Live gig with the Kemper

  • I recently bought the Kemper Profiler (without powerhead) + remote, and have so far only used it with headphones. However, I'm soon doing a live gig with it, but I'm not really sure what to tell the sound engineer and what the best way to hook it up is. Is running two XLR-cables from main output straight into the mix table a good option?


    Other than that, what are some things to keep in mind when using the Kemper for live gigs, any important settings etc.?


    Thanks!

    '

  • One or two XLR from the main outs to FOH desk is generally the best option. It depends whether FOH want a mono or stereo signal. If only mono send one cable and set main output to Master Mono in the output menu. In some cases the output from the Kemper can be too hot for the XLR inputs on the desk if the desk automatically engages a mic pre when an XLR is used if this is the case use TRS cables instead.


    You will need to be able to hear yourself onstage so will need a monitor feed from the PA or a powered cabinet on stage to run from the monitor out. Another option is to monitor onstage with IEM only.

  • Main things to do are:


    1) Take 1 XLR to the desk unless you are running stereo from the main output. Personally I don;t bother with stereo and keep it simple for your first gig.

    2) ensure you select the -12db soft button on the output ( look it up in the manual) to ensure the signal is not too hot

    3) Make sure your volumes are unlinked so your main out remains at a set level.


    The sound engineer will very likely have seen a Kemper/helix/Axe before so will also be aware so nothing really to tell him.


    Prior to all of this I would strongly suggest you test in a rehearsal room at volume. the sounds you have set up via headphones will sound very different at gig volume.


    Also, how are you monitoring? Are you using any cabs? As yours in unpowered, do you have a powered cab at all? I would not rely on an in house monitor if you can avoid it.

  • Yes...exactly what V8 says.


    I have the powered head. When the sound guy feels like sending me to FOH he does. The -12db setting and making sure you have a cab on that profile is very important. Do not use DI profiles for FOH. I use the house 4x12 cabinet for on stage monitoring. If the sound guy is lazy and doesn't want to go FOH, he will just throw the mic on the in house 4x12 cabinet. I dial in my profiles using a real cabinet, so it sounds great on stage for me.

  • something i always request is to ensure that phantom power is turned off. Well prepared sound engineers will likely have active DI boxes on standby which they may remove and stick those XLR straight into your rig.

    Were told The Kpa can tolerate phantom power but recommended to switch off if possible. Belt and braces, you could take your own isolation method or perhaps a phantom-power tester so you can at least check.

    The sound engineer may have have their own idea on how to deal with a stereo feed, be that use one side only, pan both centre or do a proper stereo mix.

  • I’ve used my unpowered head and remote for all live gigs over the past 4 years with excellent results. Sound engineers love it due to the sound consistency. Just like V8guitar mentioned I also keep it simple with 1 xlr out straight into the desk. We used in-ear monitoring on stage.
    I fully agree with V8guitar to check your rigs/performances at gig volume before you start gigging. You might want to adjust the eq accordingly.

  • Thanks for all the good replies here! I think I will then use only one XLR mono signal from the kemper. As for monitoring, I was thinking they probably have some on-stage monitors that are connected to the table, thus not much for me to think about other then adjusting the levels correctly.

    Also, how are you monitoring? Are you using any cabs? As yours in unpowered, do you have a powered cab at all? I would not rely on an in house monitor if you can avoid it.

    Why would you avoid in house monitors?

  • Thanks for all the good replies here! I think I will then use only one XLR mono signal from the kemper. As for monitoring, I was thinking they probably have some on-stage monitors that are connected to the table, thus not much for me to think about other then adjusting the levels correctly.

    Why would you avoid in house monitors?

    Purely because you don't have control of them. Things change after sound check. Without a backline your guitar will need to be in all monitors so the drummer, singer and bass player can hear you.


    However, I have used them and played without a back line before so its not essential, just need to get it right in sound check and the advantage is controlled sound to everyone.

  • Thanks for all the good replies here! I think I will then use only one XLR mono signal from the kemper.

    good choice but remember to set the main out to Master Mono in the output menu or you will lose half of any stereo FX. IE a ping pong delay will only ping OR pong

  • Every sound man I've worked with always mentions that the signal is very hot. I've got the main output down to - 30dbs. And sometimes they're not easy to deal with when you're trying to tell them to keep my signal direct without any preamps or other.

    Rik


    Kemper toaster >Kemper remote> 2 x Alto TS310 powered speakers Furman M-8XAR

  • Every sound man I've worked with always mentions that the signal is very hot. I've got the main output down to - 30dbs. And sometimes they're not easy to deal with when you're trying to tell them to keep my signal direct without any preamps or other.

    i’ve found this too. Weirdly, i had one engineer say lower the output so he could drive the head-amp (input gain) on the desk instead. Seemed a bit counter intuitive to me but best keep him happy. Think I’m running-15dB as my output level.

  • I had one sound guy refuse to take a direct feed and insisted on using a mic. When I turned up without a speaker for on stage and just asked to go direct with a little guitar in the monitors he tried to make me use a Line6 Spider combo so that he cold mic it because it “always sounds better” ?‍♂️ I eventually went out to the car and brought in a Mesa EVM12L cab which he miced with an E609. Thankfully I had a powered head and had already prepared for this worst case scenario but the usual happened during band changeover and his mic got misplaced. I had to reposition the mic myself or the audience would have heard no guitar. Wouldn’t have been a problem if he had just accepted a direct XLR feed but you can’t argue with so e folks.

  • I had one sound guy refuse to take a direct feed and insisted on using a mic. When I turned up without a speaker for on stage and just asked to go direct with a little guitar in the monitors he tried to make me use a Line6 Spider combo so that he cold mic it because it “always sounds better” ?‍♂️ I eventually went out to the car and brought in a Mesa EVM12L cab which he miced with an E609. Thankfully I had a powered head and had already prepared for this worst case scenario but the usual happened during band changeover and his mic got misplaced. I had to reposition the mic myself or the audience would have heard no guitar. Wouldn’t have been a problem if he had just accepted a direct XLR feed but you can’t argue with so e folks.

    A Line 6 Spider!!?? Wow! Man, some sound men could be so difficult and they think they know it all.

    Rik


    Kemper toaster >Kemper remote> 2 x Alto TS310 powered speakers Furman M-8XAR

  • Another thing i encounter is that the first sound you play through your Kpa (especially in those quick turn arounds between multi-band events) the foh engineer applies their “default” EQ , whether that’s their desk- recall settings manually or what they perceive as a “neutral/flat” sound. As we know, our preferred rigs have an eq curve of their own, which is often noticeable when changing between rigs when the audible difference becomes noticeable. Similar to “us” at home/studio, depending what you hear before or after the current sound influences how you perceive the current sound, until your ears become accustomed to the changes. The same way in which how you perceive a flavour with your mouth depends what you have recently eaten . (Extreme example- eat an orange after brushing your teeth )

    What I’m getting at is the foh engineer will eq your sound to their tastes. I request that they leave the eq flat, if i can- but sometimes the closest you get to them is 50 metres away. Your closest allies are on stage in the form of the monitor engineer or the stage hand that keeps them awake.

    Ultimately, they will do as they please with you and your bands sound. I don’t worry, so long as i can hear what i want to hear to give me the confidence i need to perform, which leads on to another important (my most valuable) tip- control your own monitor wherever possible!

  • I had one sound guy refuse to take a direct feed and insisted on using a mic. When I turned up without a speaker for on stage and just asked to go direct with a little guitar in the monitors he tried to make me use a Line6 Spider combo so that he cold mic it because it “always sounds better” ?‍♂️ I eventually went out to the car and brought in a Mesa EVM12L cab which he miced with an E609. Thankfully I had a powered head and had already prepared for this worst case scenario but the usual happened during band changeover and his mic got misplaced. I had to reposition the mic myself or the audience would have heard no guitar. Wouldn’t have been a problem if he had just accepted a direct XLR feed but you can’t argue with so e folks.

    Like you I've only ever had this once before, about 5 years ago. Luckily the band we were playing with had a 4x12 I could borrow with my powered rack.