Why Pan L/R Layers in Impulse Loader Over Stock L/R Panning?

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Is there some kind of harmonization happening here?? Perhaps reverse polarity?


I'm a noob and I'm learning to load guitar SFZ sample libraries (Metal Guitar GTZ) into Sforando with the Poulin Lecab2 impulse loader (containing an IR), LE456 preamp and 7170 tube guitar amp.

I watched a guide on this and I heard that it's common for guitar players pan L/R in their cabs to get stereo sound.

I'm very confused and any information would be extremely helpful. Thanks LMMS community!


An additional note, I'm struggling to understand the functions of 'preamp' and 'amp'. Does the former act before the later? Do they do the same thing? I understand IRs (Impulse Responses) simulate a guitar pedal, amp/cab and mic. This is all very new to me and sorry for so many questions!
I don't have enough technical knowledge to help, but if anyone is going to download the VST and check it out, perhaps https://web.archive.org/web/20101029174 ... gspot.com/ (LeCab1) and https://web.archive.org/web/20111020212 ... gspot.com/ (LeCab2) could be of use for referring to?

I think it's useful that if you have several layers to a guitar sound you could pan them individually. Or you could use the same guitar sound and different properties, and pan each one individually. It seems more of a convenience: you could use actual binaurality by delaying and reducing volume of one cabinet and panning it in the opposite direction to not-delayed cabinet, same sample in each.
This looks like a useful VST. I'll have to check it out.
Monospace wrote:
Sun Jan 01, 2023 3:36 am
I don't have enough technical knowledge to help, but if anyone is going to download the VST and check it out, perhaps https://web.archive.org/web/20101029174 ... gspot.com/ (LeCab1) and https://web.archive.org/web/20111020212 ... gspot.com/ (LeCab2) could be of use for referring to?

I think it's useful that if you have several layers to a guitar sound you could pan them individually. Or you could use the same guitar sound and different properties, and pan each one individually. It seems more of a convenience: you could use actual binaurality by delaying and reducing volume of one cabinet and panning it in the opposite direction to not-delayed cabinet, same sample in each.
This looks like a useful VST. I'll have to check it out.
Very helpful resources, thanks Monospace! I'm silly - I just learned that you can load multiple IRs into Lecab and pan them. I thought the person in the video I watched layered two identical instruments and I wondered why they didn't use the stock L/R knob in Vestige.
They were going pretty fast. :-)

I'll look into some delay for that and play around volume automation. Lots of fun to be had with this thing.

Definitely Sforzando is a good VST for soundfont (SFZ) files. There appear to be a lot of good free SFZ files out there too.

One thing I noticed is that sometimes you'll get an SFZ file with wav files of various notes. Don't quote me but I think it might have key-mapping functions for the individual files.

In the past I noticed that using a single sample changes its speed depending on the frequency (note) it's played in. Not always a bad thing but with some sounds this can work against the mix.

So much to learn still... I'll get there someday I hope! ^_^
Yep, it's cool! I've noticed the multiple notes thing too. I never looked into it, because I didn't end up installing sforzando. I probably should check it out though.
Note, sf2/sf3 files are soundfont. SFZ files are just, well, sforzando files. They're called SFZs. The term soundfont is used to refer to sf2 and sf3 files.
Yes, that is the problem: to increase pitch you need to speed up the sound to alter frequency. This gives it a slightly unrealistic effect when using it as an instrument, so it needs to be kept in mind: you don't always want it.
I recall seeing a popular instrument soundfont site, which got some of its submissions from users, suggesting they sample at least four equally-spaced keys per octave and the rest could be brought in by pitch shifting. Within a range of a few semitones, a sampled sound can still sound vaguely like it was originally sampled at that pitch. Once you transpose more though it sounds more and more obviously sampled.