Recabinet 4 / Thermionik User Manual
Recabinet 4 / Thermionik
User Manual
©2008-2014 Kazrog LLC
Recabinet™ is a registered trademark of Kazrog LLC.
All other products mentioned in this manual are registered to their associated manufacturers.
User Manual
Recabinet 4 / Thermionik
Version 4.0.0
Shane McFee: Plugin Design, DSP Coding, GUI & Feature Design, R&D
Amanda McFee: Marketing & Support
Michael Spreitzer: QA Testing
Special thanks to: Ronnie Björnström, JJ Blair, Ola Englund, Ross Hogarth,
Martin Koran, James Murphy, Fabian Prezja, Lucian Tu, and the beta team.
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Requirements - Mac4
Requirements - Windows4
Installation - Mac4
Installation - Windows4
User Interface5
Using Recabinet7
The Amps, Cabinets, and Microphones
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Thank you for purchasing or trying out Recabinet. Our goal with this plugin is to empower musicians and
producers with the ability to get full, album-quality guitar and bass tone direct. This manual assumes basic
knowledge of how to operate a DAW (digital audio workstation.)
Requirements - Mac
Intel-based Mac (Intel Core 2 Duo or faster recommended)
Mac OS X 10.6 or higher
Computer Audio Interface
A DAW host application capable of running VST, AU, or AAX plugins.
Requirements - Windows
Dual core or faster CPU from Intel or AMD
Windows 7 or higher recommended
Computer Audio Interface
A DAW host application capable of running VST or AAX plugins.
Installation - Mac
Run the Recabinet installer, and enter your admin password when prompted. If you are not an admin, you can
still install the plugin to your user home folder. Optionally, run the factory presets installer.
Installation - Windows
Check whether your DAW software is running in 32 or 64 bit mode, then download and run the matching
Recabinet installer for your DAW’s bit mode. Plugins may be located in a variety of different places on your
hard drive, so choose the location that is right for your primary DAW.
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User Interface
1 - Thermionik bypass control
The LED next to the Thermionik logo enables or disables the entire Thermionik amp modeling section.
Similarly, any other LEDs found elsewhere in the plugin bypass their respective elements (preamp, power
amp, Recabinet’s cabinet simulation, and individual post EQ band bypass.)
2 - Preamp selection
Select a preamp from this menu to change the preamp model being used. If the Link button [4] is enabled
(which it is by default), changing the preamp also changes the power amp selector to the corresponding
power amp section for the modeled amp head.
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3 - Power amp selection
Select a power amp from this menu to change the power amp model being used. If the Link button [4] is
enabled (which it is by default), this selector is disabled, as changing the preamp automatically changes the
power amp to its corresponding model.
4 - Link button
Enabled by default, this toggle allows the linking or unlinking of the preamp and power amp models. When
disabled, this allows you to mix and match preamps and power amps to create new sounds. Please note that
you may need to make considerably different adjustments with the amp and level controls [7] in order to find
usable sounds in this manner.
5 - Combined preset browser
This preset browser allows for the storage and recall of all settings currently being used in the plugin (with the
exception of the quality slider [8], which stores its settings on a per-session basis instead.)
6 - Thermionik input level
This adjusts the input level of the raw DI signal coming into Thermionik. At center position, the level is
unchanged. Adjust the control lower for cleaner sounds from high output pickups. Adjust the control higher
to get a “clean boost” for lower output pickups.
7 - Thermionik amp controls
The top row of controls affects the preamp, and the bottom row of controls affects the power amp (with the
exception of the Level knob, which adjusts the output level of Thermionik whether or not the power amp is
enabled.) Here’s a quick rundown of the controls:
Gain - adjusts the amount of distortion (or lack thereof ) in the preamp stage
Bass - adjusts the low frequencies, based upon the selected preamp’s tone stack EQ
Mid - adjusts the mid frequencies, based upon the selected preamp’s tone stack EQ
Treble - The most powerful control on most amps, adjusts the treble and affects the EQ contour
Depth - Subtly adjusts low end resonance in the power amp stage
Presence - Subtly (or not so subtly) adjusts high end “bite” in the power amp stage
Saturation - adjusts how hard the virtual power tubes are being pushed
Level - adjusts the overall output level of Thermionik, without changing the sound
8 - Thermionik Quality slider
This slider allows you to adjust the amount of oversampling the plugin uses. Turned all the way up to 8x
oversampling (the default) allows for the best quality, but comes at a high CPU load on most systems. Turning
it down allows you to select 4x, 2x, or no oversampling (lower quality sound, but less CPU load.) This setting is
saved on a per-session basis and is not saved with presets. This allows you to try out presets created by other
users without having to change the quality setting you are using in your current session.
9 - Recabinet preset browser
This browser allows for the storage and recall of all cabinet-related settings, so you can easily try out different
cabinet settings while keeping the same amp model selected.
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10 - Recabinet master output
Adjusts the overall output level of the entire plugin.
11 - Import IR buttons
Above each channel is an “Import IR” button. When you click the button, the state of the user interface of the
corresponding channel changes from the Recabinet graphical browser to a file browser. This allows you to
load your favorite third party impulse responses into Recabinet. Simply navigate to the file (.wav format) and
single click it with the mouse, and the corresponding channel will be processed through the selected IR file.
If you want to navigate to the same folder on the other channel, just click in the path text box at the top of the
file browser, right click, select “copy” from the menu, then open the Import IR browser in the other channel,
left click the path box at the top of its browser, right click and select “paste” from the menu, then hit return.
12 - Channel pan and mute controls
The pan sliders adjust the stereo panning of the corresponding channel (note: pan sliders will only appear
when Recabinet is used on a stereo, or mono-to-stereo track.) When used on a stereo track, these adjust not
only the panning of the output of Recabinet, but also the inputs, and can thus be considered stereo balance
adjustments. The mute toggles mute the corresponding channel’s output when enabled.
13 - Cabinet / Microphone Selection
Select the desired cabinet and mic settings using the Cabinet, Microphone, Mic Position, and Mic Distance
menus. Increment/Decrement (+/-) buttons provide another way to change options quickly - particularly
useful in hosts that don’t always respond to menus during playback.
14 - Kazrog Konsole™ EQ
The Kazrog Konsole EQ is meant to replicate the workflow of having two EQ strips from a vintage British
console EQ at your disposal, for blending and adjusting the two virtual channels. Here’s a quick rundown of
the controls available in the Kazrog Konsole EQ...
Channel Output Knob - Adjust the output level of the corresponding channel.
Master Output Knob - Adjust the overall output level of the current preset.
High Pass Filter - High pass filtering reduces the volume of low frequencies below the specified
frequency in Hz. This allows high frequencies to “pass” above the selected frequency, so it’s important to learn
to think in reverse when talking about pass filters in general. The selected frequency also receives a small
boost in volume, so this filter can be thought of as a “low focus” as well as a “rumble filter.”
Low Pass Filter - Low pass filtering reduces the volume of high frequencies above the specified
frequency in kHz. This allows low frequencies to “pass” above the selected frequency. Use this to tame
unwanted or brittle high end, particularly useful for high gain (distorted) guitar tones. Generally improves the
“smoothness” of the sound when set between 10-11 kHz. The filter’s curve is gentle, designed with guitar in
mind, and won’t put a blanket over your sound.
Low Mid Frequency / Level - Adjustable low mid frequency cut or boost, with factoring set ideally for
scooping low mids or boosting low end.
High Mid Frequency / Level - Adjustable upper mid to high end frequency cut or boost, with factoring
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set ideally for exciting, taming, or mid-focusing the sound.
Bypass Toggles - Next to each bandwidth of EQ is a bypass toggle button. When lit, signal is passing
through an EQ band. When unlit, the respective EQ band is bypassed.
The Amps
Based on ENGL Savage 120 (all channels)
The Damage is a versatile high gain modern amp, capable of a wide range of tones.
Based on Mesa Boogie Dual Rectifier (all channels)
The Duality is a versatile high gain modern amp, with a distinctly saturated, scooped sound.
Psycho A & B
Based on Peavey 5150 I & II, respectively (all channels)
The Psycho A and B are two variations on an amp custom designed for one of the most legendary guitarists of all time. These amps
are quite possibly the most frequently recorded high gain tube amps
Based on Framus Cobra (all channels)
The Serpent is a versatile high gain modern amp, with a distinctly saturated, scooped sound. Lesser known, but incredibly great
The Preamps and Power Amps
BassOMatic Preamp
The BassOMatic is a great preamp for bass guitar DI tracks, vocal distortion, synths, or other creative uses
Neutral Power Amp
The neutral power amp is an incredibly flat response virtual tube power amp. Useful for situations where you need an uncolored
power amp or a better version of Recabinet 3’s speaker dynamics control (as this stage fully simulates the interaction between
power amp and speaker.)
The Cabinets
Based on a Marshall 1960AV 4×12 with Celestion Vintage 30 Speakers
The 1960 is a modern 4x12 cabinet, great for a diverse array of sounds from clean to crushing.
Based on a Line 6 Vetta 4×12 with Celestion Custom Speakers
The Angora is a modern 4x12 cabinet designed for versatility and open voicing.
Based on an ENGL Pro 4×12 with Celestion Vintage 30 Speakers
The Eagle is a modern 4x12 cabinet ideal for high gain, heavy metal tones. And it looks cool.
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Based on a Randall RS412XLT100 4×12 with Celestion Vintage 30 Speakers
The Excel is a modern 4x12 cabinet designed for high gain tones.
Based on an original 1970s Marshall 4×12 with Celestion Greenback Speakers
The Green is based on a specific cabinet once owned by the legendary Warren DeMartini of RATT (currently owned by Grammy
award winning producer JJ Blair.) The exact specifications and original model number are unknown, but it’s a 1970s Marshall loaded
with Greenbacks and is great for 70s and 80s guitar tones, with a strong mid focus that’s incredible for lead guitars.
Based on a Krank Krankenstein 4×12 with Eminence Texas Heat Speakers
The Igor is a modern 4x12 designed with metal in mind, in an oversized enclosure for massive bass response.
Based on a Bogner Uberkab 4×12 with Celestion Vintage 30 Speakers
The Ogre is a modern 4x12 with an incredibly open, smooth voicing. Great for rhythm, lead, or cleans, it’s based on one of the best
4x12s in production today.
Based on a Mesa Standard 4×12 with Celestion Vintage 30 Speakers
The Oversize is a modern 4x12 that is often hailed by metal guitarists as the ultimate 4x12 cabinet. With an extremely full frequency
response, this cabinet deals out punishing lows and searing highs.
Based on a Marshall Hand Wired 1960AHW 4×12 (late 1960s reissue) with Celestion G12H-30 Speakers
The Sterling is an excellent choice for classic rock guitar sounds, from Jimmy Page to Angus Young.
Based on an Orange PPC412-C with Celestion Vintage 30 Speakers
The Tangerine is one of the finest modern 4x12 cabinets in production today, with a half vintage, half modern feel.
Based on an Marshall 1936 2×12 with Celestion G12T75 Speakers
The Damien is a very fully voiced 2x12 capable of a wide range of sounds. Don’t let its size fool you, it’s got quite a bit of low end to it.
Based on an Genz Benz G-Flex ported 2×12 with Genz Benz Custom Speakers
The Genzie is probably the ultimate 2x12 guitar cabinet for downtuned guitars. To create the model, we also captured its bass ports,
to get the full experience of the sound.
Based on an original Fender 1965 Super Reverb 4x10 with Jensen Speakers
Already a staple of blues and rock guitarists, particularly those armed with Fender Stratocaster guitars, the Fender 1965 Super
Reverb became even more legendary than ever in the hands of the late, great Stevie Ray Vaughan.
Based on an original Roland JC120 Combo with Roland Speakers
Known as the best amp in the world for clean tones, the JC120 is highly sought after. Made famous by Andy Summers of The Police,
a well as James Hetfield and Kirk Hammett of Metallica. A big part of the secret to the sound is the cabinet and the speakers, which
are faithfully recreated in Recabinet. Just through your favorite chorus in front (particularly a vintage Roland/Boss chorus) and you
will experience a classic tone.
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Based on an original Supro Thunderbolt Combo with Jensen Speaker
Made famous by Jimmy Page, the Supro Thunderbolt is an obscure vintage combo with a decidedly big sound in a small box. Perfect
for classic guitar tones, voiced especially well for classic rock and blues.
Top Boost
Based on an original Vox AC30 with Celestion Alnico Blue Speakers
The Vox AC30 is known for its bright, warm sound, and has been used on countless legendary recordings for decades. Popular during
the ‘60s “British invasion,” to this day the AC30 is widely used by all kinds of guitarists performing in a huge range of musical styles.
Based on an original 1953 Fender Deluxe 1x12 with Jensen Speaker
The Fender Deluxe Tweed amps are legendary for their simplicity and warm tone. This amp is perfect for that “big small” sound made
legendary by players such as Jimmy Page, Eric Johnson, Mike Campbell, and more.
Based on a Selmer Zodiac Twin 30 with Celestion G12 T75 Speakers
The Selmer Zodiac Twin 30 in “croc skin” tolex, sold between 1963 and 1965, is a rare secret weapon in the studio. This amazing amp
is the underrated reptilian mutant cousin of the Vox AC30, and offers a much wider tonal range and feature set. It’s highly rumored
to have been the amp used on The Animals’ “House Of The Rising Sun,” and can also be seen in some studio pictures of The Beatles.
Based on an Ampeg SVT810AV with Ampeg Speakers
This is the speaker enclosure people mean when they say SVT speaker cabinet. The ultimate in massive bass response, made famous
by virtually every great bass player you can think of.
Based on an original 1960s Ampeg Portaflex B15N with Ampeg Speaker
The Ampeg Portaflex B15N is a legendary bass amp from the 60s, used by James Jamerson among other notable players. It is
considered by many collectors to be the best bass amplifier of all time.
Based on an Aguilar DB 412
A versatile modern bass cabinet.
Based on a Gallien-Krueger Neo 410
A versatile modern bass cabinet.
The Microphones
Based on an Audix i5 Dynamic Microphone
The Audix i5 is a modern cardioid dynamic microphone, intended primarily for snare drum and guitar speaker cabinet applications.
It has a sound similar to the industry standard Shure SM57, with a more scooped mid-range and aggressive top end response, as
well as beefier low end.
Based on a Neumann U87 Condenser Microphone
Arguably the best known and most widely used studio microphone in the world (for good reason), the easy-to-recognize U87 is
a classic! A distinctive design and legendary Neumann sound make this mic a must-have for pro studios. The U87 is known for its
unique frequency and transient response characteristics which deliver a smooth natural sound with a variety of source material.
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Based on a Royer R-121 Ribbon Microphone
The Royer R-121 is a radically redesigned ribbon microphone and Royer’s flagship product. Like most ribbons, the Royer R-121’s
pattern is figure 8, its sensitivity is roughly equal to a good dynamic mic, and it exhibits a warm, natural tone.
Based on an Earthworks M30 Reference Condenser Microphone
The Earthworks M30 is one of the finest reference-grade microphones in the world, and represents an extremely flat response.
Based on a Sennheiser MD409 Dynamic Microphone
The Sennheiser MD409 is a vintage dynamic microphone, known for its warm response. Popular for blues and rock guitar tone,
famously seen used on a variety of sound sources (including vocals) in Pink Floyd’s “Live At Pompeii” film, it is no longer in production,
and is sought after in the vintage market.
Based on a Sennheiser MD421 Dynamic Microphone
The Sennheiser MD421 is one of the best-known mics in the world. Walk into any drum booth in any major studio and you’ll most
likely see MD 421s on the toms. The MD421 is very popular with radio announcers because it has an extended bass presence. It’s also
great on guitar and bass cabinets, often paired up with a brighter mic such as a Shure SM57 on guitar recordings.
Based on a Shure Unidyne III 545SD Dynamic Microphone
The predecessor of the modern SM57, the 545 shares the same enclosure design with slightly different internals. The 545 is known
for its pronounced, yet smooth top end, and tempered low end response.
Based on a Shure SM57 Dynamic Microphone
Shure’s SM57 has become the most popular guitar cabinet mic of all time. The SM57’s outstanding performance, legendary reliability,
and diversity of application make this “workhorse” the choice of performers, producers, and sound engineers worldwide.
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