Otto Audio Otto Cabs Vol I

Features 5 guitar cabinets + 1 Bass Cabinet:

M35A OS 2001 - "The sound" V30 oversized. Cab serial dated 9/5/2001. Enough said. I made sure to shootout this vs other popular V30 cab products... you will not be disappointed.

SUN 412SR - This rarest of the rare 1969 vertical tower cabs, the first ever IR capture of this cab. Loaded with four 12" Sunn acoustic suspension transducers in an infinite baffle enclosure for extended high-level bass response without breaking up or bottoming out. This cab mic'd dead center on the cap is unlike anything I've ever heard. Dare I say, I prefer it to a V30 in many contexts - a true secret weapon.

CRVN 412 V30 - This cab is a special gem, exceedingly guttural, more so than other V30 cabs I've heard. Has a particular roar that is unique and lends itself to the ultra heavy side of tones. Straight cab, pure power, punch, push & punish.

1960 WAR YALL - 900 slant cab with T75's, my personal favorite cab when playing in the room. Full, thick and sounds devastating when mic'd and dialed properly.

PV 5111 SHEFF - 1990's straight cab, a live workhorse for me for a decade+, amazing when blended with other cabs too. Model 1200 speakers

AMPG 810 - My bass cab I've used for over a decade. I wanted to provide additional options for mix engineers, bassists and guitarists. Only rule in audio is "if it sounds good, it is good." Use with guitar if you feel so inclined.

17 mics, 5 positions per mic - exhaustive and yet easy to navigate and find a great tone right away.

Limitless Phase coherency - Every position and mic was phase aligned to perfection for blending with each other at any position, blending with other minimum phase cab IR's. Mix, match & stack for towers of tone without getting messy.

InteRvaled IR's ™ - I refused to stop with just accurate, or heavy - IR's must have clarity, articulation and sound pristine when playing power chords without congestion. Impact on chugs and separation when playing intervals is near top of the list of requirements when choosing a tone to play through or print to my session. How is this achieved? Fine tuning every part of the process and playing/testing by ear, then hand selecting each.

Big Iron Transformed ™ - Power amps that imbue just the right amount of push, texture and harmonics are what make Otto Cabs "secret sauce". Testing thoroughly 12 different power amps, I landed on the one that has "it". I'll never tell which.

Analog Mojo signal path - You've heard it a million times, but there's a reason for it: analog gear just has that warmth, life and something extra that makes audio feel organic - so I landed on running all mics through a Neve mic pre into a Neve channel strip, EQ and console, finely tuned and adjusted.

In finality, most of all, to bear the name Otto, it must grip you and feel great to play; absolutely crush or it doesn't make the cut. Every IR capture was tested and played through to ensure it hits you with a wave of aural violence coming out of your studio monitors.

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