I gave up...the Kemper ships back tomorrow. (Solved)

  • Actually folks...You've convinced me to keep it, and this is the final answer. I am not sending it back, I've never been a quitter and I'm not about to start now. I'm not giving up.

    The people in this forum can certainly get you on the track of great tone with the KPA.

    What are you using for your FOH sound and what are you using for monitoring / stage amplification?

  • I'm just going to repeat... set up is king.

    I am 99% sure that the sounds you want can come from a Kemper.

    I have a friend who has a Helix ( and many people on here use them) and I know its a great bit of kit. Therefore there is something wrong.

    Its very difficult to turn a basic crap sound into an good one through post production so the sounds you hear on videos etc is obtainable. Have listen to some of the blind tests...not to convince you but to show that the basic unproduced sound VS the amp profiled. The Andertons ones with The Captain and Chappers are good.

    I am not a studio producer or technical guy ( even though I work in IT), I want instant gratification. And I think you will get that with the KPA and a Guitar cab. The Kabinet a bit of playing and FRFR will require more playing.

    Connection through a DAW is the most complex as you have the other factors in your signal chain, making issue diagnosis harder.

    But, these multi capable bits of kit will show up problems instantly, hence sometimes people get instant results, other don;t.

    This probably doesn't help but I'll add...best music purchase I've ever made in my 35 years of playing.

  • I decided to reformat and start at the beginning with the presets, and slowly mix in profiles I have bought. Working much better that way. Those presets are nice. Topjimi, Bert M, Chop, Britt, Reamp...etc. All really nice. Need to settle down on the buying tho...lol

  • This video is a good example of the type of digital fizz I hear in the midrange section from cheap modelers. I hear it in both my desktop monitors and studio headphones. This is what I am trying to eliminate using my current modeler. To be honest, my Marshall Code 50 sims into DAW sounds way better on youtube than the sounds in this video. The only profile that sounded decent enough with limited fizz was Lotta Love at the 3:00 mark. Are you guys hearing that same "fizz" as me? How do you eliminate it?

    The more you find what Kemper can do then the harder you try to find what it cannot do -- like make a good cup of Frappuccino.

  • I like those tones you're getting...nice and greasy!!

    Seriously? Those tones sound like poop to my ears. You can't hear that awful fizz? BTW, not my vid --Someone else made it.

    The more you find what Kemper can do then the harder you try to find what it cannot do -- like make a good cup of Frappuccino.

  • First of all, it's a good idea to use the (balanced) XLR Main Outputs of the Profiler. But it's not a good idea to use a regular XLR cable to connect it to the Focusrite 18i6 ... which the author of the above video likely has done. Here's why:

    When you connect something via XLR to the Focusrite Scarlett, it automatically acts like you've connected a microphone (with 2kOhms input impedance). Instead you should use cables with XLR female on the Kemper side and TRS on the Scarlett side. The TRS connection is a balanced line input with >10kOhms input impedance.

    A typical studio level line output has an output impedance of around 600Ohms, line input impedance should be roughly 10x as much (or more) ... so minimum 6kOhms.

    Also, the XLR Main Outputs on Profiler Head and Profiler Rack are pretty hot (up to +22dBu max). Pretty easy to run a mic preamp into clipping, even at minimal input gain.

    So the first thing I would do is to learn about the specs of any given audio interface (and its analog inputs) to get a good impedance match and gain staging. One of the reasons why S/PDIF can be easier to handle, if the correct digital coax cables (RCA, 75Ohms) are used.

    Bottomline: There are certain pitholes in analog audio as well, not always as simple as "plug'n'play". ;)

  • I think you’re right