These IRs are created with Apple Impulse Response utility, in 24 bits / 88,2 kHz and are made available as 44,1 kHz, 24 bits WAV files. Until Gen 4 (see below), IR length was usually 50 ms (though some early collections may be shorter). As of Gen 4, IR length is set to 100 ms. IRs are provided in MPT format : you will probably need to adjust their phase if you want to mix them with IRs from other vendor/provider in non-MPT format.

Three amps are used for overdriven.fr IRs capture : one using KT88 valves, another one using 6L6 valves and a third CLASS-D one : this is generally mentioned in the collection name of the IR files and in the readme file of the collection.

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These IRs are systematically tested under Nadir running in Logic Pro X, and they are sometimes tested under Two-Notes WOS (still under Logic Pro X), Libra, the Two-Note CAB M. pedal and the Mooer Radar pedal and Overloud SuperCabinet. They will also work well on Hotone Ampero and Mooer GE multi-effects, the Kemper Profiler, Line 6 Helix or Tonex plugin and the Tonex pedal, the TC Impulse Loader, the Engl CabLoader for example.

All mics positions are not available and all positions that I record are not made available in the free collections. Distances and positions may be different from one cabinet, microphone or speaker to the other. Sometimes processed versions of the IR can be provided. In this case, read the readme file and the IR information page to get information about the EQ or filters applied.

Do not hesitate to post comments, suggestions or to provide audio or video recordings of your usage of theses IRs. For other mic/speaker positions, you can try suggesting these positions through the comments as well.

Any and all third party companies and products listed or otherwise mentioned on this site may be trademarks of their respective owners and they are in no way affiliated or associated with Overdriven.fr or the owner of Overdriven.fr. Product names are referenced solely for the purpose of identifying the hardware used in the recording chain for impulse response capture or for guitar sound demonstrations. Use of these names does not imply any cooperation or endorsement.

Hands down, all well explained and complete guide.

Just having fun with my radar.

Could you raccomand an IR for 8 strings guitar? what find out that Messhuggah Bleed grinding tone. Maybe a Fortin cab?

-For IRs demos, it is simply a choice, for example to push the mids or the resonance harder. You can of course use the signal chain that you prefer (ie guitar->amp->IR)

-IRs files in regular format are most of the time .wav or .aiff files. Two Notes proprietary format is .tur for cabinet and it seems that .top are Two-Notes preset files ( -notes.com/knowledgebase.php?article=348) used by Wall of Sound. I am not sure they are compatible between WOS and the Torpedo Cab M (though it would be nice).

Just curious if someone found some good free impulse responses? Not that I'd be absolutely opposed to paying for some, but I'd rather start to get familiar with them and what they bring to the table, instead of just spending money where I'm not sure it'll be so fruitful.

There are plenty of good free IRs out there and there really is no need to buy. It's a huge rabbit hole you can get lost in and waste a lot of money with. IRs are very much down to personal taste, the type of music you play, amps you like, and the guitars you use. Don't be swayed by demos of IRs. Just like patches that sound great on vids but sound like crud through your gear, IRs are just the same.

I'll send you some links later. But bear in mind too that the Helix/Pod Go cabs are actually very good. It's all down to choosing the mic you like, the mic distance, high and low frequency settings, and dB levels...increasing the latter by 3-5dB can make an astounding difference.

Based on the IR packs I've tried, which is quite a few, I can get 'there' or pretty darned close with the stock cabs most of the time. For what I play there's only a few cab types I really like e.g. Greenbacks for Marshallesque crunch, Fender cabs, and Vox Celestion Blues/Silver's.

Yeah the main issue for me is always being overwhelmed with options. In PGO: There's 16 mics. There's 30 cabs. There's at least 10 mic usable positions. (typical mic placement is 1 to 5 inch?). So that's what, like 5000 possibilities? Sure, not all are useful, but I'm having great trouble wrapping my head around the sound of the cab, the sound of the mics and the exact effect of the combinations of those vs distance. 700+ Mesa OS IRs is a bit similar, I can't see myself scrolling through 700+ IRs, that would take me years! lol

Hence, if there's already 'renown' classic great sounding IRs, well, since you're not dealing with cabs/mic/distance, and are just getting IR sound, that's way simpler. Maybe at least use them as reference... Ex: If I were trying to make Bourbon, and I have a bunch of ingredients; I'd be asking, what are the best Bourbons I should taste to know what great Bourbon is supposed to taste like? Having then a crate with 700+ different bourbon bottles would just get me drunk lol

For the L6 cabs, yeah, read a bit on mics and cabs and and setup some patches, but not sure how much better/worse good IRs would sound in comparison. Too many options I didn't try, if just plugging an IR would give me better sound with less hassle...!

And for using the L6 cabs, it's super annoying that the mic is stuck with the cab. If I could set the mic & distance and just switch cab that would be one thing, but having to reconfigure the mic & distance each time you switch cab is super annoying... (don't think you can...) Also, as per the above, never know if you're missing out on a great cab/mic/distance combination, but often it seems it ends up with "well I guess it sounds ok now, but if only it could be a little bit more like this and a bit less like that", and given just the cab/mic/distance combination possibilities, it's like rocket science, would probably take dozens of scientific papers to be able to explain the relation between them all and what combinations results in the 'best' combinations for different purposes...

LOL! Well, that's why I suggested you don't buy IR's. Whether an IR is 'good' is wholly subjective. One buyer might think an IR is fantastic, another will think it's awful. A lot of folk who've spent time with IR's have come to the conclusion that they'd just rather stick with the stock cabs. IR's a rabbit hole you can get lost in. If you're expecting a magical solution there really isn't one - but try this one free IR to get you started, as it's pretty decent: Sound Lab's BEST IR IN THE WORLD.zip?dl=0

So, are IR's really better than the stock cabs in Pod Go? Better is a highly subjective word, but they can be 'different'. Why do I say 'can be' - that's because the stock cabs are actually pretty good and you'll often be able to tweak these to sound pretty much the same as a lot of IR's.

But I honestly think you need to start from the basics and learn a bit about what the stock cabs & mics etc can do. So, just concentrate on ONE cab to begin with. Use that to decide what you like and don't like. for example, I play classic rock so I like Marshall/Marshall type amps. A 4x12 25w Celestion cab is pretty classic. So I picked that cab to start with. I increased the output level by 3-5dB because I found it gives a fuller tone (a big reason why IR's can sound 'bigger' is just that most are set with more Cab output) plus it more clearly highlights the tonal differences from adjustments. I found through experimentation that, generally, I prefer the mic 2.5"-4" away which gives an airier more amp in the room feel without overdoing it. Adding 25% early relic gave me just a tad more 'bouyancy/fullness' to the sound, again without overdoing it.

Re the mics, I quickly found that there were only a few favourites that 'did it' for me. No surprises in that these were the three big industry standards. There are really only 3 main MIC types - dynamic, ribbon, and condenser. See here: -of-microphones/

The SM57 is very much 'in your face' and will usually sound louder, but the Ribbon mics & Condenser mics pick up different nuances that are more sensitive to touch playing. There's no right or wrong here' it's just what you like. Once you've found a few favourites it makes setting your cab much easier. But it's really easy to go through them all in a minute as a check in case a different mic happens to give a tone you like or are trying to match.

Re high & low cut, these are essentially EQ - slide all the way to the left and the right to hear what these do. A common approach is to set these as per the real speaker specs. Look up a 25w Celestion greenback specs and you'll probably see a frequency response range from 70Hz to 5,000 Hz. So setting the low cut to 70Hz and high cut to 5000 Hz pretty much replicates the real thing. But unlike the real thing, you can 'cheat'. Sometimes I'll slide the low cut all the way to the left, and the high cut all the way to the right (off). You'll quickly find what your ears prefer and follow that for other cabs too. Mix - I leave it at 100% generally, just like in the real world.

Once you've found a few favourite stock cabs that work for you (and generally I'll go for a Marshall cab with a Marshall, a Fender cab with a Fender amp etc) and set these as you like, THEN it's time to compare with some IR's of those cabs & see if you like the difference, or whether you can actually match the tone pretty much with some minor tweaks and don't need to load the IR anyway. Some IR's you won't be able to match eg they've used multicabs/mics or a cab version that's a bit rare.

What you're hoping for is that someone can just recommend an IR for you akin to recommending a car for you. I'm afraid me old china that you really need to invest some time in to learn about all this, at least the basics. Although it's a much simpler avenue to Helix modelling than a Helix, the Pod Go is not a plug n play MFX. If you're not prepared to invest some time to learn to walk before you can run, I'm afraid you've just got the wrong unit for your needs. But I promise you, once you get a feel for the basics, it's all actually a lot more straightforward than you think - and learning about tone is a really enjoyable part of the journey because you can make some great discoveries that can transform your tone & your playing enjoyment. But don't get overly hung up on all the permutations - because it honestly doesn't work that way. 152ee80cbc

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