I would never, ever use the room or 'both microphone' sounds you have there on anything.
Not live and not in a studio.
It would make a terrible mess of anything else you put in the mix.
Live, you'd get the venue's response mixed in with the profile's response, which is a disaster when there's so much of it.
In a studio, you'd have to record everything and everyone in the same room to get it to stop sounding like a bad karaoke port.
Sorry, i'm sure this isn't the point you were trying to convey.
I would never, ever use the room or 'both microphone' sounds you have there on anything.
Not live and not in a studio.
It would make a terrible mess of anything else you put in the mix.
Live, you'd get the venue's response mixed in with the profile's response, which is a disaster when there's so much of it.
In a studio, you'd have to record everything and everyone in the same room to get it to stop sounding like a bad karaoke port.
This.
Microphone options (room, close, both)The Room (not reverb) is half the Guitar Sound![/url]']I would never, ever use the room or 'both microphone' sounds you have there on anything.
In a studio, you'd have to record everything and everyone in the same room to get it to stop sounding like a bad karaoke port.
Chris Tsangarides, and plenty of other producers I'm sure, love blending some room mic in with their close tones to give it a more organic feel... or whatever.
Also, plenty of good mixes make use of multiple reverbs, some things dry and others wet, etc, so it would hardly cause a problem to do things this way.
Chris Tsangarides, and plenty of other producers I'm sure, love blending some room mic in with their close tones to give it a more organic feel... or whatever.
Also, plenty of good mixes make use of multiple reverbs, some things dry and others wet, etc, so it would hardly cause a problem to do things this way.
Agree on both counts 
But maybe Quitty and Ingolf were referring to the specific tones from that recording rather than the method itself
Agree on both counts
But maybe Quitty and Ingolf were referring to the specific tones from that recording rather than the method itself
No, there's nothing wrong with the method itself. If you have the opportunity to record the whole band in the same room you can get a very consistent and lively sound adding room and ambience to the tracks. In this case of course I'd go for it, because that's what studios were built for.
But if there's no recording of the several instruments in the same room possible I'd track as dry as possible.
No, there's nothing wrong with the method itself. If you have the opportunity to record the whole band in the same room you can get a very consistent and lively sound adding room and ambience to the tracks. In this case of course I'd go for it, because that's what studios were built for.
But if there's no recording of the several instruments in the same room possible I'd track as dry as possible.
By that token we're pretty screwed if we want to have a bit more "roomy" guitar tone with the kemper, though
By that token we're pretty screwed if we want to have a bit more "roomy" guitar tone with the kemper, though
I don't see it this way.
If you are really recording with your band in a room with time and money you'll be able to record the Profiler direct as ususal as well as adding a recorded monitor feed of the room if need be, which would be essentially the same as distant miking a drumkit.
I don't see it this way.
If you are really recording with your band in a room with time and money you'll be able to record the Profiler direct as ususal as well as adding a recorded monitor feed of the room if need be, which would be essentially the same as distant miking a drumkit.
Yeah, that is true - however, that's a pretty big "if"
This video, meant to demonstrate that the room is 'half the guitar sound', does so by exaggerating the room element to the point where the sound is, IMO, unusable.
A 5% or 10% mix makes more sense, but doesn't quite make the same point. Obviously, i don't resent reverbs in general.
As for the Profiler, seeing as we can already create fairly dry sounds from fairly wet sources, i assume whatever reverb solution Kemper comes up with could simply be switchable.
This video, meant to demonstrate that the room is 'half the guitar sound', does so by exaggerating the room element to the point where the sound is, IMO, unusable.
Agreed
Here is a great video about mic amps...enjoy!
Display MoreI would never, ever use the room or 'both microphone' sounds you have there on anything.
Not live and not in a studio.
It would make a terrible mess of anything else you put in the mix.
Live, you'd get the venue's response mixed in with the profile's response, which is a disaster when there's so much of it.
In a studio, you'd have to record everything and everyone in the same room to get it to stop sounding like a bad karaoke port.
Sorry, i'm sure this isn't the point you were trying to convey.
intresting you say that it would never work in a studio but when i listen to isolated guitar tracks from REAL albums , there is a ton of room sound and it helps focus the guitar sound and make it less harsh but still have highs , example from rolling stones ....
(though not my fav bad)
Its an intresting sound almost as if when you pick hard the amp gets louder and the room reflections get more aggresive , so its a dynamic thing and the human ear recognizes it as getting louder and softer, sort of like a recording of a man screaming in a room , when you yell the room reflections kick in and you can clearly tell hes yelling , even though the volume on the recordin gdoesn tgo up much because of compression , the room gives it away
The Stones are a really good example, actually.
For starters, everyone was recorded in the same room. Listen to the other ISO tracks, it should be very apparent.
Second, and this is mere opinion so take it as it is - but this is one of the worst guitar sounds ever produced.
The difference between the OP and the Stones' clip is the size of the room. This also influences whether a room 'sounds good' or not. In the Stones' clip, you can clearly hear what on a reverb plug would be called pre-delay; a slight delay between the end of the direct guitar and the onset of the rooms natural ambiance. This split-second delay helps to keep the ambiance from reacting negatively with the phase of the guitar sound, and also helps it to not be pushed too far back in the mix. In the OP's video, the small size of the room means that the onset of the ambiance is much quicker, masking the direct sound of the guitar and also smearing it, which would push it further back in the mix and also likely impact on the sound/EQ of the guitar, which may or may not be favourable.
what i notice is that listening to isolated guitar tracks that the room really brings a dull tone to life and helps it cut thru the mix and fit in the mix
, and when i try to tone match those tones the treble gets cranked up and they sound harsh , its a strange thing ,
Like the highs are rounded off somehow by the room .
I cant seem to dial that in with the kemper but I love that tone with a little room
