Posts by FearAbsolute

    After using the DT on everything from a brutal, gain-soaked Death Metal rhythm tone, to Fender cleans & everything in-between, that effect will never be switched off ever again. Ever.


    I'm so used to chorusing, delays, reverbs & all of that to widen a single guitar sound to be big & wide...with limited results. Along comes Kemper and completely changes the game. Again. IT IS INCREDIBLE.

    Says the guy with 8200 posts on an internet forum. Lol


    Seriously, I don't have very many guitarist friends, and none who use a Kemper or who have a vast knowledge of these things.

    I enjoy both these guys. I wouldn't say that I waste time listening to them.

    Most of the time I don't make it all the way through an HW video, but I have learned a ton from him and use some of it every time I turn on my Kemper.

    HW is a great (!) guitarist, but you can tell he's a bit of a douche. $300 or something to join his "lounge."


    90% of my Kemper knowledge is thanks to his videos. His understanding of the Kemper & getting great tones is truly impressive.

    Very excellent. After I make lunch, I'm going to try your advice with the settings. I was going with 0.0 loosesness & will try it at 5 & see how it goes. ?

    Through studio monitors, the Double Tracker is pretty cool, but through in-ears, it really comes alive. I spent hours playing late last night through in-ears, and everytime I shut the DT off, the sound was so disappointing. Yes, it's not perfect, but as a guy who always plays in one guitar bands & who does no home recording, making my guitar sound literally like two guys has been extremely satisfying.

    Through in-ears, it is pretty incredible. It's not perfect, but to widen your sound and "mimic" (ha!) the sound of double tracked guitars, this is beyond cool & really inspiring. Still tweaking it, but so far, so good.

    Do either of you happen to have experience with over-ear Shure headphones? I'll have a look at some in-ears since you recommended them, but over-ear would be my preference. I just think it'll be more comfortable for me personally over a longer time because in-ear stuff tends to fall out for me.

    The only lengthy experience with over-the-ear headphones that I've had are my Audio Technica ones. I find over-the-ear headphones cause a lot of sweat & discomfort from the arms of my glasses. The Shure in-ears, with the S, M, L size tips, feel & sound fantastic. No fatigue at all & very sound isolating.

    Curious what you use?

    I've been using the Shure SE-215's for about two years now. At some point, it'll be time to upgrade to higher-end ones with multi-drivers, but the Shure ones have treated me great so far. Really comfortable, sound great, durable & are fairly inexpensive.


    Truth be told? I might enjoy the Kemper through in-ears more than through my studio monitors or through an actual guitar amp. Add a little "Space" control & it's just awesome.

    In my just over 6 weeks of using RM, it has been an absolute NIGHTMARE 90% of the time. It crashes, freezes, freezes my desktop, freezes the Kemper, etc. It's happened on three different desktops in three different locations. I now try to avoid it like the plague. It's probably the worst program I've used in 20 years.

    I've sold all of my pedals, pedalboard, power supply, etc., just 5 weeks after getting a K. It almost feels sacreligious to plug straight into an amp again. What is this...1993? :) The Kemper does everything I need all in one place.

    We share a couple of things: we both love high gain Metal tones & I used Line 6 stuff from about 2001-2014. After going to Randall solid states, I'm now back in the digital world with the Kemper. Only had it for just shy of a month, but here are a few bullet points from the experience so far...


    - I recently upgraded from BOSE computer speakers to Presonis studio monitors. Huge improvement.


    - In-ear monitors sound KILLER with the Kemper. I can tweak tones at 3am, not bothering a soul, and the next day though the monitors, the tones translate very well.


    - Cabinets! Go searching for cabinets! They make or break tones! Most of them are truly horriffic, but I've found three or four that sound incredible.


    - All of the high gain stuff on the Rig Exchange is absolutely dripping with gain. Most have the gain dimed. Dumb! Back it down to 6 or 7.


    - Overdrive pedals are your friend. Treble boosts work great, too.


    - Edit presets that are for certain circumstances: I make ones for in-ears (lotsa "Space" knob), ones for the monitors ("Stereo Widener" is GOD), and ones for rehearsing/live...although I've yet to jam with anyone so far. But you have to be prepared.


    - Michael Britt's Profiles are amazing...except for the high gain stuff. Go to the Rig Exchange and try lots out. The Diezel VH4 is my Holy Grail Rhythm Tone. OMFG. Don't go down the rabbit hole of buying Profiles. There are so, so many great, free Profiles to choose from!


    Hope this helps to some degree.

    I think a lot guys are just too proud/scared to ditch the tube amps for a piece of gear that is pretty much superior in every regard. They've been their trusted amps for decades, but if you get to know these guys, they talk endlessly about tube inconsistencies, repairs, re-tubing, tones changing from day to day, etc. But they continue with them, year after year.


    My best friend is a Mesa Boogie Rectifier guy. Has been forever. He has a Single, Double, Triple & Mini. After playing my Kemper for 4 hours two days ago, he literally started looking up prices of used Mesa's & Kempers to see if he could afford one. He was blown away by the Kemper's tones.


    To see him light up like an xmas tree & start the process of getting a K was like seeing a hardcore vegan go grab a medium rare steak & devour it with glee.

    I find that having HPF/LPF set correctly makes a big difference in consistency. When just playing a live cab, it doesn't make as much difference as when I am using studio monitors or through a big P.A. I have different outputs adjusted for "Live" and "studio".

    The way I set the LPF that helps it to sound like an "amp in the room" recording/studio monitors is I listen to my cabinet as I turn down the LPF. As soon as I hear it affecting the high end, I stop there and go up a little higher. (usually around 8K) That keeps frequencies that would normally not be heard with a "real" cab out of the recording/studio monitors for a more "natural" sound. Every speaker setup has a different crossover, EQ etc.

    I imagine if you set up your Kemper with a perfectly flat set of monitors then played it through a perfectly flat P.A it would be the same, but most P.A. systems are not flat by any means.

    If things sound different between setups, like it has been mentioned, it's not the Kemper's fault, it's the differences in what it's going into.

    Was wondering about that scenario today, how you mentioned having outputs setup for live & for studio.


    The K has never been taken out of the house yet, so I've not heard it through a PA or at gig/rehearsal volume through a guitar amp. Do you have Profiles tweaked differently for studio & live? For example, when I used to run my Line 6 stuff through PA's at gigs, there were presets that I made that had less bottom end, smoothed-out top end, and a bit of boosted mids to cut through triggered kickdrums. Those things are low frequency black holes, lol.


    Just curious!

    Hey guys,


    Brought my old trusty Peavey bandit into the studio, so I can have the Kemper going through the studio monitors AND the Peavey's effects return at the se time. I seem to be able to get one of them going, but not both.


    After a bunch of Google'ing & going through the manual, I've had no luck, but you guys know what's up & how to get me on track. What settings do I need to have to get this to work? I really am baffled...which doesn't take much!


    Thanks in advance! ?

    How you compare Kemper vs THR? THR has its own spekaers, how do you amplify and monitor Kemper?

    My Kemper is monitored through Presonus monitors, or custom-molded in-ears. I've never taken it out of the house as of yet. I'm not sure if I'll go with a guitar amp/cab or FRFR when I do. We shall see when the time comes.


    The THR sounds much larger than it really should, but in the end, it's not really an "amp." It's really a hi-fidelity surround sound system.