Vintage German Plates

Available In Convology Plugin – Coming Soon!

German 140 Mono – Nashville, TN

German 140 Mono Tube – Nashville, TN

German 140 Valve – Slovenia

German 140 ST – Cleveland, OH

German 140 ST – Australia

German 140 ST – Portland, OR

German 140 T – Los Angeles, CA

German 140 T – Finland

German 240 (Gold Foil) Los Angeles, CA

German 240 (Gold Foil) San Francisco, CA

General Overview

Every plate varies according to how it’s been tuned, so there are virtually no two plates exactly alike, even when made by the same company and then given years of use and in some cases “stored” and/or reconditioned and re-tuned. In addition, the condition of drivers, pickups, the addition of upgrades made to a plate unit, for example (such as Jim Cunningham or Martech upgrades and mods) along with the audio paths to and from each piece of gear, can and obviously do play a heavy roll in final sound and impulse response capture.

Physical Plate Overviews

These overviews are general and with EQing almost any plate finds its use and purpose. It’s also important to note that many engineers, back in the day, used delays before entering the plate, to either give it pre-delay, in its truest sense, or for different spacial environments and different room reverb feel. Plate reverb in general, tends to be dense and so in some cases, two versions with the organic, true to the unit, and then with less dense variations for more flexibility have been created. Because many of today’s engineers are more accustomed, to dialing in reverb, without much need for tweaking, beyond dry, wet signals and minimal EQing, there are numerous files that have been pre EQd to sound like a given space, along with hybrid versions where early reflections (usually up to 100ms where your ears tell you, “That’s a big bright space and I hear the instrument coming from stage left,” etc) have been employed.

What Files Are Included

With the physical plates, the truest and most accurate representation of the plates have been sampled. This was a massive project with engineers and studios literally from around the globe. Knowing the potential of the project, moving forward with studios who were well regarded, achieving a great deal of success in the industry, recording some of the biggest names, was very important for a number of reasons. Firstly, they know their gear, it’s behaviors and what works best. Secondly, the gear had been used on numerous Grammy nominated and winning productions. Lastly, knowing that time was a commodity, studios and engineers were given specific criteria in regards to how to best implement the library goals with a high standard of impulse response capture and could deliver under that criteria.

Because time was critical, the “sweet” spots of each plate was recorded. In simple terms, for some plates, because dampers were working “somewhat” but still had a beautiful sound, there were only a handful of samples and impulse captures that took place and for others, a good number more samples were captured with a wide array of impulse response files. One could argue the difference in the files of a 2.5 second sample over a 2.75 second sample, but the reality, even for most award winning engineers, is that between software adjustments alone, time could be conserved and with some vintage gear, trying to push outside parameters of decay change, could only be effected so much.

With that in mind, there is a huge selection of plates and DSPs and there really is something for everyone in the mix. This library will compete with anything out there and then who has it all? Who has virtually every plate manufacturer known in one pristine library, all at 96/24 sonic resolution – Convology does! Impulse Record has gone where no other company or library has, capturing almost any and every physical plate model manufactured in painstaking detail!

Here are some plate generalities and basic characteristics.

German 140s – For many, the 140s are viewed as king of the hill for a number of reasons. They were the first and came to market in the late 1950s. They tend to be a little warmer, tend to replicate, as they were originally designed, the sound of a concert hall and with limited EQing can for the most part, more readily replicate a dark, bright or a warm sounding room, etc. The need to scoop low end EQ might be useful when applying to certain instruments and voices, to avoid the bass multiplier effect. There are beautiful sounding files in every 140 model sampled – try them all along with very cool hybrid impulses that really are a solid edition to anyone’s convolution library!

German 240s – darker sounding. Weighing148 lbs with dimensions of 1’ X 2’ X 2’. Some say better on shorter settings and for sound sources like drums. Originally designed as a way to make the original 140 (4’ X 8’) in a smaller and lighter box. It really was a technological feat for its time. Both versions of the 240s sampled, tend to be darker in tone and sound as most do, when searching online with user comments. They use a gold foil plate and are a hybrid between the original large 140 plate and early analog to digital rack mount and smaller floor units, although the 240 is totally analog. The thickness of the gold foil plate is 18 microns (very thin like aluminum foil – note that average human hair thickness is between 40 – 50 microns)

Compatible with:
Acoustic Mirror
Altiverb 5
Altiverb 6
Magix Samplitude
NI Kontakt 2 & 3
Prosoniq Rayverb
Sir I & II
Voxengo Pristine Space
Waves IR1
And a host of others…
All preserved in 96/24 wav files to capture every nuance in your recordings!