Posts by RosboneMako

    But what I'd really like is to have NAM in front of everything else, going into UAD Console, where I can shape the hell out of it with native UAD effects and commit it like one would to tape - that's how I run my Kemper's SPDIF out.

    Which is basically what you've done with the mini PC. I've been thinking of doing the same thing, just with a Raspberry PI and hadn't settled on whether that'd have enough juice. Your solution is a lot better - I'll have to look into this..

    I wrote a VST and wanted to stream it on Twitch. Since OBS is not friendly with ASIO, I decided to run two sound cards.

    Sound card 1: My VST/NAM/Etc

    Sound card 2: DAW/Stream/Etc

    My VST (Juce) and NAM (iPlug2) should allow you to select which card to use when you run the stand alone EXE versions.

    Guitar --> SC1 In --> NAM -- SC1 Out --> SC2 In

    Since I am poor white trash, I only have cheap sound cards and cant recommend anything good. My streaming PC uses a Sterling Audio H224 and a Helix LT.

    I absolutely love the H224 design. Heavy, LED monitoring, Large volume knob. But it was very touchy when it comes to drivers. On ASIO it runs well enough it doesnt crackle or lag. On anything else it stuttered badly.

    My guess is:

    - They want to give you the most bang for your buck. You paid, you should get the exact profile you want.

    - They may all sound similar at low volumes. But may be different at very high volumes.

    I agree Direct profiles should always be a thing. Let me worry about the Cab/IR. It seems like the best profiles would be direct. It would be the closest you can get to the real thing.

    MAKO THUMP has been updated.

    - Found a bug where settings were not being set when the VST was started.


    I also added a distortion pedal example VST3.

    Will not be of much use with a Kemper, but may be useful to drive other VSTs. And a starting point for your own crazy pedal.

    I have been testing it in front of NAM mostly for the High Pass (Mud) filter since NAM does not have "definition" like the Kemper.

    Source code and VST are included in the ZIP file.

    GitHub - RosboneMako/MakoDistorty: VST3 Guitar Distortion Pedal
    VST3 Guitar Distortion Pedal. Contribute to RosboneMako/MakoDistorty development by creating an account on GitHub.

    For a quick look at what the code is doing, click on PluginProcessor.cpp and search for MakoBiteAudioProcessor::MakoEffect_ProcessAudio.

    MakoDistorty/PluginProcessor.cpp at main · RosboneMako/MakoDistorty
    VST3 Guitar Distortion Pedal. Contribute to RosboneMako/MakoDistorty development by creating an account on GitHub.

    I keep talking about a thump effect I made that just adds some distorted 150 Hz signal to your sound to create that cabinet resonance and speaker compression sound.

    I threw together a VST3 and posted it on GitHub for those brave souls who want to try it out.

    GitHub - RosboneMako/MakoThump: A Juce VST3 example program with Thump effect for guitar.
    A Juce VST3 example program with Thump effect for guitar. - RosboneMako/MakoThump

    This VST works great after a Kemper, Helix, NAM, etc.

    I also added 11 different 5-band EQs and a low pass filter to further tweak the final sound.

    The JUCE source code, image, and VST3 file are in the ZIP file:

    MakoThump/ at main · RosboneMako/MakoThump
    A Juce VST3 example program with Thump effect for guitar. - RosboneMako/MakoThump

    NOTE: On GitHub there will be a small download button that says "Download Raw File" when you hover over it.

    To just use it, copy the VST3 to a VST folder on your PC.

    C:\Program Files\Common Files\VST3 seems to be a normal place for example.

    I do not have an Apple PC and can only test on Windows. No idea what happens on Apple.

    If anyone is brave enough to try it, let me know what you think.

    Kemper please add this simple effect!

    Only took a few hours to make the whole thing.

    Tested it with NAM and an OverDrive VST I made in front of NAM to push it.

    Thanks for your effort! I think that he isn't mic'ing the sound of the Kemper in that video, it sounds as if he also just pushes his signal via Interface directly into his DAW. I could be wrong though.

    Did you try out my own profile from my first post by chance?

    I was trying to point out the Kemper is probably bleeding into his vocal mic. So you are hearing a mix of dry kemper sound and room sound coming in thru the mic.

    The mic is most likely compressed. And the Kemper may actually be compressed so that when he switches sound in the video the volume doesnt jump all over.

    Its all a guessing game comparing to the vids.

    I have not tried your profile, my ears are pretty bad and I would not be of much help there. I actually have not touched my Kemper in a long time because I started writing this crazy VST thing and it was going so well it started consuming my every moment.

    Best of luck on your journey. I dont think your sound is as far off as you think it is. But like I said, my ears are trash.

    Go to Sweetwater and listen to their mic comparison test. They all sound good. My ears are bad so I cant tell the difference from any of them. Actually, I think they may have taken it down because it was stopping people from buying expensive mics :)

    1) My take is if the person sings well, they will sound good no matter what mic. Bono on SM58 for albums.

    2) Type of singing and gender will decide the mic to get. I see many metal people using SM7B for example.

    3) I am a fan of the 80 Hz roll off switch if your preamp does not have one.

    The other thing to remember is Ola is playing live. So his sound is being picked up by a mic and is probably running thru a compressor both for the Kemper directly and thru the mic.

    So his:

    - Guitar is different.

    - Playing is different.

    - Kemper tone is colored by the amp and speakers he is using being picked up by mics.

    - Compressors.

    - Slight reverb from room.

    - Your pristine WAV file vs garbage YouTube compressed file.

    High gain like this has very little low end because the low end can be twice as loud when you chug. He is picking up some low end thru his speakers and it is being compressed. This can add bass, fullness, and dynamics. He is also getting some bite/sizzle from the speakers.

    Whenever I work high gain like this, the guitar is 90% of the sound. I would nail down his exact pickups.

    I went down this rabbit hole with my Kemper also. Spent a year trying different things and finally gave up. Listened to V8Guitar and now I just play the thing. Dont worry about how close it sounds to some fairy tale sound :)

    And I agree with Don, your sound is much better because it is missing all of the muddying things Olas recording has. And they still sound very similar to my (bad) ears.


    I started working on a VST myself. I have a THUMP parameter that adds a 150 Hz distorted EQ to add the fullness in Olas recordings. Playing live it sounds pretty good. The idea is to add that live bass and compression of a speaker and cab at volume.

    Like you ,I felt my Kemper didnt sound like any recordings I heard so I came up with this as a possible fix. And to just make my VST sound more like an amp in the room.

    As I said, live it sounds great. As BayouTexan will tell you, it probably sounds bad in a mix because you will have to lower your volume so much due to the giant bass peaks in the waveform. And I bet your sound is great in a mix, where Olas muddy compressed recording would sound bad.


    I ran your WAVE thru my VST for giggles. I added THUMP (150Hz) and compression AFTER the THUMP. A touch of EQ to offset the THUMP. Sounds bigger.

    So adding some low end to your sound and then running it thru some compression should get you closer to Olas video sound. IMHO.

    NOTE: I am not trying to sell my VST garbage. It is not even ready for download yet. But getting closer everyday. The code and VST will be free on GitHub most likely.

    I have a 32" screen also coming soon.

    The whole ergonomics is very satisfying , and feels very pro , the monitors also sound better this way with just the right height vs my ears. There is one position in the 4 height presets that mimics the 'producers distant setup , ' I use while standing and getting back a bit, that gives me a new ear on my mixes & ultimate stereo , this is really great.

    I understand you love your old desk , I suggest using it on a side of your studio for building & maintenance work, like I did , I won't drill anything on my new one ;)

    No, I dont like my old desk. I inherited it from family. But it works. And it would cost a lot of money to get something to replace it.

    32" Screen, Nice. 32" is the best size. I use cheap TVs ($200 US) and there were no good 32"s around so I went 43" and its a little too big for desk use. I dont use the top 7" of the monitor. I also went 43" to get into 4k territory.

    I have Behringer 2031p monitors. I used to put them right on top of the desk so they were about shoulder width apart from each other and at head level. It sounded great when I was standing. When I bought the Kemper I moved them down off the desk and to the sides. So they are farther apart and much wider sounding. But I played the Kemper non stop and I got tired of standing, so they had to come down. It was too hard to dial in good tones with the tweeters shooting way over my head. Another reason to get a big desk, so I can put everything in the right place like you have. Looks great!

    Very cool Waraba! Living the dream. Between you and Bayou I might have to upgrade at some point. I have some 80's computer desk that someone carved angry things in the top one bad day. But it is built like a tank and all my junk sort of fits on it.

    I am regretting buying a Stage. The toaster or a rack would be so much better for a desk setup like yours.

    I like magnetic shielding idea.

    I am old so my daily driver PC has a 43" 4k tv screen. You must still be able to see ok with a laptop 8)

    I also dont do food or drinks. Well I have a drink when I am singing but its always a bottle with a cap. :thumbup:

    You probably dont want to change the Kemper output if you are going to record. You dont want to record the over emphasized sound.

    If you are recording dont change anything and just know in your head the Kemper sounds great, just not on those speakers by itself. Like V8 says here all the time, turn it on and play dont worry about it.

    If you are just playing and NOT recording, you can adjust the Kemper output or the signal going to your monitors. But be aware the filters used will be low Q filters (they will affect a wide frequency range). So they will work fine but may not be the absolute best. You will probably want more bass and presence.

    You could look for some brighter IR/CABs. I make my own IRs and EQ them. It is a rabbit hole that never ends.

    Buy a graphic EQ and place it between the Kemper and your monitors. Then you can turn it off/on when recording or playing.

    If you are on a PC, there are software companies that try to run EQs to flatten your speakers. You may be able to tweak them to sound not flat.

    Like I said my specific speakers, the tweeters had a natural sound that just didnt work with the Kemper. Adjusting the EQ into them just enhanced some unwanted freqs. So they got brittle or shrill sounding. Like the clack of your pick hitting the string became super annoying. Your mileage will vary.


    One of the premier profile sellers is M.BRITT. People probably love his profiles because he makes them so they all can be switched between each other without drastic changes in volume and tone. Usually using the same speaker cabinet. So once you get your Kemper tuned up to your monitors, you can change profiles and not have to redo everything. I am not saying to buy profiles, just giving a reason why it works for some people. And what profilers are trying to do. And why going thru the free profiles will have varied results since everyone is doing it different.

    If your cleans sound good, it is because they have a lot of dynamic range.

    Higher gain sounds have NO dynamic range by their nature of being a clipped/overly compressed waveform.

    The freqs that tell your brain it sounds good are Highs( 2.5k and up) and Lows. These also tell your brain "this sound is close to me". Most studio monitors have a very flat high freq response. And most guitar profiles have no bass response. So high gain ends up being almost ALL MIDS with no dynamics, which tell your brain "this sound is far away from me" and "it is dull".

    The more gain you have the more you are relying on the lows to have some dynamic range. The mids and highs will have no dynamic range. If you record high gain guitar you will see the volume is constant until you start chugging. Then it gets twice as loud. Because most gain requires removal of lows before the gain stage. Then the lows are boosted back up.

    I have fought with your problem for years when I got my Kemper. My answer was different speakers.

    My Kemper sounded great thru cheap speakers and sounded flat and lifeless thru my monitors. Cheap speakers are all highs and lows, sound great. Monitors are very flat, sound bad.

    I ended up replacing the tweeters in my monitors and now the Kemper shines. If I boosted the highs the Kemper became shrill and harsh. New tweeters was the only way to liven them up to get around the natural boring response of the original tweeters.

    I also wanted to say you can use any IR/CAB from any profile on the Kemper. You can drag and drop the CAB in RIG MANAGER. I have LOCAL folders setup to store IR/CABs in RIG MANAGER.

    So a good place to start looking for good IRs is in the free KEMPER PACKS in RIG MANAGER. These are usually the better profiles made by the better profilers with great equipment. Meaning they are done in a studio with great setups and should give you great results. And since you can search by artist, etc you can narrow down the type of IR/CAB you are looking for.

    This is a hard topic to discuss. An IR is basically an EQ setting. Since EQ settings can vary and will only apply to a certain tone, saying a certain IR is good/bad is up to interpretation.

    The intangible thing to an IR is it is NOT just an EQ. It is an EQ based on time, not just frequency. The time portion is the echoes of the sound in the cabinet, room, etc.

    1) Some IRs are calculated from a frequency sweep of the speaker/setup. These sweeps will remove some of the time portions of the IR.

    2) Other IRs are made by sending a pulse thru the speaker setup. This method captures the time portions of the IR.

    I do not know which method the Kemper uses. You can hear the impulse 'click' sound during a profiling process.

    A really good IR, will be calculated so as to remove the time portion.

    A really good IR includes the time portion so it sounds like it is in a tunnel or small room.

    These are both valid statements.


    To say certain IRs are good would require you to say what type of music you are playing, how much gain, and what type of speaker system you are using to hear the IR.

    IRs without much bass will fit into a mix better.

    IRs with a lot of bass sound better while playing them.

    IRs with too much highs will sound shrill and fizzy for rock but great for cleans.

    IRs with too much highs will sound good at low volumes but are ear piercing at high volumes.


    I do not play super high gain stuff. But I tend to push Clarity up to around 2.5 max on a Marshall type sound.

    As I am tweaking a sound, I ALWAYS find what ever changes I made are better. But they are not. They usually make it worse. Clarity is one I find that I always over tune for high gain stuff. Usually .5 to 1 max is better and 0 is best. But again, this is for a Marshall level tone. I have never set Clarity enough to get crackling, could maybe be clipping somewhere since Clarity may be adding dynamic range to the highly compressed tone. The change in dynamics is what makes it feel/sound better to me.

    It is best to use a Looper while tweaking. I tend to play differently after a change which tricks my brain into to thinking it is better.

    I think the key to M.Britt profiles being popular is he tunes them for high volume thru a PA (and probably has good ears). Using this method hits a sweet spot that works for most Kemper user situations. I know I tune my stuff to low volume studio monitors and assume they are probably really harsh at high volumes. So I would expect a wide variety from profiles.

    Thank you both very much! @RosboneMako Your response was great! I feel much more confident on being able to do IRs. I feel like that was a full blown lesson on them!

    The Kemper was my first experience with IRs and I went down a rabbit hole for a year or so just bathing in IR possibilities. So I am no expert, I just have a lot of experience messing with them in not so normal ways :)

    Best of luck on your adventures!

    Most profiles come off a mic'ed amp that is not producing much sound below 100-120 Hz. That is where you get the thump.

    In my studio for jamming fun, I use a STUDIO EQ and set the lowest EQ to 180Hz and dial up the gain on that band.

    For a PA you may need less freq and gain.

    For a 4x12 cab you may need much more since guitar speakers tend to peter out around 100Hz. But all the thump comes from 100 and below.


    1) The freq you pick will vary with the speakers you are using. What sounds good on your speakers may sound like muffled garbage on a PA with some real bass response. So you are playing a dangerous game. You have enough rope to hang yourself.

    2) As people are saying above, in a band setting the guitar sits above the bass in frequency. The thump you hear in a song comes from the bass and guitar at the same time. By adding too much guitar bass, you will be fighting the bass guitar in a mix. If you and your bassist are not super tight it may make you sound out of time and muddy.