Kemper Profile Pack

So after many requests, I've finally put together a small Kemper Profile Pack. It includes some of the patches I used while tracking TesseracT's new album 'Sonder'. It contains a rhythm patch profiled from a Diezel Herbert Channel 2 with some mix ready EQ already applied. A separate patch of the same one with the EQ tailored more towards coil split (less harsh). A clean patch I profiled from a Line 6 Helix preset I sometimes use. Plus two clean profiles based on a Roland Jazz Chorus JC120. Thank you to "Sveinung Sveen" for profiling his Diezel Herbert and allowing me to share it. 

I've also written some short notes below on how I'd go about EQing and processing these tones in the mix. I just wish the Kemper had more EQ bands/slots available!

Below is the rhythm profile in the context of a mix (the clean tone in the verse has also been profiled).

Note a 'Horizon Devices Precision Drive' is used in the intro and outro to add dirt. A similar effect can be achieved with the 'Green Scream' boost added as a stomp before the amp block on the Kemper. 

Some quick, random chugging examples of the guitars solo'd. The rhythm example is double tracked. A limiter is used on the master to raise the volume.

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Processing & Mixing Guitars

Below are a few things I do when treating the rhythm guitars in insert order chain wise...


These are the general areas I look at when EQing. I've EQ'd out the most harsh frequencies in the rhythm profile, however it could still do with a little more tidying. It will also vary depending on your guitar and pickups.

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  • High Pass with a high octave range...usually 48db up to at least 40hz. Usually a little higher when in the mix
  • 110/250 resonance control if its over bearing
  • 400 if a little honky
  • 700 just for a little metal scoop, i don't always usually do this
  • The most important area and the area where I start with is sharp notches between 2k to 4k.
    2.4k, 2.8k, 3.4k and 2.2k stood out the most for me in this example.
  • Sometimes a low pass above 15-18k just to give the cymbals room to breathe in the mix. Sometimes lower/higher depending on the mix.
  • You may also want to boost the over all output of the EQ by a few db due to the cuts applied reduces the perceived loudness. In this example I had to boost the volume on the EQ by 4db for the RMS meter to read roughly the same as when the EQ is bypassed.
  • Seriously check the 2 to 4k area. The amount of bands I hear, especially live, where all you can hear is 3k is just fatiguing. STAHP! Obviously if you cut too much it'll sound crap - hence why I try to keep it to sharp 3 to 6db cuts (unless something really nasty is poking through).


Multiband Compression

This is usually just to control palm mutes so they are not over pronounced. Usually around the 130-170hz area. Cutting around 3 to 5db depending on how loud the palm mutes come through compared to open chords/notes. I usually have a quick attack between 5 - 10ms and a release around 75-125ms. Set the threshold so that it doesn't engage on open notes and is only triggered when palm muting. The difference is subtle but it just helps keep things in control which helps when adding more elements to the mix.

 It's also worth mentioning when using the C6 to switch the master release, on the right hand side from ARC to manual, which I forgot to do in this example.  I usually prefer Opto behaviour also.

It's also worth mentioning when using the C6 to switch the master release, on the right hand side from ARC to manual, which I forgot to do in this example.  I usually prefer Opto behaviour also.

Dynamic EQ

I usually apply this if some harshness is poking through from pick attack or perhaps some other unwanted noise (fret noise for example). In this example its cutting more harshness at 2.5k. I've set the threshold so that it only engages (ish) on the pick attack. Fastest attack and around 100ms release usually works. 

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Clariphonic / Broad Bright EQ Boost

I used to try and record the brightest tone I could and then cut any unwanted stuff after. However more recently I prefer to record a little darker and boost brightness after. I love using UBK's Clariphonic for this. Again it depends on the source sound as to whether its needed or not.

I almost always use the Lift/Tight selection on guitars. Then its a matter of choosing between sheen and shimmer for the Clarity selection. Sheen is more obvious/intrusive compared to shimmer.


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