A quick thing you can try is to slice the audio into a new region at every noise pop and do a small cross fade. I’ve done that before and it’s works well and is fast.
Honestly I could barely hear it in your clip. I wouldn't worry about it. Move on, add drums and bass and vocals or whatever, you'll never hear it.
I certainly wouldn't mess with fixing it. Retrack or move on. Check your recording next time before you get too far down the road.
Typically these kind of spikes can happen when you edit if you don't check your crossfades. You'll especially hear it on bass and kick drum.
Only you will know these are there when you're done with the track. If you listen back to classic records and solo the tracks, there's all kinds of crap on them.
To me the playing is the fun part. I'd just play it again. I spend so much time dealing with software, troubleshooting issues, doing all kinds of stuff that isn't music. When I get to the actually playing part, I play it awhile. I might do 30 takes of something if I just feel like it and am having fun.
So unless you were playing the most inspired of your entire life, I'd consider just having fun and do it all again. You'll probably like the new takes better and can try different things until you figure out what's causing your issue.
Izotope RX7 software is excellent at removing noise and clicks but you'll have to fix them all by hand.
You could just not worry about it because a lot of issues you hear when solo'd you don't hear at all once the full band is playing.
I'm not sure why the analog audio outputs don't have the same options as the digital outputs. I've asked several times and never received an answer.
Pretty sure I started a thread about this awhile ago. I now just use a DI box before going into the Kemper to be able to record the direct if I need to.
I track in Logic with a 256k buffer when using lots of VI and 128k if it's audio tracks only. I don't use ANY latency inducing plugins until I'm mixing and I only use the Low Latency button if I need to retrack something toward the end of a mix, which I really try to avoid.
I tried using the SPDIF and ended up having some really terrible ghost in the machine problems, sessions crashing, noise bursts, etc. All kinds of crap and I had a hell of a time tracking it down. As soon as I stopped using SPDIF with Kemper it all went away. The Kemper needing to be the master clock can be problematic depending on the interface you use and your rig. I'm using an RME UFX which is probably the most stable of all interfaces and is known for it's excellent drivers.
Being a recording musician is a great way to build up your troubleshooting skills! Eliminating one thing at a time and narrowing in on the problem is the only thing you can do.
Long story short, retrack and use the XLR outs and don’t use spdif.
Most interfaces want to be the master clock.
A lower buffer decreases latency but increases strain on your computer’s ability to run plugins and virtual instruments. You can print VIs and tracks that use a lot of plugins to eliminate that strain.
You can also use a lower buffer setting when tracking for less latency and then set it to the max when mixing.
The latency could be coming from your buffer settings in your DAW. Try a lower setting.
You might need to tweak the Definition amount. You should also try using the Eq and filter the highs down to 10k or so. You might also try different profiles and don’t be afraid to Eq more if needed. Using pedal in front of the Kemper with some mid boost like a Klon can really help too.
I just use the xlr outs to avoid any spdif issues that might arise. My RME interface had trouble but other interfaces might be fine.
No plans for that.
The sizes 10 and 15 are not necessarily chosen for the sound, but for a convenient format IMHO.
idk, I think a 1x15" for bass players would be much smaller and lighter than a 2x12". There are a lot of bass players that could use the Kone technology when they move between acoustic, upright and electric bass. I use the Kemper in the studio for bass just as much as guitar. I know most bass players would prefer a 1x15" to a 1x12" but the cab design would need to be capable of handing the extra low end response.
These Kabs are so badass, I hope to see you expand the line. If you build it, they will come.
I tried it with bass and I don’t recommend it for that. It could be used in a small setting but the cab vibrates too much for it to be used at higher volume. I think a 1-15” version would be a big hit but the cab design would need to be able to handle the extended frequencies and volume.
I need to try it more off the floor. I’m really impressed with how great the bass boost sounds on the floor. I think this would be my preferred way to use it but I wish I could control the level of boost. Even if it was in five 20% increments or similar settings.
Kabinet finally delivered tonight. How do you switch between imprint mode and frfr? And how do you change the imprint in rig manager?
The Kone settings are in the Rig Manager editor in Output page but you have to scroll down to see them. Cab Off has to be enabled and then you'll get a pull down of all the imprints.
The Kab with bass boost on punches WAY above it's weight class. I'm an open back cab fan and the Kab sounds very balanced overall. I find the bass boost isn't just for if it's on a stand. I don't think it will work as a bass cab though which makes sense since it's not designed to.
It absolutely KILLS for a do all rig if you play a variety of instruments. The FR mode is very natural sounding and the kone mode is great for electric tones.
The footprint is a little smaller than a deluxe reverb and a good notch lighter. I could totally see a 15" version of this be very popular for bassists.
I do think the difference between imprints is pretty subtle. I also want to do some distance recording of it to compare to the actual speakers it's emulating.
All in all if you're looking for a portable do-all rig, this is it.
It definitely needs to be a rig setting rather than in the output section. Hope that change will be a priority
Idk seems like there’s needs to be the option for global choice of imprint or a way to lock the imprint choice if it’s tied to each rig.
If you can, is there any info available on how the speaker imprints are actually made? Are these some sort of EQ matching or a more elaborate capture like a profile? Just curious how these imprints of different speakers are actually different and what's being captured.
Monitor cab off has never meant mute? It has always meant that the Cab section is bypassed for the monitor output, while it is still in the chain in all the other outputs.
yeah sorry, my bad, I guess I've always just changed the monitor output to off when not in use. That said, I do wish there was a mute switch for the monitor out for using as I stated and for unplugging and plugging in instruments. I've always kept my tuner in non mute mode so that I can hear it when tuning in the studio. Unless I'm missing something, is there an easy way to mute the monitor output without switching from browser to tuning mode and then using that mute? Live, I'll just set the tuner to mute.
This DI Profile issue guides me to the next topic.
There have been requests for a Speaker Imprint selection per rig. This is something that we want to deliver in a subsequent software version.
The choice will be an individual imprint or - as default - the globally selected imprint.
The question has arised where exactly to logically position this per-rig selection. The obvious choice would have been the RIG menue.
But as we have thought about this more deeply, we came to the conclusion to put the selection it into the CAB modul.
This way a selection can be made accordingly to the content in the cabinet module. A cabinet preset would carry the individual imprint selection when it is saved separately and later inserted into another rig.
The somehow odd property is the fact that the imprint selection comes into action as soon as the CAB is switched off for the Monitor by activating "MonitorCabOff" and replaced by the Speaker Imprint.
In a way, "MonitorCabOff" seems to be the wrong name, as the cab is not switched off, only the "virtual cab" is off.
Can you handle this idea when you think about it for three seconds?
I get the idea of Monitor Cab Off means the imprints become active but doesn't that mean I've quickly lost the ability to mute the cab output? I guess I can still use the Monitor Out select knob to set it to off though but typically in the studio I turn the monitor on and off depending on if I want some speaker and guitar interaction while recording. It can make a big difference in sustain and how alive the guitar feels with a speaker close by even though I'm using the direct outs to record. I can see using the Kab the same way.
Maybe there should be a Kab Imprint On/Off button and the Monitor Cab Off should be renamed Monitor Cab Mute. It does get confusing because the Kab actually has an Imprint mode and a Direct FR mode. Monitor Cab Off naming doesn't make it easy to know what you're getting especially since it used to mean Mute.
I really like the idea of having different imprints in the cab section to be used with different profiles. This will be an amazing way to deal with a wide variety of acoustic and electric instruments.
I get the physics differences of s 12” and a 15” just wondering if they can tailor the imprint toward a 15” response. There are a lot of guitar amps that use 15s in an open back design and since the Kab is a closed back design I imagine it will have more low end than a typical 12” design anyway. Maybe a 15” Kab is on the way as well.
If there’s a list started for additional speaker imprints I’d like to add the Celestion Heritage G12-65 for use with Dumble amps when going for a Carlton or Robben Ford sound. Also the new Celestion 12” Alnico Cream seems like the most balanced alnico design and on the top of my list of speakers to get.
I’m also curious to see if the Kab kaptures the squish and compressed response of an actual alnico speaker.
Is there a list of the currently available speaker imprints?
As far as bass speaker imprints I did some searching and these are often recommended as classic speakers:
15" JBL D-140/130
18" Cerwin Vega
15" Altec Lansing 421A
15" Gauss Alnico
15" EV EVM15B
I'll have to do some more research but I imagine a single 15" imprint would work better than a 1x10" since most bass cabs that use 10" speakers use multiples. It could be nice to have a variety of 10" bass speaker options though for multi Kemper Kab use or Kones that are used as replacement speakers in a multi speaker cab.
ckemper you mentioned the Kabs aren't designed for close micing but a lot of times in the studio the bass cab is mic'd from a distance. Is there any reason in your opinion why this wouldn't work? I like the idea of trying the Kabs mic'd to get some natural room sound recorded.
I had endless ghost in the machine problems with spdif between Kemper and Logic.
I gave up and just use the analog outputs with no issues ever now.
Since the Kab will use a 12” speaker, are there any imprints of 10” speakers? It would be nice to have 10” alnico speakers for a variety of Fender amps for instance. Same for bass that uses 4x10” cab like an Ampeg.
Or for that matter can the imprints emulate a JBL 15”? Granted the feel of a 12” speaker would be a little tighter but if it could approximate a 15” on bass profiles, that would be awesome.
Edit: just watched the video from Namm and see there are a few 10" speaker imprints already. That's cool.
Try asking at thegearpage.net.
You might also find a an image of something close and then use Pinterest or google image search to quickly scan a lot of different instruments.