Future Updates?

  • Hi

    I am not interested in strange and not so usable effects. For me personally I do not need any Fuzz at all.

    I am not a hi gain guy and I have found an bought a lot of fantastic rigs so I do not need a lot more.

    For the music I play I would like improved reverbs. I have owned Strymon Big Sky that is fantastisc. I own Keeley Halo delay(sounds more as delay and reverb) that is incredible.

    I have Free the tone Tri Chorus that in my opinion is of a higher level.

    I also use two Secret Tone EP-3.

    I run WD/D/WD were I have a stereo loop into my three active FRFR monitors with the effects mentioned as Wet an d I am very very happy.

    Personally I am not so happy about the Kemper drives so I use three extrnal pedals.


    All this is only my personal opinion!
    However I am very happy with my Stage, much better than all modelers I have used before so I will continue to keep it close to my heart.👍🏻

  • Funny thing is that in my humble opinion gear like the kemper doesn’t get used at higher end / pro level as a well known and ‘go to’ piece of gear until it has an well established track record. It’s taken a long while but the Kemper has been on the scene long enough to have reached that point now. I’ve had a kemper since the very first batch. Over the last year before lockdown and ever since I’ve noticed just about everyone in the stage crew knows exactly what it is as soon as you remove it from its case. When you pull out a kemper and a member of the stage crew hands you 2 xlrs without even a word. Well that speaks wonders.

  • I am not holding my breath for a Kemper 2. CK has said many times that the processing power of the current model is far from being maxed out. I would expect more update to the current system for some time to come.

    I hope that is true!

    Larry Mar @ Lonegun Studios. Neither one famous yet.

  • I just want less compression on profiles… and a more realistic amp like attack.

    This is an are that differers per user. I find the amps to be very realistic to my tube amps. That is the thing I like the most about Kemper. I find it to be very responsive and comparable to my tube amps. I thing that Paul mentions below is a big factor. I dialed my profiles for live use in at the same level that I run my amp at when on a stage. I put my amp next to a PA speaker on a stand in the same room and dialed the profiles in to be at the same volume as the amp. To me, the profiles feel just like the amp.


    There is a compressor in the amp block. Try adjusting that a bit and see if that helps. I haven't touched it in my case but I have seen others be very pleased with the results of adjusting it.

    My opinion, if you turn up to the same volume you’d use with an amplifier, you’ll get what you’re looking for.

  • My opinion, if you turn up to the same volume you’d use with an amplifier, you’ll get what you’re looking for.

    This!!! Yep.


    Now ..... the philosophical question here is if having an amp on stage that loud is a good idea for a band in the first place :).


    I remember the first time I worked in a band with a lead guitar player that had his 4x12 quite low, but mic'ed with the mains doing the heavy work ..... it felt "wrong" to me since I had always been in bands where the guitar amps were loud on stage.


    The overall sound with lower stage volume makes for a much superior mix at FOH for the audience. I think that this is a lesson most guitar players never learn because they want that "amp in the room" feeling on-stage which really just means they want their amp up loud IMO.

  • The volume of the amp on the stage is a huge thing. I also run sound and have probably done almost as many gigs as a sound guy as I have with a guitar in my hand. I have done many gigs doing both at the same time. Many guitar players don't get the affects of the volume of their guitar amp on the FOH sound. I used to run sound for one band that was like pulling teeth to get the guy to turn down. I would have him all the way out of the mix and he was still too loud. I approached him one night after two or three songs and told him he got to make the decision on how the band sounded that night. He could either turn down and let me make them sound good, or he could leave it where it was and all people out front were going to hear was his guitar and his singer's voice would not make it through the night because she couldn't hear herself over his stage volume. He got ticked off at me but he turned down. I dialed them in during the next song and we moved on. His uncle was there there night and they talked at the first break. His uncle told him it sounded really good out front so he came over and told me that he heard that it sounded great out front. I told him that is because he turned down and let me do my job. Guess what happened at the next gig...I had to tell him to turn down again...

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    Check out the description. Tom's a trip.


    "Sure its a little hungover and sloppy, but this is a pretty good illustration of why Uncle Larry doesn’t use Kempers and Fractals and all that modeling horseshit. He likes it loud and raunchy, that land where the speakers and the pickups are united in total solidarity."

  • The volume of the amp on the stage is a huge thing. I also run sound and have probably done almost as many gigs as a sound guy as I have with a guitar in my hand. I have done many gigs doing both at the same time. Many guitar players don't get the affects of the volume of their guitar amp on the FOH sound. I used to run sound for one band that was like pulling teeth to get the guy to turn down. I would have him all the way out of the mix and he was still too loud. I approached him one night after two or three songs and told him he got to make the decision on how the band sounded that night. He could either turn down and let me make them sound good, or he could leave it where it was and all people out front were going to hear was his guitar and his singer's voice would not make it through the night because she couldn't hear herself over his stage volume. He got ticked off at me but he turned down. I dialed them in during the next song and we moved on. His uncle was there there night and they talked at the first break. His uncle told him it sounded really good out front so he came over and told me that he heard that it sounded great out front. I told him that is because he turned down and let me do my job. Guess what happened at the next gig...I had to tell him to turn down again...

    Years ago, a club owner told me that last week’s band had a guy with a Twin on 6 or 7 that would not turn down.


    “It’s my sound.” He said.


    The owner paid them at the end of the night and said something like “You guys are OK, but (pointing at the guitarist) this prick made it impossible for my servers and bartenders to hear our customers. You chased people away and cost us money. Don’t ever come back.”


    Remember who agreed to book you, who’s paying you and what you’re there for.


    You’re there for their customers. Not yourself.

    “Without music, life would be a mistake.” - Friedrich Nietzsche

    Edited 2 times, last by Ruefus ().

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    Check out the description. Tom's a trip.


    "Sure its a little hungover and sloppy, but this is a pretty good illustration of why Uncle Larry doesn’t use Kempers and Fractals and all that modeling horseshit. He likes it loud and raunchy, that land where the speakers and the pickups are united in total solidarity."

    Yuck!


    Not even close to a good mix. Seriously, who would want to hear that AM radio quality voice and ear piercing guitar all night?


    If you want to be asked back, play to the crowd and the venue owners, not to get "your tone" on-stage.


    Don't get me wrong, I like to fiddle in my basement with the guitar really loud. It is inspiring! It just isn't something that makes the band sound good and it is WAY more important to me that the band sounds good that a few guitar heads in the crowd come and give me complements on break about my guitar tone.


    Having a guitar monitor pointed AT THE GUITAR player does help quite a bit. First, it makes it so that the sound is going to his / her deaf head instead of past the pant legs, out into the crowd, bouncing off the back wall, then finally reaching the guitar players ears. Second, it helps keep the guitar amp OUT OF THE VOCAL MICS.


    Still not as good as a KPA straight in, but way better than a full stack pointed at one side of the audience.

  • 1.6k likes? I never heard of the guy and I can hear why.

    Larry Mar @ Lonegun Studios. Neither one famous yet.