Is the kemper able to capture at least some of the "room" in the profiles?

Quote from nakedzen

One problem I can see with using your guitar cab for producing convolution verbs, the sharp transient needed for making those could shred your speakers into confetti.

I know you were joking, but it's a fair consideration. Fortunately the inertia of the cone and whatnot, along with the frequency response of the speaker, would round the edges of the pulse out nicely.

The resulting room IR wouldn't be like one that's captured following the usual starter-pistol / popped-balloon that's fit-for-all-purposes, but rather, one that's tailored to the sorts of room responses one might expect from whichever cabinet was used - perfect for a Kemper Profile captured under the same conditions (amp-and-cab setup).

Let me answer in a different way.

All aspects of the recording room and microphones are fully captured.
The only exeption is that a reverb tail is suppressed, in the event that it was noticable on the original.
But even the character of this reverb tail captured.

The suppression is only noticable, if the microphones are placed far from the speaker, and if the room is large. This is typically not the case with classical close mic'ing.

For that reason you rarely find (if any) A/B comparisons on the web where the supression of the reverb tail is noticable or critizised.

There is a nice trick: Try seting up an amp with a microphone about two meters away, off axis. The sound quality does not matter here. This setting might create a hollow sound due to the room and position in the room. Profile it and check how the roomy sound character is fully captured.

CK

Quote from ckemper

Let me answer in a different way.

All aspects of the recording room and microphones are fully captured.
The only exeption is that a reverb tail is suppressed, in the event that it was noticable on the original.
But even the character of this reverb tail captured.

The suppression is only noticable, if the microphones are placed far from the speaker, and if the room is large. This is typically not the case with classical close mic'ing.

For that reason you rarely find (if any) A/B comparisons on the web where the supression of the reverb tail is noticable or critizised.

There is a nice trick: Try seting up an amp with a microphone about two meters away, off axis. The sound quality does not matter here. This setting might create a hollow sound due to the room and position in the room. Profile it and check how the roomy sound character is fully captured.

CK

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How about if you combine that mic 2 m away with a mic which is 5 cm away from the cab, and then sum the signals before returning it to the kemper? How will that affect the sound?

If you would like to hear this kind "one distant mic" rig, I can provide an example. I uploaded it 12/17/2012. I wanted to hear a profile made that would sound like the amp sounds from playing position. I used a large diaphragm condenser microphone placed at ear level, six feet away from the cabinet. It is on the Rig Exchange, and called:

If you make a Close+Distant mic rig, The tonal influence of both mics are heard, without the room "space". I also uploaded a "two mics" Rig in 2013, using a close mic 57, and an AKG C3000 placed far off axis from the Speaker.

It is called JUBILEE OPEN sm57+C3

So the "reverb tail getting suppressed" as CK says it will not affect the difference in timing of the arrival of each individual signal (ie. from one mic being farther away)?

Combining any number of mics, at arbitrary positions, will give results as expected.
This is a common practice when creating profiles.

Thanks - I thought so

Quote from patrick2099

I love Top Jimis Marshalls, but I always tone down the reverb.

The TJ merged AFD #34 is my go-to sound for live and when I’m recording I double it with the TJ AD 30 “Tangerine” profile. It has a bit more high end and clarity. I’m thinking of using it for my lead patches eventually too.

Best profiler IMO, though. Doubly if you prefer a traditional cabinet and only use merged profiles.