If one hates the mid-range sound of a Tubescreamer, one could play around with EQ and other techniques before the gain stage. Or just let it be so that the guitars play nice with bass guitars in a mix. This helps get rid of rumble etc, and one can add a little bass on post EQ or amp EQ to help bring back some girth. This tightens up low end, and acts kind of like a gentle compressor and high pass filter, before the amp's gain stages. I'm most cases with most amps though, most profiles are made with some kind of Tubescreamer baked into a profile or at least in the Kemper (or other modeler's) chain after the fact. Some high gain amps are deigned to take care of the problem by design. It's been mentioned that some high gain profiles don't have the problem. If an an engineeer has the cab in a different, live room but the amp in their control room, they'll have an assistant move the mic in the live room to sound the least "wind tunnel" (or phasey), and then readjust the amp or preamp/mixing board EQ's in the control room until the effect is minimized. Some people will even remove a speaker grill to get the mic closer to the speaker. Thers will pull the mic back from the cab a bit, which drastically changes "wind tunnel" frequencies, which could be a good or bad thing. Some people will use a transformerless SM57, SM7b, or other MIC, that has a little less of the sm57's mid-range characteristics. The positions of it can also affect the frequencies at which the natural "wind tunnel" frequencies are picked up, from white noise. It has a particular sound that some people don't care for, but is still used in probably 90% of all recordings, profiles, cam IR's, etc. Sorry to revive this thread but, and these may or not fix yours or other's issues, but I have a few pointers and comments to consider regarding this and other related issues that come to mind: Haven't played directly into the AxeFXII for over a year.
Not sure if that's some psychological phenomenon or maybe latency was worse with a previous firmware. I feel less latency than just playing through the AxeFXII on its own. I think I actually hear an improvement in sound, probably since the AxeFXII operates at 24bit / 48k, and the Kemper can output that via SPDIF. I haven't tried much going into the Axefx, from there to the Kemper and back again, because I like the way the input on the Kemper reacts to my pedals.Īnyhow, I don't notice any latency. I play with the Kemper and AxeFxII through SPDIF. Any latency reduction I can squeeze out is most wanted. I mean, I can't tell a difference, but I go wireless through a Helix into the Kemper and back into the Helix again and out to digital. Not sure it's worth it with added latency. What can be a possible explanation for why SPDIF adds more latency? So that means, for live playing, analogue outs are more optimal? I just recently startef using SPDIF due to no AD/DA noise. But it took me two years to master the AxeFxII, and I'm still not satisfied with it! lol). I've loved my Kemper since a week after I got it (it took me that long. Especially if the conversion is superior, because then it might make Kemper profile sound even better, but on a non Kemper device. I'm not familiar with the tech, but it could spell more urgency if they do it. I'm wondering if Neural DSP will even figure a way out to import Kemper rigs. Including, but not limited to, multiple amp "captures", campures of pedals, and wireless connectivity.Ībility to use the Kemper as a plug-in (to avoid pesky digital connections), even if you have to have the hardware act as a dongle. The Neural DSP Quad Cortex takes care of A LOT of my (and probably most others too unless they are minimalists) wishes for the Kemper II.
Finally! I know they're sitting on something. What I hope is that after Kemper has allowed Fractal to blow wads of cash on a machine that still can't change sample rates, a competitor has come into the arena to push Kemper into releasing a machine that slays the universe.
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