Public Beta 3.1.0

  • When I first got the Kemper I started a thread about this very issue. I was told that it was just that I am not used to hearing a mic'd amp in isolation. It was true, I don't have that experience, and I did get used to it. I absolutely love the Kemper now and love the way it sounds.


    I'm yet to test it out and I'm sure that this will make it better, but won't it sound less authentic?


    Is it not best to have the Pure Cabinet feature on when playing in isolation or live, and off when playing to record in a mix?


    Does this make a mic'd tone sound like it's not mic'd? And again, would this make a recording sound less authentic if it lacks the very nuances that make it authentic? Or does this remove the frequencies that shouldn't be there, but still sounds like a recorded tone?


  • On my set up l,ve got pure cab set at 7.2, which seems optimal and totally awesome for me. l was wondering if different monitors need different settings ( in my case a pair of rokit 8,s ), as there seems to be a lot of love for 5 as the pure cab setting?


    Well, since all settings are made by ear, the answer is definitely affirmative.
    :)


  • The key to understanding might simply be this: Engineers (live, recording) have learned how to cope with the problem ... that is: mixing various microphones, applying clever EQ settings and dressing the flaws of miced guitar amps with other sonic information. ... This might be easier in the future - or this may be achieved by laymen in the future. The problem hasnt't disappeared entriely, though. Even with Pure Cabinet at full throttle it's apparent that you will have some work to do to fit miced guitar amps in a live context or recording context. But it might be a lot easier.


  • I think it's the case that, whether digital or a real old fashioned amp way back in the 50's, you've always had a microphone 'somewhere' in the recording chain. The only exception to this is if someone was doing something for effect and sticking an FX pedal straight into a desk (so there is no cabinet, no mic, no nothing - just a fizzy thing going in but if that's what works on a track? :) )


    With this technology, it's seeking to get close to 'what you hear in the room is now possible to get straight onto the record'.


    You may still prefer the 'old' method in the Kemper which is capturing a perfectly mic'd up amp. Before this technology, if I'm understanding it right, you could only do that. Now you are removing that part of the signal chain which, depending on your requirements, may be a good thing or a bad thing. As the paste earlier in this thread pointed out, getting rid of the mic has never before been possible so I guess that might mean, in a recording sense, that no-one likes it :)


    I'm quickly posting in between building stuff so I'm still unable to test it and comment on which I prefer; initial impressions were that it sounded nice. I have to say that, whichever is 'better' will depend entirely upon what you want on the day and the thing with this is it's another flavour that was, apparently, not possible before. And that's cool regardless :)

  • Thanks Kemper for these new features ;)


    Can you already tell the difference between Pure Cabinet on and off in a recording?
    Here's the challenge :D

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    (Pure Cabinet was set to 5 in one of them...but which? ;) )


    Here's the solution, I think all of you got it right :thumbup:
    Sample 1: Pure Cabinet set to 5
    Sample 2: Pure Cabinet off

    My biggest fear is when I die my wife will sell my guitars for what I told her they cost.

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    Here is one....nothing special..not really a mix...just backing track and reamped guitars.
    1x time Pure cab off..one time pure cab on 5....which one is with pure cab and which one do you like more? ;)

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    Here is one....nothing special..not really a mix...just backing track and reamped guitars.
    1x time Pure cab off..one time pure cab on 5....which one is with pure cab and which one do you like more? ;)


    I like 1 better, it's more open, 2 is a bit muffled and compressed in direct comparison.

  • What's the difference between the tone of a full range PA FRFR speaker and a guitar speaker?...the difference is "Pure Cabinet". :):thumbup:


    That's all folks...use it or don't use it, no need to write books about it and discuss it to death. :)

  • What's the difference between the tone of a full range PA FRFR speaker and a guitar speaker?...the difference is "Pure Cabinet". :):thumbup:


    That's all folks...use it or don't use it, no need to write books about it and discuss it to death. :)


    I like how you say it, Lance! :)


    Still, I'll have another take on it:


    Kemper now acknowledge that close- miking introduces problems for some (not all) users and they aim to maximize user experience when playing close-miked profiles via an FRFR box like the CLR in wedge position (i.e. in your face), making it a much more pleasant one.


    That said, the premise still is that we all have been musically socialized and educated by the sound of mostly close- miked amps, long before our first experience with a Marshall stack or a vox AC 30 in our room.
    Still there's the 'amp in the room' discussion all the time.
    Mr. Mitchell's approach (as I remember it, please correct me if I'm wrong) is to acquire far-field IR's of his favourite cab and thus minimizing or eliminating the microphone influence in these IR's.
    In my Axe-FX Ultra days I tried several IR's that he had generously shared and guess what? They didn't do anything for me because I was MISSING the certain microphone character I was looking for.
    Still to this day, when I have bought a bunch of profiles for example from @and44 I scroll through them and when it's about a crunch sound I nearly alway stop at the profile that was done with an SM 57. That's me, but you get the picture.
    It simply sounds RIGHT to me this way.


    OTOH, having a close- miked profile like this blast in your face through a CLR can be a bit nasty sometimes though (no showstopper for me because I did the paradigm shift to close- miked guitar sounds long ago), but now comes PureCab.
    PureCab simply makes a close-miked profile that contains harsh and fizzy distortion a better and more pleasing listening experience.
    I'm curious how it will be received in general by the users, for the music I do, PureCab stays on all the time. :)

  • Has anyone done an A/B comparison like this, compare a merged profile with the cab and Pure Cab turned on compared to the same merged profile with the cab turned off running into a real guitar cab?


    Also, I'm assuming that most people who have tried the Pure Cab have done so through their monitor, has anyone tested it through a PA, does it sound good in the mains?

  • But this nasty sound on your monitors...is this also nasty for the crowd?


    I guess I look at it this way...


    If there is some degree of non-musical, high frequency "harshness", perceptible to a performer's ear, being reproduced directly from the audio of their FRFR stage / personal monitor (due to the very fact that it is a transparent, FRFR monitor)...then I can conceive the possibility that this "harshness" is smoothed out (or buried) in the over-all mix, by the time in reaches the audience's ears, via the FOH.


    However, I cannot imagine the reverse.


    In other words, if this "harshness" (for lack of a better term) is not present to begin with, due to the new Pure Cabinet algorithm...then I cannot see how it would "added" and suddenly present in the audio reproduced by the FOH system.

  • Dear Friends,


    i just played an Open Air Gig at the HANSE SAIL at the baltic sea with my Rockband. Yesterday I was brave and loaded 3.1.0. and turned Pure Cab on 5. What can I say? I went flawless an the sound from the sidefills and wedges was loud and outstanding! My main rig is Michael Britts CAE PT100.


    Didn´t have time to try pure cab on 0 and 10. And I didn´t encounter any bugs.

  • Public Beta 3.1.0[/url]']Here is one....nothing special..not really a mix...just backing track and reamped guitars.
    1x time Pure cab off..one time pure cab on 5....which one is with pure cab and which one do you like more? ;)


    Second one sounds like Pure Cab to me. Less highs, a little more in the high mids.


    I don't know if I prefer the sound of either one for listening or playing, but Pure Cab seems like it's easier to mix - I always have a hard time getting enough midrange without it sounding nasal, and there's always a few gross resonant peaks in the highs. Pure Cab seems to help with both of those, so in that respect it might be a "better" tone to work with.

  • Most times imo....monitors are pretty harsh because of that close miced in your face sound. But without i see the people again "oooh can you please turn my guitars louder on this monitor?" ;)
    + most times..sound in front is awesome :D


    What can be pleasant solo...maybe will not sound in a full mix so well and be more dull


    My clip: 1st is without pure cab...2nd is with ;)


    tbh..i hate the 2nd clip...sounds like a 8bit version ;)

  • My opinions with Pure Cab.


    With mix backing track EZ DRUMMER.



    K.M.E. VL 250 - Pure Cab / off = sounds good but not tranparent little boxy
    Pure Cab / on = sound very good !!! naturaly like ,, amp in the room" :)


    Yamaha DXR 10 - OFF = great
    ON = terrible !!!


    RCF 10 sma - OFF = Everyting sounds wonderfully clean and tranparents BEST FRFR for me.!!!!
    ON = depends on the profiles Pure cab cca on 4.