Welcome to the board!
The guitar sounds good but the shortness and quantity of the clips make it tough for me to listen critically. Sounds like there is some compression "pumping" that is distracting as well.
This is why i find using the KPA so hard haha. All your examples sound "good". But they all have some very obvious EQ cuts needed. So its really difficult to choose a favourite.
I would start by doing the good old fashioned EQ "sweep" to find the couple of really nasty frequencies in each example and cut them out with a really narrow Q. Mix in general sounds good. If theres a vocal to go over the top thats when things might get harder i guess 
Hi Chamelious!
Yeah, I'll try to make some EQ cut then.
Nope, no vocal, this is an instrumental project only !
H.S. Surprised to meet you here ! We bumped into each other really quickly at Sithu Aye's gig in Glasgow last time 
Display MoreHi Chamelious!
Yeah, I'll try to make some EQ cut then.
Nope, no vocal, this is an instrumental project only !
H.S. Surprised to meet you here ! We bumped into each other really quickly at Sithu Aye's gig in Glasgow last time
Ha, thats awesome, were you playing that night or just part of the crowd?
Ha, thats awesome, were you playing that night or just part of the crowd?
Nah, part of the crowd that time
I tried to chase for nasty frequency in my guitar tone (I went with example nr 4 btw, the Soldano) and found some undesired ones at 580Hz, 1.02kHz & 4kHz. Removing them made wonders!
However to achieve that I used a parametric filter with very high Q factor ( 50 !! ).
Should I apply my cut inside my kemper with the built in studio EQ ? And if yes wouldn't the max Q factor of the kemper ( 4...) be too coarse ?
Or should I keep this kind of "second order tweak" exclusively for the studio ?
And does every amp need to be checked / fixed for nasty frequency ? On only the high gain ones ?
Cheers,
Hi dude, i always keep these cuts for the studio. I could be wrong here, but i think, if they get used in a live context, you'll find the room has an effect on exactly which frequencies come out sounding nasty. And even in a mix, i think the bass, drums, other instruments will have an effect.
I usually check every single instrument in a mix for "nasty" frequencies, though distorted guitars are by far the worst offenders. You do have to be a bit careful, sometimes the "nasty"ness of a tone is part of its character and losing it actually makes things worse. Though as i say, usually theres at least a couple of narrow cuts you can make, and when you try switching them back in it just hurts, ha.
I should add please take anything i say with a big fat grain of salt as im NOT a mixing engineer, my bands music always gets sent off to a great engineer, since i tried mixing our first album many years ago and did an awful job on it. I've learned lots since then but still wouldn't attempt to mix anything other than demos
Grand, cheers pal !
I'll definitely add this into my workflow
