BIGbox ✘: Vintage Classics
The Vintage Classics collection features iconic cabs from decades past and modern cabinets with a vintage vibe. Each cabinet is sampled in loving detail so you can craft your tone the way you hear it in your head.
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 500ms 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.
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: 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 Vintage Classics library.
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
- 22 timeless 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 roominess
- 500ms 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 Vintage Classics library
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 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
Fender Deluxe Reverb
(1) Oxford 12k5-6
Blackface era Fender Deluxe Reverb cab with a '64 Oxford 12K5-6. Details...
Fender Dual Showman
(2) JBL D130s
Fender Dual Showman cabinet loaded with vintage JBL D130s. Details...
Fender Tweed Bassman Narrow Panel
(4) Jensen P10Qs
Reproduction Narrow Panel Tweed Bassman cabinet loaded with vintage '57 Jensen P10Qs. Crunchy upper-mids, scooped low-mids, and tons of low-end below 70Hz. Details...
Fender Tweed Deluxe (1956)
(1) Jensen P12R
'56 Tweed Deluxe narrow panel with the the original, vintage Jensen P12R speaker, for the purists. Rounder and warmer sound than the Blue. Details...
Fender Tweed Deluxe (1956)
(1) Celestion Alnico Blue 12"
'56 Tweed Deluxe narrow panel with a replacement Celestion Alnico Blue speaker for a brighter tone with more high end sparkle. Details...
(2) JBL D120Fs
'67 Fender Twin Reverb cabinet loaded with vintage JBL D120Fs. The D120s have more low-end than the C12Ns and a peak around 3700Hz, for distinctly edgier upper-mids. Details...
(2) Jensen C12Ns
'67 Fender Twin Reverb cabinet loaded with vintage Jensen C12Ns. A little less bass than D120s and a peak around 2500Hz which gives it a crunchier sound than JBLs. Details...
Hiwatt SE4123 (1975)
(4) 50-watt Fane “Purples”
'75 Hiwatt SE4123 cabinet loaded with four vintage 50-watt Fane Purples. Details...
Marshall Basketweave (1968)
(4) Celestion G12Ls
'68 Marshall Basketweave 4×12 loaded with vintage Celestion G12Ls. We acquired this cab with the intent of hunting down some good T1221 Greenbacks for it, but we thought the G12Ls with their mellow high-end and ample bass would be a nice flavor to have around. Details...
Marshall Basketweave (1968)
(4) Celestion Heritage G12M20s
'68 Marshall Basketweave 4×12 loaded with 20 watt Celestion Heritage G12Ms. Brown sound all around. Details...
Marshall Basketweave (1968)
(4) G12H30 Blackbacks
'68 Marshall Basketweave 4×12 loaded with a matched quad of vintage 30 watt Celestion G12H Blackbacks. T1281 frames and 444, 55Hz bass cones from the late 70's. Unleash your inner Jimi, or Jimmy, if you prefer. Details...
Marshall Basketweave (1968)
(4) G12M25 Greenbacks
'68 Marshall Basketweave 4×12 loaded with vintage Marshall-labeled 25 watt Celestion G12Ms. We searched long and hard to find this matched quad of T1221 frames and Pulsonic 003 lead cones. Details...
(1) Custom Celestion G12M25
Matchless ES212 is loaded with one custom voiced 30-watt Celestion G12H and one 25-watt Celestion G12M. We close mic our cabs, so we decided to treat this cabinet as three. We mic’ed the G12H30 and G12M25 separately and then made a 50/50 mix of both speakers. Details...
(1) Custom Celestion G12H30
Matchless ES212 where we mic’ed the custom voiced 30-watt Celestion G12H. Details...
Mesa Mark IIC+
(1) Electro-voice EV12L
Mesa Mark IIC+ cab with a Mesa Black Shadow EV12L. Details...
Mesa Mark IIC+
(1) Mesa MS12
Mesa Mark IIC+ cab with a Mesa MS12. More scooped mids than the EV12L and less aggressive upper-mids. Details...
Roland JC-120 2×12
(2) Roland 12s
Roland JC-120 Jazz Chorus with Roland 12" speakers. Resembling a more scooped JBL D120, this cabinet produces squeaky clean guitar tracks. Details...
(1) Celestion Alnico Blue 12"
The Celestion website describes this speaker as having a “glorious dampened attack, warm lows, mellow upper-mids and brilliant belllike top-end.” Guitar Player magazine has this to say about it: “The Blue is far and away the most tonally sophisticated -- as well as the loudest -- speaker in this roundup. Its chime and midrange complexity are truly magical, and it never sounded harsh or brittle. The Blue handles sparkling rhythms and milkshake-thick lead tones with equal poise, and is an unbelievably dynamic and multi-dimensional speaker that sounds great with any amp.” Details...
(1) Celestion G12H30
The Celestion website describes this speaker as having “a heavier magnet than the G12M, this faithful recreation captures the unmistakable mojo of late 60s rock guitar tones... It exhibits a pleasing, strong low-end, complex and buttery mid-range and a finely detailed top-end, the G12H is excellent for cranking out huge, dark power chords, with smooth and rich bridge pickup tones and flutey neck pickup tones.” Details...
Supro Thunderbolt S6420
(1) 15" Jensen
Supro Thunderbolt S6420 cabinet with the original 15'' Jensen speaker. Decent low-end for a small open-backed cabinet. A boost around 550Hz gives it some mid-range "honk" and crunchy upper-mids. Details...
(2) 12" Vox-labeled Alnico Blues
Vox AC30 loaded with two Vox-labeled Celestion Alnico Blues made in the UK. Chimey Vox goodness. Details...
(1) 12" Vox-labeled Alnico Silvers
Vox AC30 loaded with two Vox-labeled Alnico Silvers. These speakers are 25 watts, use T1656 frames, and have Pulsonic cones made for the Thomas Organ Company in the 60's. Slightly less extended upper mids than the blues, same cones as the early greenbacks. Cool speakers in pristine condition. Details...
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.
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).
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.
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.
A flat ribbon mic. Big proximity effect, but nice and balanced if you give it some breathing room.
A classic microphone used in countless legendary recordings. Sweet mid-range and smooth high-end.
A studio standard. Tube driven with the famous K67 capsule.
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..
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.
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.
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.
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.
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.
The 441's low-end response is similar to the 421 but it has fuller mids and less edgy upper-mids.
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.
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.
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.
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.
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.
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).
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.
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.
Works well on metal guitar. Can sound harsh on on signals lacking in low-end.
Money-back GuaranteeWithin the first 14 days after purchase, if for any reason you do not want your plug-in or IRs you can delete them and receive a full refund. No questions asked.
*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.