Kemper Digital Sound Cards & Media Devices Driver Download For Windows

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REAMPING PROCESS

(this guide is tested and builded for MBOX Audio Interface but can be easily used for any sound card that have at least 2 analog in, 2 SPDIF in, 2 analog out and 2 SPDIF out)

STEP 1 Direct Signal Recording (using SPDIF Output for the Dry recording and Main Analog Out for monitoring)

DAW
1) Arm 1st track (Input 1+2) for recording the full processed signal from the KPA Analog Main Out
2) Arm 2nd track (Input 3+4) for recording the dry signal from the KPA Digital SPDIF Out
Kemper
1) Output Page on “Reamp” with Main Out = Master Stereo and SPDIF Out = Studio Git or any other with Git on the Left channel (only the left channel of the SPDIF Input will be taken for the Reamping)
2) Input Page with Input = Front Input and, if possible, CleanSense=0 and DistortionSense=0 (it simplify the 2nd step of the reamp process)

STEP 2 – Reamped Signal Recording (using Main Out for Analog Reamp recording or SPDIF Output for Digital Recording)

DAW
1) Arm 3rd track (Input 1+2) for recording the full processed reamped signal from the KPA Analog Main Out
2) Route the DAW Output (from Mixer) of the SPDIF Dry Track previously recorded to Out 3+4 (=Software Returns 3+4 or Digital OUT)
Kemper
1) Output Page on “Reamp” with Main Out = Master Stereo (for Analog out recording) or Page on “Default OUT” with SPDIF Out = Master Stereo (for Digital out recording)
2) Input Page with Input = SPDIF Input (only the left channel of the SPDIF Input will be taken for the Reamping) and, if possible, CleanSense=0, DistortionSense=0 and ReampSense=0 (it simplify the process)

HARDWARE and Audio CONFIGURATION

This configuration is for the MBOX Pro Control Panel but can be used for any Sound Card
1) Outputs 1/2 = Stereo Mix with Input 1+2 Active = 0db, all the others Input on Mute (including SPDIF Input 7+8 to avoid to listen to Direct Signal of the guitar in the recording monitoring); Main Output 1+2=0db

Outputs 3/4 or SoftWare Return 3+4 Active = 0db (all the others Software Return Output on Mute);

2) SPDIF Out Mixer = Stereo Mix with active only the Software Return Output 3+4 and all the rest (Input and Output) on Mute
3) CLOCK In the MBOX Control Panel Setup Menù put Clock Source = SPDIF and
BufferSize (latency) lower or equal to 256 (5,8 ms) [128 –> (2,9 ms)]; Sample Frequency 44,1 KHz
Hardware Wiring
1) Connect the SPDIF In from the MBXOX to the SPDIF Out of the Kemper
2) Connect the SPDIF Out from the MBXOX to the SPDIF In of the Kemper
3) Connect the Main Analog Out Left+Right from the Kemper to the Analog In 1+2 of the MBOX

TIPs & TRICKs

· To Reamp more times the same track and avoid phase issues it’s needed to use a constant latency (Output Menù – Page 5) that will be of 4,5 ms
· Latency additional is introduced when Reamping respect to the original Analog Direct Recording, with MBOX Pro the additional latency is a delay of around 55-65 samples (1,2-1,5 ms)
· When Reamping (but also when recording directly) it’s good to compensate the latency with a negative delay of samples in the track: each 128 samples are approximately 3 ms of delay, so considering the latency of 256 samples introduced by the DAW two times (first step and second step of reamping) plus the latency of the KPA of others 3 ms, a good value should be between 768 and 1024 samples.
NOTE: A good Sound Card + Good ASIO Driver should automatically compensate the DAW Latency –> Test on Mbox Pro shows that it do!
· Using both the Digital SPDIF In/Out; leaving the same levels on the various mixer all to 0db; leaving CleanSense, DistortionSense and ReampSense all to 0db the Reamp process is very simple and the levels are perfectly matched.
· The CleanSense doesn’t work in Reamp Mode with SPDIF Input selected, so it has to be compensated with the appropriate ReampSense.
· The CleanSense for Dry SPDIF Signal Recording acts exactly as a pure Booster from -12db to +12db indipendently from the Gain level of the Amp while for the Amp sound it acts as a pure booster variable with the gain knob position;
this means that for a simplest process it’s better to leave CleanSense to 0db (to avoid further leveling) but to have maximum Signal-to-Noise ratio it’s better to put CleanSense at +12 before record the dry signal and then leveling the dry signal before the reamping putting ReampSense to -12.
• Before start the reamping process take note on the track (i.e. in the name of the recorded file) of which level of CleanSense has been recorded the dry track to be sure to have the information in the future for correct leveling of the track before reamp. For an optimal leveling before reamping it has to be compensated the CleanSense value with the same opposite amount of the ReampSense value.
The level of DistortionSense instead is perfectly replicated before and after the Reamping in the Step1&2, so it is possible to leave as it is without taking particular notes on that.
• If the SPDIF Dry Signal is recorded with CleanSense at +12db (with Gain of original Profile between 3 and 4) to compensate and obtain the same sound and level on reamping you can use one of these options
a) Put Reamp Sense to -12 db before reamping, leaving the dry recorded track to the same volume originally recorded
b) Lower the track from Sequoia (DAW) to reamp at -12db of the original recording and after reamping rase the volume of the reamped track of 6 db
• If the SPDIF Dry Signal is recorded with DistortionSense at -12db to compensate and obtain the same sound and level on reamping you can use one of these options
a) Put DistortionSense again to -12 db before reamping, leaving the dry recorded track to the same volume originally recorded
b) Put Reamp Sense to -12 db before reamping, leaving the dry recorded track to the same volume originally recorded
• Pickup FEEDBACK from AUDIO Speakers: in the pickup the speakers sound of the room enter of about 60 db under the clean signal (on a vintage pickup). The problem of backing is more audible when the gain of the amp is very high because of compression.
The Noise Gate on the Input section and the Noise Gate Stomps helps a lot to reduce such problem. With Noise Gate Stomps higher than 3 in the first position the feedback is almost completely cancelled.

The Kemper Profiling Amp vs Two-Notes Torpedo

The professional studio and home studio revolution have come leaps and bounds in the last few years. Some of the best guitar recording technology you can have in a studio space is digital technology. This wasn’t the case even 5-10 years ago. Back in the day, you could “get away” with using digital technology but when it came to recording electric guitar amplifiers always sounded better.

What is the Kemper Profiling Amplifier?

The Kemper Profiling Amplifier is a studio and live-use guitar amplifier that allows you to have all the tones of your favourite amplifiers and signal chain in one device. You get the actual sound of your amplifier as it would be mic’d up in a studio situation. Depending on your amplifier settings, pedal settings, and also microphone placement your results will vary drastically. One of the models is passive rack unit (pictured below) and the other unit is a 400-watt powered head version. The powered version looks more like a 1950’s radio/lunchbox than the rack mount model seen below.

How does the Kemper Profiler Work?

The Kemper “profiles” your signal chain. The way this works is simple: You set your amplifier up how you like it and you run a microphone from the speaker to the Kemper. Once you have the microphone placement and sound how you like it you can then profile the amplifier. The profiling process takes about 40 seconds. At this time, the Kemper is running frequency sweeps through the amplifier and that is it. You now have the sound of your amplifier on the Kemper.

Universal Audio UAD-2 Driver 5.6.0 Free Universal Audio UAD-2 DSP card and Powered Plug-Ins driver Updated: December 5 th 2017 182,983 total downloads 20 last week. Select the VST Audio System options under Devices. Choose your audio interface from the ASIO Driver drop-down menu. Once the ASIO driver for your audio interface has been selected, close the Device Setup by clicking OK. Adding an Output Bus. Open the Studio menu and choose Audio Connections. Select the Outputs tab and click the Add Bus button.

Changing the microphone type and microphone placement will change your results. Experiment around and see what works best for you. For me personally, I use Rode M3 microphones in the profiling process. The Rode M3 mics sound fantastic for electric guitar.

You can also run the clean channel of your amplifier with an overdrive going into it. This opens up a lot of opportunities when capturing your favourite tones and gear.

The Kemper software is set up so you can save, store, and share profiles very easily thanks to the Kemper Rig Manager.

What is the Two Notes Torpedo Live?

The Two-Notes Torpedo is very different from the Kemper. The way it works is fairly simple too. Instead of recording your amplifier the conventional way with a microphone on the speaker. The Two-Notes torpedo replaces the speaker and microphone. Hooking up the Two-Notes requires you to bypass the speaker on your amplifier and running the load of the amplifier into the unit.

The Two-Notes is not only a speaker and microphone replacement it is also a load box and can handle up to 100 watts RMS at 8ohms. If your amplifier is 16ohms then you are out of luck. You need to make sure to use an 8ohm speaker output to use this unit. You can also use a 4ohm output and that will not damage either unit as long as the watts are also in the safe-zone.

How does the Two Notes Torpedo Work?

The Two-Notes Torpedo is a rack unit and can be hooked up to a PC or MAC or easier use. Unlike the Kemper, you get a very visual user interface which allows you to virtually see where you are moving the microphone in the studio space. A huge advantage of the Two-Notes is you are still using your favourite amplifier in conjunction with the unit so you are getting the “tube experience”.

What are the downsides to a Kemper?

One of the big downsides to the Kemper is the price and how expensive the additional footswitch actually is. With the costs aside from the good things far outweigh the bad things. The other downside of the Kemper is a slight learning curve. It’s not “too complicated” to the point you’ll even need to read the instructions but you will probably end up searching online for some answers. I covered the learning curve in more on this article. Another small downside for some guitarists might be that the Kemper doesn’t use any valves/tubes. Guitarists love their tube amps and the Kemper is really a totally different animal.

Does the Two-Notes or Kemper Profiling Amplifier Sound Better?

They are two different units and because of this, they sound very different from each other. I use these units in two different ways. The Kemper will be used for tracking guitars on guitar review videos and also for guitar parts but I will not use it for pedal reviews. I much prefer the Two-Notes Torpedo live for doing pedal reviews. The reason is I get the response of the tube amplifier and it feels and responds more like it would on the amplifier with the regular speaker connected.

In terms of clean tones, I think the Kemper kills the Two-Notes torpedo. It feels a lot more clean and full sounding for whatever reason. The Two-Notes can do a clean tone but it’s a lot easier to get the amplifier to clip unless you run the clean channel at a lower volume.

As far as distortion goes both are great. There’s no real advantage to either. I’ve shot hundreds of pedal reviews using the Two-Notes torpedo and once you have it set up and found a mic and speaker impulse response you like you’re done. I have also tracked guitars on my last album using the Two-Notes and the tones were fantastic.

Two Notes Torpedo Tips to Better Tones

A quick tip for making the Two-Notes sound amazing is to choose one of the condenser microphone models. This will make it sound warmer and fuller sounding. In conjunction with these microphone models, you can also use the built-in software EQ. The built-in EQ in the Two-Notes Live Software is fantastic. Just notch up the top end a little bit and you are in business.

Devices

One of the best things about the Two-Notes is you can load first and third-party Impulse Responses from Celestion for example. This allows you to get the real sound of a particular speaker and just drop it into the unit for accurate recordings.

What are the Downsides to a Two-Notes Torpedo Live?

One of the limitations of the Two-Notes is it can only handle up to 100 watts at 8ohms. If you have amplifiers that run at higher ratings I would not consider buying a Two-Notes torpedo. Another downside is it took me a little while to “work it out” and have it set up where worked best for me. The user interfaces while very visual is also a little bit confusing and will take you a little while to understand how it works. Another downside is unlike the Kemper, it doesn’t come with any “guitar effects pedals”.

Direct Bass Recordings

Both units can be used for bass recordings with or without a bass amplifier. The cool thing about the Two-Notes is you can just plug your bass into it directly and then fire up the Torpedo Live software and design your ideal bass rig. It’s not the most feature-rich option but it works great.

The Kemper profiling amplifier can be used for bass recordings but you also have the capability of adding a compressor or octave/fuzz pedal or something else at the time of recording. For this reason, again I am going to say the Kemper is a better option for bass players. If you buy the 400 watts powered Kemper profiling amplifier you can use it for gigs.

Onboard effects

If you are looking for an “all in one” device that has all the effects under the sun then go for the Kemper Profiling Amplifier. Every guitar effect you need from overdrive, fuzz, distortion, delay, and more are included. The Two-Notes has none of these types of guitar effects. The Two-Notes does a good job of emulating different valve and tube configurations inside the unit for direct recording (if you so require it). Another advantage of the Kemper is you have controls right on the front of the unit to adjust the delay and reverbs.

Sound

Should I just buy both the Kemper and Two-Notes Torpedo?

If you own a lot of amplifiers and you want direct access to tones then just buy the Kemper. The reason I say this is you won’t have to continually keep setting it up time and again on different amplifiers. If you only have a couple of amplifiers then the Two-Notes might be the best option for you. If you’re a YouTuber doing pedal videos I feel like the Two-Notes is a better experience due to the “real amp” part of it as mentioned earlier. The Kemper is a guitarists dream in terms of recorded tones but they just don’t handle pedals in the same way.

There’s something about it that isn’t quite right to my ear using pedals into the Kemper. Some people swear they love using pedals into the Kemper and sure, they can be used like this but the “tube amp” thing is hard to beat. If you’re a serious studio musician then you might find great value in having both.

Software Updates on the Kemper vs the Two-Notes Torpedo Live

The Kemper software is updated more regularly than the Two-Notes Torpedo live software. With each Kemper update usually, there’s bug fixes as well as additional features added. I have had ZERO issues with either unit so for me, this isn’t a big deal.

Which is Better for Headphone Users

As expected the Kemper wins this again too. While the Two-Notes Torpedo sounds amazing into a sound card if you want direct headphone use the Kemper is the best tool for the job. While both units have headphone outputs the Two-Notes doesn’t sound anywhere near as good as the Kemper while using headphones. For some reason, the Two-Notes has a bit of a harsh sound with the headphone output.

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Which is better for Stereo Recordings

If stereo recordings are important for you then the Kemper wins this as well. You have 2 XLR outputs on the back making a stereo echo or stereo effect sound a lot more legitimate. The Two-Notes is a mono device so getting the stereo delay, for example, is something you will need to do in post-production with a VST plugin.

Ease of Use between the Two-Notes and Kemper

Both the Two-Notes and Kemper are very easy to “set and forget” once you have a sound you like. The Kemper might give some users “option paralysis” if you like to tinker with things. While the Two-Notes has fewer options I find myself hardly ever fiddling with it to test new things. I love the sound I get from the Two-Notes so I leave it as it.

Alternatives to the Kemper and Two-Notes Torpedo

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If you aren’t sure about either of them your next best option would be software like Bias or TH3. There’s a lot of musicians getting excellent results from software-based amplifier rigs. The most reliable and re-creatable tones come from hardware and not software. Software always works differently depending on your hardware specifications. Sometimes it will work great and on older computers, it might not work properly at all. The other cheaper options for direct recordings would also be the Hotone Ampero and the Mooer GE-200.

Which is the best value?

In terms of how much you can justify spending on any piece of studio equipment is a totally subjective thing. For the price, the Two-Notes is a great unit as is the Kemper. The Kemper is about twice the price of the Two-Notes but it’s justified because it can do so much more. If you only own a few amplifiers go for the Two-Notes Torpedo Live. If you are tracking a lot of guitar amplifiers then go for the Kemper. Before you buy the Two-Notes check out their IR library and make sure you can find a speaker IR you love. For me, I use the 2×12 Swamp Thang speaker box called the Bayou. I got this from the Two-Notes torpedo website for around $10.

Please also note, if you plan on using the Kemper in a live situation and want to buy the official Kemper footswitch it will cost a small fortune as well. I really see both of these as studio tools more than live tools. Sure, you can use them live as many people do but this is more focused on how they work and compare in a home studio setup.

I hope this comparison and overview has been helpful. It was written after 12 months with the Kemper Profiling Amplifier and after 4 years using the Two-Notes Torpedo Live.