Posts by ckemper

Quote from Guitarded

This leads me to believe the Cabinet should be unaffected on the Main outs when "Monitor Cab Off" is selected.

There's another section that I'm unsure about on page 100:

Is this suggesting that if I have a merge profile, I need to separate the Direct Amp Profile from the Cabinet Profile to achieve what I want instead of using the Merged profile? I have a hard time understanding what issue this section is attempting to address.

Thanks in advance for any help or advice!

This section suggests about the opposite.

If you run a Direct Amp Profile *without* a cabinet existing, then you will have to establish a cabinet.

If you play Merged Profiles, then there is a cabinet existing, by definition.

And no action is needed from your side.

Quote from steinweiner

5.0

And you have both "Kemper Kone" switch and "Monitor Cab Off" switch activated?

I guess you have, because you can hear the differences between the imprints.

Have you switched off the Cabinet Module in the signal flow?

It is supposed to stay activated.

Quote from steinweiner

Still trying to dial in the Kemper Kab/Kone...Running it with my Powerhead...finding the V30 and Greenback 25 imprints are VERY bright. I have all of the settings/buttons correct....But there is a harsh bright -ice-picky tone form some of the imprints. I've tried Graphic EQ block, can't seem to find the right freq to "dial out"...also tried low-high pass filter...shelfing anything above 8900 HZ...Seems to be somewhere between 4 -5500HZ? Any suggestions? This is for high -gain profiles.. For instance, I also have a 1x12 V30 cab, and when I A/B the Kone to the reg cab (V-30 Imprint..) it is not even close....And it seems that the Green back 25 imprint has no "warmth" to it, sounds a little less harsh and bright than the V-30...I know thie Kone Kab won't be exact, but it is a bit "edgy- harsh on many of the imprints.. ... Suggestions? Is there a Parametric EQ setting within the blocks that allows me to selct frequencies to boost or cut? I'm not finding it..Is it there and I don't see it? I feel liek I'm so close to dialing it in, btut there's this ice -picky freq that is "painful" at any signifcant volume.. Thansk!

Hi!

What's your setting of the parameter "Directivity" ?

Hi guys,

When we discuss "switching lags", we have to make a distiction between the time the transition takes, and a possible sound pause.

When you switch Rigs inside the same Performance, the reaction time will only be a handful of milliseconds.

There will be no sound pause or gap, because both rigs will be crossfaded. This is quite a unique feature in digital guitar amps.

The crossfade, however, might give you the impression of a lag.

You can control the crossfade time by the parameter "Rig X-Fade Time" in the System Menu.

The lower you set it, the faster and harder is the sound transition.

Quote from Kellerblues

SOLVED

Monitor Out is set to Main Mono, the Hi/Lo Cut affects also the monitor out. I've put cuts at 7k and 100 Hz and is all good.

Looks like the Kone is not really FRFR (nore is it supposed to be) and the highest frequencies fizzes out.

Nevertheless this is now solved.

Thanks all and sorry for coming with such a beginner mistake

The Kone is for sure FRFR and it is supposed to be, as we advertise.

Please take care to have the "Kemper Kone" mode activated at any time.

And position yourself off-axis to the speaker, as you would do with a guitar speaker.

Did you use the Monitor Output on your Stage?

Clean Sense is part of the Input Module and gets locked or unlocked with it.

If you want to have it locked, but tame volume differences of different rigs (either clean or more gain), than it is recommended to adjust this with the Rig Volume.

Quote from Dynochrome

I has a vintage CE-2 (Japan) it sounded great but to me was more of the "flangey" type of chorus (like the CE-1). CE3 was a little different if I recall and really nice. IMO what's overlooked is a chorus like the old MXR analogs. Or maybe it isn't I just need to tune the right one in. Soon as I figure out which one is the right one. I wish rig manager had a rig exchange for FX presets.

The Vintage Chorus type covers the sound character of all bucket brigade choruses since the CE-1. This is especially true when used before the amp.

When you use it after the amp to create a stereo sound, it will play two choruses at the same time, one on each side.

This is not exactly what the original bucked brigade choruses did. They played the direct signal on one stereo side, while playing the modulated effect signal on the other stereo side.

We do not support this mode, especially because bucked brigade choruses have a very limited frequency response on the effect signal of only 4 kHz.

We assume that you don't want to present your audience on the right PA side your guitar signal that only goes to 4 kHz.

This is why we created the Air Chorus, with both sides modulating, and no frequency response limit. A chorus with fairness, that couldn't be made in the 70's

You can try out: The Air Chorus sounds very similar to the Micro Pitch. But not equal due to the modulation.

How does the Air Chorus behave in mono? It depends, if you make a mono mix, or only tap one stereo side.

The former will create a chorus effect much stronger, the ladder will be about unnoticable.

You can try easily at home at your monitor speakers without touching a cable:

Go to "Output Source" in the Output Menu and change "Main Output" from "Master Stereo" to "Master Mono" and "Master Left".

CK

Quote from TonyGring

First chance to respond.

So yes, played Wednesday. outdoor park in a open gazebo.

I had Power Amp setting at 80%

Monitor Output Vol at 70%

Kabinet Vol at about 1-2 o'clock

It was more than loud enough onstage.

Display More

For rehearsal and stage volumes we recomment to turn the Power Kabinets volume chicken head all the way to the right, and do the rest of the volume control on the Profiler.

This way you have access to the full headroom of the whole system.

Quote from HowardBrown

I got the Kone fever and after a year bought one. I was super stoked to say the least, my hopes were very high. Put it in an open back cab this morning and spent several hours tweaking settings and.....nope, just to fizzy no matter what i tried. Just swapped it out for an old celestion out of a fender mustang for now, not ideal but I can tolerate it. The quote above is worth its weight in gold.

I assume that, instead of using "Monitor Cab Off" only, you have additionally switched off the Cabinet Module in the signal flow.

This is not a mode that is suitable for the Kone, and will result in a shrill sound.

Quote from fannar182

Hi there. Quick question. I was playing a gig yesterday in a big PA system (1000 people) and it was my first time using the Kemper live and the sound guy (a guy who owns the PA rental, sound engineer for 25 years) was always telling me how bad and weird my guitar sounded in the PA. It sounded really really good on stage through my Yamaha DXR10. I have owned many amps and the sound I had yesterday through the Kemper on stage was the best I've ever had but the sound guy kept complaining. So I started to wonder what I was doing wrong with the Kemper. My main out levels are set to -18.0, Pure Cab to 4.0 and Monitor Cab is ON. Do you have any advice on this subject for me? Should I turn the Monitor Cab OFF when playing live?

- Fannar

Did the sound guy tell you what „bad and weird“ meant?

He could have compared to your DXR10 sound.

I think you had no chance to make a mistake

What microphone is it?

Any post processing happening?

Quote from ckemper

We usually deal a lot with musicians that do not see Refining as a burden, but instead as a chance to control and polish the profiling outcome. As a good reference, there are the Guido Bungenstock videos that are spot on.

I have the assumption that you are not interested in finding reasons for your Profiles having too much bass.

Quote from drew_fx

How do you honestly expect me to react to this? Have I not demonstrated open-mindedness in several direct conversations with you over the years? I'm pretty sure I have.

You have mentioned our earlier email conversation that we had back in 2015, about profiling and refining, you have approached me back then, to discuss refining results.

Since constantly subpar refining results are very rare and usually have a specific technical reason, I am always happy to help in analysing the reasons.

I have found back that 2015 email conversation and the last message was from you saying you will resume the conversation after further testing. As far as I have seen, this was the last email from you. Hence my post above.

Now that there's a lot of enthusiasm to discuss this topic again, isn't it a good time to be curious and resume the talk?

Are you doing some kind of equalizer post processing after the microphone?

It might be that you emphasize high frequencies by an amount, that the engine believes that there is no cabinet HF rolloff.

Proving if the power amp as any influence on your Profiler takes a minute only.

Switch it on and off in the Output Power Amp Menu and compare the sound.

I am confident that you will not hear a difference.

Quote from Dynochrome

Why has nothing to do with my question either, I'm looking for testimonies of power amp durability not lectures on what will hurt my ears or why running 4 cabs doesn't make sense.

There might be a reason that you don‘t find testimonies about durability: It‘s no issue for any solid state amp of reasonable quality. The parts don’t wear out. And therefore it is not questioned ...

Quote from Kaschko

I hear you all. But I feel this creates a problem for me as a musician. It's important to have a feel for the sound you're creating. By writing 'feel' I want to make clear that I do understand the sound you hear on stage is never exactly the sound the audience hears. But the character of your sound should be more or less the same. The story it tells, if you know what I mean.

When I listen to a profile it has a certain character. How much distortion sounds good with it, is it a tight or a flabby bass, how shrill are the highs etc. I often feel the Kabinet does not give a good representation of that sound unless I pick an imprint that matches. In a way I believe the imprints can get closer to the story than running the cabinet in fullrange mode.

Now, I'm someone who plays a lot with the volume and treble knobs on his guitar. That's the way to do it in my opinion. And in order to do so, you need to hear yourself. How much volume until clean turns into crunch, how much treble to take away for a bluesier rhythm until you crank it up for lead parts. With a real guitar cabinet, that's what I would do, hoping much of it translates to FOH.

I've often read here that the Kabinet is just for fun and doesn't give you a representation of your sound. But then I'm afraid it just doesn't work for me the way I am hoping.

My question about the beam was about what I described above. In order to know how much I need to adjust the knobs, do I have to be inside or outside of it.

Display More

It‘s a good habit to care about the sound that your audience hears. And the Kabinet is tailored for that.

In this case, it is truly recommended to use the fullrange mode, as it has been said on this thread.

The best listening position for the Kabinet and the most linear representation is slightly off-axis. You will find that angle by following your instinct!

Rig Volume.

Quote from flyingheelhook

Said every software company, ever...

True!

But in our case, thousands are enjoying this feature already ?

Quote from Nightmare Circus

I did listen to Drews comparison though and immediately one thing stood out to me (and I'm not saying this was intentional so please don't get angry): The KPA files were quieter. The human ear perceives louder as better and its one of the oldest tricks in the book. I loaded the QC and refined up in reaper, hard panned them and volume matched and took a tiny dip out of 200hz and honestly I can't tell a difference between them. Yes that means I had to EQ to Kemper file but that should have been done when making the profile.

https://drive.google.com/drive…vnQw9Z1DPZa1g?usp=sharing

This exactly what I have noticed too.

The incorrect volume matching is a new aspect of the dual comparison clips.

It does not happen when you do an A/B comparison in the Profiling Mode.

The Profile is spot on with the exception of the bass response, mainly revealed by playing palm mutes.

I have mentioned earlier in this thread that such deviations can usually be polished in a few seconds by refining that same palm mutes. Should be intuitive.

drew_fx : We have no message from you that you have tried to refine that way.