Can't get my profiles close enough

This is always my problem. The low end never matches up. I've grown frustrated trying.

If I read this right, the OP is capturing an eq snapshot of the actual mic sound & then the ensuing KPA profile, meaning that room placement and mic choice shouldn't matter (assuming everything is the same in the chain)
I wish I had ozone to check this out on my end...my ears do not perceive any low end bump as OP states, but IDK

The only difference between the profiler and mic sound should be the reverb trail, so standing waves aren't really the issue but ambience might be.
I'll see if i can give it a go with the Engl tomorrow.

Any chance you can give settings for the KPA internal paraeq?

From what I can see in the pic I'm thinking low freq 100Hz, low gain -10dB, mid freq 150Hz, mid gain +2.5dB, mid Q 0.78 ?

3 dB is a lot, actually a lot more than your JMC profile would need.
By carefully refining you can achive a deviation of less than a half dB with most amps.
A good final refining is made by playing in those regions and styles where the deviations are revealed.

Have you tried to profile your Orange again with less amp volume?

Three things I've noticed when profiling that might make an impact for you, theyre' not scientific just experiences that I've had.

The first is that for some reason sometimes a profile is just messed up, usually the first profile I make, and no matter what I do it'll never get there, so I have to just ditch it and go on to make a second profile which then seems to come out that much better (don't ask me, it could just be that I'm not in the right refining mode, or perhaps there's some bug, who knows, but it seems to happen fairly regularly for me).

The second thing is that sometimes it just takes a lot of time to refine something, like a lot lot, ten minutes or more of just noodling away and then suddenly you go back and test and it's like something just clicked into place and the result is much closer.

The third is that it's easy to forget that the Kemper is still sending signal out from it's SPDIF and monitor outs at the same time as it's profiling! This means that unless you turn your monitors down during the profiling and refining process you're going to get some very strange phasing and amplification effects which wont be present when you simply record the result direct from the amp because it's hearing the same thing played back twice from two different parts of the room. It's easy to overlook because often your amp is damn loud and you don't notice!

On top of this I'd really recommend setting yourself up via SPDIF in order to re-amp back as needed. My workflow for dealing with the fact that I have no isolation booth in order to be able to hear KPA vs Amp properly is to go guitar->interface->spdif->kemper->amp->mic->kemper. Now i have a DAW up and running at the same time and I record the dry guitar signal from the hi-z input on my interface as well as the kemper or amp while doing a little test riff, I think switch the A/B on the Kemper and send the dry channel out to the KPA through the SPDIF to be re-amped and again record the result. That way I have both versions that I can now listen to through the monitors without hearing the amp at the same time and do an AB within the DAW. Coincidentally the KPA makes for a decent real amp re-amp box too thanks to this ability I wish that we had looping using a usb stick for memory in order to have the KPA do this for us automatically during refining with a little "loop" mode and the a/b switch, that way you'd not need to go through the kerfuffle, but still this way works, and it can help you get a lot closer than otherwise if you don't have the ability to 100% isolate your cab.

Within 1/2db is close enough for me

But, even if your profile is 1, 2, or even 3 db down around 100hz to 200hz:

Every recorded guitar track ends up with less low end than the amp has, and in a live mix, a guitar with as much going on in the 100hz to 200hz range as in higher frequencies would also have the low end rolled off in FOH, because that frequency range needs to be available for the Bass and Drums.

Quote from paults

Every recorded guitar track ends up with less low end than the amp has, and in a live mix, a guitar with as much going on in the 100hz to 200hz range as in higher frequencies would also have the low end rolled off in FOH, because that frequency range needs to be available for the Bass and Drums.

This is a fact of life...your Engineer is going to roll off those frequencies in order to allow the other instruments space in the mix. One of the most difficult things I've learned was to learn to hear the guitar as it should be EQ'd to sit in the mix. This usually doesn't sound "quite right" when you are smply palying out thru the amp in the room. Let the Bass , Synth and Kick fill out those frequency ranges in your guitar tone.

Quote

The third is that it's easy to forget that the Kemper is still sending signal out from it's SPDIF and monitor outs at the same time as it's profiling! This means that unless you turn your monitors down during the profiling and refining process you're going to get some very strange phasing and amplification effects which wont be present when you simply record the result direct from the amp because it's hearing the same thing played back twice from two different parts of the room. It's easy to overlook because often your amp is damn loud and you don't notice!

Interesting, I knew I wasn't the only one having this kind of trouble for the lack of an acoustically isolated room plus control room. I'd venture a guess that the vast majority of the Kemper userbase don't have a professional studio at their disposal either. I've suggested including a "single room" option in profiling mode that would mute the direct out when engaging the "Kemper" switch and mute the main and monitor outs when engaging the "reference amp" switch, but my it doesn't seem to have gotten much attention. The result would be that the reference amp would be silent while auditioning the Kemper through the monitors, and while refining or listening to the original amp the monitors would be silent. Currently every time I profile and want to compare original vs Kemper I have to go and turn amp to standby and then back on, and then turn the monitors off, back and forth, it's a real pain in the ass.

I don't know if this will help but here goes:
Before profiling an amp, we select a profile on the browser that is close.
I then go to profile...if something goes wrong (wrong amp setting, cell phone rings, etc) I abort halfway through
It's probably important to go back to the browser & reselect the close profile. Otherwise, you're basing your profile on a botched attempt, which might work anyway but I'd rather not take any chances

Hi tgs,

could you please check if the 'Direct Mix' parameter is set to something other than '0' in your profile?

thanks
Don

Very interesting.

TGS: I guess the question that comes to mind is...besides looking at what the graphs and trace lines are saying to us..How does it sound? I mean...Is the the tone rocking? Does it put a smile on your face? In spite of not being 100% perfectly profiled?

At some point we have to stop looking at charts and just play it...

So basically the profiles have too much low end below 100 Hz and lack low end *around* 100-120 Hz, right? I've read more than once that the guys who make commercial profiles have to compensate their rigs for the lack of low end, wondering how they're doing it. I have noticed the lack of low end during profiling myself and now realize that by compensating for it using the tonestack I might (and probably am) also boosting the frequencies below 100 Hz which are already boosted in the profiling process. Is this assumption correct?

Are you recording both clips (reference AMP and profile) through the Kemper?