Best reverb plugin to simulate room mics

  • Any ideas? Im trying to recreate the sound of room mics , when a loud guitar amp is cranked , to create some of that room sound , along with the kemper raw tracks
    a real small room sample like on rythm tracks


    i linked some clips of what im going for the first track is me tryin to play metallica unforgiven , 3 tracks all from kemper using the space effect set at 3.9 to emulate the room , then i compressed them alot in the DAW i know i screwed up the beginning .. oops


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    the second track is the real clip from metallica , you can hear theres not as much room sound . but still its there altering the tone in a good way making it sound huge .. and making it brighter and rounder the annoying highs at the same time .


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    I want to find a plug in i use to simulate the room mics in the daw


    thanks!

  • It might not be possible. Or not for all profiles.


    When you mic up an amp with the mic fairly close, you're essentially putting a spotlight on a certain area of the speaker/signal. The "sounds" that doesn't hit the amp doesn't get picked up. Putting a reverb on the "limited" signal the mic picks up is not the same as a room mic which picks up all of what the amp sends out along with those reflection. I don't know if this is understandable.


    The best bet may be to use the cab portion of a good amp sim plugin or the two-notes plugin to get the emulated room mic from that and blend it in.

  • the space effect is what i used on this recording yes , but it has no adjustments for room size etc. and its permanent to the track , cant be changed later . so i was looking for a plugin to use in the DAW


    the widener is simply eq , and im looking for a room reflection , similar to the way guitars used to be recorded , with close mikes and some room mikes mixed in to make the guitar sound huge .

  • It might not be possible. Or not for all profiles.


    When you mic up an amp with the mic fairly close, you're essentially putting a spotlight on a certain area of the speaker/signal. The "sounds" that doesn't hit the amp doesn't get picked up. Putting a reverb on the "limited" signal the mic picks up is not the same as a room mic which picks up all of what the amp sends out along with those reflection. I don't know if this is understandable.


    The best bet may be to use the cab portion of a good amp sim plugin or the two-notes plugin to get the emulated room mic from that and blend it in.



    yes that seems possible , but then if i also use the kemper cab , i would have 2 cabs in the mix, the kemper cab from the profile ( simualting close miked ) and in the daw an impulse speaker cab or something with a room verb on it .
    so two different cabs entirely .


    tricky to emulate this room sound thing but i really like how room mikes sound in the mix and most of the 80s rock and metal guitar sounds i like used a ton of room miking

  • yes that seems possible , but then if i also use the kemper cab , i would have 2 cabs in the mix, the kemper cab from the profile ( simualting close miked ) and in the daw an impulse speaker cab or something with a room verb on it .
    so two different cabs entirely .



    Very true - however, this might not be a problem.
    The room mic would have different tonality anyway.
    I say: give it a shot! :)



    Wait, I meant to add to the first post that you of course put the room mic simulation plugin on a track from the kemper without the cab engaged. Either by reamping the original DI track, or sending it from a different output on the kpa.

  • In the studio, instruments are typically close mic'ed, and different kinds of reverb are used to get the kind of ambience needed for each instrument for a particular song.


    Often, multiple tracks also have a common reverb applied to them, to put the tracks in a similar space.


    When the the track is mastered, it is not uncommon for the entire track to have a subtle reverb applied.


    This is no more difficult using KPA tracks instead of close mic'ed amplifier tracks. But, the multiple uses of reverb may be why you are not getting the results you want, when you are adding reverb to a single guitar sound.


  • they may be generally true in the last 10 years or so , but 80s guitar sounds especially were created using close mikes and then a mixture of room mics , sorta like the whole room becomes one giant field of sound .
    thats what im trying to recreate i love that huge guitar tone from the 80s . Its not the same as double tracking , and reverb helps but it has to be a really small room reverb


    Im just looking for specific plugins that create that effect. impluses are proll y best option


    I dont think any close miked sound could nail that metallica clip i just posted . there is a short room verb goin on from the physical space that was excited by a cranked amp , and makes a big difference allowing the guitars to jump up out of the mix without havving to crank treble and be harsh


    i just want to emulate that

  • this quote from michael wagener says it all 14 mics allover the room to get goerge lynch tone!!! and room mics in special tiled room to get natural room sound !



    quote from michael wagener.....


    Obviously George's tone is coming from the way he plays, out of his hands, but since you asked:


    The setup for George's guitar tone on "Under Lock And Key" was as follows:


    We had two Marshall heads and two Laney heads, not sure which models,
    but one of them was a Plexi. We had cabs in three different rooms: two
    cabs were placed in the big room at Amigo, one connected to a Marshall,
    the other connected to the Laney. The Marshall was responsible for the
    high end part of the sound and the Laney was set to take care of the low
    end. There were 14 (fourteen) mics set up in that room in various
    psoitions around the cabinet and some further away to get some room
    tone
    . The second Laney was sent into a very dead room and had a Boss
    chorus pedal in front of it, set to very slight chorus. The second
    Marshall was sent into a small, tiled bathroom, to add a different room
    tone
    . Those 16 mics came in on the MCI 500 console mic pres. They were bussed to one bus and that bus had a UREI 530
    EQ on it (best guitar EQ ever). George mentioned that he always gets a
    great tone with his Fostex 4track recorder when it's in total overdrive,
    so I asked him to bring it in. So after the 530
    everything was sent to the Fostex 4track, which lived under a packing
    blanket under the console, so nobody would see it. The Fostex was on
    stunn, completely overdriven and was sent on to the 3M 32 track dig
    machine from there.

    No, I am NOT kidding!!!


  • +1 paults :)
    The most common and flexible technique in studios when recording guitars is close micing and then adding reverb later to get any reverb sound required for the mix.


    JHERCULEES1, the biggest difference I hear when listening to your comparison tracks is that they are mixed very different (different panning and eq).
    Your track almost sounds like it's panned mono (very narrow) and the Metallica is panned much wider with different eq on guitars compared to yours, with more audible bass on the palm mutes.
    First I would try to make the panning wider and the eq more similar to that track.
    Then experiment with the Kempers room reverbs and the important mix level (wet/dry) of the reverb that moves the guitars more back or forward in the mix sound stage.


    I'd say pretty much all DAW reverb plugins can get the results you want using any of all the common reverb brands out there, both algorithmic and convolution IR's. For this short reverb sound you can also use various delay techniques that are common.


    Good luck!



  • hey , yep youre right i did it mono , you have good ears,


    was trying to get the focus right , but the eq curve is wrong too i cant nail it for that one


    thanks for the help guys!

  • There may be some small room IR's that'll fit your needs. But try your regular reverb plugins, and remove the reverb/tail portion, keeping only the ER's (early reflections). Play around with the shape/density of those ER's. Gives a nice dimension to a close mic'd signal.

  • Liquid sonics "reverberate" is an amazing convolution reverb that can run two at a time.
    It also comes with many famous studio rooms ir's.
    For a "room mic'd" tone, it's hard to beat!

  • I agree with the bussed reverbs. Typically 3 of them set on differing ms lengths.


    You said "best" plugin. I don't know what's best, but the UAD Ocean Way Studios plugin had several microphones at several room placements and gives a very authentic sound.


    But you should be able to get a decent approach using 3 busses and you can try splitting your track into a left and right channel and using a delay on the right channel (both hard panned) but if that doesn't "pan" out then just pan them slightly with no delay. There is enough high end on these guitars that slight panning will be noticed.