Friedman IR-X
The Friedman IR-X dual-channel tube preamp is an entire Friedman rig in a compact pedalboard-friendly package. Powered by two high-voltage 12AX7 preamp tubes, each channel delivers the harmonic richness and touch response of Dave Friedman’s finest designs. DSP IR cabinet/power amp simulation sends a studio-quality mic’d-up tone to your DAW or Front-of-House.
IR-X isn't simulating a Friedman tube preamp. It is one. While many available preamp pedals utilize tubes to 'warm up' their digital or solid-state circuit, two glowing hot 12AX7 preamp tubes, running at the proper high voltage, are this pedal's beating heart. A genuine preamp in every way, IR-X delivers all the tone, response, gain characteristics, and harmonic complexity you expect from a Friedman design.
IR-X boasts two fully independent foot-switchable channels. Like the famed Friedman flagship amps, channel one takes your tone from bluesy, British-voiced cleans to a muscular Plexi-style roar. Engage channel two for the Friedman signature higher-gain voice and all the percussive punch, note clarity and singing sustain that comes with it.
Both channels feature their own independent and highly tweakable Boost circuits. This essentially gives you four channels, accessible with the tap of your toe.
All great tube amps need a great speaker cabinet, and whether sending your signal straight to the board or silently playing through the onboard headphone output, IR-X gives you a selection of Dave Friedman’s favorite IRs. Select the IR per channel using the 3-way mini toggle switches or load your own quickly and easily via IR-X’s editing software. You can even disengage the onboard IRs entirely to use IR-X’s tube preamp with another IR loader.
IR-X gives you astounding tonal control, but its included Friedman IR-X Editor software takes it to a new level. With it, you can tweak each channel’s power amp simulation via the thump and presence controls, load your favorite IRs, activate the Boost Lock feature, select loop ON/OFF and save it all to 128 MIDI presets.The IR-X software includes 12 free Friedman IRs to choose from.
IR-X is MIDI-capable. Whether pulling up presets with a pedalboard controller or switching channels with the laptop running your entire show, IR-X is ready for the job. It truly is the perfect marriage of modern control and classic tube tone.
The IR-X’s transparent effects loop allows you to easily integrate your favorite effects with everything from the most straightforward setups to the most complex digitally controlled rigs.
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.
Fortunately, solutions are legion: hardware amp emulators, faux-amp plug-ins, and—our focus here—load box/speaker emulators that let you capture the sounds of your favorite amps minus their usual volume. In fact, we're zeroing in on one particular type of product: load box/emulators that faithfully mimic the sound of a miked speaker via impulse responses.
Impulsive Behavior
Speaker impulse responses (IRs) are created by running a test signal through a cabinet and recording the results. The software then compares the raw signal to the sound that emerges from the speaker, and imposes the same coloration on raw, direct-from-amp tones.
Meanwhile, the load box makes your amp "think" it's connected to a speaker. (Running an analog amp without a speaker load is a quick way to destroy the amp.) The four devices examined here include speaker-out jacks, so you can play through your speaker at reduced levels if desired while simultaneously capturing the direct IR sound. All four offer attractive faux-speaker sounds. Beyond that, prices and features vary dramatically.
While we're specifically examining stand- alone devices, it's also worth noting that amp manufacturers—among them Revv, Fender, Victory, and Mesa/Boogie—are increasingly offering built-in cab IR tech, too.
During COVID, many of us needed to carve out sonic space for remote-schooled kids, telecommuting roommates, and housebound neighbors griping about loud music—not just on evenings and weekends, but 24/7.
About the Demo Clips
I recorded all clips using a ReAmp, so I could run the identical material through each device without having to worry about performance inconsistencies. Each device is represented by three clean tones and three distorted tones. All were recorded through a Carr Lincoln amp, a Vox-inspired boutique model. The test guitars are a pre-CBS Fender Stratocaster for the clean tones and an '80s Gibson Les Paul with retro-style PAFs for the crunchy ones.
Exercise caution when making direct sonic comparisons. The available models and effects vary from device to device. Also, since the Mesa CabClone IR+ has no effects, its clips lack the fattening compression and rich ambience of the rival examples. But CabClone users can easily add those effects within the DAW or at the mixing desk. Finally, remember that only the speaker/cab sound is under review, not the amp tone. Results vary immensely depending on your amp of choice. For example, you may not dig the vintage-flavored tube distortion heard here, but connecting a modern, high-gain amp would instantly yield modern, high-gain tones.
We'll proceed in ascending order of price.
