Any way to lower the SPDIF git signal volume?

  • Hey guys I am recording with my kemper through the Spdif inputs. My "git" signal for recording the direct signal (for reamping) is extremely hot and clipping in my daw. The spdif volume in the output section only affects the processed signal. Is there any way to lower the git volume within the kemper? Thanks!

  • Upgrade to the latest OS to return SPDIF volume back to the way it was. Also, check your Reamp Sens on Page 2 of the Input settings.

    Larry Mar @ Lonegun Studios. Neither one famous yet.

  • Use the volume controls on your Guitar.

    This can also effect the tone.


    Clean Sense is the parameter in the Kemper which is responsible for that. I have to say I don't think this workflow is super handy because you need the clean sense for two different types of applications in the Kemper. One is for playing live and to adjust the balance between clean and distorted sounds and the other is for recording or providing a DI track. And in my very personal opinion it misses a dedicated control for adjusting the DI output level. Personally I use several different DI boxes in my studio for different sounds and different applications which gives me the maximum control over the signal.

  • This can also effect the tone.


    Clean Sense is the parameter in the Kemper which is responsible for that. I have to say I don't think this workflow is super handy because you need the clean sense for two different types of applications in the Kemper. One is for playing live and to adjust the balance between clean and distorted sounds and the other is for recording or providing a DI track. And in my very personal opinion it misses a dedicated control for adjusting the DI output level. Personally I use several different DI boxes in my studio for different sounds and different applications which gives me the maximum control over the signal.

    Yes it would be nice if the spdif volume affected the direct output AND the processed output or the direct output had its own dedicated output knob. Kinda surprised the kemper guys haven't thought of this.

  • under normal circumstances, a DI signal does not need any volume adjustments since it is supposed to represent the original guitar signal. That is the reason why the output volume level for the direct out in the output menu appears greyed out as soon as one of the GIT output sources is selected. When you change the level of the DI signal later on in your DAW you will need to compensate for the change using the reamp sens parameter in the input menu so the DI signal will produce exactly the same result as the original guitar at the front input of the Profiler in the reamping process.

  • My "git" signal for recording the direct signal (for reamping) is extremely hot and clipping in my daw.

    I don't know which DAW you're using but (if you can) you might want to check if you're accidently boosting this particular input channel.

    E.g. in Cubase you can make the input channels visible in the mixer view and actually move their faders. And whatever you do with this fader (or any potential insert effects or other channel settings) will be recorded on the corresponding audio track.

  • When I reamp through spdif I found it would go into a feedback loop and the signal was way too hot. All I do is mute the S/pdif volume and it reamps properly with a proper volume level.

  • When I reamp through spdif I found it would go into a feedback loop and the signal was way too hot. All I do is mute the S/pdif volume and it reamps properly with a proper volume level.

    if you get feedback it means you are sending the output of the track you are recording back into the Profiler. You need to check your routing in your DAW to avoid that.

  • Quote: “This can also effect the tone.”



    You are absolutely correct.


    I first learnt that from bassist Carol Kaye many years ago.


    But even so, thought it worth trying if it could deliver a possible solution to the problem.


    Even if it does alter the tone, it’s not at all beyond the realms of possibility that he might prefer the way it subsequently sounds.


    In classic studies in musical form and performance years ago, we used a technical term speaking of an instrument’s “volume of tone.”


    In other words, there is a living, symbiotic relationship that musical instruments possess that enables and projects emotive expression in regard to volume and tonality


    Whereas most audio engineers and people with Hi-Fi’s one meets, tend to think to “volume” and “tone” as entirely separate entities. After all, designers give them entirely separate knobs.


    But you are right and I congratulate you for making this important distinction. Whenever one alters an instruments volume simply by touch or by some other method, the tonality produced thereby, will differ to a lesser or greater degree.


    Also, when the human beings hear sound at differing levels. Due to the manner in which our ears and brain perceive sound, and an inadequacy of the human ear the balance of its tonality can be apperceived to have altered in quality or intensity. *



    So, for sure that can happen, but usually that effect with electric guitars its most noticeable with older instruments or those utilising audio taper pots a particular feature of vintage instruments.


    Modern instrument’s mainly with linear taper pots, generally don’t seem so prone to the effect. I don’t know what type of instrument the thread originator is using. But to my mind at least thought it worth a try!


    If it did provide a solution, he is good to go.


    Whereas with all possible respect, it should be self-evident that the wish list of work-flow, additional control knobs and dedicated DI level controls helpfully suggested, are unlikely to be implemented quickly, if ever at all.



    *Because of this phenomenon, it’s worth considering that when mixing sound, to monitor at high or excessive volume levels will sway one’s assessment of the balance of sound.


    Typically, as volume increases, our perception of the level of bass is most significantly increased along with some perception of treble. However, the majority of typical consumers usually listen at more modestly moderate levels, for obvious reasons.


    In doing so, the balance of any mix created at excessive volume levels can subsequently be out of kilter from that actually sought and desired as a direct consequence, simply of monitoring level.


    Therefore, it’s usually far better to mix at a lower level than a high level. Typically mixes monitored at moderate levels, (so one can speak to someone without raising one’s voice) work well, holding together as the level is raised.


    Whereas, a mix monitored at an excessive level, when listened to by consumers at a more moderate level will typically be found to be lacking most significantly in bass, although the treble end is also affected. Again, this should be self-evident.


    Health and Safety regulations in regard to audio engineering differ somewhat in Europe and the United States.


    But in more recent years, have been revised downward. We only get one set of ears to last a lifetime.


    Thank you for your thought provoking comment!