Kemper doesn't work for Gn'R guitarists

Quote from Wheresthedug

Agreed, I don’t get the love for 412 either.

Well maybe you should play some more metal my friend.

Quote from musicmad

Well maybe you should play some more metal my friend.

?

that figures. The 412 is the work of the devil so perfectly suited to Black Sabbath

Quote from musicmad

Well maybe you should play some more metal my friend.

I used to, in fact we used to play opeth, dream theater, some maiden and some sabbath in my debut band on public demand. I had a 412, a cheap peavey 412 that eventually upgraded with V30s, at full volume had a great SPL, and enjoyed that for a few months, until I tried my actual 212 cab, and sincerely realized the extra "omph" was more of a placebo thing for me, revelation ahead, the 212 with V30s sounded killer, more tight, more punchy, and the lows were great, they did not muddied the bass player tone.

But as always, to each their own. I still dont get 412 beyond the "swag" and coolness factor of a wall of sound behind you... and the uncontrollable feedback you can easily get anywhere in the stage. 112 on the other hand (with some minor exceptions) we can mostly agree it sounds boxy and dry in most cases.

the rig run down I saw , showed Slash’s cabinet was back under the stage. And he had a small cab in front of stage for feedback,etc

Sollazzon The interview from your first post is this (at minute 40:00):

Quote from Sollazzon

this video has been suggested to me by YT a couple of days ago.

for those who don't understand Italian, basically he says that:

- the sound You hear in a room in front of a real amp and Cab it's simply Unic.

-today, in Pro live show, there's no more Space for Real Cab(s) on stage because it's reccomended that the stage is ''quiet''

- so, if You still want to use Your Tube Amp You need to 'remote' the cab from the back stage, or to use an Isobox, and You'll hear Your sound just through stage monitors or IEM..

- in this scenario in the end the KPA it's a better solution 'cause You're Sure to listen exactly Your Sound (the one you profiled in studio actually) and You cut off all the other variables,

And I guess we All agree on this.

Back on GnR Sound on stage in the last Tour, Slash's guitar tech Adam Day confirms there are 4 4x12 in Isolated Box Under the stage.

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In this situation they might as well use a load box and IR or an integrated unit like the Two Notes Torpedo.

Quote from Alfahdj

112 on the other hand (with some minor exceptions) we can mostly agree it sounds boxy and dry in most cases.

No we can’t agree. I’ll be sending the tone police round to to your place ?

In all seriousness my live rig for nearly 20 years was a pair of Mesa Thiele cabs with EVM12L. Never noticed anything boxy about them and the two separate cabs allowed for a great spread of sound on stage in any venue.

I do get the 4x12 thing, even though I've just sold mine, never to return

Firstly, all set ups n my mind need to go FOH. Playing just from the backline is crazy to me, even in the smallest of gigs.

4x12's just look cool..you think your a stadium player in your backstreet pub and those heady days of 4 x12 stacks....more is obviously better. I have seen guitarist take 2 4x12's into a tiny pub and yet....somehow....it still looks good ( although a bit scary!).

I even built a fake 4 x12 to hide my FRFR....

But, and here's the rub....they never sounded that good....more directional than you would think, need volume to move air, massive sound colouration as well as heavy, stage space etc.

Its interesting that many stadium bands who don;t need to worry about such matters are having theirs off stage in isolation boxes, so the world is moving on...

In the world of digital amps, I think having a KPA/Fractal/Helix and one day the QC will be seen as the new rock'n'roll. Im now proud NOT to have a 4 x12 as people try to work out where this stadium sound comes from...

4x12s definitely have their place in music, especially rock and roll and heavier styles.

Just as an example, try recording with a 2x12 and then compare it to recording with the same speakers in a 4x12.

Its basically the cab dimensions that play a bigger role in the equation. A 4x12 sound is going to have more heft and girth than a 2x12 recording. That's not to say a 2x12 won't sound good. In fact, some people might even prefer the mid quality.

As far as Slash or Fortus, I can sympathise with their findings, and it doesn't entirely have to do with endorsements. It could just be that they were trying it out for the first time, then fired up their amps and said, "Take it away."

In that regard, everyone is entitled to their tonal choices, including Slash

Quote from Wheresthedug

No we can’t agree. I’ll be sending the tone police round to to your place ?

In all seriousness my live rig for nearly 20 years was a pair of Mesa Thiele cabs with EVM12L. Never noticed anything boxy about them and the two separate cabs allowed for a great spread of sound on stage in any venue.

I did not specify, but this comment was in the context of metal, I would always go for a great 112 combo for good blues or jazz.

Quote from V8guitar

In the world of digital amps, I think having a KPA/Fractal/Helix and one day the QC will be seen as the new rock'n'roll. Im now proud NOT to have a 4 x12 as people try to work out where this stadium sound comes from...

oh yeah. But, if you are GnR or AC/DC or any full stadium/arena touring band, who get paid enough per show, in order to get good profits after paying traveling and shipping costs, gear insurance, a big crew and enough expensive amps and guitar backups, sure full amps setup is a no brainer. If you have smaller gigs and can afford touring with all the related costs, great go with your full stack around.

If you are looking for convenience or reducing tour costs and maintenance, and consistency, digital is a good solution, like these Alice Cooper guys...

Quote from Alfahdj

I did not specify, but this comment was in the context of metal, I would always go for a great 112 combo for good blues or jazz.

OK, we can be friends again ?

Loved the sound of my VHT 4x12 slant top with a 2x12 VHT fat bottom cab. HATED moving it ..... every ...... single ...... gig!

I think I am in the "just say no" crowd on a 4x12 now

I love the kemper most of all for how it reacts to the volume knob of the guitar.This and its "simplicity" and reliability were the reasons a fanatic tube guy like me jumped ship.

To say that the kemper has problems with that issue..I don't know..but this sounds like Fortus wants to believe it more than anything else.Like some other tube freaks who played over my kemper during the last years.Some people can't let go..

Btw..4x10 is what I believe the best "compromise" if you ask me.I always loved 4x10.To bad this got out of fashion.

After using Helix and then Kemper the last 4 years or so and ditching the tube amps, I’ve gotten a JVM410H and a 1960A 4x12 and I have to say OMG. Forgot how it feels to have a cranked amp.

That said, I still love my Kemper, and putting the Kemper through the amp is GREAT also.

No need to be on one side of the fence or the other. Love all!

My wife is ok with me loving many amps and guitars as long as I just love one woman

Rather than admit that he doesn't know how to use a Kemper, he says that they "don't work for GnR". What an asshat, sounds like operator-error to me. You can get anything, and I mean fucking ANYTHING out of the Kemper that you can get out of another amp. If you haven't found it, operator error....

What would these guys know? They probably used the wrong profiles, or wrong guitars, or wrong p.a. etc...Billy Hillbilly who once played in front of 80 people and has all Top Jimi and Tone Junkie profiles knows better lol ?