The default 4x10 cab has a low resonance at 100Hz. If you are playing drop D or 7-string (unusual for this amp, but fun), move the Low resonance frequency to 80Hz and increase the Q factor to 5. This makes the 345 thump like a closed-back 4x12 while retaining the open top end.
For massive, wide rock and metal guitars, do not rely on stereo widening plugins. Instead, record two distinct, separate takes of the same performance. Pan one take 100% to the left and the other 100% to the right. Use slightly different amplifier models or EQ settings in TH3 for each side to create a wider, more organic stereo field. Utilizing the Global Equalizer
If there is one thing that sets TH3 apart from its peers and earns high praise from users worldwide, it’s the sound quality. Reviews consistently highlight how “superb,” “realistic,” and “convincing” the tones are. The impression is that TH3’s models react beautifully to the nuances of your playing—from a gentle, clean strum to an aggressive, palm-muted chug. The low-end is deep and tight, the mids are present without being honky, and the highs are clear and musical, avoiding the brittle, digital harshness that plagued earlier amp simulators. overloud th3 345
Here is a comprehensive breakdown of what Overloud TH3 345 is, what it includes, and how to maximize its potential in your recording setup. What is Overloud TH3 345?
This public link is valid for 7 days and shares a thread, including any personal information you added. This link or copies made by others cannot be deleted. If you share with third parties, their policies apply. Can’t copy the link right now. Try again later. The default 4x10 cab has a low resonance at 100Hz
: Simulates power amp saturation differences for vintage or modern response.
Building a great patch in Overloud TH3 requires an understanding of traditional audio routing. While there are no rules in art, following standard practices ensures a clean, punchy mix. Dynamics and Pitch (Pre-Amp) For massive, wide rock and metal guitars, do
Beyond just tone, the preset taught him a workflow: start with a good modeled amp, then thoughtfully tweak cab, mic, and drive before reaching for extra effects. Later, when songwriting, he used the preset as a creative constraint — its character shaped riffs and chord voicings that fit it naturally.