I have a Seymour Duncan Powerstage 170 that I run into an Avatar 2x12 V30 cab. The Powerstage is great, small, loud, and affordable (especially used). I personally don't see the value in paying 2x more for the fancy Matrix stuff, especially since it's really just for practice and my own stage monitoring (the audience will hear your DI output). But of course, this is just my personal opinion and is in no way a judgement on what other people like.
This can't be something very difficult I guess ?
It really depends on how they built the UI. But I imagine it's been deprioritized because it's not a blocker or a bug. Users can still set a tempo, it's just not ideal.
do you link the tracks in an edit group? In this case all tracks should always stay synced when editing. In Logic you can easily do comp edits on group tracks so that the DI and Amp tracks comp simultaneously with edits and cross fades all lined up automatically.
I have not heard of this. Will definitely google it.
Reamping is nice but I am old school. Kemper straight into an Apollo into Logic. If I decide I don't like the takes later I just re-record it. Keeping it simple.
Thanks. Yeah, like I said, I don't have that luxury with the kind of stuff I do. But maybe I'll try a stripped down rawk EP some day.
Please please please please. First of all, it's nearly impossible to dial in a whole number tempo (e.g., 74bpm) in Rig Manager. And when I adjust it on the hardware (in my case, Stage), it takes forever to dial it on because of all the 10th decimal place numbers. A simple toggle in system settings, like "disable bpm decimals" would be fine.
Does anyone actually use tempos like 84.3 bpm? Maybe I'm just crazy. (Likely)
That all seems a bit complicated for me.
I find the sounds I like and just record straight in to Cubase, no re amping.
It's important to get the performance right and I think re amping would interfere with that and kill creativity.
If it works for you though keep doing it that way, each to their own.
Not arguing about getting the performance right. Sometimes you don't know something needs adjusting until it's in a mix and you've sat with it for a while.
I respect that commitment. I commit too, until I realize I need to change something. Sometimes you don't know you need to change something until you hear it in a mix, and if I don't record the DI, then I need to rerecord that whole part.
Hey all! For those of you who write, record, produce, and mix your own music, what is your typical workflow with the Kemper?
For example, with the last song I recorded,
- I demoed the song with basic tones.
- I learned the parts better,
- Put together all the final guitar and bass tones I wanted to use.
- Re-tracked everything with both the Kemper main out and the DI.
- Fixed some timing issues with tight heavy riffs on the DI tracks
- Reamped adjusted DIs, and also reamped some stuff to change profiles
- Final mix and master.
I liked how easy it was on my computer because I wasn't running many plugins. I didn't like that I kept forgetting to record DIs to go with every track. It was also kind of a pain to make sure all 3 ins (Stereo L/R, DI) were at good levels. I also did this over the span of a couple weeks, so it was kind of a pain to keep hooking up all the cables to my interface (Scarlett 8i6)
On the newest song I'm working on, I decided to track all heavy rhythm guitars direct using Neural DSP plugins, so I can align and tweak timing issues first. Then I plan on reamping the heavy rhythm tones. I've also recorded bass direct instead of through the Kemper. I'm being a little less regimented and recording with whatever is easiest for me at the time.
Although I welcome everyone's input, I'd really love to hear from people who use the Kemper to make music with a lot of tracks, tones, and layers. Replies like "I just use 2 profiles and send them to the mix engineer" isn't really helpful.
I play high gain tones mostly in drop C and drop B, through an FRFR speaker, a traditional 2x12 cab, and recording with studio monitors. I use profiles and IRs from a multitude of different sources, and I have not had this issue being described. Maybe some things to check on that might be contributing to your issues:
- Input - Distortion Sense: bump that up to 2-3db. Sometimes that makes a profile sounds bigger
- Definition - turning that up all the way does add definition, but it also takes away low end
- Clarity - really depends on the profile, but this usually makes a high gain profile sound thin when it's set higher than 2-3. This and definition are very interactive with each other
- Pick - have you adjusted this? If you're using mega high output pickups and you've also adjusted this to the right, then that could be a cause of your issue
- Cabinet - Pure Cab: I like this at or around 5. It adds a lot of fullness to the sound
- Output - Space: make sure Space is off for your master output. That could be messing with your tone when you play through a cabinet.
Forgot to mention the Chromatic Pitch block. With the pitch settings at +12 and -12, and a bit of detuning, it does a pretty good impression of a Micro POG.
Here's my worthless opinion©®™: ask yourself what you would replace immediately if it were stollen and you received enough insurance money to cover your losses. What would you be sad about if you couldn't replace, and what would you be happy about being able to replace with something else?
I have bought and sold a ridiculous amount of gear in the last 2-3 years after getting back into music after a long break. The 3 pieces of gear that I miss the most are all things that I would consider not practical to my current situation of being a keyboard warrior musician (because of Covid, mostly). That's the reason why I miss them, because although I can afford to buy them again, I can't really justify their practicality right now. But if I still had them I'd fire them up every now and then.
If you're curious, the 3 things I've sold that I miss the most are a Mesa Maverick 2x12 combo, a Mesa Rectoverb Series 2 head, and a Music Man JPX 7 string.
...but bands shouldn't ( in my opinion) don't rely on their backline for FOH, even in the smallest of venues. So the size of the PA shoudln;t make a difference.
Your cab should be for your band monitoring only...
I built myself a false 4x12 for the look too
My point here is that I see this meme pop up a lot when people are talking about cabinets, and the general response is "nobody needs more than a 1x12 because look what the rock stars do." There's no substitute for pushing air, and while this cab is unloaded, you can bet that PA and monitors are pushing a ton of air, which makes things sound huge onstage. In my experience, it's best never to rely on anything from FOH, because your monitor can go out at any minute, or any other number of other things can go wrong. We're probably saying a lot of the same things here, but I just get kinda annoyed by that meme for some reason. ?
I'm a delay and reverb junkie. I've owned a Strymon Big Sky & Timeline, Eventide Space & Time Factor, a Helix, and a Fractal FM3. I think the delay and reverb on my Kemper Stage is as good as anything by Strymon and Eventide. I really like the Dual Delay set to 1/4 and 1/8d, with a flutter intensity turned way up, into the Cirrus reverb with mod most of the way up, and a really long decay time. So nice and epic sounding.
Somebody posted this wonderful picture here some time ago. The looks and the weight can be separated to a certain extent I love that one and don't want to know how often this was the case even in times before the Kemper. I remember a great gig by Alice In Chains 10/12 years ago when some of the tecs explained to me that Jerry's sound was fully coming from an isolation box behind the stage... certainly they enjoyed my face a lot back then
I mean, yeah, the guitar cabs are empty, but they're playing through a $100k PA system. Since it's unlikely I'll ever play through a PA system with even 1/10 of the power, I'll stand by my 2x12 cab. ?
Isn't this what the Pure Cabinet control in the cab block does?
Just discovering this thread. I also had an ASM-12 and thought it was complete garbage. That handle location was truly idiotic, and the tolex would scratch up just by looking at it wrong. I only played 2 shows with it and don't see how it could have ever survived a tour. I did rehearse with it a lot, and it was very under powered to my ears. I still had to hook up a DI to the PA system in rehearsal to compete with the drummer and the rest of the band because it wasn't loud and full enough on its own.
Needless to say, I sold it and got a Seymour Duncan Powerstage 170 and used my 2x12 Avatar cab as my stage and rehearsal volume. I did get some time to A/B the two setups. I know it's not fair to compare a 2x12 cab to a 1x12 cab with a tweeter, but the 170 watt Powerstage and Avatar 2x12 cab completely destroyed the 500 watt Friedman ASM in volume and fullness.
I've since purchased a Laney FR-112. While I haven't rehearsed with it thanks to Covid, I think it sounds a million times better than the Friedman at a fraction of the price. Friedman makes some great products, but the ASM-12 is not one of them.
I just picked up a Laney FR-112. So far it's great. It's kind of in between a real cab and a PA speaker. Previously with my Helix, I used a Friedman ASM-12. It pretty much sucked. Too heavy and just sounded dull and lifeless.