IR-200 Amp & IR Cabinet
The IR-200 turns any pedalboard into a self-contained direct sound solution for live playing, studio recording, and practice. Two custom DSPs provide class-leading IR performance with support for mono and stereo files, up to 32-bit floating point/96 kHz resolution, and up to 500 ms length for natural bass response. The 144 BOSS and 10 Celestion Digital IRs cover a vast range of cabinet and mic combinations, and users can import up to 128 of their own WAV IRs with the IR-200 IR Loader software for macOS and Windows. Eight guitar amps offer go-to platforms from classic clean, tweed, and class A to vintage and modern high-gain, while three bass amps provide rich, punchy sounds from clean to driven.
With its intuitive interface, deep sound-shaping tools, and 128 memories, the IR-200 lets users build a library of setups for every playing situation. Connectivity includes a mono input, mono or stereo outputs, and an effects loop, allowing the IR-200 to integrate with any mono or stereo pedal setup. Two IRs can be used at once, and it's possible to feed independent signals to different destinations, such as a stage amp and house PA. Two onboard footswitches are available for memory selection while performing, and users can control various functions with external footswitches, an expression pedal, or MIDI.
Along with its other great features, the IR-200 functions as a high-quality USB audio interface for music recording and streaming software on macOS and Windows computers and iOS devices. A headphones jack is available for sound monitoring, along with an aux input for playing along with backing music from an external device.
Introducing BOSS IR-200 Amp & IR Cabinet
SY-200 Synthesizer
Offering a universe of rich, analog-inspired polyphonic tones in a small footprint, the SY-200 makes it simple for players to weave BOSS's expressive guitar and bass synth technology into their musical journeys. Building on the fun, instant-gratification experience of the acclaimed SY-1 Synthesizer from the BOSS compact series, the SY-200 features an expanded sound set, more tone-shaping possibilities, and 128 memories for storing sonic creations. Two footswitches are available for real-time performance control, and users can take things even further with external footswitches, an expression pedal, and MIDI.
The SY-200 provides 171 total sounds organized in 12 intuitive categories and adjustable parameters for customizing the tone and response. Calling up great sounds is quick and easy, thanks to the informative display and hands-on controls. The SY-200 can be used with any guitar or bass via a standard 1/4-inch cable, and selectable modes are available to optimize the synth engine for either instrument type.
BOSS SY-200 Synthesizer featuring McRocklin
Availability & Pricing
The IR-200 and SY-200 will be available in the U.S. in January 2022 for $399.99 and $299.99 respectively.
To learn more, visit www.boss.info.
Photo 1: Waves Audio IR-1
Most of us add reverb at some point in our recording process, and most of that is through digital plug-ins found in our DAW or by third-party makers (FabFilter, Waves, Universal Audio, etc.) or through rackmounted outboard gear. (Photos 1 and 2 provide a look at the Waves Audio's IR-1 and FabFilter's Pro R in action.) Whatever type of reverb you add, I'd be willing to bet that your process might be similar to this: pull up a reverb, set the amount of wet/dry, maybe tweak the overall time, and you're done. But there's so much more you can do!
I'd be willing to bet that your process might be similar to this: pull up a reverb, set the amount of wet/dry, maybe tweak the overall time, and you're done. But there's so much more you can do!
First, let's look at the main parameters of reverb. In any given space (size doesn't matter), something has to happen that sets sound pressure waves in motion. This is called an impulse function (a loud clap, popping a balloon, a righteous, single, 100-watt djent, etc.). The measurement of that impulse function is called the impulse response (IR). The impulse response contains four main parameters of what we generally call reverb.
Fig. 1
Imagine Metallica is doing a soundcheck at your local stadium and they're going to perform "Damage, Inc." (Still one of my favorite songs!) You're in front-of-house position (FOH), where the mix engineer sits. After the layered reversed guitar intro (lasting 1:18, for those listening at home), the band kicks in with those devastating, staccato, "chunks." With each one, several things happen in rapid succession—remember, I'm relating this as simply as possible as it's really complex. Look at Fig.1. You'll see the:
- Direct sound: A certain amount of sound reaches your ears directly, without reflecting off anything. Obviously, you hear this first.
- Early reflections: These initial reflections are easy to hear and generally bounce off a few things before reaching your ears and arrive closely after the direct sound.
- Reverb: As more reflected sounds reach your ears with mosh-pit ferocity, the ears can no longer make out individual early reflections because of the buildup, and "reverb" starts.Length: Once reverb starts, the time it takes for the sound to bounce off the rafters and for the venue to eventually fall silent again is known as the reverb time or RT60. RT60 is generally the amount of time it takes for the IR to fade 60 dB and merge back with the inherent noise floor of the building.
- Length: Once reverb starts, the time it takes for the sound to bounce off the rafters and for the venue to eventually fall silent again is known as the reverb time or RT60. RT60 is generally the amount of time it takes for the IR to fade 60 dB and merge back with the inherent noise floor of the building.
Okay, now let's get down to business. Most reverb plug-ins allow you to adjust time, EQ, pre-delay, and mix (wet/dry). Some, like Waves IR-1 reverb ($29 street) and FabFilter's Pro R ($199 street) offer much more, but in very different ways.
Adjusting the Pre-Delay
Photo 2 : FabFilter's Pro R
Increasing the pre-delay will postpone the arrival time of reverb. Which means that you can easily defy the laws of physics. Since sound travels at 1,125 feet per second (at 68 degrees Fahrenheit at sea level), by adjusting the pre-delay, you can move the arrival time of the reverb to a later point (that's not physically possible), yet when the reverb actually starts, it goes back to obeying the laws of physics. This trick is often used to bring clarity to an instrument's articulation and to subtle parameters that might be getting washed out in the original reverb. This works extremely well on vocals, snare drum, acoustic guitars, staccato power chords, etc. Further, some pre-delay settings can be synced (quarter-, eighth-, 16th-note, etc.) to the BPM of the song. FabFilter's Pro R does this, again violating the laws of physics. Adding even more violations to the properties of sound, Waves IR will allow you to add a pre-delay to the early reflections before reverb.
Adjusting the EQ
Adjusting the reverb's EQ can add another layer of complexity. Boosting top end to make it brighter can make a heavily pre-delayed reverb sound like it would if it were closer to the source, but, because of the pre-delay, it would organically sound dark and dull. One other thing to try is adding a narrow Q to a frequency band (or several) and tuning your reverb to the key or a specific harmony you wish.
I encourage you to play with all the available parameters as much as you can and see what kind of craziness you can come up with. I'll be sharing some of mine on my website, bryanclarkmusic.com, should you want to see and hear some more examples. Until next time, stay open-minded and keep rocking! Namaste.
