Legends Collection

  • Thank you, Burkhard. ;)


    Heads-up for those who're interested, it's now in the DL area of the Kemper site; been waiting for it to appear today and it's there now too.

    Slight loading problem with the Legends pack. If I copy them into th "shared" folder of my USB stick and hit "import" as usual on the toaster - I only get one profile, and a random one at that. What's the best way to get all of these loaded at once? Never had this issue before. Thanks in advance for your help.

  • Slight loading problem with the Legends pack. If I copy them into th "shared" folder of my USB stick and hit "import" as usual on the toaster - I only get one profile, and a random one at that. What's the best way to get all of these loaded at once? Never had this issue before. Thanks in advance for your help.

    Are you running the latest OS?

  • does Thomas Dill create all these rigs or only demo them?


    I would love to see a detailed video going through his process for mimicking a classic tone. We often think that the best starting point is to use the same gear or simulations of the same gearbut often people are able to capture a tone in different ways. For example the Porple Rain rig has an Air Chorus in it. I thought Wendy used a flanger on the original but the Legends rig sound fantastic.

    Some of the EQ blocks have virtually nothing done to them at all. Even the specific frequencies and Q widths are selected the gain is at 0.0db so it isn’t doing any. Why is it there?


    I would love to see a process review starting from listening to the original tone and explaining what he is hearing as the key “signature” aspects of the tone that are going to be key to matching the original. Then moving on to the decision process for getting there. And finally showing the experimenting (including what didn’t work) before arriving at the end result.

  • Slight loading problem with the Legends pack. If I copy them into th "shared" folder of my USB stick and hit "import" as usual on the toaster - I only get one profile, and a random one at that. What's the best way to get all of these loaded at once? Never had this issue before. Thanks in advance for your help.

    Got it now!

  • Hi Alan (and everyone else here)


    This is Thomas Dill writing - you asked about the process of creating the Legends sounds. Here it is…


    First of all I take a type of guitar that the artist used and learn some of the licks and trademark riffs of the song (the most of them are known...) but it is not only just to play the right notes - the attack with the right hand is very important to create the sound and gain structure right. So I take a minute longer on that topic, watch YT videos and listen listen listen…


    Then I am starting with the amp profile. First of all I try to take a model that the artist used. I go to the factory content and try some profiles and take the one that sounds - and feels the best for me. At that point I always listen to the original - then play the riff - listen - play again… For me it is not crucial to take a profile of the original amp type - some times it fits, sometimes not. At the end the sound should be as closed as the original and then it could be a profile of a film projector instead an amp (Jack White - the Filmo Profile from Bert Meulendijk)


    Another funny story about the search for profiles… We werenˋt satisfied with the first Profile I took for the Nuno Sound. And then the guys from the testing team told me that there is a profile of „THE“ ADA preamp that Nuno Bettencourt used for the recording for Pornografitty. It is in the Michael Wagener Rig Pack - I didˋt knew that at first… so here we had to take the original!


    When I m working on the Amp Profile, I start adjusting the gain, then I go to the definition parameter and set this matching to the original sound - lower settings for vintage tone, higher settings for modern tone. And after that I do some tweaks at the amp EQ. Sometimes - with the low gain fender style sounds I set the EQ to „Pre“ to hit the gain stack in a specific frequency range. There are no static rules - what works and sounds good is fine.


    Step Number two is the Reverb. Which should create the same reverberation and room sound as in the recording. I am starting with a natural reverb and try to recreate the room and space. In some cases I took a different reverb (Spring Reverb - Dick Dale, Dan Auerbach) where this classical Reverb is an important effect. And especially for the Dick Dale Rig we placed the reverb in front of the stack - why? It sounds dirtier…


    So when the basic sound with amp and reverb is done, I check some effects. First of all the effects which are needed for the sound - i.e. Delay for The Edge, Rotary for Soundgarden, etc. In this case I´m not committed to a specific effect that the artist used, I start with the typical effects but when something sounds better (Hyper Chorus instead of Flanger for Purple Rain) I´ll go for that. At least it should sound as close to the original as possible.


    When the basic sound is set I do some finetuning with the Studio EQ placed behind the stack on the X-Module. With the EQ I make just minimal tweaks in some frequency ranges and a low and high cut to get closer to the guitar speaker sound. A guitar speaker has a limited frequency range, so I cut off the high frequencies. Just to be sure…. :-) The Cutoff Frequency is somewhere between 6kHz and 10 kHz depending on the sound. For the Prince Sound even higher to get a bit more sparkling tone.


    Then I prepare some additional effects, that you can switch on if you like - drives or booster to get a bit more gain when you play with a guitar with lower output pickups. Or another special effect that the artist often uses. For the Tom Morello Rig I tried to recreate the sounds of his pedalboard with the single effect modules.


    Then I take some time to listen A/B with the original again. Always just one hour - preferably early in the morning when the ears are fresh ;-). This takes some days - some little tweaks here and there and then it is finished.


    But to be honest. These Rigs are only about 60% to get the sound and hopefully some inspiration, too. The rest is in your fingers… Have fun!


    Cheers

    Thomas

  • Hi Thomas


    Thank you so much for taking the time to give such a detailed and informative answer. It is very much appreciated.

    This should be a pinned post for everyone to read when they start learning their way around the Kemper 😎


    One thing I find difficult is listening for the gain and tonal characteristics using a raw profile where the reference tone has an effect like modulation that can appear to alter these. Chorus often seems to smooth out gan and change tone. It is part of the effect but I find it hard to listen “through” this to get the base right. Any tips or tricks you would recommend?


    You mentioned that you take the time to learn the riffs especially things like picking dynamics. All I can say about that is - it was well worth the effort as you do a fantastic job of both creating the tone and demonstrating them.


    Keep on rocking sir. You are a Legend yourself 🤘🤘🤘

  • Hi Alan,


    Thanks a lot! :)


    I agree - adjusting the gain when the original sound has a chorus effect is like walking through the fog… But you need to do the first step. So I start with the gain somewhere where the sound feels OK. Then add the chorus and readjust the gain. You always have to readjust some parameters when you turn effects on. It´s always back and forth. So don´t spend too much time with the first gain setting. Take a starting point and come back if necessary.

  • Hi Alan,


    Thanks a lot! :)


    I agree - adjusting the gain when the original sound has a chorus effect is like walking through the fog… But you need to do the first step. So I start with the gain somewhere where the sound feels OK. Then add the chorus and readjust the gain. You always have to readjust some parameters when you turn effects on. It´s always back and forth. So don´t spend too much time with the first gain setting. Take a starting point and come back if necessary.

    I just want to add my thanks for this. I've not uploaded the pack yet but seen the video.


    I don;t have the patience to do this so you doing it for us is fab and much appreciated. I know many will want their own sounds but for me it gives an insight into other peopels sounds and a building block rather than pure copy.

  • The ambient effects were the most enlightening to me. Thomas, your ear for creating just the right reverbs and delays is outstanding. And this most recent pack really highlights how much of an impact those ambient effects make on the tone. Thanks.

  • It's seems that the "TD - Mat Fol" == > Matthew Followill of Kings of Leon for "Sex on Fire" is a good base for "Money for Nothing" of Dire Straits !

    .... To my hears.

    "La théorie, c'est quand on sait tout et que rien ne fonctionne. La pratique, c'est quand tout fonctionne et que personne ne sait pourquoi. Ici, nous avons réuni théorie et pratique : Rien ne fonctionne... et personne ne sait pourquoi !" - Albert E.

  • Hi Alan,


    Thanks a lot! :)


    I agree - adjusting the gain when the original sound has a chorus effect is like walking through the fog… But you need to do the first step. So I start with the gain somewhere where the sound feels OK. Then add the chorus and readjust the gain. You always have to readjust some parameters when you turn effects on. It´s always back and forth. So don´t spend too much time with the first gain setting. Take a starting point and come back if necessary.

    Many thanks for your work!

    And as we say in Germany: "All good thinks are three",

    a third Legends Pack would be really welcome.

    ;)