No, I never expected it, because they've always been pretty clear about what the profile is capturing. But there's no reason it couldn't grab an IR at the end for even more authenticity.
Exactly 
And with the option to turn it off or on in the cab section, of course. That way you get around the potentially bad rooms (either way, bad rooms still contribute to bad sound even if the reverberations are cut off.)
When using the Kemper in a room, or onstage, the sound of the actual acoustic space it is being used in provides "the room sound".
For recording, the dry profile/rig is more versatile than it would be if the room was included in the rig. A room IR can be added when recording a song, if desired. Adding it at that point it is like being able to fine tune the sound with reamping.
I think I'll call that RE-ROOMING
When using the Kemper in a room, or onstage, the sound of the actual acoustic space it is being used in provides "the room sound".
For recording, the dry profile/rig is more versatile than it would be if the room was included in the rig. A room IR can be added when recording a song, if desired. Adding it at that point it is like being able to fine tune the sound with reamping.
I think I'll call that RE-ROOMING
I don't necessarily agree
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When using the Kemper in a room, or onstage, the sound of the actual acoustic space it is being used in provides "the room sound".
For recording, the dry profile/rig is more versatile than it would be if the room was included in the rig. A room IR can be added when recording a song, if desired. Adding it at that point it is like being able to fine tune the sound with reamping.
I think I'll call that RE-ROOMING
I think that a lot of good close-mic'ed tones still have some of the room going on, filling them out a bit and adding a tiny bit of echo/resonance that keeps tight mutes from sounding too tight/dry/chopped, but not enough that you would think "oh yeah, I can hear the room" on that. By taking a quick impulse response after profiling, and obviously making it optional, profiles could get even closer to the tone they're trying to replicate.
Again, if the big selling point of the KPA is that you can instantly call up tones from a recording session you did six months ago, why leave out a fairly-simple, and easily-turned-off, part of that tone?
My issue is that I've not yet found an IR verb that actually gives an authentic room sound. They all sound like a digital (with room eq) studio verb, clean, glassy, very nice often, but not harmonically resonant in the way the real deal is. The way I capture room is to literally add a mic in the room on playback and record the actual sound on a second track.
Additionally the main reason you go to a nice studio to record something is because of its space, the sound you get there, if you're not capturing that then whats the point of going there in the first place?
Yep, but then you're talking about recording an amp in a nice studio. You can do the same with your Profiler like with any amp, no?
As for IRs, they... respond exactly like the room would if they are properly taken.
I'd be more keen to think of a limitation in the app using the IR or in a pilot error if the results are not realistic...
Why would you want to mic up a Kemper?!? That's like putting strings on a keytar.
Isn't the whole point of profiling to capture the sound of the amp as recorded, including mic and so on, thus giving you perfect and instant recall of that sound directly without having to additionally mic up a guitar cab again, figure out where your placement was before etc... otherwise why have DI and SPDIF? Why have a "cab" section?
The Profiler is extremely versatile, and can be use in any creative way you like.
Many people use a guitar cab with the Profiler. If you are in a studio whose sound you love, and you're not satisfied by IRs...
This is just an option among others; as for me, I am completely satisfied with how a profile sounds and do not feel a room is missing.
Not sure I got your point about using a DI and\or S\PDIF, but (if I got what you mean) you'd miss the cab, hence any contingent air the mic could have picked up would be quite unreal.
Or you were meaning something else?
No, you get what I mean about the cab, and that's the point. We want "air", but ideally we want to capture the air of the studio, the place where the amp is profiled.
The Kemper has a cab section which only emulates the frequency response of the real speaker, mic, mic pre and desk, but it's purpose is to try and emulate an amp cab, it's there so that you can record direct without micing up, to always match and capture the sound without having to have the real amp there in the room with you. That was the original purpose of the Kemper for most users. The lack of "air" (and the ways to fix that) is what this thread is about, at least as I'm reading it.
I also miss the "amp in the room" when using headphones.
sometimes i use this free "room" plug-in to get same "air"
Have you tried the Space parameter in the output menu? It is meant to provide a subtle ambience to prevent ear fatigue when listening through headphones.
Have you tried the Space parameter in the output menu? It is meant to provide a subtle ambience to prevent ear fatigue when listening through headphones.
Yes, I have it on almost permanently and it does help a little bit, but the effect tends to fall apart as you raise it's level above the lowest settings, kinda makes amps sound like they're being recorded in a toilet. It's just a simple delay sound, good enough for headphone use but not really close to the real deal.
The Kemper has a cab section which only emulates the frequency response of the real speaker, mic, mic pre and desk
Well, it actually does much more than this: it emulates the impedance interaction between cab and power section at the various frequencies, which is something unique to the Profiler. No tone matching will ever do that.
I see what you mean tho, but at the same time I don't think that a cab profile should "carry the room" with itself.
Just an opinion, of course!
PS: I believe hjscheffler's post was addressed to Kosta
Instead of arguing, ill answer the op. Use a very short, low feedback delay and a low mix reverb with heavy dampening. Use del/rev balance to soften the delay and mess with the tone settings on each until something sticks.
I made some room presets in my reverb bundle. Search "MAB" on the rig exchange. Should be 3 - "MAB R" maybe.
IMO the room plays a big part.
Would love it if it could be captured! To at least some noticeable extent.
Yes, I have it on almost permanently and it does help a little bit, but the effect tends to fall apart as you raise it's level above the lowest settings, kinda makes amps sound like they're being recorded in a toilet. It's just a simple delay sound, good enough for headphone use but not really close to the real deal.
I dont want to argue with you but Space is more than just a simple delay.
the Space its a nice feature, but nothing like the "real" thing.
my anwser to the "problem" ( its not a KPA fault anyway ) : avoid playing with headphones 
the Space its a nice feature, but nothing like the "real" thing.
my anwser to the "problem" ( its not a KPA fault anyway ) : avoid playing with headphones
Agreed. If to use headphones, make sure they are extremely open sounding. Open back times a hundred!
I find using a mono output and playing with the space parameter yields decent results. Wish the headphone out on the kemper would also operate in mono.
Roomsound and mono dont go together.Spatial information needs at least stereo to be encoded.
Roomsound and mono dont go together.Spatial information needs at least stereo to be encoded.
Figured as much. I tend to experiment a lot.
