Try the sound with the cab sim in a mix and listen if fits in the mix just as is. If so, then it's right. It has to be different form how your cab sounds, to fit in a mix, what you need to hear to play a guitar is not what the FOH guy needs and it's not what the audience is used to. They know how a recorded guitaramp sounds, they don't know how an amp sounds.
Hi, there. I have a question about the midi assignements. Do the old midi assignments get erased during the update process and replaced by a general assigenment of the performance slots, or how is this solved? I have rehearse today and I wait with the update in case the old assignments would get lost. BTW can I see the old assigments in my backup files using total commander?
For sure it can clip, select a clean rig with a lot of output even at normal output and now crank the volume of that rig all the way up and strum hard. You get some nasty clips. Solution: Don't crank it up like that. Unfortunaly there are no optical leveling meters and the coloured output LED is often enough useless on stage when coloured lightcans are on. The OP sould have better asked for a display of the volume of some stages of the soundchain IMHO.
When the forum was all new the Kemper folks were considering about a keyboard connection there, so you could easily edit tags. I loved that idea. I guess it drowned in a sh..tload of wishes? Or is it in the secret never announced scedule plan at a later point?
Surprise. I ordered pack 5 to try the special Plexi. But I didn't like the Plexi profiles that much. They are not bad, many good profiles, but they do not contain that magical one for me that I hoped to find among them. If anything I could work with the ones with the Elmwood cabinet, so I deleted all the others at once.
Then I loaded the Lonestar profiles. Holy shit, that's just how I like hard crunchy sounds. Awesome! Very crunchy, enough highs, but fat as well and showing a good reaction to the guitars pot. I'm going to add one or more of them to my goto rigs. Maybe one of the cleans too.
I came for a plexi and found a Lonestar.
Still haven't tried the other amps of that pack.
Quote by hand: Froschn That test is superb...as long as someone else is controlling the delay amount and you as the guitarist are blind to how much delay is actually happening. I'd bet no one (or very, very few) would detect anything up until around the 7ms+ mark.
Never tried that test with a 3rd person that controlled the time parameter. I fully trust in the placebo effect
Glad you had fun with the delay!
Everybody can check that himself. Put a delay in the rig, sound uncoloured, mix at 100%, then change the time between 1ms and 20ms. The point where you start to dislike it may be different personally and there might be some placebo believe going on...but the try is for free.
Latency isn't destructive or alike. Somewhere we are used to it and somewhere not, that's all. Close your eyes and let a friend drop something onto the desk. You can say in what direction and how far away, right? You are used to that enough, your brain learned that. Little children couldn't do the same, they still need to learn. They sometimes don't notice a car coming nearer. Bad. The longer you played over a certain amp the less tolerance you have for the littlest changes. Nothing destructive, it needs time to get used to new stuff in that way, that's all.
Our ears can tell if a sound comes from the left or from the right, from above or from below just by little differences in timing (besides other thing that tell us if something is near or far). Humans can hear far less than 3ms as long as there is any fixed point as orientation, so they can compare what the eyes see and what the ears hear and how that fits togehter. When you are uesd to a direct displaying tubeamp and move to a digital modeller the impression how the timing of hands, eyes and ears fits together is wrong for a while. When you close your eyes and don't see the monitor it's alright, your ears then 'tell' the brain the monitor is 3ft further away, but when you look at the monitor the information from ears and eyes feels wrong since your brain can't calculate where the monitor is anymore, the impressions don't fit together anymore. If the OP says he feels the latency then to me there is nothing wrong with that. He got to get used to that 'wrong' impressions first to feel comfortable with the latency. My 2ct.
The question, which has not been answered to date, is whether or not there is any sort of dynamics processing in the cab section of the KPA.
If so, you're right. If not, the amp section takes care of the PA emulations and you'll just need something linear.
Regardless, a tube amp at higher volumes will compress your profiles, meaning you'll get a dishonest representation of your sound - which will change everything from saturation to sustain to EQ.
A tube amp at lower volumes will sound like a solid state PA, apart from damping which is the dynamics processing issue.
All in all, i'd go SS and to FOH - but these are my needs and for a bedroom warrior i'm not sure that's important.
As for linearity - while nothing (to date, anyway) is truly linear, a linear product's purpose is to come close and be controllable. This is successful to varying degrees - which is why the hype is there.
Other than that there are other aspects - weight, reliability, volume, heat, functionality etc. which would also explain the hype.
Poeple that play tube amps with their effects in the loop always have their effects compressed and coloured of the poweramp. Reverbs of guitaramps are usually coloured, all normal.
Question, where is the idea with the linear poweramp from? I got better results with a tube poweramp and a cab. Yes, you could say it's a bit double colouring but if it sounds good it's good. When a part of the amps sound is baked-in in the cab part, then you kill some poweramp influence by turning the cab off. By using a tube poweramp you get it back. BTW, you will always hear what you use to make your signal loud, even the linear poweramps have their own voice, how else could it be that there is a hype for certain stuff like the matrix amps. How could a matrix poweramp be better when everything linear is the same? Many claim that their product is linear, non colouring, not distorting. Can that be true?
Are we talking about the accuracy of the profiling process or the quality of the resulting profiles?
It is interesting to read sometimes about "the signature sound" of the Profiler.
How did you evaluate the "own voice that is not equal to good tube amps"?
By listening to the factory or user profiles?
I did both, profiled my own stuff but also auditioned almost all of over 2k rigs I have imported, made printouts, made notes, gave marks to my favs and so on.
The accuracy of the profiles that I did myself is fine for me. That's not my task.
There is something that I find which is typical and similar all over the profiles: The curve of the volume pot of my guitar gets reflected in a different way and it is the same when I make volume variantions in my playing.
When I play my guitars with tubeamps I usually have a fatter sound when the pot is full open and when I roll back from there it's getting -depending on the amount of drive- less distorted, less loud and less fat or thinner. It's beginning to loose fatness rather linear and all from the start when I roll the volume back. And it's similar when I pick harder vs. softer. That way I can vary my sound and my volume much without the need for another preset, a lower one or louder one, I can do variations from my guitar and that's far more convenient than having different presets for it. OK, that's how good tubeamp react, stomps and solid state stuff don't care about softer picking .
The reaction of the KPA is different. The sounds stays fat for a long way of the volume pot, it's getting thin at the end of the pot's way. The same way softer strucks with the pick do not cause loosing much fatness when the pot is open, it is hard for me to vary when the pot is full up. It's better at the very end of the pot.
That's an impression that I have over all profiles somehow. And for me that is one part of the KPAs voice. I got used to that, can handle it, but still I notice it.
What I'd need is a setting where I could tune the pick influence, how much rolling it back causes the sound to get thinner and I'd like to be able to shift the behavior from the lower end of the pot up to the middle of the range or to the upper end. Can you imagine what I mean? Is there a way for me to get that with the onboard settings?
The available pick parameter is rather in the highs, the one I'd need would be rather in the lower mids (250-500K?).
The last FWs of the AxeII have improved the dynamic reaction a lot. The way how the amp blocks react is just very real, I can not say that I miss anything there. Still a problem or let's say, where you can go wrong easily is the selection of the right cab. When you load the wrong cabs you can tweak endlessly without ever getting the right sound.
I can see that there is a large range of qualities of the profiles, they vary from crappy to awesome, and I don't talk about the bad ones. Ok, that bad ones exist even from good amps, it can mean that some good amps can not be captured right with the actual process (even the pro sellers of profiles sometime describe that their caputres are not that satisfying to them) or it can mean that not everyone can work with every amp. Bur besides this, there is a certain own voice of the KPA and certain basic quality wich to me isn't equal to good tubeamps. Playing an amp is still different to me and it is not that amp in the room thing, it is how much you can vary the colour of your sound just by what you do with the pick and the knobs on the guitar. It's the same what divides good tubeamps from cheaper amps.
Ok, when you talk about recorded tracks only I can imagine why there are less differences. I talked about playing the KPA vs. playing a miced amp in a different room, wich is an interactive thing and you can easily feel when little details change.
Nearly impossible? I don't want to admit that. My impression is different.
One aspect behind all the lines is the question if and how the core sound could be improved. I guess nobody would claim that the KPA is one hundret percent the copy of the profiled amp, would one? And if a gap exists between a profile and it's original amp, is it known where that comes from and is there any processing power left for improvements? BTW I don't care wich step of development comes first...happy about every step whatever it is.
Yup! I use Total Commander as well. No issues.
Sometimes metal parts start to swing and make noises. Have you checked that? Sometimes parts of the tremolo or the strings on the head behind the saddel start to sound.
Wampler has a talent booster. The are some clips on Youtube. Imagine how bad these players would have been without it.