Das sollte folgendermaßen gehen:
1. Der Profiler wird auf jeden Fall benötigt, da mit seiner DSP das Kabinet eine FRFR- Kurve erhält.
2. ToneX in den Profiler einschleifen.
3. ToneX Cabs sind an.
4. Im Output Menu des Profiler: Monitor Cab OFF anticken.
5. Natürlich das Stack im Profiler ausschalten, wenn die Loop (und damit ToneX) aktiv ist.
6. Man kann auf diese Weise per Rig festlegen, ob der Profiler oder ToneX für die Amp/Cab- Simulation verantwortlich sein sollen.
+ 1 more welcome, Maik. 
Welcome.
Hi. I just record a new song and have a kemper. Now I found a good sound... I mean two sounds which sound good together. Is there a way to merge these two sounds to one? One is a distortion sound and the other a clean one. Or do I need two kemper to play it live?
You could try to use the parallel signal path in the Profiler, but other than that you'd need 2 Profilers.
Well, lbieber rightfully pointed out how you, DamianGreda have chosen to post in this forum.
You come in sporadically and post something hyperbole and exaggerating, as you have admitted yourself.
And this indeed diminishes your credibility, period.
But to objectify the discussion:
Leon Gibson's nulltest on YT showed indeed that the fidelity of NAM is slightly better than ToneX's and by a good margin better than QC's and Kemper's.
What is the practical consequence though?
1. As an all-in-one-solution the Profiler with a Kabinet is still by far the best solution for me to gig with and play out (and I gig a lot!), because it continues to give me inspiring tones which is the most important point to me.
2. Regarding AI training methods being open source: I guess the technology will be incorporated in every second digital guitar solution within the next two years.
I'll just wait and see how the development goes.
Thanks for the recommendation. Did you choose the T5Vs based on price? They are unbelievably inexpensive.
I hope my next pair of monitors last another 20 years and I dont mind spending a bit more to get something I can live with long term.
I'm curious what problems you have in the your studio and what you did software-wise to fix them.
No, I chose based on research/recommendations, not primarily on price.
Of course monitors are a very personal thing.
I was fully prepared to send them back if I didn't like them, and otherwise I'd have invested in a pair of Neumann KH 120 A's.
But from the moment I played the first piece of music through them I fell in love with.
I replaced my trusty old Yamaha HS-80's with a pair of Adam T5V's last year.
This was a very wise decision on my part.
My studio has some slight inaccuracies that I compensate for with a software.
With the Adam's the correction I need to do is minimal (which means they’re more flat than the Yamaha's).
They are musical and powerful.
Flat but not boring flat.
Great to work with as monitors, and also for listening to music.
As the future of Marshall is uncertain (
) I just bought a Mini Jubilee.
This is the fourth Marshall in the house, apart from a JVM 410HJS, a Studio Classic 20 and a DSL 402.
Guitars can sound REALLY good through an IEM system but you have to invest some serious money.
While a Harley Benton cab with a Celestion V30 will sound pretty decent for a price of about 100 quid an IEM system (and I'm only speaking of the earphones, not the transmitter/receiver system which is yet another story) with a decent quality starts at about 500 quid upwards.
Was it April 1 in Europe when Zound Industries posted their announcement?
Hehe, nope. It was reported 30 March 2023.
It can be good or bad, depending how well the new ownership consortium understands the brand name Marshall.
One thing is for sure: an era comes to an end.
As I read the Marshall family holds 24% in the new consortium structure which means they have a say but they cannot completely prevent the company going ways that they don't agree with 100%.
Historically this has happened several times as some others have already pointed out.
Fender was on the way down for a long time after being sold to CBS.
Vox also had several different ownerships after Jennings (JMI) was sold and it wasn't until Korg took ownership that Vox is on a steady way keeping up the heritage on one hand and OTOH always coming up with new approaches to the age old quest for a better sound.
For the new "Marshall group" I think this is crucial! Keeping up the heritage and leave it as is and at the same time expand the brand with more lifestyle products like headphones and bluetooth speakers (my Marshall Stanmore's are great BTW).
Check your output settings.
Need to be set to Master Mono or Master Stereo.
Hallo,
Ich habe ein Problem mit meinem Kemper Profiler Power Rack! Manchmal funktioniert er wie es sein soll, und manchmal sind Störgeräusche und knistern dabei. Er steht immer am selber Ort im Studio! Wenn ich die Gitarre berühre dann ist es verschwunden?Was kann das sein? Hoffe ihr könnt mir weiterhelfen?
Vielen Dank für eure Hilfe
Ein paar Ideen: Abschirmung der Gitarre?
Humbucker/Single Coils?
Unterschiedliche Stromkreise, an denen Profiler und etwaige Peripherie angeschlossen sind?
Ist alles geerdet?
I think you are confusing this with the pending option. "Keep Slot" simply selects the "same" slot number when you change to a different performance.
I'm sorry, you’re right of course.
Display MoreHi guys, anyone of you enountering the same issue (kemper stage latest firmware) ...
I can't really explain or reproduce any time (which is kinda strange)
But when I switch from one performance to another (while keeping the slot) my transpose function is still active (one semi-tone) although in that performance there's no tranpose inside.
Basicly it's the same rig but with the transpose spot empty ...
Weird thing it happens not all te time ... switching to another slot in that performance and back "solves" this ?
Raf
When you "keep slot" the new performance is only active after you press one of the slots 1-5 (because the slot that was active before is kept until then).
If you choose another setting than "keep slot" the problem shouldn’t exist any longer
I’m going to be using my kemper stage live soon and I want to take that same sound on the road. I’ve also had multiple front of house engineers tell me that the kemper and fractal just don’t cut through the same.
A statement like this proves that these engineers don’t know anything about the Profiler.
There’s is absolutely nothing "tube" like necessary to make it "cut" better through a mix. Just feed a line signal via the XLR outs to FOH and that’s about it.
What’s important is how you want to monitor yourself.
I prefer guitar cabs and most often use the Kemper Kabinet.
Im Output-Menu muss "Monitor Cab Off" angetickt sein.
Welche Profiles man wählt, hängt nur vo eigenen Geschmack ab.
Es müssen weder D.I.- noch Merged- Profiles sein, sondern es können auch normale Studioprofiles sein, da Cabdriver, also die automatische Subtraktion des Cabs vom gesamten Profile, einen exzellenten Job macht.
Probiers aus.
I've seen you mention this in other posts and have never understood it? It does not reflect my exprience. Changing rig gain does change volume in my experience. And my sound meter(C or A weighted) agrees with my ears. Perhaps your experience is different due to your comments regarding clean sense, which I admit I don't understand fully. I read many conflicting posts about what exactly clean sense and distortion sense do. I suppose I should go to the Kemper video about this and then work with the unit to finally figure it out.
If Clean Sens is set correctly increasing the gain will not change the overall volume.
I agree with Grooguit, it’s one of the many features where the Profiler excels and where users of other solutions never heard that a thing like this is even possible.
