Mixing Main out and a Miced signal

As you can record what you call the 'main out' (which seems to be the stack signal before going thru the cab) separatedly of the stereo out or mono out, you just assign different tracks in your DAW and apply there the delay if needed.

Not in front of my KPA atm, but you should easily sort it out in the 'output' section.

And welcome to the forum!

I was thinking about this the other day (if I'm understanding your thread title vs your question correctly...in perhaps a different scenario) -- would it be worth mic'ing a cabinet on-stage that my Kemper is running through, whilst simultaneously using those Main Outs....

Ie. Have Main Outs to the FOH and Speaker Out (on powered KPA versions) to guitar cabinetry on-stage

(and then mic'ing up that cab....)

Not sure if it would even be worth it as the one of the many benefits of the Kemper is sending a consistent sound of your rig to the FOH and mic'ing up the cab in stage as well would just be sending another signal to the same place when you are already sending this kind of signal and more (if Main Outs are set to Master Stereo...)

What is your goal for mixing the 2...?

Absolutely! If you have room on the console for a clean signal that can be treated separately from the wet mix and your sound man knows what to do with it. There are several things that can be done. Firstly, blending which is obvious. Less obvious is eq which can now be applied to both signals differently. And then there is additional effects that can be added solely to the dry signal or both. Some engineers find this arrangement to cumbersome, there are more things to go sour, however, if he should be able to benefit from the added tonal control and signal processing then why not? Don't forget, Mr. Kemper has made the unit quite flexible with the possible outs! In fact, if you had the interface you could include the spdif outs for use on a digital console, I believe. My Kemper is sitting at the local dealership today so I have no experience with it yet. But in general, any time I can get a line out and a mic i always do it. You can always kill the mic.

Was gonna say, why not just take the D.I. from the SPDIF ? And then blend that with your mic'd up cab...? In a DAW you can just align them by nudging one or other track....

But if using the Main Outs you would assume you'd be delivering much the same signal as a mic'd up cab anyway -- just need more clarity on which signals you are sending / what you are trying to achieve

Our sound engineer sometimes does this at bigger shows. I mainly rely on main outs direct but sometimes they'll throw in the mic'd cab sound.

No phase issues so far, but of course most desks have a phase switch that he can use if it becomes an issue. I know you're talking about recording so this won't apply, but another bonus is he'll only use the direct sound for monitors which makes it a lot cleaner and easier to control on stage.

Sure, but a clean un coloured signal for recording is helpful too. A recorded amp sound is just like a recorded effect in a way. Yes you can EQ it but the tone and colour can't really be changed much in post without serious degradation. Whereas, with a clean signal you can re amp it. This means that you preserved the perfect take in a way that is totally flexible. Otherwise you may need to find a different amp/ cab combination and try for that magic take again.
Also guys, remember that when you have a console and other gear, monitoring your sound can be achieved in other ways, ie through the console and other gear. There is no need to use any of the outputs on the Kemper for direct monitoring. Any and all outputs can go to the control room and then be sent back for monitoring.

This is why I find the Kemper so exciting! It actually can provide not two, but four different signals to the console.
A clean dry signal - no amp - no cab
An amp only signal
An amp / cab signal direct out
An amp / cab signal mic'd
there is a difference in a mic'd cab sound due to the colour of the mic and its placement. You can't say" well the sound is already a mic'd cab" because we may have elected to turn off the cab sim and use a traditional HiWatt cab for example.
And we send any of these signals from the console to the artist so there is no need to use the Kemper for that.

Some of us are talking about live use here and some are referring to in a studio environment.... Which doesn't aid a constructive discussion if you aren't specifying which... You're just putting in your 2cents, which is fine and all but furthermore without really considering the original question.

On that note; for many, using the Kemper is about down-sizing (and as such, carrying extra to a gig for example is unnecessary when the Kemper main outs can deliver these 'entire rig' profiles anyway ie. Guitar all the way through to mic...including mic choice/preference/flavour and placement - this is what the profile details in fact...) which is why I asked what is aiming to be achieved by blending the 2? In a DAW environment as suggested you can just delay a track or nudge it... But I'm guessing this is referring to live / latency-free scenarios how to avoid phase problems.

EDIT: moreover, my understanding is if you wish to use guitar cabinetry (through the Speaker Out of powered Kempers) you engage "monitor cab off" NOT turn the cab emulation of using the soft button from the Amp/EQ/Cab 'stack section' - as this would disengage the cab emulation for the Main Outs (ie. That you would want sent to FOH for PA systems that are FRFR)

Best way I can think of is what you've already done with a delay in the signal path of the faster signal...

I too would be intrigued to achieve fatter live sounds (if there is a way without additional gear requirements ideally!)

EDIT: I don't think it would be possible to achieve within the Kemper (as any signal you send from the Main Outs is the same signal going to the cab and then onto the mic to the FOH... So physically that second signal takes longer as it has to move the air from the speaker to the mic whereas the main outs are just sending electrons immediately... Delay in-line or if there is some sort of phase treatment at the FOH end are only things I thing would work for this issue)

Seems there are some plug in type products made just for time alignment of signals. Radial or Palmer i think. Typically used with tube amp to di type boxes to blend signals.

I've got a Radial RMP box (light blue) - can't remember if it has a phase switch on it and a Lehle Dual SGOS, which deffo has a phase switch on it - don't know why I didn't think of that! (I use it like you stated, to split my guitar signal to 2 amps and blend them for a fatter sound.

Quote from nEVH5150

I've got a Radial RMP box (light blue) - can't remember if it has a phase switch on it and a Lehle Dual SGOS, which deffo has a phase switch on it - don't know why I didn't think of that! (I use it like you stated, to split my guitar signal to 2 amps and blend them for a fatter sound.

Glad to be of some help hopefully.. Let us know how it works out. The box I was thinking of was much more advanced than a phase switch is time alignment wise but that may be all you need

If you really like the combined signal of the KPA profile and the miced signal better (as long as they really are in phase), are you sure that you ears don´t simply trick you? As soon as you are adding a second signal, the combined signal would be louder. Since we always associate louder with "better" this effect can be misleading.

However, if you compared both signals at the same overall output volume and still like the combined signal better, why don´t you try to analyze the differences between the two signals and try to find KPA profiles that sound more like your desired target tone? Perhaps using a good EQ could solve the problems. Or you could even try to find another KPA an profile the combined signal.