importing new profiles

  • I wanted to listen to some new profiles so I took my USB with and older shared folder and empty that. Next I unzipped the rigs folder on my computer with the new rigs folder and put it on my desktop. I copied this folder to the USB on my computer and put it into the Shared folder. Next I put the USB in my profiler and pressed Import. A very short message came up: "No import necessary, the rigs are allready in the Browse pool." I checked this! Also in RM. No way. Nothing to find.


    So I formatted the whole USB on the profiler and went to the whole process again. Same result. No new profiles to be found!

    And we're talkin about only 3 profiles! Where are they?

  • Browser is always set to name. Because I made extra room for some new profiles (by deleting some) I expected it would be no problem to add three. And if you then see that the profiler tells me that the profiles all allready there (which isn't so!) then I'm confused.

    So I tried several times again and only now they are imported. Strange behaviour.

  • Well, at least if you imported them using RM you'd be able to sort the KPA's Rig contents by name and "instantly" see if they're really there or not. IIRC, imports are added to the bottom of the list until you click a column header, in which case they're re-ordered, so there's that too.


    RM doesn't hide anything by default; you'd have had to enter something into the search filed for that to happen, so as long as the field's blank, you'll see everything.

  • You can do everthing over the rm. I only use a stick for kpa backups from time to time.


    You see your kpa on the left side and when click on it you see the stored contend on your kpa. You can drag and drop new rigs from other folders or directky from the rig exchange and you can create also performances.


    I recommend to have a look at the kpa tutorial videos on youtube, here is one link f.e.

    There are more vids on youtube

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  • Thanks! Yes, I always look at my profiler in the left bottom of RM. I usually try a profile in RM by clicking on it. the headphones appear and at the same time it's in my kpa. If I like it I save it.

    There's still so much to learn that I don't know where to begin to explore all those tons of amazing things. I just tried the awesome modverb trick. No way that I could achieve this on my own.

  • If you look at videos and listen what most people tell you about their kpa and how they deal with then I really wonder if I can compete with all these (surely) magnifcent sounds they produce. My lack of know how is one of the reasons of course. Live comparison is not possible so I pick a rig from RM and tweak some trying to get what I want but I'm never get quite satisfied. Maybe people recognize this. That's why I also never buy commercial profiles because to me they would sound like crap too. And of course your fingers are important, your guitar is too. I have both but it's always that sweet spot sound that I'm seeking and never really find, only some clean chorused ones. I guess every time I dial too much and then get nowhere. So do I sound as I should sound? Why does the video still sounds much better?


    Still its a great machine but sometimes I'm longing for that (simple?) Marshall (BTW which I never had) to have that just one killer sound and that would suit for every song. Of course I would need a roadie too for transport reasons...

    For me, playing in a coverband is trying to nail the guitar sounds from origine, to get the feeling you can play that too but also to let people recognize the song as original. And to me all those many dozens of different songs need their specific kind kind of profiles. I can't play Sweet Child o' Mine with a clean chorused sound...


    Before Kemper I played in a tribute Wishbone Ash and that was awesome (with a Line 6 Vetta head and 4x12). Kemper is a totally other way of approach. To search that specific kind of profile every time is a real struggle (if it only exists). I remember switching from my BOSS GT 100 modeler to the Kemper profiler some years ago people said that you now could reproduce the sounds of your heros. If you only knew what they used when they played the song at that time, then you were able to do that too. Boy, have I kept fooling myself... and others too.

    So Frank, I still thank you for your help to find that sitar sound which I needed and which still sounds great. I couldn't have done this myself.


    But still persevere and going on strong...:)

  • My lack of know how is one of the reasons of course.

    I know how you feel. Dialing in tones has always been difficult for me. You probably have better ears than I do, but I've found that the basic sounds I'm getting from some of the commercial packs are the best tones I've ever had.


    I did have a Marshall sitting on top of a 4x12 and to be sure, it sounded like a Marshall . It just never sounded like a great Marshall, and that's my lack of skill, not the amp. Getting a great tone, regardless of the gear, is an art form (and a gene I apparently lack). So one of the things I love about the profiles is that other people, who are much better at this than me, dial in a killer tone. Then they profile it, and all I have to do is push a button. The Friedman in particular is a better Marshall-style sound than I've ever had. I don't have to remember where the knobs were set if they get bumped. I don't have to worry about reproducing the exact mic placement or angle each and every time. I just push a button. It's awesome.


    And that's great for your basic tones, but as you point out, much of the cover thing is trying to get "that sound" from the record. For instance, every time I heard Time Warp (Rocky Horror Picture Show), I used to wonder how it ever made it out of the studio with a guitar so horrifically out of tune. Then one day I realized it's some kind of chorus set to such extremes as to take it to the edge of being out of tune, because that's the sound they wanted. Great. Now I'm back in the same boat as you, trying to figure out how I get that particular effected guitar tone.


    And yet, life has never been better. There will always be those signature effect pedal tones where we struggle to get the radio sound. But at least now I'm just adding the sizzle on top instead of trying to deal with a basic guitar tone that sucked to begin with. I have much less tweaking to do and the end results are infinitely better. So I guess it really does help if you cook with the right ingredients.


    I played in a tribute Wishbone Ash and that was awesome

    Holy cow. I haven't heard that name since the 70s. :) \m/

    Kemper remote -> Powered toaster -> Yamaha DXR-10

  • I've played in a cover band for several years. Of course it all depends on the goal of the band, e.g. for a professional Top 40 band it is more important to really nail everything including the sounds. My band wasn't a professional band, so I had a lot more freedom regarding sounds. I never, literally never heard any complaint about my sounds from the people in the audience. Most of them simply don't care about these things. I think I had 4 main sounds, all the rest were little tweaks of them and additional effects. All my sounds went through the same amp and the same cab. So my sounds were far from original. But this has also the advantage of always sounding homogeneously. No endless tweaking, no endless searching for sounds, no looking for the right levels across myriads of sounds. Plus the audience gets a consistent hearing experience. No getting used to this amp with that cab after amp X with cab Y.


    So I guess my advice is think carefully about how important an original sound really is. And to whom.

    I could have farted and it would have sounded good! (Brian Johnson)

  • Holy cow. I haven't heard that name since the 70s. :) \m/

    Nice that someone knows what I'm talking about. To complete this: Our band was called WISHCLONE ASH, to give the audience (and you) an idea of how we sounded.


    BTW, in looking for specific sounds some tweaking experts helped me a lot to nail the exact tone! I couldn't that have found this on my own.

    Some time ago I asked for the harmony issue in the solo of If you can't give me love (from Suzy Qattro) Finally I came up with this as an exact copy

    https://soundcloud.com/theplay…eal-harmony-on-one-string

    ( Now tell me: playing this straight without that sound would definitely raise eyebrows, wouldn't you agree?)

    I think I had 4 main sounds, all the rest were little tweaks of them and additional effects.

    This would be enough for me too. For clean sounds it's not that hard to find good profiles. However they sometimes lack of volume and then it's looking for parameters or raising amp volume to get the desired one without your VU meters on the mixing desk getting crazy. Here is a main issue: hundreds of knobs with hundreds of parameters with thousands of different results is to find that needle in a haystack. The real irony is that in the past I bought (and sold) a number of (pre) amps with too many knobs and features and finally bought a kpa...(with a great advantage: the weight...!)


    Finding really good distorted, overdriven profiles is harder. The often don't sound smooth and have that scratchy side effect. And if you try to increase the gain of the clean profile it's no different. Sometimes I then decrease the treble of my Les Paul all the way to zero for a better smoother result . This leaves the scratchy sound. But I guess the kpa could deal with this too...(where's that needle again...?)

    Edited 2 times, last by theplayer ().

  • theplayer Do you use the volume knobs on your guitars? If not, that could be a major reason you have difficulty matching the sounds you hear on the original recordings.


    The traditional approach with a guitar amplifier is to set it for a lead sound when the guitar is turned up, and to turn the guitar volume down for rhythm parts. The Kemper responds the same way to guitar volume changes as the profiled amp, and will likely get you closer to those sounds if you use this method. Chords will be smoother sounding, and when you play a solo, that scratchiness you mentioned will help you cut through the mix.

  • Hi Paults, No, almost always to the max. I know that a lot of people work with their guitar volume knob. I use always the volume pedal om my midi controller. And that works as a volume pedal and indeed not as a kind of gain increase pedal.


    I also know that working with your guitar volume knob would be the right way of getting better sounds but in my case it's just reduces or increases volume and then I'm in trouble to cut through the mix when soloing.

    That is why I have set my volume pedal global to a constant 2.2. heel position for rhythm and max for toe position (solo). Frankly I really miss that unique option on my guitar (a 1995 Gibson Jimmy Page Les Paul) to get a fine mellow sound decreasing the volume knob and get that uncomparable natural slowly and seamless transition to more gain overdrive when increasing this volume knob, like a real '59 Les Paul. Who would need then a kpa for this?


    I would gladly forget this volume pedal but I wouldn't know how to deal with my volume knob for rhythm and gain without loss of volume . And then there is the problem to get back to the decreasing point: That exact previous rhythm position during playing. My kpa does that for me now. I must keep my attention to playing and not looking at my volume knob.

    But I'm always in for learning.

  • theplayer you can achieve the volume knob trick in the Kemper with a pedal if you want. You can either put the normal volume in front of the amp hbut that would lose the ability to control master volume the way you do at the moment) OR put a Wah Booster in one of the slots before the amp. Set the toe position to no boost and the heel to whatever level you want the cleanest sound to be. This will need two expression pedals but will give you total control over gain just like a guitar volume and volume like you have at the moment.

  • Great! I had no clue this is also possible ... I have been increasing and decreasing volume always with the pedal on my Roland FC-200. So I could skip that thing and buy an extra expression pedal ) I have allready one (the Boss FV-500H expression/volume pedal) and used for the wah function (but my Cry baby does a better job). Will see if I can find a second hand one expression ped.

    Thanks!