Posts by Dynochrome

Quote from dacop1313

I too find the V30 coloring the Kemper mids and I tend to pull them back with an EQ. Do you find the CL80 speakers to have better mids or do they just scoop them out more?

They seem to be very neutral but not bland to me. Lots of punch and full sound.I discovered they were the best to my ears after trying several and comparing them to profiles I liked direct. MB suggested them and that led me back to them. About 20 years ago I had one in a 1x12 after a recommendation by Celestion, and people used to say it was the best sounding 1x12 they have ever heard. I never got such compliments when friends tried the same cab with any other speaker. Coming back to it, I'm glad I did. I really don't EQ with them at all.

Quote from dacop1313

I tried a couple FRFR speakers including the Kone, I like the F12-200X best for FRFR, but prefer the real cab scenario using V30s.

I have both earlier English V30 and Chinese V30 and found them to be too colored for me in the mids. I could never get them to agree with the studio out section. Cool that they work for you. I have a love/hate thing about V30s anyway as they change the sound a lot sometimes in a very good way and sometimes not. For me with a Kemper-not so much. But I disliked Greenbacks too with the Kemper even though these two are my faves with tube amps. One or the other will work for me normally. With a 515O III greenbacks/lynchback. With ENGL, V30. Although sometimes a Stock Marshall cab 75 is cool too but I never tried them with my Kemper.

When using a Merged profile, is the main out (with cab on) the same as if I used the same profile's studio version? I Know the Monitor/power amp portion will be different as well of any differences that occurred between the 2 profiling processes, but was guessing the cab simulated part should be the same as that part of the profile is taken from the Amp/cab.

I have found when using a live cab, Some of the Merged profiles I tried and disliked I ended up LOVING using the studio profile with cab driver. Since then I quit using merged profiles as it seems I like whatever cabdriver is doing more than I like the raw head sound going into a cab.

Quote from dacop1313

I think the Kemper is outstanding in handling real cabinets.

I agree. Personally, I don't see the need for a FRFR cab. After trying a few speakers, I find using a Classic lead 80 works great.

So if I understand this correctly, I can select "constant latency" which is about 5.25 ms so I should start around 1.6 m away with my room mic. (Which is coincidentally where I like to put it anyway!)

I read the paragraph in the manual and understood that without Constant latency selected it is shorter but inconsistent. Selecting constant latency fixes it to a understandably longer time.

I like to do my calculations first and then try things based on known variables. I design expensive parts for my day job and am not used to just "trying it" to see if something works. I gather as much data as I can then prototype. Now when I try this I'll have a starting point based on approx. consistent latency specs. Thanks

Quote from paults

You can do that. People have been using room mics on guitar amps MUCH longer than going direct.

I understand that. I am asking specifically about mixing a room mic with Kemper direct sound and the possible phasing due to latency of the Kemper output signal.

I get some great sounds using my phone recording my Kemper powered toaster with a oversized CL80 cab. I get great sounds going direct too. I have even miked the cab with my dynamic mics and got great sounds. I really like some of the sounds I get recording with my phone from 5' away as it adds room and really sounds like amp in the room.Problem is it's not as workable and clear as going direct. Has anybody mixed direct sounds with cab room sounds or will that create issues because of latency? I figured it may for close miking, but if you were able to move the mic back at the same as the latency (say the latency is 4 ms, then you move the mic back 4') it may come out fine if that is even necessary at all. I may have crossed upon some old threads about this but has anyone tried this? To me the only thing missing is "room sound" I know I can simulate that in my DAW splitting tracks adding reverb etc but just throwing a mic up might be a easy and fun way to get amp in the room sounds on tape and being able to mix them.

Quote from Clselby

You know the best thing to do is get one and profile your own rig, that’s what I’ve done and it’s really the only profiles I use. It’s perfect.

I'm fine with using others well done. I have some great sounding Marshalls, but they don't sound any better than profiles I've bought. Most of the time I struggle getting miked sounds from them that I can get easily just by using the Kemper. To me the most difficult part of using a Kemper is deciding what amps to use from a HUGE pallet. Normally when you buy an amp (even something with a huge range like a Freidman BE Deluxe or Engle SE) you still are restricted to a certain range and type of overdrive and clean that can be produced. Not so with a Kemper. The easiest part of using a Kemper is getting great sounds to tape or console. All of a sudden those challenges are gone, and my 57, I5, Spark and 421 have little use to me.

Tuning with # makes no sense to me at all and never will, and it was my biggest gripe before the b was implemented. That being said, I'm guessing it might not be that big of an issue to have the option for both, and knowing the way Kemper is will likely grant that wish in an update.

Also, there is no such thing as an A# It's like asking for antifreeze for your 1973 VW beetle.

Quote from DamianGreda

ckemper  Atlantic Regarding the overdrive volume compensation. I wonder if the same effect causes that the WAH pedal also works differently than the external one, which in resonance may additionally distort the input stage.

Are you trying to go back on topic or something?

Quote from slateboy

I sense were moving away from the original post subject.

We are like crazy, but "no rules" if we're having fun right?

Quote from KellyMidiMurphy

Thanks Dynochrome for your input!

I like stereo to just make it fun for me on stage. It does not go to house.

I like a big wide stereo chorus and occasionally ping pong my delays. My speaker separation is maybe 10 feet at the most and both aimed at me. I have also played with a wet/dry/wet setup too. My favorite affect is using a stereo rotary speaker that gets kinda close to a leslie sound.

Wishing you the best!

I totally understand. I have always just been fearful of being onstage with an awesome stereo sound killing it, chin in the air wailing on a solo thinking it sounds amazing, meanwhile out front it does not sound as good. I always want to be reassured it sounds better to the FOH Than it does in my monitor. If I have a mono mix out front, I try to get the stage sound exactly like people will hear so I know what's up. That being said, the importance of making it sound good to the artist on stage is paramount. I have never been that "professional" to where if it sounds like crap, I can just go on and do my thing. My performance depends on how good it sounds to ME and if it sounds good, I'll have a good night. That being said I can't tell you how many times I've felt I had sub standard tone or performance then a fan tells me afterward how great thing were then I get upset because I feel like they were BSing me. Then I have nights where I think its amazing and amazing tone and someone would say "I really couldn't hear the guitar that well". Grrr.

Quote from V8guitar

I use my Kemper live almost exclusively and I came from an ENGL rig. I never use external pedals and only use amp gain myself.

To start I'm not going to say that the KPA will definitely meet your needs because sound is subjective, especially when your benchmark is so high. I can only tell you my views and experience, which I summarise as - I've never looked back.

Couple of comments from me

1. I would never rely on the backline regardless of size of gig - not from a volume perspective but spread ( not across the stage but to the back of the room). In any case, this is the main benefit of the KPA - straight into the desk, instant consistent FOH sound.
2. The KPA will not sound the same and you will waste time trying to get it 100%. Why? Because even psychologically you will have rose tinted specs on and always think it doesn't sound as good. Its difficult to remove your "eyes" from the equation if that makes sense. However, I think my KPA sounds better because I'm not restricted to my ENGL - I have access to hundreds of amps and thousands of profiles.
3. The convenience factor is massive to me. I would have accepted a slightly lower quality sound for convenience BUT turns out I prefer my KPA PLUS massive flexibility. Variable boosts for solos, any effects you can think of etc. If you are used to stereo then fine but I've always stuck with mono.
4. FRFR is different. Some like it, some don't. Its a more "accurate" sound as cabs add a massive colour to the sound. FRFR shows everything which is good because you can change cabs and profiles and really hear the difference but for some it can be too pure and they like the "feel" of a cab. Regardless you can use the KPA with both.
5. Digital distortion - The Kpa and all the new crop of digital kit are way better than the first generation and so definately not digital in terms of feel or sound BUT.....set up will always be important. The KPA is easy ( I think) to get quick results but it depends on how picky you are to replicate the sound you have been used to for 45 years

Will you miss your Boogie? If you have the same experience as I did then....Yes to start with as you get used to the shift in thinking and approach but when you hear the tones on offer, you'll then get lost in options and arrive at sounds you love. Then you'll listen to your old Boogie and wonder why you liked it at all. As Alan said, plus you can profile your Boogie so no reason to "lose" it anyway!!

Hope that helps...

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I have had 3 different flagship ENGLs. Loved them. But do not miss them and won't as long as my Kemper breathes. I can easily get recorded tones that took some work to do with my ENGLs. No more tubes to worry about either. People that sell tube amps may become like VCR rental stores. I'm guessing they would dislike a Kemper and say it sounds "fake".

Quote from KellyMidiMurphy

Here is my concern before I go buy my first Kemper.

I’ve playing Boogies for 45 years but my present rig of a Quad with a 50/50, ground control pro with the GCX, TC Electronics effects, and a Furman, in a shock absorber rack weighs in at least 300 -400 pounds.
My main guitar is a Les Paul.

Plus I have 2 Boogie extension cabinets I run in stereo.

The rig sounds perfect but a pain in the ass to haul around.

The Kemper seems like a great way to reduce my load in/load out and still deliver pro sounds.

But if I can’t get my Boogie tones, and some of the high end profiles available with the Kemper, I’m not dumping my Boogie. I have not used distortion / overdrive pedals for 45 years....all my overdrive sounds come from the Boogie. I use a clean sound a lot, but soaring and sustaining lead riffs is my sweet spot. There is no way that I will settle for a Kemper if it sounds like digital distortion.

By the way, my present gig is smaller gigs with smaller PAs, so going through the fronts is not an option. I will send a little to FOH, but I need sound pressure behind me.

So, my Kemper will be behind me and must fill the stage.

I plan on using an amp to drive a FRFR (maybe 2 for stereo).

So, if I go to Kemper, will I miss my Boogie?

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A profile done correctly will at least match and often outperform your amp. Top ears of world class famous guitar producers cannot tell the difference between the Kemper and their very own amp they have heard a thousand times.. Many times they will pick the Kemper and say "That's my amp because it sounds the best" and then are shocked to see it was the Kemper. When the Kemper was designed it was made so if the profile does not sound exactly like your amp miced, it's not the fault of the Kemper, but your profiling technique because it CAN profile it so well you would not be able to tell the difference. Of course you can rely on others with great mics, techniques and preamps to do it for you. So if done properly, the only thing you will miss about your rig is back pain. I know this is user preference and my opinion but I had a quad and a 50/50 for a couple years and I guarantee I can do way more and have tons more equivalent and better tones with a powered toaster.

Just a question, If you play live, why would you want a stereo rig? Don't you want people on both sides of the room to hear the same thing?

Before you switch the unit off, switch off the poweramp first.

Quote from slateboy

just to clarify, i was referring to music theory as a technical subject rather than as an art-form which, like art, is totally subjective.

Agree, if it sounds right/good that is the ultimate aim. The rest is a means to an end but, like it or not, there are some rules in music-theory like there are for driving on the road safely. (You wouldn't pass your theory test otherwise) Whether they are adhered to along the journey or not only a few people will know.

I sense were moving away from the original post subject.

For the sake of friendly argument, There are no "rules" in music theory. That's why it's called theory. Someone could say it's against theory and fail you for it, but if you harmonize in flat seconds and sold a million records doing it I'd say what you did was "correct". How do you think rap music survives lol.

Quote from MuddySludge

Ya wanna talk about Bass clef and fuck it all up?

Absolutely not!

Quote from BayouTexan

Remember, EVH panned hard left (or right depending on which way you sat, or stood, or stand).

Eddie didn't. The Producer and engineer did. He disliked it and it is a testimony to why I don't like stereo live. Sometimes one half of the room doesn't get to hear some things. Ever hear a VH song where the place had stereo split up very wide across the building or had one set of speakers not working? During solos you just heard drums and bass.

Quote from Frodebro

The clicking noise is normal, and sounds like a relay to me (same sound as the relays in my Mesas-and they run a lot of relays!).

If you have a cab plugged in and boot with power amp on there is a slight noticeable (but not scary) "pop" that happens when it powers up. I hear the relay "click"you speak of as well when you turn the power amp on an off, but I was not talking about the relay noise in particular.

Quote from bbgie1223

Kudos to Top Jimi. Best Marshall Profile I've ever heard.

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I have to say this 74 pack is my favorite now I did like the MB ones at first, and went back to these '74s. They seem to be smoother grained and have a bit of that hollow sound I always associate with old Marshalls I love. Slightly boxy, chunky, non strident top end but still aggressive.

My list of favorites in order of preference:(subject to change )

TJ '74 pack (Brown sound pack is great too but like Boston tones seem to be best primarily for their intended purpose)

MB 78 that is in the Crank N go

MB 1979 that came with the Kemper.

To my ears, none of the "free" ones compare with the above that I've tried, and I've tried maybe 25

I had 3 Top Jimi packs that I "put away" after I got them finding stuff that I thought was much better. When I went back to them (Now that I know a bit more about adjusting things and watching this video again) I put them back in top rotation. I think I was trying the merged ones and now the Studio ones that I seem to prefer for some reason even through a cab. I'm not the only one that thinks the studio profiles are often better. Now I am puzzled why I spurned them in the first place, because I've been playing them and A/B ing them daily against other Marshalls with good results. My ears must have shifted.... If I find something I like better I'll switch, but these are pretty hard to beat.