Neural Quad Cortex

  • 3 videos with Rabea can be found on this thread. Two dealing with Victory Amp Profiles, and one dealing with pedal captures.

    You should watch them and form your own opinion.


    Btw: The Profiler can for sure run a chorus and a delay in parallel.

    I found the video of Rabea presenting his most recent Victory profiles , and they seem impecable to the extent that dislike can only be a matter of personal taste any more, indeed. The video has no A/B comparisons, but definitely none of the profiles seems to be from a profiling failure, so I don't really know where that discussion actually came from (I apologize for reproducing it, even labelling it properly as rumor, without fact-checking myself).


    Regarding the pedal captures: yes, some indeed are quite too gainy or just spectrally off key. But would there be the possibility to implement a specific (adjusted) profiling mode in the KPA for making raw profiles only from OD pedals (i.e., without any amp) at a specific setting? I mean, it is possible to make direct profiles of solid state amps, and their gain stages should not differ too much from pedals, regarding the non-linearities they introduce into the signal.


    A profile of a pedal, not baked into the amp profile, but located in the stomp section, would be a total blast. E.g., I have a Boss SD2, which has a very shiny-chimey top end at some settings, but I do not want to run it in front of the Kemper, as for some amp profiles, I simply need (or prefer) an SD1. I tend to believe that the situation of people having multiple amps and different pedals, and wish to combine certain pedals with certain amps (but flexible enough to not bake the pedals into the profiles) is not too exotic.


    And would it be possible to make the "rig setting" such that not only the last two single effect modules, but two small effect processing chains (even if its only two modules each chain) could be run fully in parallel (or put it differently, to let the already existing parallel path start in the post-amp section)? It could further enhance the spatial perception.

  • you can compare yourself for free !!
    The plugins from Neural DSP can be installed as test versions so you can A/B compare them with the Kemper and take your time to see/hear what you like more. I did that, downloaded 3 of the plugins (you can use them for some days for free)

    My first impression was positive, but then I tweaked a little bit, and I compared them with my Kemper. I did not try to get the exactly same sound, for my taste this is not necessary. I just played and tried to get the feel of the amp sims. I also played the plugins though my 2x12" V30 cabinet with GPA-400 power amp (of course, speaker simulation switched OFF - could do it with no noticeable latency).

    I liked the Kemper more, through the studio monitors and through the cabinet. Couldn't try the Neural DSP plugins through the Kone though ;-)

    Silvio, your computer must be amazing, avante grade, cutting edge! (or mine is subpar..)I can't get the Neural plugins to run anywhere near realtime without glitching.

    Once you turn the buffers high enough to stop glitching, latency delay destroys all feel, they're impossible to play for me.

    For comparison, Kemper has zero noticeable latency.

  • Silvio, your computer must be amazing, avante grade, cutting edge! (or mine is subpar..)I can't get the Neural plugins to run anywhere near realtime without glitching.

    Once you turn the buffers high enough to stop glitching, latency delay destroys all feel, they're impossible to play for me.

    For comparison, Kemper has zero noticeable latency.

    no.... nothing fancy, it's and iMac Late 2012 with macOS High Sierra. But I can't help further, I already removed them plugins from the system since these were test versions. But anyway, I prefer hardware over plugins.

    You are right, Kemper has zero noticeable latency, enjoyed it yesterday in band rehearsal ;-)

  • The latency you feel with plugins is inherent to the computer setup. The Kemper will feel more snappy than almost any PC setup.

    I have a RME interface which allows for very low latencies but still it doesn’t feel as direct as the Kemper.

    That being said I can also feel a latency with the Kemper especially next to an amp and also to the Atomic Amplifire which for some reason is almost as direct as an amp.

    The qc is said to have a latency around 3ms which is a comparable to the Kemper. I believe Amplifire’s latency is lower than 1.5ms. It doesn’t sound like much but it’s a noticeable difference.

  • That being said I can also feel a latency with the Kemper especially next to an amp and also to the Atomic Amplifire which for some reason is almost as direct as an amp.

    The qc is said to have a latency around 3ms which is a comparable to the Kemper. I believe Amplifire’s latency is lower than 1.5ms. It doesn’t sound like much but it’s a noticeable difference.

    3ms is as if you were one meter away from your speaker. I can't feel or hear any latency at 3ms.

  • The qc is said to have a latency around 3ms which is a comparable to the Kemper. I believe Amplifire’s latency is lower than 1.5ms. It doesn’t sound like much but it’s a noticeable difference.

    I remember Doug Castro stating it was 1.8ms? Also, I never really know what signal path these figures are representing (is it 1.8ms with or without an amp model or capture or profile in the middle?)

    3ms is as if you were one meter away from your speaker. I can't feel or hear any latency at 3ms.

    Latency from distance from the source is perceived differently: our brains compensate for it interpreting environment's early reflection.

  • I remember Doug Castro stating it was 1.8ms? Also, I never really know what signal path these figures are representing (is it 1.8ms with or without an amp model or capture or profile in the middle?)

    Latency from distance from the source is perceived differently: our brains compensate for it interpreting environment's early reflection.

    You can compensate it if you have longer arms ;)

  • The qc is said to have a latency around 3ms which is a comparable to the Kemper. I believe Amplifire’s latency is lower than 1.5ms. It doesn’t sound like much but it’s a noticeable difference.

    I honestly think this is physiological....I cannot believe that people can distinguish this level of latency....how do you cope on a large stage, even with a "real" amp?

  • However, I myself had troubles to get profiles out of an old ADA MP1 unit (from the first batch, I changed tubes & caps) I bought somewhere 2nd hand on the web. I did not give it too much importance, as I thought the unit is just too noisy (which it probably is, the ADA noise mod exists for some reason), a friend of mine had to find a workaround profiling it at significantly lower gain and then tweaking the gain up manually in the profile, but I'd say that did not really conserve the typical ADAish cutting high end. Anyway, the unit seems quite a mess, so whatever.

    ADA MP1s have been successfully profiled many times - one famous unit is in the Michael Wagener Rig Pack (Extreme Pornograffitti among others)

    there are many Profiles in the Rig Exchange, so it might be an issue with your unit (too noisy like you said) and not an issue of the PROFILER

  • This might not only answer the last questions about scenes (=seamless switching) but imo also shows me good and usable tones. Tastes (real or imaginary ones) may differ:


    Better have it and not need it, than need it and not have it! - Michael Angelo Batio

  • ADA MP1s have been successfully profiled many times - one famous unit is in the Michael Wagener Rig Pack (Extreme Pornograffitti among others)

    there are many Profiles in the Rig Exchange, so it might be an issue with your unit (too noisy like you said) and not an issue of the PROFILER


    However, I myself had troubles to get profiles out of an old ADA MP1 unit.

    check this out. In his webpage he explains how he profile it.


    *link to commercial site removed by mod*

  • This might not only answer the last questions about scenes (=seamless switching) but imo also shows me good and usable tones. Tastes (real or imaginary ones) may differ:


    It sounds killer and very cool function to have as backup; say youre at a gig and your bass player and other guitarist run into some rig issues. Just have them build some presets just in case and youd be set.

  • I honestly think this is physiological....I cannot believe that people can distinguish this level of latency....how do you cope on a large stage, even with a "real" amp?

    You mean psychological?

    I always believed it is psychological too and it is just how plugins react and they just feel a bit disconnected. Even though I could not HEAR a latency.


    Then one day I played through a cheap Zoom audiointerface and completely unexpected it felt different / better / connected...

    The reason for this experience: The Zoom was a USB 3 interface that really did make a huge difference and allowed a VERY low buffer size.


    So bringing down buffer size further below the point where you can not hear any difference anymore has benefits for the "feel" imo.

    You need the hardware and excellent driver and it makes a notieable difference. Can I prove the feel thing? No. But for me it was important and some plugins are now usable tools.

  • It sounds killer and very cool function to have as backup; say youre at a gig and your bass player and other guitarist run into some rig issues. Just have them build some presets just in case and youd be set.

    On AxeFX3 you can absolutely swap amps on scenes changes. You get 4 channels on the amp block which can be set to any amp per channel.

  • On AxeFX3 you can absolutely swap amps on scenes changes. You get 4 channels on the amp block which can be set to any amp per channel.

    True, but I don't want to bring a rack mount to gigs. And the FM3 (which I really want to try) cant do that (could be wrong). To clarify, it's not the reason I would buy a product, not even top 10 but it is a great topping on the ice cream cone