Is there a way to decrease the attack?

Quote from keem85

Any idea how guitarists remedied this problem with real amps? For example the horrible Marshalls?

I'd just like to emphasize what DonPetersen said about compression. When you can't turn it up to 11 to crush the transients in the amp, a properly dialed in compressor can certainly help diminish the pick attack. As Don pointed out, the pick sound comes from your transients.

If you turn the compressor's attack to as fast as it will go, you're telling it to engage immediately (or as immediately as the compressor will allow), instead of waiting a few milliseconds to allow an initial attack to get through before you clamp down on the rest of it. This is what happens when you crank a Marshall so loud that the power amp section compresses. Conceptually, it's doing the same think - lopping off that initial spiky attack, and that's the part that's bugging you.

I would recommend sitting down for a session with the Kemper where you take a Marshall that you particularly don't like (in this regard), and then going through each compressor one at a time. Go into the dials and set the attack to the extreme - as fast as it will go - to see what its maximum capability is for taming this, and how it feels to you.

The release parameter, by the way, says "how long do I keep the signal clamped down before you want me to let go of it?" A very fast attack and a very slow release will keep it continually compressed without letting up. A fast attack with a fast release will create what's known as "pumping" where you can really hear it clamp down the signal, let it back up really quickly, then clamp it down on the next note, etc. That's often considered undesirable (but has its applications in things like EDM).

So, first max the attack to see what it will do for you, but also be mindful of your release. Walk through every compressor in the Kemper, and I think you'll find that you have a lot more control over the "pick-iness" of the Marshall (and other) tones.

Ultimately all that matters is what sounds good to your own ears, but when going into battle you get fewer nicks and cuts if you actually know how to use your weapons.

before you start using the compressor to flatten your transients you should really check the pick parameter.

Quote from hjscheffler

before you start using the compressor to flatten your transients you should really check the pick parameter.

I only went into detail about compression because Wheresthedug, DonPetersen, PooSailor and others had already highlighted the benefits of the pick parameter.

I realize this might be taken the wrong way, and it’s not my intent, but...

An awful lot of this is the result of technique, and how the hands/fingers/pick are used.

Proof of this is when George Lynch played through my rig, and sounded exactly the same as he always does.

Unfortunately, when I played through his, I still sounded like me... only louder.

Quote from SoManyGuitars

I realize this might be taken the wrong way, and it’s not my intent, but...

An awful lot of this is the result of technique, and how the hands/fingers/pick are used.

Proof of this is when George Lynch played through my rig, and sounded exactly the same as he always does.

Unfortunately, when I played through his, I still sounded like me... only louder.

An excellent point. I heard the same story about Steve Lukather playing through Eddie Van Halen's rig.

SoManyGuitars : Well said...

Quote from keem85

Thanks for all the good advice folks.. Any idea how guitarists remedied this problem with real amps? For example the horrible Marshalls?

They adjust their playing to make it sound good.

I know several guitar players who've practically dedicated their lives to getting a soft, smooth pick attack. It's hair-tearing work, from what I can tell, but when you listen to someone like Gambale nailing it I do get it, it's pretty damn sweet.

I don't think the answer is really in Kemper parameters though, but in technique, pick choice (and pick angle, pick position along the string, picking velocity etc.) and perhaps guitar setup too. Sorry if this seems basic to you, but in my experience, light picking close to the neck with a thick pick made out of a soft-ish material are all things I'd try when I want a smooth sound. Angling the pick (like most virtuosos do) does result in a sharper attack too, so if you're REALLY dedicated to this, I'd say try playing with the pick more perpendicular to the string. It's not "proper" technique but you do what you gotta do for tone. Sadly, this goes for pick tip too. Round tip picks are harder to play with for me but they do produce less attack. I think pick material is a big thing too, I've tried a lot of Jazz III's for example and it's remarkable how different they all sound (Jazz Red 'till I'm Dead, btw! ). Picking closer to the neck is a super powerful thing but it does introduce a lot of harmonic activity so you need to be a little more precise if you just want the "pure" note when picking up there.

Kemper-wise, I do find that an EQ is a powerful tool to decrease pick attack. Especially when placed after the cab. Placing an EQ before the amp to boost in the 900-1k area quite strongly into the amp is also a good way to shift the vibe of an amp into more of a saxophony, legato-friendly vibe. It can be a little overkill through really nasal profiles, but 9 times out of 10 it's just killer. I keep an EQ like that locked in my KPA just so I can try it on any profile anytime. It's also worth repeating that lowering the Definition parameter in the Kemper helps here too, because it introduces more bass into the gain which causes the highs to clip earlier too, smoothing out the transients.

Again, sorry if this is all old news to you, just throwing everything I know out there in case it helps!

- Edit - Oh right, Fuzzes are great too. Growing up being a Petrucci fanboy I always hated them because I DID want that percussive, sharp pick attack and Fuzzes kill that right off. But if you want smooth, they do it. I was surprised to learn just how many fusion guys use fuzzes, thinking they were just for Stoners and Doom-heads, but nope.

The other thing to remember about how other players “coped” with the pick attack of real amps is that the pick attack is actually a really important part of getting the guitar to cut through the mix in a band context. Sounds that come accross as very smooth often have much more attack than we realise. Its the same thing with gain. Lots of sounds that appear totally clean in a mix are actually fairly broken up when listened too in isolation. The converse of that is that lots of sounds that we think of as dirty or crunchy are actually almost clean. Totally different style of music but if you liste to a Malcom Young isolated track it s pretty much a clean guitar. When used in a mix it sounds massive and crunchy.

The “issue” is a key part of the Mrashall and Fender sound.

Quote from JohnNT

technique, pick choice (and pick angle, pick position along the string, picking velocity etc.) and perhaps guitar setup too.

Couldn't agree more. This is something that I struggle with from time to time, depending on what I'm doing. I use medium celluloid picks (i.e. what Fender Mediums used to be) because stylistically I prefer a lot of bite, bark and snap. Probably because I was raised by wolves.

However, even though I like what that gives me, there are times when it's just not appropriate for the sound I'm looking for. In those moments I can try to compensate with technology, like the pick and details params on the Kemper, but in reality that's trying to solve a problem in the amp that's originating in my fingers. At such times I fully expect the Kemper LCD to display, "Hey, man - not my fault!"

And yeah, trying to do the really light, soft, consistently even thing is extremely challenging. While I don't personally enjoy metal as a genre, these guys have incredible technique and control in their playing. After listening to some of that stuff I'm tempted to just sell every guitar I own and take up knitting instead.

Or, you know, practice more.

Quote from Wheresthedug

The “issue” is a key part of the Mrashall and Fender sound.

Quote from keem85

Haha. Yeah I guess some of it is down to personal preference also

Overheard in a Chevrolet dealership parking lot...

Customer: "I really just don't like the way Chevys handle!"

Salesman: "You do realize there's a Ford dealership right across the street, don't you?"

Customer: "Oh."

I had this issue with all the cheaper Marshall clones in the 80s..Hiwatts,Laneys and Orange..specially the Laneys were so "brutally EL-34" that I remember having even problems to adjust the volume levels properly.I called this very bad EQ-work on the amps.

So..I would like to suggest that it is all about the profile.

keem85

Leave all the EL34 type of amps and go for the 6L6-like stuff.Try the Petrucci profiles of his signature amp.More "fluid" is hard to find IMO.Also Holdsworth had his "most fluid" sound when he used an early Revision dual rectifier..and did Frank Gambale also not used Mesas?

Btw..I noticed that I shred "exclusivly" with EL84 type of amps for quite some time now.Matchless stuff and Engl.There are some nice profiles out there.The Peavey classics are also "of this family".Same "voicing".It is all about the "right transients".

Pick parameter

Play some parts fingerstyle can help too