Posts by dhodgson

    I have a rackmount Alesis unit just for this. It can convert to & from ADAT format in addition to performing hardware resampling between 44.1 & 48K IIRC. If you really need a device like this, it might be for sale!

    Not so. The first pass always involves a general "does the spectrum & style fit the mix" to cull the the herd. After that, I can be as picky as I want to be. In general, most profiles ARE uninteresting - very much so! About 1 in 50 seems to be my hit rate; these are the ones that I let hang around long enough to see whether they're keepers or not. YMMV, of course.

    Line 6's Variax guitars were the very definition of this but on a simpler level, there are some 3rd party plugins (Blue Cat Audio's ReGuitar) and even pedals (Mooer's Tone Capture) that attempt to do this in a kinda primitive fashion. Heck, I even remember seeing a programmable guitar pickup once with built in DSP designed along these lines; I guess the bottom line is the results have been modest at best but they make for fun toys to experiment with. Particularly the Tone Capture - I have one in my pedalboard as a little swiss-army knife tone solver, but I wouldn't call it a holy grail or anything like that. Neat tho!

    Nobody's forcing you to evaluate all possible profiles, CarloLf. Myself, I know that the profiles I care about are typically in the high 5's to low 7's gain wise, so I sort by gain (either in the Kemper or Rig Manager) and focus on those areas in order to make the selection process more manageable.

    So I guess what I'm saying is I don't see what the problem is. More is more, it's easy to filter out what you don't care about and if somebody's baked a few FX into the rig there might be good reason for it - on occasion I've found a few profiles that really had some life breathed into them from a built-in effect that I might have passed over otherwise. Don't like effects? Use the lock function to disable them en masse when auditioning.

    With a looper pedal it's possible to make short work of evaluating profiles spending maybe a couple of seconds on each one, in the space of an hour you can whittle down hundreds of profiles to just a handful if you know what it is you're looking for tone-wise.

    It's important to understand that Kemper cabs are transcoded. Even when using CabMaker, the impulse response you give it will not result in the Kemper storing that identical impulse. Christoph has never revealed exactly what the Kemper cab process is, but it does result in fairly short minphased responses with some kind of tweak possibly for the benefit of bass correction or simulated ambience. CabMaker actually allows quite generous impulse responses in terms of length; I can't recall at the moment, possibly 1.5 sec or more - but in the end they're all transcoded Kemper style and at the very least, all time-related information (such as early reflections) is lost.

    I did a bunch of filter analyses with a dedicated speaker-analysis tool back in the early days just to simulate the effect of impulse truncation in the frequency domain. I disagree with the earlier post that 20-40mS is sufficient if accurate bass response is your goal, even for guitar purposes; 100mS (about 4K samples @ 44.1K) would be my preference, but of course most hardware solutions skimp with half that and get away with it.

    As I recall, the last time I did this I'm fairly sure that tweaking the EQ during profiling was equivalent to tweaking the profile's EQ after the fact, except that the EQ is "baked in" to the profile's baseline and the EQ's in the profile will show up as flat until changed.

    Michael Wagener's MW Rok Pak has quite a few MTS modules in its collection, which... are what Synergy was before it was Synergy, pretty much. I also remember somebody at some point offering a pack of every single MTS module at that point for a very low price but dangit, I can't find it now.

    Deadlight Studios' Diezel Herbert is among my top 5 high-gain profiles, a particular favorite being the profile "Dz Herbert Mk1 F 2", which has a cab that I've used all over the place. Back in 2016 they posted a particularly good free patch on here (search for "Free Ton(e)hammer Engl Extreme Aggression Profile!") that started me on the Deadlight collection bandwagon - I've been mining all their profiles ever since for gems.

    If you want to try something radically different, check out Melda's new MCabinet impulse response creator. It's unlike any other plugin of its kind, its full capabilities are hard to describe in just a few sentences. Start with a single impulse, or a folder's worth and morph them into new cabinet types with custom resonances and EQ. Or, start from scratch and build something completely new and export new IR's from that. EQ to your heart's delight as well, it's a great deep-dive and on sale for half price at the moment.

    Ownhammer usually provides the .kipr's already converted. They need to be copied over a Kemper-formatted USB stick in the "Shared" directory, whereupon they will show up as Cabinet options, but not profiles.


    Well, well - I believe there were only two Hyperspace pedals made and supposedly very fragile, containing tape delays inside. Would love to know more!

    As a former Trilian user, I'll say that after getting IK Multimedia's MODO BASS I never looked back. No samples, it's physically modelled - and way more realistic than anything else I've tried. What a great product - you can really close your eyes and feel the little natural variations, it's a bit scary actually.

    Only a proof at the moment. I wonder what this "Music Metal Studies" program is like... I could go for that!

    2017 | Collective contribution | PUB-ID: 2911601

    "Influence of distortion on guitar chord structures: Acoustic effects and perceptual correlates"

    2017 | Journal article | PUB-ID: 2911682

    "My setup is hanging out about 500 watts - it's all distortion". Emergence, development, aesthetics, and intentions of the rock guitar sound"

    2018 | Journal article | PUB-ID: 2911684

    "Gear Acquisition Syndrome". Sociological, cultural, and musical aspects: A comparison of musicians and instruments.

    2018 | Journal article | PUB-ID: 2911677

    "When i stood in front of my Marshall, I can feel it rearranging my chromosomes": Electric guitar players' equipment and the rock genre.

    2018 | Journal article | PUB-ID: 2911685

    "Kemper profiling amplifier. An acoustic test of original and profile and consequences for music Producing"


    1. Does the 'Go Jimi Go' sound pretty awful to your ears in both the S Series and Telecaster recording I have done?

    2. Does that profile sound good on your setup?

    I didn't see 'Go Jimi Go' in the Rig Exchange, but I have a number of profiles that I consider battle-tested and looped them against your original DI. Even EQ preprocessing couldn't get the fuzztone character to completely disappear, so I knew I was dealing with a real tonal troublemaker.

    Having said that, the single notes sounded better (as is often the case) but the chords had that Maestro Fuzztone FZ-1 character regardless of profile. Which is another thing about distortion - monophonic tones are easier to dial in than polyphonic ones for mathematical reasons, it's just the nature of the beast.

    You should try profiling your old Mesa combo and see what happens, heh! Your Tele sounds like a Tele to me, or at least Tele-ish; that wouldn't be my first choice for a crunch guitar, but it's better than the first take. Again, have you tried the bridge pup on your S with the tone control full up?

    Preordered in 2011, arrived 2/9/2012. Been in the shop twice - once for LED's, and once for either a CPU or memory swap. Kemper firmware 1.03 was 4,536,760 bytes back then... 8,103,168 bytes today. That's a lotta code. No planned obsolescence here!

    Honestly, best music gear purchase I've ever made. It's been the gift that keeps on giving, just wish it had a VST3 version to go with it :)

    Diamo - it was easy to reproduce the problems you were having. And yes, your Telecaster demo is a big step in the right direction. A general rule of amps is that dirty amps work better with pickups that sound midrangey, barky even - rather than full and sparkly in the clean guitar sense. There's a huge pickup and overdrive pedal industry that caters to this, and in regards to taming nasty, scritchy fizziness that too is a skill to be mastered. :)

    Recommend starting with Glenn Fricker's channel on YouTube if you're starting from scratch and expand from there (Mixerman's books, Andy Sneap's forums, Rick Beato's channel etc.) - dirty guitars are a big subject.