Tips for first "pro" recording with Kemper

  • So I've used the Kemper for a few years now but mainly for rehearsing and recording rough demos. Normally for an actual recording I'd go into a studio, use a Fender/Vox-style amp, and have it mic'd. This time around I'm going to be recording with the Kemper and then forwarding the tracks on to the studio where it will go through some analog outboard gear/high-end plugins before being mixed. I'm looking for some tips on achieving a professional recording with the Kemper.


    I'll be recording into Reaper but essentially leaving all post-processing to the studio. With that in mind I'm wondering what is important to get right on my end and what do I not need to worry about?

    There will be reverb and delay provided through either a Fractal FX8 or the Kemper itself however is it a good idea to provide a dry track as well?

    I typically use compression in my signal chain although the compressors available to the studio will be way superior to what I have. I assume I can still use a little compression on my end and have additional compression applied after if necessary?

    Any thoughts on double-tracking with different amp profiles/mics?

    I'm also considering recording some stereo delays although I'm not sure if it will be used in the final mix - I assume these can be summed back to mono easily enough if necessary?


    The guitars are mostly clean to slightly overdriven. Basically any tips you have to improve the quality of the recording as a starting point are much appreciated!

  • The Kemper gives you the option to simultaneously record multiple tracks (dry signal (for reamp), processed sound without FX, effects only, etc.) It's truly amazing.


    Check out this Kemper tutorial for more:


    External Content www.youtube.com
    Content embedded from external sources will not be displayed without your consent.
    Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.

  • Most studios nowadays record DI tracks too. Even if they won't be used they are there just in case if needed. So yes record DI's too.

    Think for yourself, or others will think for you wihout thinking of you

    Henry David Thoreau

  • Personally, I would just choose your actual amp sounds and stick with them and stay away from any re amping.

    Decisions have to be made and you will have to commit to your sounds at some point. You would hate it if whoever mixes chooses sounds that you hate too. You also don’t want option paralysis when trying to mix.

    I normally record everything for my distorted rhythm guitars mono and dry. Normally two tracks left and right with guitar on 10. Then, two tracks left and right with guitar on 7.

    Any clean sounds with compression, I will record that way too. I generally record my clean sounds with the chorus too. Again, 4 tracks. Two mono left and right with a strat in position two with an ever so slightly light crunchy AC30. Then, two tracks with a Les Paul of my profiled custom Rockman X100 on clean 2 setting. These are two stereo tracks with all compression and chorus included.
    Anything with special tempo delays that are part of an overall effect, I will record with those effects on.
    I tend to commit to the sounds at the start of on album and for me, doing it that way, it’s easy to gauge how all the other stuff will fit around them. Yes, sometimes, the songs direction might change and we have to change the guitar sounds. That very rarely happens.
    Anyway, that’s how I do it. Your mileage may vary.
    Good luck. Hope it all goes well.

  • The number one thing I notice as the difference between demos/home recording and pro studio recordings is the tightness. Pro recordings you can barely tell that guitar parts were played separately, they sound so perfectly in time.

    Of course, for your style of music, tightness may not be as important, but still you want what you played to play back as you played it, in time with the other instruments. Then render your tracks and when sent to the studio, time is right on.

    If you're using Reaper, consider getting your recording latency adjusted perfectly first before you start recording anything. That way you ensure your tracks are perfectly in time, as you recorded them. (then play them super tight, ha!) What I'm getting at is- most audio interfaces report their latency to Reaper incorrectly. They won't line up perfectly in Reaper on the grid exactly as you played them. A manual adjustment can be made in Reaper in the options/recording/input manual offset area. Both of my audio interfaces are off by hundreds of samples. Doesn't sound like much, but you asked for tips- this is my #1 tip- get the latency adjusted, get the timing right. Basically you connect a cable from an output to an input, and measure how the recorded tracks line up in Reaper then make an offset adjustment, I use my headphone jack out as that's how I monitor when recording. You can also do it using Reainsert (a little easier)


    External Content www.youtube.com
    Content embedded from external sources will not be displayed without your consent.
    Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.

    External Content www.youtube.com
    Content embedded from external sources will not be displayed without your consent.
    Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.


    As far as recording, all good advice above, if you have enough interface inputs, yeah, record dry track+effects track+di track, and then you have all the options.

  • It all depends what genre it's about. Some genres it's okey if it's not very tight if double tracked. If it's tight one is after, it's best to record a few bars at the most and repeat and repeat until the end. But all the super tight you here are fake. No one is that super tight no matter how good. It's all about editing the guitars.

    External Content www.youtube.com
    Content embedded from external sources will not be displayed without your consent.
    Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.

    Think for yourself, or others will think for you wihout thinking of you

    Henry David Thoreau

  • Thanks for the input. Some great info here - really appreciate it.


    In terms of the genre, it's sort of alternative/indie. Mostly piano-based with twin harmonised vocals. Songs usually have a dark/moody/hypnotic feel. Bass, drums and electric guitar play a sort of supporting role.


    I want to give the producer enough options without going overboard. I'm thinking I'll have to make a decision between recording with two different amp profiles, the same profile with two different mics (say an SM57 and a Royer 121), the same profile through different speakers (same mic or different mics), or the same profile but with two different guitars. Obviously I could combine these different approaches and record, say, a Tele through a Vox AC30 with Alnico Blues mic'd with an SM57, and then a Les Paul through a Princeton with a ceramic Jensen speaker mic'd with a 121. Naturally I'll need to use my ear and decide what sounds best, but would there be any standard advice for considering these different approaches?

  • It all depends what genre it's about. Some genres it's okey if it's not very tight if double tracked. If it's tight one is after, it's best to record a few bars at the most and repeat and repeat until the end. But all the super tight you here are fake. No one is that super tight no matter how good. It's all about editing the guitars.

    I never edit my guitars and they are always tight. 4 guitars sound like one guitar.

  • I never edit my guitars and they are always tight. 4 guitars sound like one guitar.

    I take that with a pinch of salt. Many singers claim they never use any pitch correction tools in the studio either. :)

    Think for yourself, or others will think for you wihout thinking of you

    Henry David Thoreau

  • I take that with a pinch of salt. Many singers claim they never use any pitch correction tools in the studio either. :)

    I really don’t care what you believe. It’s true.

    If you are not personally capable of being able to accurately track something up, don’t paint those deficiencies on anyone else.

    My first ever album was recorded 48 track 2” tape (two machines) with Mike Shipley and a Larry Klein.
    Second album Sony 48 track Dash with Keith Olsen. This was 88 and 91. There was no computer editing. Just playing it right.
    There was no vocal pitch correction then either.

  • After doing this for a while, here are some I realizations:

    - Quad tracking can be a bit overkill depending of the part so I'm not systematically doing this anymore. Double tracking is often enough and feels tighter. Many modern guys (Gojira comes to mind) seems to be going in this direction.

    - A lot of the modern stuff is edited, for which the DI is pretty essential: it allows you to see clearly where the attack transient is. In other words, get the DI not only for possible reamping but also for editing.

    - I monitor wet but always record a track dry and mono (KPA output set to "Mod mono" to exclude the reverb/delays). If I am really attached to my effects choice (modulations/reverbs/delays), I record a wet track as well for them as well as a reference (but still always a dry/mono one). Depending of the style, if I can avoid that responsibility of getting the perfect effect sounds, I do it and leave all this to the guy who enjoys tweaking plugins.

    - Keep track of what profile/guitar/pickup selection you used on certain parts if you can - I sometimes had to punch in afterwards because the arrangement changed or something.

    - Work on your parts before the recording as sometimes the thickness you might be looking for comes from adding a track playing different voicing etc. Also obviously if you have the music ahead of time, practice your parts to perfection before your session, maybe compose your solos if necessary.

    - Once you are done, give up any expectations on "sounding great" because once the mix guy takes over, it's all out of your control!

    - Be ready to face some producers with aversion to digital stuff who tell you to play in that random amp sitting in the corner because "the real thing is sooo much better". If they don't like your tone, they'll 100% blame Kemper to reinforce their belief. Just go with it and wait till you're outta there to roll your eyes.

  • This was 88 and 91.

    'tight' means different things in different genres.

    80's/90's Hard Rock 'tight' for example is nowhere near post 2010 extreme Metal 'tight', where it is not uncommon to use phase allignment tools and judging 'tightness' in samples (as in sampling frequency) - this is simply not obtainable 'by hand'


    no judgement here, personally, I like a looser, more organic feel for example.


    It's good to remember that many of the words especially guitarists use are quite imprecise ('fizz' comes to mind...)

  • Well, that is a judgement. You have judged how tight something I have done is without ever hearing it. ?
    You didn’t get anything that isn’t tight past Mike Shipley. Ask Def Leppard.
    We spent a couple of weeks just doing the distorted rhythm guitars on that first album with Shipley. 10 hour days for two weeks just because I was not used to doing anything as precise as that. On all subsequent albums, I knew what was required.
    A flam is a flam no matter what the genre. This is my job. I know how to do it.

  • Well, that is a judgement. You have judged how tight something I have done is without ever hearing it. ?
    You didn’t get anything that isn’t tight past Mike Shipley. Ask Def Leppard.
    We spent a couple of weeks just doing the distorted rhythm guitars on that first album with Shipley. 10 hour days for two weeks just because I was not used to doing anything as precise as that. On all subsequent albums, I knew what was required.
    A flam is a flam no matter what the genre. This is my job. I know how to do it.

    I was using general examples, no need to be offended.


    I have a feeling this is about sematics, words are wonderfully umprecise, be assured that GearJocke also knows what he is talking about, this is not a contest.

  • I was using general examples, no need to be offended.


    I have a feeling this is about sematics, words are wonderfully umprecise, be assured that GearJocke also knows what he is talking about, this is not a contest.

    I am not offended. Just correcting you.
    Also, the other guy you mention seems to have a notion that no albums were ever recorded before computer editing and accused me of using that to get my guitars tight. I was just correcting him too.

  • I am not offended. Just correcting you.
    Also, the other guy you mention seems to have a notion that no albums were ever recorded before computer editing and accused me of using that to get my guitars tight. I was just correcting him too.

    You need to calm down and read what really is written and not and not let your emotions taking over and accuse anyone for something that's not true. You don't behave very professional.

    Think for yourself, or others will think for you wihout thinking of you

    Henry David Thoreau

  • is it a good idea to provide a dry track as well?

    Yes, you should make it a habit to always record a dry track AND a DI track in addition to the Master Stereo track!

    I can still use a little compression on my end and have additional compression applied after if necessary?

    Use as little compressor as possible. Just use what you really need for your performance.

    Any thoughts on double-tracking with different amp profiles/mics?

    Double-Tracking is popular in certain genres ... Dual-Amping in others. Personally I prefer Dual-Amping. A single performance played through 2 different amps/cabs at the same time. For example a slightly overdriven rig with a brighter sound, accompanied by another rig with a very dynamic and much warmer, rounder sound just barely beyound breakup. Just as a random example: A JTM45 with a bit of bite and a Dumble-style rig for the "warmth" and "body". These kind of combinations make a huge difference if you like a dynamic playing style because different amps react differently to your playing dynamics. But I would always recommend to actually have the dual-amp setup while performing ... not after the fact by re-amping.


    *removed by mod*

  • With the dual amping, would you also recommend recording each amp with different mics? Or keep it consistent across both? Obviously this will be with the Kemper so it'll all come down to which profiles I choose.

  • With the dual amping, would you also recommend recording each amp with different mics?

    I think it's impossible to come up with a general rule for this. Use your ears and learn the tools. :)

    Ok, the above seems to be pretty "unhelpful", sorry about that ... but it also sheds some light on the benefits of going to a studio where the engineer has the knowledge and experience to come up with the best tools and ideas for a given task. Obviously a Shure SM57 sounds very different to a Royer R121 ... and there's hundreds of other microphones and mic placement options and techniques. It all depends on how much you're willing to experiment, try, explore. You can always go kind of old-school, standard and safe. But there's also a huge fun component if you're open-minded and willing to feel like a child on a new playground. There's no real limits and as long as we communicate from a distance and don't know each other and don't know our interests, preferences, musical tastes ... well, it's all up to you. :)


    Let me give you just a few examples of "thinking out of the box".

    • What does it sound like if you just stick a piezo mic element to a closed cab? Maybe it sounds very weird but once it's mixed with a totally different and more standard mic setup it adds a flavour that could be interesting?
    • What does it sound like if you take your dry recording, play it back through a cranked JBL Charge Bluetooth speaker in a pedestrian underpass and record this to have your very custom and unique reverb you can blend in?


    I could go on and on and on .... but as you can see, it all depends on you. You can go "standard" and be perfectly happy with it. But you can also go playful and experimental. There is no rules, explore whatever you want to explore. :)

  • *quote removed by mod*

    But it did accomplish something - it was a lifelong skill.


    The same could be said for any craftsmen - why bother spending time making something when you can just buy a cheap version that does the job?


    Listen to the people who know how to do things properly if you want to do it right!