I wouldn't be concerned about the room mic color. Room mics are usually different than cab mics. I.e. dynamic mic like an SM57 on a cab and condenser mic like a U47 etc. for a room mic(s). If you're layering guitars the different colors are your friend. Just my $.02. BTW, Craig Anderton's guitar room mic technique from "Sonar X1 Advanced Workshop" is pretty cool. I'm not sure if it's in 1 or 2 though. I have them on a separate drive and they're not here right now.
 
Rocky

How terrible was the mic used on the cab that you would want to color it?  
 
I've done recordings with the absolute holy grail of guitar amps and the holy grail of guitar cabs.  
 
The best sounding Mics on guitar amps are not U87s for example.  
 
Just add convolution reverb to create some depth.  
 
 

Everything was perfect ! I just want to simulate a " room ambiance " track and blend it with the original tracks.
u87 was just an example of mic used to capture a room ambiance.
I just wanted to " color " the convolution reverb with a mic IR or mic simulation.
 

Personally I wouldn’t bother trying to “colour” an ambience reverb with a fake microphone response. No-one will notice if you don’t and microphones are a compromise forced on us in the first place because they’re needed to record acoustic sound. Many expensive microphones cost what they do because the manufacturer is trying very hard to avoid them changing the sound within the parameters of their designed usage.

If you really do want to add some mic “colour”, put the reverb on a send bus and just copy the frequency plot of the mic you want to “use” into an eq placed after the reverb. It’ll be close enough.

Bear in mind that the original audio will already be coloured by whatever mic was used to record it and you’ll be piling additional mic response curves on top of the existing mic response curve in the source. You may well get better sounding results by using the reverb “raw” or eqing it so it sounds best.

It's usualy quite common for Rock guitars to blend several different tones (amp mic + room mic for example) this help thicken the main tones and it also adds more sense of space.
If the tones color are too close the effect is less effective, this is why different colors are wanted.
 
"just copy the frequency plot of the mic you want to “use”" : <<< i actualy don't know were to find a reliable way to do this. You mean checking the official frequency response of the mic and drawing something close on an EQ by hand ?
 
I actualy found several mic IR in .wav format (AKG C414, Neumann U87, Audio Technica 4050...) but for some unknown reasons Waves IR1-Efficient Stereo keeps asking me to import the .WAV twice, and the Waves IR1-Full Stereo asks me to import the .WAV 4 times !
Until now i only used official .WIR, never used any .WAV, so i don't know why this behaviour happens.
 
 

∞

Oh it's quite logical indeed ! Thanks for the explanation Mister Happy !

Oh it's quite logical indeed ! Thanks for the explanation Mister Happy !

J-War
"just copy the frequency plot of the mic you want to “use”" : <<< i actualy don't know were to find a reliable way to do this. You mean checking the official frequency response of the mic and drawing something close on an EQ by hand ?

Yes, just duplicate the frequency response of the mic and draw something close on an EQ. An IR doesn't get you anything more in terms of the mic. It won't capture things like distortion or compression.

J-War
"just copy the frequency plot of the mic you want to “use”" : <<< i actualy don't know were to find a reliable way to do this. You mean checking the official frequency response of the mic and drawing something close on an EQ by hand ?
 

Yeah, pretty much. You could start by copying the U87 plot rsinger’s posted above for example. It’s not like the room reverb is likely to be so dominant anyone can tell which, if any, mic was used to record it anyway. And reverbs, either “real” or “virtual”, often need eq to get them to sit in the right place as much as anything else does, so assuming you’re after a realistic guitar sound rather than something obviously heavily processed why make eqing the reverb more complicated by applying a mic response curve to it first?

Your source audio will already be coloured by however it was recorded in the first place. So a reverb added to that is not going to sound exactly like it was recorded at the time the cab was recorded only with different mics at a different distance. It will be reverb added to whatever frequency response the cab mic has already imposed on the audio, and by adding a simulated microphone response to the reverb you’ll basically be layering another mic response over the top of the cab mic’s response.

Sure, you can add mic IRs to the reverb, I just question whether it’s worth the effort.

As for layering different guitar tones, that’s a different matter.