Giving it up!!

    MArkyboy - don't get me wrong, I'm nearly there but I get where you have bene coming from.


    I am sticking with it - in fact just sold my beloved Engl...sweating a bit but figure I need to go for it full on.


    I'd love to come and try the Yamaha please. send me your details and I'll give you a call..

    Quote from spottydog10

    Not walking round Derby in those shorts are you?
    Only joking mate, what type of sounds are you looking for out of interest?
    Maybe one of us can point you to an amp/patch that will suit.
    Mike


    Hi Spottydog - yeah got to get the shorts out!!!


    Sounds for me are fairly simple - I play in a Whitesnake tribute band doing the early stuff ( Boxosnakes - plug, plug ) and they have that 70's rock sound - typical cranked marshall. I also play in a regualr covers band and want a heavier rock sound. I'm honestly not that fussy, if I could get a good Blackstar/Marshall type rock sound I'd be happy. I run through a 4x12 with v30's and G12H's in it...


    I can'tr describe what is "wrong" with the curent sounds, just slightly artificial. I am buying some TAF profiles for chrimbo so that should help but any suggestions would be great.


    Ta...


    Oh and I will be using it tomorrow night so it is good enough, just sill working to get "that" sound. It's also confidence...

    Yeah, getting THE sound you want can be a little time-consuming... Usually takes me a couple days to tweak 'em throughly, play with it one day until I can't hear the differences, quit and come back next day or so, repeat as needed.


    One band I play in is an ABB trib band (Idlewild West, shameless plug) and I do the Duane stuff and keep trying different profiles trying to hit the At Fillmore East tones (as I recall, Duane used a '69 or '70 Super Bass with, I think, JBL- loaded cabs, not exactly standard Marshall cabs), I've gone through through a bunch of profiles, Marshall Plexis, Super Leads (though I have yet to try r-u-serious' profiles, I will audition them tonight), also the PRS DA, but turns out the closest I found was the freebie Marshall DSL40, which I also just happen to own and was using just prior to buying my Powerhead. Maybe I'm biased, but with some tweaks it gets pretty danged close.

    Another little factoid I thought I might mention, to add to the discussion: my "Dickey" partner in the ABB trib band uses a meticulously-tweaked Digitech RP-1000 into the clean channel of usually either an Egnater Tweaker 40 or a Mesa Nomad 45 and he gets great tones (sounds like crap when he goes direct from the Digitech, however). He really likes the Kemper, but he is happy with the Digitech/amp combo and doesn't want to shell out the bucks. Just goes to show more than one way to skin a cat. :)

    Quote from ucnick

    Yeah, getting THE sound you want can be a little time-consuming... Usually takes me a couple days to tweak 'em throughly, play with it one day until I can't hear the differences, quit and come back next day or so, repeat as needed.


    One band I play in is an ABB trib band (Idlewild West, shameless plug) and I do the Duane stuff and keep trying different profiles trying to hit the At Fillmore East tones (as I recall, Duane used a '69 or '70 Super Bass with, I think, JBL- loaded cabs, not exactly standard Marshall cabs), I've gone through through a bunch of profiles, Marshall Plexis, Super Leads (though I have yet to try r-u-serious' profiles, I will audition them tonight), also the PRS DA, but turns out the closest I found was the freebie Marshall DSL40, which I also just happen to own and was using just prior to buying my Powerhead. Maybe I'm biased, but with some tweaks it gets pretty danged close.

    Another little factoid I thought I might mention, to add to the discussion: my "Dickey" partner in the ABB trib band uses a meticulously-tweaked Digitech RP-1000 into the clean channel of usually either an Egnater Tweaker 40 or a Mesa Nomad 45 and he gets great tones (sounds like crap when he goes direct from the Digitech, however). He really likes the Kemper, but he is happy with the Digitech/amp combo and doesn't want to shell out the bucks. Just goes to show more than one way to skin a cat. :)


    Good info! I play in a southern rock band and I am responsible for the Duane parts) Keep me posted if you find a profile better than the DSL 40. :thumbup:

    Quote from markyboy

    I would just like to say thank you to all you guys for your help! I think you are all brilliant , helpful and very patient. However I'm not a proper Kemper user it's killing me! Way too many options, I spend more tim tweaking than playing, it's not for me! I'm wondering if anyone knows who might be interested in a power rack version + a yamaha DXR 10 and 12 and a F1010 uno chipped board and 2 stands. I will sell all for a very cut down price. I hope this isn't an inappropriate use of the forum, just thought you might be interestedThanks again all mark


    Don't do it! I'm in the same boat as you -- don't understand 95% of what the toaster is capable of. But so what? I don't plan on recording a CD. I have about 10 go-to profiles and about 30 others on standby that I like for certain things. And I don't tweak any of them. Just click and play.


    I used to tweak them when I first got the toaster but I found they all sound better raw anyway. Now I spend my time playing instead of searching for some holy grail tone that I already have.


    And don't forget, whatever you'd get after the Kemper will need to be tweaked 6 ways to Sunday to get a decent sound. So you'll save no time but still get inferior tone.

    Guitartone, search on "DSL", there is a profile in RE named Marshall DSL40 from 12/19/13, I believe that is the one.Takes a little tweaking but it does pretty fair.

    Edited once, last by ucnick ().

    Don't give up. I think it's about finding profiles that you bond with. I have had buddies that bought and sold their KPA's and then bought them again after hearing someone else's profiles. There are some good ones on the RE, but I found the commercial ones fit my needs better. If you have the means to profile your own rigs, those may come closer to what your ears want to hear, too.

    Yep, have to keep playing and working with it. I recently set it up in my woodshed room and am running direct out into a little Behringer mixer with a metronome and mp3/tablet signal source so I can use it on a regular basis, as my wife would become a bit irate when Iwould set it up and start deep diving and work on it for hours. Now I can tweak to my heart's whilst I woodshed. I used to woodshed with my L6 HD300, but no more. I am beginning to get some kick-ass tones in my phones! They actually sound better than the recorded tones I did with one of my bands a few years back, which I recorded in a studio with an Egnater Renegade, and which at the time I thought sounded pretty darned good. Funny how your perceptions change.


    So many tones, so little time... :)

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    <p>I would suggest getting the Marshall pack from Andy TAF it's Stella. I play in a rock covers band that plays everything from Muse, Nickelback, Whitesnake, Guns and Roses and stuff like that. The JCM800 in this pack just blows me away. Trust me you won't regret buying this pack. You will defo find this useful for Whitesnake covers!</p>

    Very interesting thread for me!


    I'm using mostly TAF-Pro-Profiles and I'm happy with it, though I cannot use any of them without tweaking LIVE ON STAGE !!!
    I own Rig Pack No. 9 and the complete Mashall-rig-pack-bundle.
    Can anybody recommend a few specific rigs of those TAF-Profiles, which can be used for LIVE-GIGs without tweaking.
    Three sounds would be appreciated: clean, moderate-crunch, and mid-gain-lead (I cannot imagine to use them without matching them to the venue, but maybe I will be taught)

    I'm using a RCF Active-Monitors on stage for monitoring and also for FOH (btw: though I'm VERY old fashioned, FRFR is much better than my 2x12-Clestion Heritage-Mojo-Box, so for me FRFR is the way to go with KPA full stop).


    Regarding the original thread I commit that also for me there are too many parameters for a "conventional guitarist". My analog-amps have only a few knobs and many of effect-paramters seem to be more self-explaining (and also have a rather different more musical impact on the amp's sound than the effects in the KPA, f.e. the "Screamer").


    So, back to my intention above: Profile-Proposals for Live-Use are highly appreciated
    Blooze'n Groose
    Ralf

    Quote from Hurricane

    Can anybody recommend a few specific rigs of those TAF-Profiles, which can be used for LIVE-GIGs without tweaking.


    If you are picky about you tone and use any form of speaker (cab or monitor) you will always be tweaking EQ, reverb and delay to match the sonic characteristics of the stage/room. The only way to get consistent monitoring sound regardless of the venue is by switching to IEM. When you do tweak on-stage you should if possible limit your tweaking to the monitor-out-eq so that you KPA always deliver consistent sound to FOH.

    Quote from heldal


    If you are picky about you tone and use any form of speaker (cab or monitor) you will always be tweaking EQ, reverb and delay to match the sonic characteristics of the stage/room. The only way to get consistent monitoring sound regardless of the venue is by switching to IEM. When you do tweak on-stage you should if possible limit your tweaking to the monitor-out-eq so that you KPA always deliver consistent sound to FOH.


    That's what I've been doin' all the time. But as I understood there are some guys and some TAF-Profiles which they don't need to tweak for live-use which I envy them.

    Quote from Hurricane

    But as I understood there are some guys and some TAF-Profiles which they don't need to tweak for live-use which I envy them.


    Rooms of different sizes and shapes have different sonic characteristics. There is no way around the physics. It is not only unrealistic for TAF or any other profiles to achieve this. The KPA itself would need additional features implemented to get anywhere near what you want. It would need to implement auto-tweaking based on a signal from a flat-response reference-microphone to be able to automatically compensate for varying room-characteristics. I doubt that auto-compensation will be good enough for everybody either. I use reference-microphones and analysers to create templates for PA-systems. These are great tools to establish ballpark sound quickly at venue, but there is always a bit of extra tweaking by ear required.

    Edited once, last by heldal ().

    Quote

    Rooms of different sizes and shapes have different sonic characteristics. There is no way around the physics. It is not only unrealistic for TAF or any other profiles to achieve this. The KPA itself would need additional features implemented to get anywhere near what you want. It would need to implement auto-tweaking based on a signal from a flat-response reference-microphone to be able to automatically compensate for varying room-characteristics. I doubt that auto-compensation will be good enough for everybody either. I use reference-microphones and analysers to create templates for PA-systems. These are great tools to establish ballpark sound quickly at venue, but there is always a bit of extra tweaking by ear required.


    And if you record amps with neutral mics into an anechoïc room ?

    I have to admit I know what Markyboy means. I feel like the kemper is a bit too much for my needs at points. I sometimes find it hard to settle on a sound and be happy with it due to the huge amount of power. With an amp I simply turned it on and that was me done and I cracked on with playing.
    My solution was to pick something and stick with it and just play forget I was playing into anything just think about the guitar/bass and having fun :)