I really don't think there can be a law made against resale , it might be morally a gray area. but you are allowed to sell anything you own once you buy it .
you can buy any computer software and resell it this will be considered no differently than software. Microsoft cant really make it illegal for a person to sell a second copy of windows 7 , you can pick one up at a local second hand shop or thrift shop Ive seen software sold at secondhand book stores its perfectly legal .
thanks!
Ahh nice im gonna try out the plexi and 2203 then , i have the pack but theres 100 so i need to decide which ones to check out first
anybody have a favorite from the studio pack , they use alot?
i think the issue is this , that you can keep a copy and that makes it a bad thing ,
if there was only 1 copy like hardware i see no issue in selling them if you bought them originally , like a used car, but since he probably made copies ..... it doesnt work well
I'm a massive fan of Avids Revibe plugin, it's my go to reverb all the time. I have about 4 Aux set up each with Revibe on all set to different reverbs that I use all the time. For guitars I normally have a small room I not a fan of to much reverb on guitars just enough to give them a sense of space
avid? so thats a pro tools only plugin?
Im running cubase , so Probably wont be able to try that one ... 
Hi sinmix,
this is the bugera, main eq all zero. Only delay and rev on it. Maybe it sounds a little harsh because i record in my cellar with a tascam mk 144 interface to my laptop over cubase lt5 and not in a good studio.External Content soundcloud.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.
man where did you get that bugera profile that one sounds good to me !
i check sinmix website it has a bugera 333 but no button to add to cart ? whats the deal with that , all the other ones have a button to add to cart , damn i was gonna buy it
Same here, but i roll off the lows everything below 150-200 hz AND x slot is allways used for it , maybe extreme for some but i find most profiles have wayyy to much bass , for mixing
Display More+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!
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!!!
Display MoreIn 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
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
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 .
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
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 .
I want to find a plug in i use to simulate the room mics in the daw
thanks!
i hope he shares or at least sells his profiles
I apologize , my caps lock was on it was not intended to be Shouting and it was only in the title of the thread
, most times the intricacies of voice are lost in text..
But I think you got a little off the topic here ... 
Just found a vid of him on youtube a kemper in his rack , I thought he was a fractal guy ?.
anyways great player love his melodic soloing
yes awesome playing , great leadwork !
great tone too , can you share the profiles?
I wasnt able to raise the 1st harmonic any higher than what i got with clarity turned up , tube bias and tube shape didnt affect it .
sorry guys I wasnt trying to start debate , just curious why its different .
and for the most part i like the kemper sounds . they are very dynamic and sound good , i just struggle to dial in album tones , maybe its me i dont know
I ran a quick test using a signal generator and got similar results to what they did in thier test the 1st harmonic is quite low .... turning clarity up helps bring it back , but also alters the high end ...
i made a profile of a mesa studio pre amp thru mesa power amp and 4x12 miked , then sent sine signals into both and using software to analyze freq spectrum got those results ..
200 hz was a big difference the second harmonic wasnt even there so thats like youre open g string .
see pics
so i guess ill keep clarity cranked up
I m sorry but i do find it interesting especially since i have trouble getting my guitar tracks thick in the lower mids especially when double tracking using kemper
I wonder if CK can chime in on this
