioid and figure-8 mics like the SM57 and R121. It boosts the low-end when the mic is close to the speaker.

Not every mic was sampled in every position and at every distance. Click on the Details links in the cabinet list below for a definitive list of IRs for each cab.

Speaker Cabinets Included

Bogner Custom Shop 2×12

(2) Celestion Vintage 30s

Larger-sized, closed-back Bogner Custom Shop 2×12 cab. Details...

Bogner Uberkab 4×12

(2) Celestion Vintage 30s

Bogner Uberkab loaded with Celestion G12T-75s and Vintage 30s. Because we close mic our cabs, we decided to treat it as two cabs in one. IRs of the T-75s are tagged with "Uberkab-T75". The Vintage 30 IRs are tagged with "Uberkab-V30". Details...

Bogner Uberkab 4×12

(2) Celestion G12T-75s

Bogner Uberkab where we mic’ed a Celestion G12T-75. Details...

ENGL Pro 4×12

(4) Celestion Vintage 30s.

The highly regarded ENGL Pro 4x12. Details...

Krank Krankenstein 4×12

(4) Eminence Texas Heats

Krank Krankenstein ported cab. This oversized and ported cab produces tons of low-end, uber-scooped mids. The Texas Heats have more aggressive upper-mids than the Legend V12s of the Revolution cab with a slightly less extended high-end. Details...

Krank Revolution 4×12

(4) Eminence Legend V12s

Krank Revolution ported cab. This oversized and ported cab produces tons of low-end, uber-scooped mids, and the aggressive upper-mids of the Legend V12s. Details...

Marshall 1960A 4×12

(4) Celestion G12M25s

Slant Marshall 1960 (stack top) loaded with Greenbacks. We updated this one with more mics for a total of 24. Details...

Marshall 1960B 4×12

(4) Celestion Vintage 30s

Straight Marshall 1960 (stack bottom). Details...

Marshall 1960B 4×12

(4) Celestion G12T-75s

Straight Marshall 1960 (stack bottom). Details...

Marshall 1960B 4×12

(4) JBL K120s

Straight Marshall 1960 (stack bottom). Details...

Mesa Rectifier OS 4×12

(4) Celestion Vintage 30s

Oversized Mesa Rectifier cabinet loaded with four V30s. Details...

Mesa Halfback Bottom 2×12

(2) Mesa Black Shadow-labeled EV12Ls

Bottom, closed-back and ported section of a Mesa "Halfback" 2×12. The EV12Ls have more scooped low-mids in this cab and extended upper-mids compared to the C90s. There are 3 flavors of this cab with this particular speaker. The bottom, closed and ported section, the top section in an open-back configuration (this set) and the top in a closed-back configuration. Each has a distinct sound. The difference is in the amount of low-end and the character of the mids. This set has the most low-end of the EV12Ls flavors. Details...

Mesa Halback Top-closed 2×12

(2) Mesa Black Shadow-labeled EV12Ls

Top, closed-back section of a Mesa "Halfback" 2×12. Details...

Mesa Halfback Top-open 2×12

(2) Mesa Black Shadow-labeled EV12Ls

Top, open-back section of a Mesa "Halfback" 2×12. Details...

Mesa Halfback Bottom 2×12

(2) Mesa C90s

Bottom, closed-back and ported section of a Mesa "Halfback" 2×12 loaded. There are 3 flavors of this cab with this particular speaker. The bottom, closed and ported section (this set), the top section in an open-back configuration and the top in a closed-back configuration. Each has a distinct sound. This particular set has the most low-end of the C90 flavors and a notch at 520Hz which gives it a scooped sound. Details...

Mesa Halfback Top-closed 2×12

(2) Mesa C90s

Top, closed-back section of a Mesa "Halfback" 2×12. Details...

Mesa Halfback Top-open 2×12

(2) Mesa C90s

Top, open-back section of a Mesa "Halfback" 2×12. Details...

Orange PPC412 4×12

(4) Celestion Vintage 30s

Straight Orange 4×12 (PPC412). Details...

Peavey 5150 4×12

(4) Sheffield 1200s

Older model Peavey 5150 4×12 cabinet loaded with four Sheffield 1200 speakers. Details...

Soldano 412B 4×12

(4) Eminence Legend V12s

Soldano 412B loaded with four Eminence Legend V12s. More high-end than the Eminence S12Xs in the standard cabinet. This is a front-loaded cab. So back the mic off a bit. Start at 1" and work your way back. Details...

Soldano 412B 4×12

(4) Eminence S12Xs

Soldano 412B loaded with four Eminence S12Xs. S12Xs were stock in the older cabs. This is a front-loaded cab. Give the mic more distance than you might normally. The cab resonance is pronounced up close and the speakers have a notch in the upper mids between 4kHz and 8kHz. Useful for taming fizzy guitars. Details...

Speakerbox 1×12

(1) EVM12L

200 watt Electro-Voice EVM12L loaded in a solid mahogany, open-backed cabinet. The cab’s lightweight, resonant shell is designed to fill a room with 3 dimensional, lively tone rather than box it in and project it forward. Electro-Voice says, "the EVM12L is a full range speaker with a frequency response specially tailored to cut through the thickest mixes"... and we believe them. Nice low end, too. Details...

Microphones Included

We experimented with a wide range of microphones before we settled on a final lineup. So, not every mic was used on every cabinet. Check the Details link for each cab for a listing of the mics used on that cabinet.

• AKG C414B-ULS
  
  The C414B-ULS is a 4-pattern condenser mic with an input transformer. We used it in mainly in cardioid, but threw in an omni room IR or two for kicks. It has fairly flat response with a very slight dip in the upper-mids and a very noticeable proximity effect at close range (boosting the lows).
• Audix i5
  
  The i5 is a dynamic mic with a scooped mid range and a big presence bump. In our work, we found it to be a bright mic without much low end that works best at close range or out towards the cone on bright speakers like the Celestion Blue. It really seems to like the Jensen P12.
• Beyerdynamic M160
  
  The M160 is a oddity among ribbons due to its tight cardioid pattern. Work it close for a nice proximity boost. Pull it back and enjoy the mellow highs. It's hypercardioid pattern keep the room sound at bay even at a distance.
• Coles 4038
  
  A flat ribbon mic. Big proximity effect, but nice and balanced if you give it some breathing room.
• Neumann U47
  
  A classic microphone used in countless legendary recordings. Sweet mid-range and smooth high-end.
• Neumann U67
  
  A studio standard. Tube driven with the famous K67 capsule.
• Neumann U87
  
  Another studio standard. Same capsule and body as the U67 but FET driven. We were especially careful not to overload this guy which can make it sound a little "honky", in our opinion..
• Neumann KM84
  
  The KM84 has a flat frequency response. It's nice when you want to capture the speaker as is, without adding a lot of coloration.
• Neumann M8/CMV563
  
  We put this one up, not expecting too much and were pleasantly surprised, so we kept it in the lineup. The M8 has a "vintage" rolloff of the highs frequencies which makes it nice for taming fizzy guitars and for use on bright speakers. It's also figure 8, so we had some fun with it and pointed its null point at the speaker to pick up mostly room reflections. We labeled these IRs, "NullAndWall". The reflections we captured with the Weber Blue might make an especially nice slapback reverb if blended with another signal. It's also interesting to note that this very mic was used by the East Germans to broadcast anti-capitalist propaganda into West Germany, or so we were told.
• Neumann M7/CMV563
  
  If it was good enough for the Beatles, then... well, ok... it's not a U47, but it's a similar capsule and on a CMV563 tube mic, it has some old school mojo of it's own.
• Royer R121
  
  Another ribbon mic. You can get real beefy tones taking advantage of the proximity effect and placing it up close, on the cap or cap edge. Smooth highs, and a nice balance at a distance. The figure 8 pattern lets in a little room which makes for a nice natural sound. We did the "NullAndWall" trick with this one, too.
• Sennheiser MD421N
  
  The 421 is a dynamic mic with solid lows and a flat response until a significant boost starting around 1.5K. It will make just about anything cut through the mix. It works very well off axis, too, if you want to roll off some of the presence and high end. We've got one of the vintage white ones with the tuchel connector and the funky, trailer park logo, which to our ears is more mellow sounding than the newer ones. It's wired differently than modern mics, so we reversed the phase on the pre when we recorded it.
• Sennheiser MD441
  
  The 441's low-end response is similar to the 421 but it has fuller mids and less edgy upper-mids.
• Sennheiser MD409
  
  The 409 rolls off the low-end before the 421 and has less edgy upper-mids and high-end. To us it sounds more like an SM57 with less peaky upper-mids.
• Shure SM7
  
  Kind of like an SM57 that's all growed up and has stopped borrowing mom's car to take the girlfriend to rock shows to impress her with wicked moshpit wrestling moves... Yeah... we don't know what that means either. Suffice to say, it's a lot like an SM57 with a less pronounced proximity effect up close (probably due to the recessed capsule) and extended, smoother highs. It has a similar vibe to the TAB57, so if the schedule was tight, we dropped the off axis positions on this one.
• Shure SM57
  
  A studio staple on electric guitar. Aggressive upper mids. Some proximity effect. Rolled off highs. Try pairing it with an R121 for a little of the chocolate and peanut butter thing.
• TAB-Funkenwerk SM57
  
  An SM57 with a replacement transformer made by TAB-Funkenwerk that extends the highs a bit and the lows a little bit more. Sounds like a crankier SM7 to us. You can judge for yourself.
• Electrovoice RE20
  
  Take it out of the kick drum and use it on guitar. It's a detailed, well-balanced mic with ample low-end. It's muted proximity effect can be useful.
• Earthworks TC30/M50
  
  The TC30 and M50 are high-end reference mics. They are flat as a pancake and have a phenomenal frequency response (3Hz-50KHz for the M50).
• Lawson L47
  
  Based on the Neumann U47, this one popped up in a few of the sessions. See what you think.
• Blue Bottle/B4 (Room only)
  
  High end tube mic with a nice neutral omni capsule that we thought would complement the other mics as room mics.
• Blue Bottle/M7
  
  We occasionally threw the M7 on this behemoth (in case you didn't know, the BLUE Bottle is a BIG mic) and put it up, mostly for kicks. You may find the results useful.
• Heil PR30
  
  Works well on metal guitar. Can sound harsh on on signals lacking in low-end.

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^*All product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Redwirez. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were sampled during impulse response capture.