And the one that doesn't have the toxic fanbase and the owner who's a complete jerk.
I wasn't even going to go there, but since you mentioned it: I experienced both in their forums. I'll leave it at that.
Posts by joshriggs
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Well, you also have to figure that the Stage costs $700 more than the FM3, which is going to influence demand.
True, but you'll need a $500 FC6 to give it ccomparable foot switching abilities. And since they're forever on backorder, the cheapest you can find them on reverb is around $1400. I've seen them as high as $2000. ?
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While the KPA is old, the Stage isn't.
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To be fair, there have been a backlog previously with the Stage and Kabinet but they have been possibly more temporary...
It must be difficult for companies that are relatively small to determine the volumes to produce for such high cost items.
True, but yet some companies do it well, like Strymon. Overall, fractal reminds me of the (pre-Covid) boutique donut shop down the street that always runs out by noon. Surely there are enough donut resources for you to make more. ?
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I briefly owned a Fractal FM3 before switching to Kemper. Just an interesting observation that their key offering products are always on backorder (took me a year+ to get my FM3 from the waitlist), while I can easily buy a Kemper Stage or a Strymon Iridium, etc. Not to hate on the competition, but it seems kinda strange. Guitar gear supply chains and manufacturing is really fascinating.
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Awesome!
I've done FRFR for years (PA/DXR10/XiTone/Bose L1) and they all do well live.
Now I have a Kabinet with SD 700, and it feels/sounds every bit as good as my Avatar 2x12 with V30s.
Nice. I've thought about getting a Kabinet for home jamming. Just to clarify, I wasn't referring to the whole Fletcher Munson curve thing. Just that some profiles that didn't quite have the character and fullness I want when recording sounded phenomenal when cranked up to ear bleeding volumes.
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I finally got to take my new Profiler Stage to the band rehearsal room today. Up until today I've just been using it to record and play through studio monitors.
First off, holy shit, this thing continues to amaze me. It sounded like a real amp with my Seymour Duncan Powerstage 170 and 2x12 cab.
The interesting thing is that I tried tons of different profiles, and the one I liked best for high gain (Top Jimi Friedman JJ100) was one I thought sounded just ok for recording. My recording favorites also sounded good, but the JJ100 was so dynamic, with all the right overtones and touch sensitivity. Anyone else have that experience, where a profile that sounds bad in one situation comes alive in another?
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You can always reamp with the Kemper effects later, with the mix in mind. A dry direct signal is always a safe measure. You can record also with effects if it is more inspiring (it usually is) and then reamp if necessary. It is annoying when you realize your take has too much gain, reverb or whatever.
Yeah, that's what I do - wet signal in stereo + DI. So far it's worked great and I haven't needed to reamp something because I don't like the effects in the mix.
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Interesting observation: seems like most people don't record reverb and delay from their Kemper. I get why, but for me personally, Kemper verbs and delays are much better than any plugins I have. But I also play mostly space-y, heavy post-metal stuff, so I like very lush and full time-based effects.
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S/PDIF is only 2 channels, though, right? So you can't record a stereo wet signal and a DI with one S/PDIF cable alone.
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You know there's a pandemic going on right now, right? ?
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Derp. Why didn't I realize that I can simply get a cheap Alto / Headrush FRFR to take with me to venues, and use it in conjunction with my 2x12 guitar cab for rehearsal?
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Just so you know, I play in a metal band as well. The point here is everyone used to rely upon the back line because it drove the FOH but even if its thin and hollow, it doesn't impact how everyone else hears it. I just think you will waste time trying to match backline and FOH.
Trivium like many bands have eliminated their back line and only focus on FOH.
BTW you are not coming across like an ass, I was totally in your place. Not trying to sell you on FRFR and this might not be right for you, just trying to save your back lugging 4 x12's around when I think the KPA means you don't really need them, primarily because you have the direct out
If it doesn't work for you, its all cool
i have a 2x12 Orange-style Avatar cab. It's heavy AF, though. And maybe I just had the wrong modeler / FRFR combo before (Helix + Friedman ASC-12). What are some good FRFR options that retain their fullness when cranked over a loud drummer?
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i can’t imagine a situation where a 1x12 isn’t loud enough. If its too loud for a 1x1w then your hearing is getting seriously damaged even with ear protection. For 30 years I used a Dual Rectifier with either one or 2 Mesa EVM12L Thiele cabs. One was plenty loud enough but two aloud a better spread for big stages. I’ve always hated 412 cabs anyway but a 1x12 can be devastatingly loud.
When you play in a metal band with my drummer
But seriously, it's not about peak loudness. For heavy tones with tight low end, nothing makes up for moving more air via more speakers. So yes, a single 12" FRFR might have enough volume to be heard over a loud drummer, it will sound thin and hollow compared to 2x12s at the same volume. If I was playing indie rock, classic rock, country, etc, a single 12" frfr would be fine. There's a reason you don't see metal and heavy rock bands with 1x12 combos on stage. And I hope I don't come off as an ass here, it's just my experience.
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I tried this first time around and had issues because the cabs add so much colour, you end up having to try and reverse engineer your sound and its counter productive.
When I started, I miked up a 4x12. I then tried to go direct and its sounded awful. I was confused....turned out my profiles were crap but the cab masked it. I had to use FRFR to get my sound set up.
My view has now changed.... my backline sound used to be the most important because that was miked and sent to FOH. FRFR now gives me the sound that is sent to the PA.
The amp in the room sound is now less important and its purely for monitoring. Yes it needs to sound good but I prefer the accuracy. What I hear is what is coming out of the PA, I don;t know why people want to hear a false sound...now when I do run a 4x12 ( at festivals for example), they feel muffled and less alive. I think its what you get used to, bit like IEM's.
Having played in very heavy rock bands very loud, I've not come close to maxing out my 1 x12 FRFR so not sure where you get they are not loud enough...I have 3 of them I've used at various times, never had an issue.
Also depends on the sound you want....cleaner/punchier is better than "spread" and I'd never go stereo or feel the need to lug 4x12's around. But that's just me...
Thanks. I'm not interested in going FRFR as I mentioned earlier in the thread. but good to know about the cab settings. I have a good 2x12 v30 cab and power amp, and don't want to have to sell all that plus spend more to get an FRFR big enough for my needs. The profiles I hope to use live are all professionally made, and have direct versions, so hopefully that won't be an issue.
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The same approach should work with the Kemper I recon? Use monitor out EQ for the cab and master out EQ for FOH.
Derp. I forgot that the Kemper has separate EQs for monitor and main out. That would probably work just fine. I'm not looking for accuracy, just close enough.
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That's where a FRFR cab might be tremendously-convenient, Josh; it'd take 90% of the guesswork out of the equation 'cause you could simply send complete Rigs to both feeds.
Not a fan of FRFR cabs. They just don't feel right to me, and I need something more powerful than a 1x12 (which most reasonably priced FRFR cabs are) in rehearsal. I've thought about loading up my 2x12 cab with Celestion f12-x200s, but I don't wanna drop the $300 for that just yet.
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Hey all. Does anyone play through a power amp and real cab for their own monitoring, and also send a direct out to the house? If so, what's your method for getting a similar sound from your cab and direct signal? With previous modelers I owned, I would EQ my tone for the real cab how I wanted it, and then A/B it with the direct signal to our rehearsal room PA and try to find a cab IR that sounded similar. With Profiles, it's a little less cut and dry. Would love to hear what you folks do.
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A profile of a model of an amp. How meta.
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Also, Tone Gremlins are real. They come in at night when you're sleeping and change your favorite profiles so they sound totally different the next day. True story.
