No. Example: I switch from performance 1 to Rig 2-5 in performance 2.
Sometimes the rig switches incorrectly. Something other than what is stored is playing.
Then when I switch to another rig and back (within that performance) everything is OK again.
This means that the rig is not deleted, only something is wrongly switched at that moment.
Hi guys.
Sometimes when I switch from one performance to some preset 2-5 in another performance the preset doesn't switch properly. (e.g. an effect doesn't turn on, or is on when it should be off, sometimes there is a completely different profile ) On the first presets in the performances this doesn't happen.
I estimate that it happens on average about 1 time every 30-35 switches. Sometimes less sometimes more often.
I don't know if it's a bug in the firmware, or if it's just a problem with my device....
Does anyone also have a similar problem?
Hi guys.
Can anyone advise me if Deeflexx would be suitable for Kemper Kone Cabinet? I have some orders for gigs as a soloist and I want to run backing tracks through it. I'm a bit worried if the beam angle will be a bit too narrow, as I won't have two cabinets and everything will go mono from one speaker.
Kemper writes that the Kone Cabinet is not suitable for microphone pickup so I don't know if it is suitable for use with the Deeflexx diffuser.
Thanks for the advice.
I don't think there could be a problem with the footswitch. These must still be assigned to effects anyway. Even if, for example, the effect remains on in Slot 3 (but not in other Slots) while moving within Performance, the footswitch's allocation to the effect will not change. However, each effect can be repeatedly turned off and on with the soft key on the Kemper Stage or Remote, while the footwitch function and its assignment are not affected at all. So it is possible to change the state of the effects only through the software regardless of the footswitch.
Hi.
No need to think much or program much. Let me remind you again that this already works if the Rig Manager is connected. Try it. If you turn on the effect in Slot 3, for example, and then switch to another Slot and back, the effect will remain on even if it was originally stored in the off state. Only when switching to another Performance and back will the effects return to the originally saved state. All you have to do is program so that this function can be activated (or deactivated) even without the Rig Manager connected. In fact, I don't even understand why it hasn't been implemented for a long time, because it's obviously a very useful feature. And everyone could choose how they want to use it, according to their established habits.
Hi KEMPER.
I have a very important question for all of us owners of unpowered profilers. When will the powered Kemper Cabinet go on sale?
Yes, I know it can be used that way, I also read the manual. But I don't know how it really sounds (also vocal). I'm just looking for someone who has experience with it. Whether it sounds good enough for professional use.
If I turn on an effect in slot 3, for example, I don't want to save it permanently. I want it to stay that way until I choose another Performance. If that were the case, I could use one Performance on many songs.
I would just choose the necessary effects (on or off) before the song. You would need to program much less Performance.
(Now I have to use a new slot with the same profile, for example, just because I need to turn on the chorus and delay during a solo in one song, but not in another.)
Currently, this works when Profiler is connected to a PC and I have Rig Manager open. The only thing I want it to work so without a connected RM.
I think I would only use 2x KEMPER Cabinet in stereo for guitar along with backing tracks + vocals. Now I use 2x 12 "PA monitor in stereo for KEMPER along with music+vocal. I believe the guitar will sound better with Kemper Cabinets. Does anyone have experience with the sound of backing tracks + vocal on Kemper Cabinets?
Can anyone advise me? Thanks
Has anyone tried to use Kemper Cabinet with a backing track?
How does that sound? My idea is to use Imprint on guitar and AUX IN on backing track with 2x Cabinet to stereo. I'm thinking of buying 2 cabinets for stereo use, but I don't want to carry 2 more PA boxes.
The description says: Music that is fed into the PROFILER through the Aux Input will be played back in full-range mode, even when you play your amp with a Speaker Imprint, both at the same time.
No, you can't! Fact! The Profiler does NOT capture/profile room. If you hear room, then it's either your own room ... or the SPACE effect of the Kemper. It's not the profile, 100% guaranteed
yes, I agree that this should not be heard. I mean room reverb. When I think about it, maybe it's just a certain characteristic in the middle, typical of many very short room echoes, which creates that impression
I still don't get it. First you say the problem is that the profiles are recorded at a sweet spot, then you say dull microphones are being used. So you want them to use clear microphones that aren't aimed at the sweet spot but at a neutral position? Where would that be? And is that what you'd do on stage?
Please always understand my statement in the whole context. I meant they are dull for this purpose (if I want to use such captured sound again via monitors). Not dull in general - so if I use such captured sound in DAW it's OK. ( or when you are playing real amp)
Hello guys.
This discussion is too long and it seems to me that we are already getting lost in it. And that was definitely not my intention ....
So I just want to summarize the whole thing.
The vast majority of KEMPER STUDIO profiles sound muffin and dull playing through monitors to many of us (including me). That's a fact. Many of people write about it on the web testify to this. (For my ears, the STUDIO profiles sound a bit dull even in the DAW. But they are good enough to sound OK after a small adjustment.) There must be a reason for that. It's not a coincidence.
I have 2 monitors on the floor behind me when playing. These are quality boxes with an almost linear characteristic (within 3dB). They are about 1.5m apart aimed at me. So I stand approximately in the axis. Definitely not far from there. The distance from my ears is about 2-2.5 m. Ideal listening. Still, 99% of the STUDIO profiles I bought sounded dull.
I have bought 15 packages (M.Mritt, Tone Junkie, Choptones, DrZ, etc.). Each contains several dozen profiles. And out of so many profiles, I found only a few that sound open and airy in the situation I described above. I tried to adjust them to get an open and airy sound, but it no longer sounded natural to my ears.
DIRECT profiles solved my problem. I effortlessly achieved the sound I need.
I started analyzing why this is so. After all, the STUDIO profile should basically be DIRECT + CAB. Technically, it is. So the problem can only be in the difference of the sound which is captured in both cases. I think it's logical. And why the sound is different, and why the STUDIO profiles sound the way they did in the introductory posts.
This is my finding and everyone has the right to disagree with me if they think I am wrong. But according to my many years of experience with music and sound, that's the way it is.
Addition: I'm not English (I don't even live in England). Maybe I don't express myself clearly as I would like sometimes, maybe sometimes my text has a slightly different meaning than I think it has .... sorry for that.
Anyhow guys. Enjoy yourself and have a fun with your KEMPER.
Sorry, that's not possible because it was just a test board. I only have one. I've already used it for another scheme ... I only did it out of curiosity about how it would work. It can't be used anyway because it's non-programmable. But digital simulation in KEMPER would be programmable ....
It is not possible to replicate the function with any module, because in the real amp EQ Bass Mid and Treble affect each other. The only thing that could be purely theoretically possible is to imitate some specific setting with parametric EQ. It would be very laborious and it makes no sense ....
Display MoreI still don't get it. First you say the problem is that the profiles are recorded at a sweet spot, then you say dull microphones are being used. So you want them to use clear microphones that aren't aimed at the sweet spot but at a neutral position? Where would that be? And is that what you'd do on stage?
Whether you choose a merged profile or a studio profile, you always have the same chain of amp, speaker and mic that will go to FOH. Being able to change cabs is a different story but that wasn't the original point of your post.
Exactly.
Not trying to be rude here, I really hope to understand what you're trying to say but so far it doesn't make sense to me.
I never said that studio profiles are recorded at a sweet point. I'm saying they're recorded to sound like you're amplifying in a sweet point. This is something completely different.
I don't think the possibility to change the CAB is a completely different story because this change also plays a significant role in the sound settings in cooperation with DIRECT profiles.
My original intention was to clarify why, in my finding, STUDIO profiles from KEMPER sound so muffy and dull when I play them at home (or on stage) through a monitor (FRFR or PA box it doesn't matter). Mainly because I read a lot of posts on the web (I don't just mean this forum) how people are disappointed when the coveted KEMPER comes to them and turns it on their monitors for the first time due to a muffled and dull sound. I was also disappointed and bought one package of profiles after another. Till I understood that it's not STUDIO profiles that are bad, but that I want to use them for something they're not made for.
Please note that I am talking about a situation where KEMPER is being compared to a real amp + speaker ( vs KEMPER + monitor.)
Not when going directly to a DAW or FOH.
I don't want to be rude either. And by no means for the fact that someone has a different opinion. Only a clash of many different opinions can bring something new, this is my attitude ...
I built a Marshall EQ test board. I connected it to the output of KEMPER Stage, between KEMPER and PC. In KEMPER I bypassed all post effects and also CAB. I played one Marshall profile from M.Britt. I tried to make adjustments using the orig EQ in the AMP module and also with the EQ that I made for this purpose. I used the guitar cabinet in the PC (one of the IRs of Celestion G12M 25W). In my opinion, when changing the EQ setting, Marshall EQ retained the original character of the Amp better than the orig EQ in KEMPER
But you are saying that an IR is the solution and by definition must be different. However, an IR is made in exactly the same way x mics are positioned on a “sweet spot” on the diaphragm then that EQ curve is captured.
I'm not saying IR is the solution. It's taken out of context. I claim that the solution is DIRECT profile + correct IR or also CAB from KEMPER. IRs or CAB, it is not important. It is important that this connection with the DIRECT profile, because there you have a really separate amp and speaker and you are free to choose exactly the speaker sound that suits you. This is not possible in the STUDIO profile. Because the CAB module in the STUDIO profile is only a simulation of the average box. When profiling, KEMPER cannot determine which sound the amp produces and which speaker. Therefore, replacing the CAB in the STUDIO profile will destroy the original character of the amplifier sound.
If the sound coming out of the KPA speaker (studio monitor, FRFR, Kabinet etc) is on axis for the player’s ear it should retain that brightness
Good point. In this situation, I should hear a sound like I'm standing in the axis of a guitar cabinet. But I can't hear it. I'm standing right in the axis of the speaker, but I can hear the sound outside the axis of the guitar cabinet. I tried this on the first day I played KEMPER because I wanted to find out why it sounds so (covered)
No, I'm not saying that. I don't think room microphones are used on a large scale. Quite the contrary. I think that mainly a close microphone is used, or several close microphones. (But often when listening carefully, I still hear a small portion of the sound from the room.) The problem is their location. I say that the resulting sound is set to sound like a sweet point. Mainly by placing the microphone, or subsequent adjustment in KEMPER, etc. I don't have to theorize much. My ears tell me it's true. Almost all STUDIO profiles that I have sound like a microphone placed in a place on the diaphragm where the speaker sounds full and fat in the recording situation, which is actually similar to a sweet point in space. But that's not the general sound of the whole speaker. It is the sound of a point on the diaphragm that simulates the loss of treble and high mids due to the distance and directional characteristics of the speaker (sweet point).When I play with such a sound through the monitor (FRFR or PA box) the heights and high mids are attenuated again due to the distance and directional characteristic and the result is a covered dull sound. I have 25 years of experience with my amps on stage. It took quite a long time, years of practice, before I learned to sound really really good with one or two microphones in FOH. But I would never use a dull-sounding microphone on live performance like I hear on many STUDIO profiles. Of course, only if someone intentionally wants such a sound during a live performance is it okay.
Remember please, I am talking all the time about a live playing with KEMPER and problem with Studio profiles in that situation.
Of course, the result will not be the same as in the real amp. But it will be much more similar than now. I tried it. I'm an electrician. For the Marshall profile, I made an EQ from Marshall to test. It works noticeably better than the orig KEMPER EQ, provided you don't go into extreme settings.
(I bypassed all the effects and CAB. I put the equalizer on the output of KEMPER. I used the speaker simulator in DAW.)
Since in KEMPERI you can set pre or post EQ position, you could simulate EQ from any amplifier
