Posts by Per

Something else you could try is to layer up two delays, one for the first delay with no feedback then another for the repeats at a lower mix level. This will allow you complete control.

Octaving an entire signal (chords included) is much less processor intensive than determining the individual notes of a chord and manipulating them. It’s really just the equivalent of playing a tape (or delay) at half speed. You can also use the crystal delay for this effect.

What you asked for was accompaniment and to have added bass in your signal so it doesn’t sound thin. If you don’t like the available options suggested (which should give you an insight into how likely the option you’re after is on the Kemper platform) then you are better off adjusting your arrangements to not sound as thin if you’re playing without the added band members, or using a backing track of some sort, or maybe there’s a dedicated tool out there already that does this. Or just hire an extra band mate,

So which Fender circuit is the Kemper based on?

You can just use the analog octave stomp for this, or for a more natural sound simply up the bass in the amp block. Algorithmically of course it's possible as Melodyne DNA proved, but I suspect that's a pretty high-latency/costly algorithm to do in realtime.

In general what you really want is to use an app like music memo's on your iPad or iPhone, or even the "Jam" mode of that old Rocksmith game and have a virtual band member add the bass. Failing that work out whether you can learn to love your guitar tone as is, or just maybe you could be a bassist in hiding and not realize it yet.

Genelecs have a rather nice software based feature that compensates for the rooms acoustic profile (something I wish that both UAD and Kemper would do too as I have Focal monitors). It’s quite possible that the problem isn’t the monitor but your room, treatment will go a long way there and can make a surprising difference.

Damn those are some chops! Amazing stuff.

Nice, what an incredible guitar hero, so damn versatile. Is Paul using a Kemper in that? I didn’t spot one in the vid, but very classic fusion jazz guitar rolled back tone there, sounds great, almost hollow body Holdsworth like although it’s confusing when you’re used to Paul blasting out insane crunchy bluesy tones normally.

dmatthews - Thanks for checking it out! Yup, it's definitely more ambient chill out style noodling this time.

Doesn’t seem to want to install here. I’ll try again tomorrow and if it fails again open a support ticket.

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Having fun with the delays.

It’s not a bad idea to keep the previous couple of release versions up on the site just in case.

If the reason you don’t to that is because upgrades may change rig data making downgrading not feasible then maybe a good feature to add to the rig manager would be to - have it make a backup of your whole system locally to a subfolder as it upgrades and allow rollback that not only installs the older OS but installs your older rigs.

I disagree, it *is* plug and play like a Marshall, but it's also the sound of a mic'd up amp. WYSIWYG.

Are you used to playing and hearing the amps directly behind you? Or are you used to using some form of DI and only monitoring through the PA system/IEM's? Because your PA won't sound like your guitar amp.

If it's the former then you're going to have to get used to what amps sound like mic'd up through your monitoring system, or you're going to have to use a power amp into a real guitar cab, turn off the speaker sim and make sure to use "merged" profiles only. Then send the full signal to FOH. Also don't forget to dial up the monitoring a little, you can't get the effect of air moving without moving some air.

The other thing to do - profile your own amps. No-one else's profiles are going to sound like your amps at your settings. Sorry it's just the nature of the beast. Every amp is different, even from the same batch, every person making profiles tweaks them to suit their play style and guitar, every profile uses a different mic and placement of that mic. You will not get something sounding like your amps unless you actually profile your own amps. And given that profiling is the main selling point of the Kemper you'd have to be crazy to not actually use it if the goal is to sound like what you were using before.

Of course if you want to sound better than you were before FOH then by all means use the best sounding profiles you can find. Be absolutely certain of what your goals are - are they to have the same sound as you're used to? Or to improve on what you have?

I use my Freqout in front of the Kemper. It might seem counterintuitive as you're thinking feedback = amp, but really it's where it should be. If you have acoustic feedback happening it's not happening at the amp but at the strings on the guitar, heck even if you have microphonic pickups it's still at the guitar. Giving the Freqout the cleanest signal also helps it give you the best results if feedback simulation is your goal, that means plugging the guitar straight into it. Even if you're using it for e-bow like effects it's still the best location. Not that I can't imagine you doing some funky things with it elsewhere in the chain, just that this is the rationale I have with placing it before everything else.

Moderator Notice:

In most cases, Soundcloud uses a bandwidth of only 128 kbps. As a result, what you hear isn't free of artefacts, especially the high end. For critical listening and also product comparison, please keep that in mind. Users who setup a comparison should use linear wave files and supply dropbox links.

Messing around with some UAD plugin demos to see what the fuss was about. Not sure about the reverbs tbh after the Kemper. Kinda wish there were a Kemper FX VST as it just sounds better to my ears. However I was quite impressed by their new preamp model the V76, might want to pick that up at some point.

Anyhow, clearly I have a long way to go with learning mixing and dealing with bass frequencies, I want that rasp in the bass and I love lots of bass and unfortunately I also want other instruments in the track. It sounds so effortless in everyone else' mixes, still only one way to git gud...

One thing to point out. “Smoothing” the high frequency response doesn’t in fact act as a lo-pass, eliminating frequencies, it doesn’t even make the top end sound smoother, it’s just that it visually makes the frequency graph look smoother. It won’t “tame fizz”.

Practically it means you get a more equal amount of every frequency up there! So e.g. you may actually get more odd harmonics and less even if the starting sound has an emphasis on even harmonics. The opposite way is also true.

This might be why some people dislike its effects on the profiles they’re using it on, and others find it pleasing. It’s very profile dependent, or rather it’s very dependent on the harmonics the profile emphasizes as to what the outcome will be as it’s way up in harmonics territory rather than the original frequencies of the instrument. That’s probably why it’s only noticeable on distorted profiles.

I don’t know enough about audio signal processing to say whether smooth frequency graph = phase aligned and wobbly = not. So I’m not sure about it improving phaseyness at the top end. To my ears it does sound a little like a comb filter.

I think we just don’t know enough about what it’s doing, frequency response only tells us the outcome, not how it got there.

Haha, I’m afraid they may take him away thinking he’s a menu!

Thanks waraba !

Really well done!

Great job!

Try the Yamaha basses too, they’ve put a heck of a lot of research into those instruments and if you’re looking at entry level/low budget they’re hard to beat. They have models with pickup configurations for both J and P bass tones via selector switch, great resonant musical bodies and the necks feel great. They're very consistent too, they might not reach the highs of a great high end Fender P or J but they’ll easily beat the vast majority you’ll get to play for way less.