Posts by Garrincha

Funny you mentioned that since I've spotted that as well. Although I really don't know how far Linux would be of use in a Motorola environment. Or do they use an ARM chip for general purposes as well? Someday I might open up the Kemper and have a look - when the warranty has run out that is

I use Event 20/20 BAS which haven been my main studio monitors for over 10 years now. I'Ve recently learned that after beeing discontinued for quite a while they did put out a reissue of those which rendered mine actually "vintage"

I haven't heard the new ones yet, but they seem to be a bit cheaper than what they use to be back in the days.

The old ones where quite good for guitar orientated music since they had a good representation of the midrange - something not all monitors have. I have had problems in the past with most Adams in that regard. Adams are all about the treble response and midrange not so much.

I bought the whole pack and couldn't be happier.

If you are into classic rock - like I am - the Hiwatt is killer. Espacially the profile with the 2some Fuzz is fantastic. I noodled around "The Wall" the whole afternoon. Used a Les Paul so I was obviously doing Snowy White rather than Dave Gilmour

I was playing around with the Kempers distortions and boosters and compared them to my analog pedals. I could get the grean screemer to sound very much like my TS808 reissue and was satisfied so far. But I couldn't get the Treble Booster sounding similar to my BSM RM which is a highly regarded Dallas Range Master clone.

So I wondered what the boosters in the KPA are modelled after? The Lead Booster seems to be a different kind of animal, could that be a HS type of booster?

Quote from Jimmyno

It has already been discussed.
Think that almost any VST/AU has been cracked, and giving one of the core feature (profile player) to a VST could drop the sales and make us Kemper pioneers very upset
I'd prefere that i could use the KPA as master/slave thru digital in/out plus a midi editor.

+1

And add to that the fact that in most DAWs you can define a piece of hardware as an "external VST plug" you can integrate that pretty well into a sequenzer already. I use that in Cubase all the time to reamp my sample bass tracks

Having used most of the VST-moddelers over the years I can honestly say they do give more of an hassle than anything else. The real good modellers - like Guitar Rig running at HQ-mode - would munch so much CPU time you haven't room for other plugins.

It's really refreshing to use the Kemper as an external soundsource and don't have to worry about CPU ressources and ASIO overloads

Quote from guitarnet70

Many users have several very different guitars and the Rigs are tweaked accordingly (I also have several versions of the same rigs, depending whether I'm using my Strat, the LP or the 335). For those it would actually be a good idea.

Yes, but I'd vote for a user-definable categorization or tag-system. Everybody could create categories to their heart's content and that could cover guitars as well. Personally I would categorize the amp-types (Marshall, Tweed, Blackface for example) but I can see people using "strat" and "tele" as categories as well.

I understood panhandle as if he wanted Chris Kemper to "hardwire" a guitar tag and that just seems odd to me since we still didn't even have a possibility to group the amps by their vendor or widely known sound-types (tweed etc.).

Most amp profiles work with any guitar anyway so I can't see the use of such a thing.

If we had a working tagging system or something like "categories" (as it is called in the synth/keyboard world) everybody could define whatever he/she wants and that might be the suitable (for that profile) guitars. But I don't think it is particularly useful to categorize amp-modells by guitars and make that a fixed (new) tag. I have never bought something like a "Les Paul Marshall" or a "Tele Bassman"...

Quote from schneidas

This is your post, right here:
FW. 1.0.9

If you did a factory restore - they're there somewhere. They are not the newest additions, as they were mostly existing profiles by Till, which Kemper included for the latest release of the KPA's FW.

Ah, I see, we are talking about the 1.0.9 additions. I thought 1.1.0 came with new rigs of it's own.

The ones from 1.0.9 I know and love

Does anybody have a list of the new rigs?
I've imported them but I can't find them among my 1.000 rigs. I thought they would be the last ones if sorted by date but I olny found my own edited rigs there.

Quote from hoth

If you use more than 2 amp profiles in the KPA then you have now likely saved money (and size and weight) by buying the KPA instead of the amps.

I was just at the edge of buying a Fender tweed combo (again) when I heard about the Kemper. And I was also contemplating about a possibility to get me a nice Plexi again and how to attenuate that beast to actually use it

Knowing me I wouldn't have gone Blackheart for Marshall and Peavy for the Fender sound I probably wouldn't be satisfied until I had bought a Victoria and a Metro replica. And that would have been twice as expensive as the Kemper.

What's really shocking (in a good way) about the Kemper is how it cures GAS for vintage and boutique amps. All I've ever wanted from a vintage plexi stack is there and some fucking great vintage Fenders as well. It's an amp-lovers paradise.

The Golub Marshall is a user profile and you can download it on the Rig Exchange. Try it with different cabs, you won't be disappointed. The cabs from Andys rig pack come to my mind and also you should check out Till's cabs.

Quote from MikeyJames

downloaded the latest update 1.9 and spent an hour going through what was inside this box.

Did you load the new profiles of 1.0.9 already? When I updated my new Kemper to the new firmware I had to import the new Rigs seperately. There are some amps and cabs in there which are far superior to the original factory rigs IMHO. You have to save the cabs of those amps first to use them with different amps. And then there are Andys rigs you already know and tons of great other user rigs on the rig exchange. I've found some of my favourite profiles among user patches there. There is a Golub Marshall and a Splawn modded JVM as well which I like very much (although with different cabs than the ones they come with). It's all about mixing and matching cabs for me. It takes a bit of time since you have to save a lot of cabs out of the existing profiles to be able to use them but it's definitely worth.

Quote from ckemper

It sounds identical to the original.
Please take care that only the first half of the tone control reflects the full tone range.
Do your clones all sound the same?

Just curious: Did you model a vintage TS or the reissue?

I have a TS808 reissue I bought last year. I couldn't get the KPAs green screamer to sound the same until I found out about the different ranges of the corresponding tone control. Now it's fairly close to the original I think. I think that's probably the only thing I'm missing in the manual, a short information on the the control ranges Kemper vs. original pedals.

One word regarding the OD808 as it was mentioned in this thread a couple of times. Unless it is a real vintage piece (which was identically to a TS as Maxxon was the OEM for Ibanez) the newer OD808 is NOT identical to a TS808 (vintage or reissue). I had an OD808 reissue and it is a different circuit and does sound different. You can mod it to TS specs but I never bothered to do that so I don't know how close it comes afterwards.

Quote from viabcroce

... wonder why ...

ROTFL

When he told me the story I wondered why he did even ask
But then: Many famous studios don't have such a policy and there are great IRs of them in Altiverb. I'm using the IRs from the old UA studios (now Cello) all the time and their echochambers are fantastic for vocals and guitars. Also Westlake, Hansa, Hook End Sarm, Wieseloord, Allaire are there already. So my friend thought he might just take a chance

Abbey Road is very secretive about all things there anyway, much more than any other facility. You ain't even allowed to take pictures without explicit permission.

But then there have always been rumors that a certain drum library that comes with dedicated IRs actually has IRs of Abbey Road although they are said to be named differently. I have forgotten which library that was but it was a substantial rumour back in the days.

I recently dragged out my old Boss SE-70 and found some algorithms I had nearly forgotten.

Algorithms like a "stepped flanger", "stepped phaser" and "gate flanger" sound like nothing else (except for an Eventide maybe). Would be great to have versions of those in the Kemper. I'm away from my Kemper at the moment otherwise I would have recorded some examples.

Quote from ckemper

Parsons stated explicitly in that interview that he will not any other sound source at this close distance. That includes the room - it was not his intention to capture the room.

Have you tried profiles at 18'? Of course it is possible.
I have tried it. There is no significant room portion at this close distance. But it sounds different to close miking. The profiles came out great!

We have no plans for a room capture.

CK

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Parson was just an example there are other famous guitarists who do record with a lot of room. Jimmy Page was notorious for working with room mics all the time.

I already did profiles at 18" or even further away because I intentionally wanted the different frequency range. Those profiles indeed came out great. I just thought it would be handy to capture an IR of the room as well.

On the other hand I can see the problem with an IR-reverb inside the KPA. It's probably going to add a bit of latency as most IR-reverbs do in the DAW world. That's not what I want in a guitar amp

It's also no big deal to do a set of IRs myself when I'm in a good room and use those later in the DAW with Altiverb or something similar. A friend of mine was at Abbey Road a couple of years ago but unfortunately they wouldn't let him record impulses...

Quote from viabcroce

Convolutions reverbs are certainly fascinating! But there are lots of environmental IRs around, many of which are free. If I got you right, why do you feel it would be important to capture the exact ambience of the room where you play/profile? You already have that ambience: the room itself!
Generally speaking, unless you play in an open space, you always have "the room" in your sound. And, with the freedom of choosing among cathedrals, famous theatres and clubs, stadiums... a generic single room would seem of no interest

I was thinking from a recording perspective. True if I play the Kemper over a FRFR in a room I have the reverb of the room. But when I record an amp in a good sounding studio I might want to have that room right there in the Kemper and have it on every track I lay down with the specific profile. I could of course take an IR of the room with a different software and apply it later at the mixing stage but it would be easier to have that all prepared in the KPA.

Quote from ckemper

The room reflections create diffusions especially in the high frequencies that will let them sound softer.
The Profiler will not copy the room and diffusion, but the correct frequency responce, thus sound with more high end. The profile is ok, even after short refinement, but the reception of the ear is different.

Chris, would it be possible to implement a seperate process to create an IR of a given setup with ambience mics in the Kemper? With a IR-reverb you could then duplicate the room and diffusion as well.

I can see that an IR-reverb could be difficult to impement in the Kemper since longer IRs can take significant amount of processing power and memory and I don't know if the KPA can handle that. But that would be a great feature to have since that would be the final step to an "amp in a room" sound.

I like distant miking a lot myself. Alan Parson once stated in an interview that when recording Pink Floyd he puts the mic 18"(!) away for a start and sometimes even further away. That would pick up a fair bit of ambience and I personally like to do that myself. If you are in a good room I prefer that over adding digital reverb later.

Right now we cann capture the frequency response which works very well but it would be fantastic to capture the reverb as well.

Quote from ckemper

I think I cannot answer fhis question.
I find this "what is a good FRFR" questions a bit odd, it's like asking somebody what is the best home speakers to listen to your favorite record.

The best FRFR might be the one, where your favorite record sounds the best.
Your Profiler should sound great with it.

Chris, being a keyboarder as well as a guitarist and having a small studio myself I know where you are coming from. But guitarists minds work different from other musicians

I think this question comes every so often because guitarists are used to think of their cabs as a part of the actual sound, the look on stage and they are used to hear their amp from behind - even at rehearsal we put our amps and cabs behind us. We are just used to put an amp head on top of a 4x12 cab and plug it in. We just don't like the idea of putting something on top of a PA wedge or a hifi-speaker

So if somebody would release an active cab in the size of a Marshall slant cab with a built in neutral power amp and say 4 12" coax speakers we could just plug our Kemper in, this would be the way to go for many people. Just make it plug and play. You take that fucking cab and just plug your Kemper in and you would be set. That would work pretty much like a conventional amp/cab system and would appeal to guitarists I think. With the tolex in the color scheme of the Kemper and the Kemper logo etched on a pinstripe grill cloth and you've got a winner

There are some cabs already (from Atomic and I think a guy in Germany builts some as well) but they are either very expensive and/or don't look much like rock'n'roll - at least not to me
I've already thought about getting in touch with Tubetown (TT-cabs) in Lemberg and talk about a possible build.

Quote from Bluesman

I am wondering why we would need such a speaker. We all want a real guitar sound on stage. Why would I need a linear speaker to reproduce a non linear speaker? To cover the wide range between the different speaker? Is that the reason?

Basically yes. Guitarrists may talk more about their amps but a large portion of the sound is actually the cab. When you turn the cab off at the Kemper and play a poweramp into a 4x12 Marshall cab every profile will sound much like a Marshall. You won't get that setup doing a convincing Tweed Deluxe or a AC30.

To be able to switch from true Fender clean to vintage Plexi crunch you'd have to switch the corresponding cabs (or their simulatiions in the Kemper). And to reproduce that you'll need a fullrange speaker (or just a normal speaker as Chris already stated).

If you are a "one cab guy" who plays all of his amps through the same cab anyway - not unusual, many people do that - then you could use a poweramp and just that cab with your Kemper (with the cab sim turned off). No need for a FRFR solution then.

But the real beauty of the Kemper is the truly amazing cab module and the variety of sounds which can be had this way. So I'd want a speaker who could accurately reproduce all those details. And that has to be a speaker with at least a decent linear frequency response and a decent range. A G12M25 for example would have not much treble but a great midrange. A 1x12 Fender Twin with Jensens would have much more treble so you just can't replicate that while running through a 4x12" greenback cab.