I like accoustic tones with the amp and cab OFF. That's my only tip.
Is this for recording? TBH I would always record an acoustic with 1 or 2 mics, preferably small diaphragm condensers, then apply any stereo effects downstream, but you can do some cool stuff by recording the mag pickup through the Kemper.
The mic quality, placement, room, and technique are the big ones, then add the sprinkles, rather than trying to use sprinkles to cover up issues upstream.
If you are using multiple mics or a mic and KPA pay special attention to phase alignment.
Depends on the type of sound you are after, but I would not rely on any pickup system to record an acoustic. We are talking about strictly recording, correct? I would use a pickup system live but not to record. My goal is to capture the acoustic nature of the instrument and pickup systems get in the way of that.
For me it is about mic placement. I tend to place a mic somewhere in the area between the soundhole and the 12th fret. Small changes make a big difference. I have had success with dynamic, condensor and ribbon mics.
I see no reason to involve the Kemper in the recording of a tradiional acoustic guitar.
I like accoustic tones with the amp and cab OFF. That's my only tip.
what does this mean, so you don't do any mixing of the kemper signal at all? just all micing ?
Is this for recording? TBH I would always record an acoustic with 1 or 2 mics, preferably small diaphragm condensers, then apply any stereo effects downstream, but you can do some cool stuff by recording the mag pickup through the Kemper.
The mic quality, placement, room, and technique are the big ones, then add the sprinkles, rather than trying to use sprinkles to cover up issues upstream.
Yes, this is for recording. interesting tip, so what you are saying is, the signal from the kemper, you only record the FX signal (no dry tone), and then mix with the signal from the stereo mic?
If you are using multiple mics or a mic and KPA pay special attention to phase alignment.
Thank you, are phase alignment issues something you can hear easily? it sounds pretty good to me, but i dont know what phase alignment issues sound like
Depends on the type of sound you are after, but I would not rely on any pickup system to record an acoustic. We are talking about strictly recording, correct? I would use a pickup system live but not to record. My goal is to capture the acoustic nature of the instrument and pickup systems get in the way of that.
For me it is about mic placement. I tend to place a mic somewhere in the area between the soundhole and the 12th fret. Small changes make a big difference. I have had success with dynamic, condensor and ribbon mics.
I see no reason to involve the Kemper in the recording of a tradiional acoustic guitar.
okay gotcha, yeah I am stereo mic'ing the guitar between the soundhole and the 12th fret. I just thought adding the kemper into the equation, with the levels way down, so its not that artifcial pickup sound, would give it an even fatter or "bigger" studio sound.
Yes, this is for recording. interesting tip, so what you are saying is, the signal from the kemper, you only record the FX signal (no dry tone), and then mix with the signal from the stereo mic?
That's an option, but I would never record my acoustic guitar through the Kemper, even though it's possible to record that and the mics at the same time.
The key is learning (if you don't already) how to manipulate tracks and add things in your recording software.
Here's a typical scenario for me:
1) Record the acoustic part with a mic (or 2 if it's a feature part)
2) Clone the track twice into new tracks
3) Pan the clones L/R
4) Apply reverb/delay/compression to the clones to suit the song
5) Adjust the original track (dry) to make it as in your face as needed
okay gotcha, yeah I am stereo mic'ing the guitar between the soundhole and the 12th fret. I just thought adding the kemper into the equation, with the levels way down, so its not that artifcial pickup sound, would give it an even fatter or "bigger" studio sound.
What you are doing is worth a try. It's always hard to describe sound with words, but a fatter sound can come from several places. Mic more of the body or soundhole. Change playing technique. Find another instrument - a lot of variation here. Double the track if the track lends itself to that. Not a fan of cloning, but YMMV. Use some light compression to provide a more consistent sound foundation.
what does this mean, so you don't do any mixing of the kemper signal at all? just all micing ?
I'm using electric guitar with my middle single pickup and the Kemper Acoustic Simulator and a EQ in the stomp. The stack is turned OFF. My DAW is getting 3 inputs; from the guitar mono output, from the DI, and a mic to pick up string noise on the electric. I blend all three in DAW to get the best acoustic sound.
Instead of doing a stereo track, I am doing a wet/dry track which sounds much more luscious to me.
what does this mean, so you don't do any mixing of the kemper signal at all? just all micing ?
It actually means he is not recording an acoustic guitar at all. He is trying to approximate a real acoustic guitar by using an electric guitar plugged into the Kemper to simlulate what you are trying to do with an actual acoustic. We are all free to try what we want, but his comments have almost nothing to do with your question.
Display MoreThat's an option, but I would never record my acoustic guitar through the Kemper, even though it's possible to record that and the mics at the same time.
The key is learning (if you don't already) how to manipulate tracks and add things in your recording software.
Here's a typical scenario for me:
1) Record the acoustic part with a mic (or 2 if it's a feature part)
2) Clone the track twice into new tracks
3) Pan the clones L/R
4) Apply reverb/delay/compression to the clones to suit the song
5) Adjust the original track (dry) to make it as in your face as needed
this isn't really making sense. if you clone the track twice into new tracks and pan them L/R you end up with the identical mono track that you cloned. Are you saying you'll apply reverb to one track (L), and then a delay, or perhaps a separate reverb with different settings to the other track (R)?
also, in regards to having a dry track in addition to the wet track, wouldnt this be the same as adjusting how much you are sending to the return track with your effect on?
It actually means he is not recording an acoustic guitar at all. He is trying to approximate a real acoustic guitar by using an electric guitar plugged into the Kemper to simlulate what you are trying to do with an actual acoustic. We are all free to try what we want, but his comments have almost nothing to do with your question.
i see that now, i was confused. Yes, Bayou, im recording an actual acoustic guitar, not approximating one with an electric
this isn't really making sense. if you clone the track twice into new tracks and pan them L/R you end up with the identical mono track that you cloned. Are you saying you'll apply reverb to one track (L), and then a delay, or perhaps a separate reverb with different settings to the other track (R)?
also, in regards to having a dry track in addition to the wet track, wouldnt this be the same as adjusting how much you are sending to the return track with your effect on?
I usually record a single dry mic (mono) then get the stereo effect by using different delays in the L and R "effected" tracks. Then I adjust the effects in the mix by balancing the levels amongst the 3. I sometimes add a dash of reverb and some compression to the center track.
With a pair of mics, you'll already get a little bit of stereo separation, but I will still clone each side to create separate L/R for the effects, so I can control them as I like.
Thank you, are phase alignment issues something you can hear easily? it sounds pretty good to me, but i dont know what phase alignment issues sound like
It depends on how out of phase the signals are and how experienced your ears are. The best way to test it is to flip the polarity of one of the signals in the DAW and see whether the sound changes. If they are in phase the sound will be full but if they are out of phase it will get progressively thinner the further out of phase the signals are.
Not sure which DAW you are using but in Logic the polarity switch is in the Gain Plugin so you you need load this on the track first.
Another way to check polarity is to look at the audio waveforms of each track together. Zoom in with one above the other and look at the peaks and troughs of each track. If they are in phase they will appear at the same time. If they are out of phase one track will have a peak when the other has a trough. You can nudge one track left or right on the grid to better align them after recording if necessary. This can also be a good was to train your ears to hear differences as you are not listening to a 180 degree flip but more subtle changes.
okay gotcha, yeah I am stereo mic'ing the guitar between the soundhole and the 12th fret. I just thought adding the kemper into the equation, with the levels way down, so its not that artifcial pickup sound, would give it an even fatter or "bigger" studio sound.
The key here is phase alignment. If the signals are out of phase you will end up making the sound thinner and smaller rather than bigger. If two identical signals are completely out of phase you will get silence. This is called the null test. However, the signals from multiple sources on an instrument are never exactly the same and rarely exactly out of phase so instead of silence you just get a thinner sound .
i see that now, i was confused. Yes, Bayou, im recording an actual acoustic guitar, not approximating one with an electric
My tip works for both when using any guitar with a pickup system.
Cheers!
I use a mic about a foot from the 12th fret or so. But I'll also plug the guitar into the Kemper and use the SPDIF to record a mono DI and a mono full stack track. Sometimes I'll blend in the SPDIF tracks, or do some other fancy tricks, so its nice to have them.
Here's a couple that I used a Rode Stereo mic about 1 foot away from the 12th fret and the Piezo into the Kemper with stereo FX.
Most of the blend is the Kemper.
