Posts by DonPetersen

    Thanks for the detailed guide, but to avoid all these steps, it would be nice to have a tonematching function inside the Kemper!

    profiler + tonematching = killer machine ever! :love: <3

    I've been involved with tonematching ever since Steinberg's Freefilter was released in the late 90s.

    I did a lot of tonematching, even commercially for the AxeFx, that was before the first PROFILER hit the market.

    It is on paper/in theory a very promising field, but it falls ultimately short in the real world. mainly for two reasons:
    1) the sound of the reference only makes sense in that context, it was specifically shaped to fit together with the other, also heavily modified parts to create a working mix.
    2) technology won't 'save you', but your ears might - when users apply tone-matching, they often go for the highest resolution the tonematching EQ has to offer (mistake #1) and set the match or mix percentage to 100% (mistake #2)
    one can learn a lot from the way guitar tracks were eq'ed, but slavishly following this example (full resolution, full strength) is not the way.
    Generally, a 'softer' eq curve sounds much more pleasant then a 120 band zig zag line trying to 'fix' every single discrepancy.
    Also, just applying a bit of the EQ strength pretty much always sounds way more musical than simply turning it up to maximum.

    There are a few things that become apparent when listening to the results: guitar tracks typically have way too much bass and not enough treble to cut through.
    Something that's easily fixed by a highpass filter and a very broad, nice sounding high frequency boost (I like Pultec-style plugins for that, some sound better than others)

    you could start with an IR, use Fabfilter to do the EQ matching, then use Voxengo Deconvolver to create a sweep of the IR + Fabfilter,
    turn this into an IR (again, with deconvolver) and import this IR into Rig Manager.

    Since just disabling the CABINET activates CabDriver, you'll have to import the 'starting point' IR first, and then record your track to be matched with FabFilter.

    "The main purpose is to maintain full backward compatibility to Rigs that have been created before the advent of PROFILER operating system 5.0. The architecture of the Legacy Delay is like that of the Two Tap Delay. However, it features a bandpass filter with the parameters Center Frequency and Bandwidth – this is in contrast to the other delays, that all utilize the more intuitive low cut and high cut filter. If you are going for deeper edits of an already existing Legacy Delay, we recommend changing the type to Two Tap Delay, or any other type, by using the TYPE knob. This way, you will benefit from their improved parameter set."

    while this has been stated repeatedly in the past, I'd like to mention it again anyway:

    it is not recommended to use a loadbox during Profiling, since such a device will not create an authentic amp/cab response.
    Even if the load is labled as 'reactive', it will at best behave similar to one type of cabinet/speaker(s), but it can in now way reproduce the detail and uniqueness of a real speaker.

    I also rely on IEM only, but am thinking of bringing an extra monitor for some speaker-strings interaction. Can be very helpful, if you‘re as mediocre as I am 😂.

    you'd need a seriously high level of stage sound to get excitation of strings - which completely defeats at least one purpose of IEM, influences the FOH sound and can keep the band from being booked again these days.

    theplayer

    drumloop @126bpm
    RIG Tempo @126bpm
    preset 'The Edge Pong 5/16'

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    theplayer Please post a recording. Play to a metronome that is set to the correct tempo for the delay settings. As others have stated, keeping the tempo to the beat and not falling into the delay is crucial for the desired effect.

    it is my suspicion also that this is the key issue.

    theplayer
    without a recording against a click track or drumloop at the right tempo this thread cannot progress.

    I have put 2 delays in a rig: one in Stomp and the second in the fx section. Both of them I got in the 3/16 (8 dot) note value. I checked both Tempo boxes for this. Delay 1 left is set to 352 ms with a 70% mix and the right delay is set to 523 ms with a 50% mix.

    that doesn't make sense:
    1) I wouldn't put the delays in series.
    2) if both delays are set to 3/16ths in the same rig, they have the identical delay time. Is that a typo above?

    playing convincing U2 guitar lines is no small feat. setting up the delay(s) is just one piece of the puzzle. I takes rock solid timing and consistency.
    just playing simple 8th notes with a dotted 8th note delay isn't as simple as it sounds.

    Low Pass between 80- 100 and keep the high pass under control too eg, somewhere between 5000-5500hz. This gives a more natural speaker response.

    you mixed up lowpass and highpass ;)
    additionally in PROFILER terminology these are called Low Cut (=highpass) and High Cut (lowpass)

    the 'natural' speaker response comes from the CABINET, this band-limited (if you will) signal gets repeated by the delay. You should use the delay's Low Cut and High Cut to further shape the sound, to make it different from the dry signal.


    Leaving these at their defaults (20.6Hz and 33488.1Hz) gives you the exact sound of the amp/speaker.

    OK! This is all new for me!! I managed to get this done and took an empty slot. Now back to My Profiler I see that this delay is placed in the Stomp section and not in the Delay section of Effects. ....

    use the COPY and PASTE buttons.

    select the delay in the STOMPS slot, press COPY (PASTE starts blinking),
    select the desired slot in EFFECTS and press PASTE.

    now disable/remove the delay from the STOMPS