Going in the studio next month, engineer wants to mike my cab?

  • I don't think the engineer is familiar with the KPA and has asked that I bring my cab with my rig so he can mic it. Is that strange?
    I thought one of the great things about the KPA is being able to go direct for recording.
    Should I bring my cab or just tell him this thing is best direct?

  • A couple of things you lose out on if not using a cab: ambience/room, if it's a sweet sounding room, and extra sustain/controlled feedback etc. If you don't need any of those, go direct. And if you only want the sustain/feedback, just hook up a cab without miking it 8)

  • bring a real tube amp let him mic it
    record a track using miked up tube amp ,
    then record a track using kemper profile you want to use listen to which one you like better , the miked tube amp that the engineer miked or the kemper profile of your choice ...


    if he a/b s against your kemper he may deceide to go with kemper profil you dialed up instead of amp


    also you can connect kemper between board and mic when he mikes your tube amp and get a free profile ....
    let him make a great profile for you some of theese engineers have good ears for miking cabs , and then you get a great profile out of it also best of both worlds!

  • When I was completing a small movie contract in the summer, the engineer asked me the same thing, what amp and cab I was bringing in. I told him I was only bring in an amp and a load box. At that time I had the Torpedo Live and my JVM410HJS. Needless to say the engineer was floored as to how great things sounded. The summer before I was completing a couple of comercials for a local radio station and I had the same question asked. I had the Kemper. That studio now has one mounted in their rack!


    Such an awesome tool to have! Just bring that and watch them smile!


    :)

  • All great suggestions!
    1. If you're paying use the KPA, (unless you have a little extra time on you're hands).
    2. Record a track with guitar and A/B the sound through the Amp/Cab and KPA.
    3. Get a profile of your rig using his equipment and mic-ing techniques!! ... and share it with us!! :)


    A couple of thoughts: If you record the guitar straight to the board you can use direct outs to the amp and KPA from the guitar track. This way you have a common reference. Of course when you use the S/PDIF outs from the KPA, into mono tracks, you'll achieve this. Also, it'll be ready for reamping if you choose to do so.. and running the track direct to the amp, is reamping as well,.

    Gettin' funky up in here..

  • All great suggestions!
    1. If you're paying use the KPA, (unless you have a little extra time on you're hands).
    2. Record a track with guitar and A/B the sound through the Amp/Cab and KPA.
    3. Get a profile of your rig using his equipment and mic-ing techniques!! ... and share it with us!! :)


    A couple of thoughts: If you record the guitar straight to the board you can use direct outs to the amp and KPA from the guitar track. This way you have a common reference. Of course when you use the S/PDIF outs from the KPA, into mono tracks, you'll achieve this. Also, it'll be ready for reamping if you choose to do so.. and running the track direct to the amp, is reamping as well,.


    Lots of great suggestions here. I'll bring my CLR just in case but will plan on running direct. Should I not use the main outputs to the board?
    I've never touched S/PDIF outputs and in fact don't know if I'd have to change any of the settings to run them.
    I'm one of those old school guys who's always used tube amps and fairly recently took the jump into the KPA digital world so there is a lot of the deep features I don't understand nor use.


    I also am completely clueless about "reamping". If seen a few threads on it here but don't really know what it is.


    This will be a live recording in the studio, no overdubbing or post.


    Thanks for the replys guys.

  • I also am completely clueless about "reamping". If seen a few threads on it here but don't really know what it is.


    In addition to the amp sound, you simultaneously record a track of the guitar signal, straight from the pickups. This track you can later send back to the Kemper, so that you can modify/adjust or chose a different amp while listening to it in the mix.


    This will be a live recording in the studio, no overdubbing or post.


    Then I'd bring the CLR just to be able to create some lively ambience if needed. The engineer should obviously NOT mic the CLR as it is a fullrange speaker :)

  • If you have a "already paid for the whole thing" kinda situtation - let the engineer mic up a great amp with a great cab so it sounds absolutly insane and then make a profile out of it. Now you have a new, killer rig and you can record with your kemper and even tweak some stuff without compromising the setup itself. At least thats what a good friend of mine did when he recorded a record.

  • definitely bring cab, power amp, and else for miking..............after all is set profile the sound coming from the amp.....turn off the power amp, put the cab aside and use the kpa alone........then take a picture of the engineer expression after that

    "...why being satisfied with an amp, as great as it can be, while you can have them all?" michael mellner


    "Rock in Ecclesia" - new album on iTunes or Google music

  • definitely bring cab, power amp, and else for miking..............after all is set profile the sound coming from the amp.....turn off the power amp, put the cab aside and use the kpa alone........then take a picture of the engineer expression after that


    +1 U Betcha!


    (yes, main outs, forget the S/PDIF's in this case since it's a one shot, no overdubbing and lack of experience with the KPA, it'll sound great)

    Gettin' funky up in here..

  • And if you only want the sustain/feedback, just hook up a cab without miking it 8)

    This is how I record most of the time. My CLR allows me to get loud in the room and all of the great sustain and feedback while retaining the direct source from the KPA. Best of both worlds!

  • If you have a "already paid for the whole thing" kinda situtation - let the engineer mic up a great amp with a great cab so it sounds absolutly insane and then make a profile out of it. Now you have a new, killer rig and you can record with your kemper and even tweak some stuff without compromising the setup itself. At least thats what a good friend of mine did when he recorded a record.


    i agree with this one , you get a great profile when youre done this way also

  • THanks everyone again for the great suggestions.
    I tried profiling a couple times and it sounded like @ss. Became frustrated and decided to just be happy with rigs downloaded from the rig exchange and the amp factory and save myself the headache. I see no reason to try to profile something in the studio when my experience trying it sucked so bad. Not enough time for the learning curve, certainly In the studio.


    I have got my profiles and settings down pretty well and when the songs are complete I'll post them here. ^^