Posts by JEverly

You can build a library of amp profiles of amps you want. One thing to keep in mind though is that a profile is a capture of an amp at a specific given time with how it is setup to sound at that moment. That means that to have a good accurate representation of this amp you will need a stack of profiles of it adjusted different ways to get the complete capabilities of that particular amp.

I purchased a pack of profiles of one particular amp that I wanted to own from a popular seller of profiles. It came with direct profiles as well as many other profiles of the amp at various gain stages and tones. There are a few with a pedal in front if it as well as others with a different pedal in front of it to give a different flavor of the tones that it can produce with those pedals. There are many producers of profile packs like this.

I have also profiled one of my own amps that I really like and done it with different pedals that I have been using over the past 6 years at gigs. It has faithfully recreated those tones that I am used to using. Between the ones I have created and the one pack I have purchased, I don't feel the need to keep digging.

Quote from basirakbari

Thanks for the info . My Amp is a very simple and dont have the return port. It has only one input and one Line out port.

So if I get the Fryette ps2 I just need to connect the monitor out of kenper to the input of Fryette and from there output to the monitor speakers or FOH .
am I right ?

Not quite right. You will want to go out of your Kemper on the main outs (you can use just one for mono) to the FOH. The power amp would only be needed for you to have a cabinet on the stage to hear yourself. You could eliminate this piece if you have a monitor (wedge or in ears) that you can have your sound pumped back to you through.

Quote from Dynochrome

I use the volume in the amplifier module. That way I can keep rig volume at noon for "normal" and morph rig volume for leads and see the ring move. If I used rig volume, It would be going all over and I wouldn't have a good reference point to quickly dial up lead volumes consistently. I recall a video with MB saying he does this also. (use amp volume) Some will say to use rig volume but the manual reads about rig volume: Use this parameter to adjust the level of each Rig to suit a song in a set list, we don’t recommend using it to balance the levels between all the Rigs.

I was concerned this would drive the reverb & delay harder but was told by a reliable member, ( I never tested it driven real hard) that somehow things before the rev and delay won't drive them harder (magic?)  There is a recent thread about this and some older ones too where we discussed this in bit of detail.

This is a great idea. I am glad you posted that. I haven't set my morphs up yet and now I will do them this way. I like the idea of being able to see some lights change to show me that my volume just got bumped up.

Quote from xzyryabx

Why don't you guys like to use the built-in tuner? I can understand why not for setting intonation but for everyday tuning the kemper one seems fine to me.

I have no issues with the tuner in my Stage. If my wireless didn't have a tuner in it (Shure GLXD16), I would have no issues using the Kemper tuner. It does what it needs to do. I have mine setup to engage when my expression is heel down. If I didn't want the tuner to come on and my volume to be off, I would use the volume knob on my guitar so I could see the rig I was on.

Quote from sdeyoung

So did you go L/R from main into Kemper using a TRS cable? Or just left and use a type of cable like this?

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I panned the channel hard left then used the left main output from the mixer to send the signal to the Kemper Stage. Yes, I used a cable like the one you have a picture of there.

There was a post similar to this recently. The cause of that issue was similar to what Kemper Support has suggested to look at. It was a setting in the system setup for the pedals.

I connected the my microphone to a small Yamaha mixer then went out of the main of the mixer with a 1/4" TRS to the Kemper. That way I could set the gain on the microphone so it had a good signal. I don't know if the Kemper Stage has a preamp in it that is made for plugging a microphone straight into it. My results were good so I will continue doing it the way I did it.

I love Disturbed. This track sounds like it could be duplicated using a Friedman BE OD or Friedman Small Box pedal. Both of those pedals would get you into this realm.

I have to imagine that there is a profile of a Mesa out there that sounds similar to this as well. Look around for some free profiles of a Mesa Dual Rec or a Mark V. I have a Mesa Roadster and I am betting with a little bit of tweaking I could get it in the neighborhood.

As Don said, pay close attention to the low end on this track. It is tight and controlled. It doesn't have a large amount of low end. That will be key when trying to use this tone in a mix. I would look here first if you find a profile that isn't quite there but is getting close.

I use a Shure GLDX16 wireless so my tuner is before the input. I have no issues with that.

I think you can also use an output and not use a return with it. That would feed the tuner all the time and you wouldn't get a return signal to create any noise. The downside with this is that you would not be muted while tuning. Other than that you may be able to use a loop at the beginning of your signal chain and use the send and return so you get muted tuning.

Some are using them. I live close enough to Daytona to ride there for the bike events twice a year. I see a lot of Kemper racks on the stages when I am there. I have also seen some Helix rack units.

Quote from ST

Hi, Steve.

The Line 6 Relay G55 operates in the 2.4 GHz band. There's a lot of competition for bandwidth there (e.g., WiFi, Bluetooth). This might not be apparent until a venue fills up or there are other players with 2.4 GHz wireless units.

Try switching to a cable (instead of wireless) next time you notice the problem. This could help you determine if that's the heart of the problem.

This is the first thing I would try. The fact that you mentioned drop outs would make me go immediately to a cable. I have rarely had issues with my wireless units but it happens. I remember playing at a venue where the guitar player on the other side of the stage from me was running the exact same wireless that I run and he was having issues and mine was fine. He tried other channels and still had issues. He had to go to using a cable for the night. I was 20 feet away from him and was running just fine. For a drop out, I always look at the wireless first.

Quote from Lonewolf

Thanks for the response guys, I will test this theory out but to be honest I dont think that is it. I have never had an issue with the Line6 unit

with my previous setup when playing live , but next gig we do ( this weekend ) I will use a lead and not the Line6 and see what happens.

Thanks again

I also run sound for other bands occasionally and have seen plenty of others have issues with their wireless. They always say they have never had an issue before. It can happen and you may have played that exact place before without any issues. It is all about what is going on at that moment in the frequency range your wireless runs in.

Quote from BayouTexan

Whatever happened to pen and paper?

Believe it or not, I used to print set lists out of Band Helper to provide a copy to a drummer that was technology challenged and stubborn.

I use Band Helper on an iPad so I can control my mixer and see my set list on one device. I don't have to walk away from my microphone to make an adjustment on the mixer. It works well.

Sounds like the solution is 3 Kempers.

I use Band Helper too. That application should make it easier for you. I am pretty sure that the MIDI information is stored with the song. All you have to do is build a quick set list and you should have it in the order that you need it. I don't use the MIDI functions in Band Helper so I could be off base here but I am thinking that is how it works.

Quote from Dynochrome

Me too basically but trimming up the top and bottom makes things a lot easier and only has positive impact. No sense taking up headroom to the pre if the engineer is just going to cut it anyway. I don't EQ because I agree that would be soundboard job, but I'll trim the fat.

I agree with this practice. It is good to get it right at the source and not expect the sound engineer to trim it up. Sound engineers are not all created equal either. Some of them are not that good with EQ settings for various things. Why not make it easier on them and make yourself sound better in the process?

I waded through both M Britt and Tone Junky stuff looking for some profiles a while back. Tone Junkie put his Dirty Surly (Friedman Dirty Shirley) profile pack on sale and I wanted one of those amps. I bought that profile pack and haven't felt the need to buy anything more. it does everything from clean through classic rock and into some much more saturated tones. I think M Britt has some profiles of the same amp.

Since then I have purchased a Friedman Twin Sister head. I may create some profiles of that head myself. I have another amp that is hand built that I have been gigging with for 6+ years that I did some profiles of that came out really good. Between the profiles in the one pack I bought and the ones I have created of my own amp, I haven't felt the need to own more. I have few other amps that I am trying to decide if I want to profile them before I sell them...

All of this to say, maybe start small. You may find something you are really happy with on the first shot. Don't rule out creating profiles of your own amps that you are already used to using. That is free.

Quote from nightlight

I think you can do it with the Kemper, but it's the first time I'm seeing something like it done. That's what I find so refreshing, just the idea that the device is meant for tweaking, as opposed to the set and forget modus operandi for the Kemper.

That was pretty cool. I never thought that Fractal was behind Kemper. In fact, I thought there were far too many parameters that can be adjusted in my Axe FX Ultra. It goes as deep as you want to go. However, if you are someone that is used to using a tube amp and some pedals and try to transition over to that unit, it can get over complicated quickly. I think Kemper does a better job in that respect. It is easier to understand for someone that is used to amps and pedals in my opinion.

For me the most important part is still how easy can I make a couple of tweaks in an effect at a gig. Kemper is definitely easier to perform a few tweaks on the fly with. It offers a way to pull up that specific effect and adjust a parameter then save it. It isn't as fast as reaching down to tweak a knob on a pedal but it is much easier and faster than trying to do that on an Axe FX.

I used to use a Boss GT-8 for gigging years ago. The main reason I selected that unit is because it has more knobs on it than other units like that and it was much easier to make a tweak and save. This is a deal breaker for me when it comes to being able to play gigs with units like these.

Using any of these for in home recording is a completely different scenario. In this environment you have all the time you need to make tweaks and save settings. I think the playing filed is level for all of these units in that environment. I may choose the Axe FX in that scenario. In fact, I actually have an Eleven Rack in the desk right next to the Axe FX and I use them both. I look at my Kemper as a gigging solution, which is why I bought the Stage when I saw that was on the market. To me that is a very well thought out unit for gigging.

I still have my Axe FX Ultra that I bought over 10 years ago. I keep it because I have it racked in my desk and can use it with my DAW. It is just another option for recording. I can still get good tones out of it even though Fractal abandoned that unit a long time ago. Kemper has also been doing great things for around a decade as well.

For me it is all about the interface. I tried to use my Axe FX as a gigging unit. I had to have my laptop connected to it all the time because it takes forever to tweak something through the front of the unit. I also had to setup a remote for it. I used and still have a Ground Control Pro with 2 Boss expression pedals that I used with it.

When the Kemper Stage came along, that looked like the perfect unit to me. I was able to profile my amp that I have been gigging with for 6+ years and have my typical sound. I don't need a separate controller for it because it is all one unit. I now don't have to carry an amp. It eliminated one heavy piece of gear from the gig rig. The Kemper is a ton easier to tweak from the face of the unit than the Axe FX. There is frequently something that I feel the need to tweak based on the room or how the rest of the band is playing that night. That is what killed the Axe FX as a gig rig for me.

So far I am super happy with the Kemper Stage. It does everything that I wanted it to do. I know Fractal produced a floor unit similar to the Kemper Stage but for some reason they abandoned that as well. Kemp has continued to support their customer's and their units since the beginning. That was another huge reason I purchased the Stage. I was pretty offended when Fractal phased out my 2k piece of gear rather quickly after it was released. When you spend that kind of money on something you expect to get more life out of it than what they give you. I have amps that I have spent that much on that I am now able to profile and continue to have those tones to use. I would rather spend my money with a company that values it's customers enough to continue to support them for years to come instead of trying to push a new 2k unit on them every 2 or 3 years.

Quote from JedMckenna

I heard you say that in another thread and at the risk of being annoying and patronizing, please be careful. Every loud session kills cells in your inner ear and sooner or later, you'll wake up one morning with last night's ringing still there, like usual, but that time it will never go away. You'll go see an audiologist and he'll tell you that there's nothing to be done and you'll have to live with it. Hearing loss is not a quiet paradise.

That is a solid dose of the truth right there. I know all too well about this.

Sounds pretty straight forward. That is a nice warm clean channel with lots of reverb on it. The bulk of that tone is coming from that guitar. The amp tone sounds like a Fender or Vox.