Quote:
Originally Posted by col  I think it's due to the stacking effect of quad tracking everything. Possibly also has something to do with the fact that the real amps are dual mic'd (SM57 + M201TG) and the profile is sort of a 50/50 hybrid of the two mics.
I guess I'll have to mess around with the advanced cab settings more, I only tried them for a while and the tone I got out wasn't really what I was after. I just felt that me trying to fix it through the menus would most likely result in a less accurate tone compared to the real thing. :D
I haven't really tried to fix the issue that way yet to be honest. Once we finish recording I'll have more time to delve into the deep editing side of it.
EDIT: Here's the eq curve of the differences made with Ozone match eq, the boosted freq are the ones missing from the Kemper. I'll have to try to apply this eq to the Kemper tracks and see if it fixes the issue.  
Edit2: It indeed did fix the issues I was getting. |
Good that it's just an EQ issue, but I have a question about the profiles that you made, how long did you spend refining them? This is the step that makes the biggest difference to the EQ matching curve for me, and sometimes I end up refining for quite a long time before it hits the spot.
In fact sometimes the first profile I make when entering profiling mode sucks and I have to start from scratch as no amount of refining seems to fix it, I'm not sure why (it could be a bug, or perhaps some bg noise got in during the initial profiling test signals pass).
One tip that I've found invaluable is to use SPDIF and set up a dry guitar track to re-amp (and re-record) during profiling. It's the only clear way to match them against each other without hearing more from the amp during playback than you want. I've suggested that Christoph add a re-amp loop during profiling in order to hear the sound side by side so you don't have to do this and he seemed to like the idea on the forum, but it's yet to make an appearance.