im actually pretty happy with the new firmware! Morphing is awesome !! I set up a delay before the amp section and used an expession pedal to morph the delay time and repeats and got a pretty good tom scholtz hyperspace pedal thing going on . There might be some bugs , like when i tried to move the order of the stomps around with the legacy delay in one of them it crashed , but its BETA!! I dont gig with it , and I wouldn't gig with a beta release.All in all I think its great Thanks KEMPER TEAM!! .
Other companies don't even offer fw upgrades , line 6 makes you pay for every single extra feature you want to add in packs and model packs , eleven rack stopped upgrading firmware years and years ago and abandoned thier product !. Digitech relied on third party beta releases for thier gsp1101 , and didn't release any official upgrades at all in 5 years , and they were selling units based on the added features from those secret beta releases ! , and are still selling the gsp1101 ! Axe fx does give you fw upgrades , but everytime it screws up all the saved sounds you worked hours on making , and then eventually they stop supporting it like the axe 1 , and force you to buy the latest hardware at full cost .
Kemper team allows you to keep your existing sounds and add features to the same hardware that to me is amazing and well worth a few bugs here and there. I'm thankfull kemper continues to invest R and D into the product , so bugs are just part of the process and will get ironed out in time , no worries!
One thing with all the delays now under legacy delay , I was playing with the new firmware and noticed I couldnt change from analog to digital delay . how can you change from analog to digital delay like you could before , is it allways analog? which is good for me , but just curious
thats also because the tone range at 50% before...was 100%...they have changed that. Overall they are all pretty close to the real deal now!
this would be a bad thing , if this is true making all of my saved presets with stomps have to be retweaked. I for one dont want this ! tweaking all the stomps to get the sound I had saved before is not fun , if they change the tone knob so that 50 percent is not what it was before
Maybe make an option to leave it as it was in fw 3.3 , or change to the new range in 4 by pressing a switch
so if i bake a pie , that looks like a copy of the apple pie my nieghbor baked , is that pirating ? maybe i used the same ingredients , dough flour apples . it tastes the same is it immoral ?
maybe he baked his first so now i cant make a pie because first one is the winner , after that everything else is a copy
really i dont bake pies anyways
didnt marshall copy fender when they started out , changing a few components here and there ? didnt mesa boogie copy fender and then add gain stages ?
How did those guys achieve the tones in the first place? They didn't sit on their arses waiting for someone to dial in their tone for them - they worked with the amps they had to get the best tone they could. For all we know, the tones of many "idols" were "the best they could get with their equipment", not necessarily what they truly wanted. It just turned out that those tones spoke to alot of people (maybe even because of the songs, arrangements etc rather than because the tone itself).
Find the profile you like best - for YOUR tastes, not because of what an album done by others sounds like. A big part of this can also come from switching cabs around - maybe that's even the best starting point, find the profile you like best, then lock the cab and browse profiles to find an amp you like. Then tweak from there, so it fits with YOUR guitar, playing style, technique, SONGS, ARRANGEMENTS (all caps for a reason). Etc etc etc.
The guitar "heroes" of yesterday WORKED for their tones - they didn't show up at the studio and waited for the engineer to dial it in for them. And they probably worked with the whole band, not just sitting in their room alone (though that is certainly a valid starting point). Believe me, whatever magic happens in the studio is already done BEFORE the guitarist enters the studio. It's a foregone conclusion.
Oh, and most of the videos you posted have TONS of reverb on the tracks, whether it was done by room mics or "artificial" reverb. So you're not hearing what came out of the amp directly in any case. The basis of a good tone starts with the amp, though.
If you post a recording of you playing something that in your poinion gets fairly close to what you'd like to hear, then maybe people here can help you get closer.
Display More
thanks .. i think .. except for the sitting on my arse comment ...
i dont think posting tracks with no reverb, dry and asking for help getting close to the album tonesis a good idea . since the tone we are comparing them with has reverb on it and it cannot be removed so you will never hear the dry tone without the room sound its impossible , the point is to get close to those tones . reverb and room sound and all thats the end goal for me personally wether its wrong or right
i guess i would have to pay a million dollars and go to a studio have them get a great sound for me then profile it ,
so kemper is great tool but it needs content meaning great profiles and if they are out of reach or out of budget that still makes the dream of those album tones impossible even though the kemper is a great tool and can do it , it needs the content without great profiles its just a box and those producers arent willing to share i guess the average working guy will never get those tones , ahh well
Haha well, I think the reality is they don't really care for lack of a better term what we think. They just know what works for their mixes and what is detrimental in mixes immediately when they hear an isolated guitar track. The reality is they are in the business of making records and a living, not impressing the kemper forum. Much the same as, I couldn't care less what some may think of my tone either, so to each his own....as far as releasing guitar tones; well I've been down this road before on this forum, and a few got so butt hurt because they didn't like what i had to say... Actually let me rephrase that... What me the MESSENGER/middle man relayed to the forum on this subject. Bottom line is no one is giving away their tones at that level or even selling them unless you are doing a record with them and dropping that kind of coin... This is why you don't see Sneap or Colin Richardson or audiohammer reessing their tones. Doing drum samples for a company ( which is usually the first argument people Come at me with on this subject ) are not even close to the same thing as what the kemper does, the engineers could elaborate further on this subject im sure... But hey don't hate the messenger here...
I just want to get my hands on the tones , Im not asking them to impress me , I believe you but why cant they share or sell ? Im ok paying for profiles from studio engineers especially if they can reference an album it was used on with minimal post processing Im looking for great tones for my kemper that sound like album tones ! and i dont mind high passing the snot out of them but it doesnt seem to be enuff! I try to match album tones , and most profiles dont sound anything like the album , when you get the isolated tracks which are available online ( thanks to rock band xbox game leaks)
if you listen to the following tracks from real songs like van halen , notice there isnt a ton of bass and low end like in most of the profiles commercial and free and i think theese guitar tracks sound great on thier own without a mix !!! so whats the difference between those tones on the albums and the real amp sounds and the kemper sounds ? whats the secret magic sauce and where can i get it? is there a magic genie somewhere who can help me?
Content embedded from external sources will not be displayed without your consent.
Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.
Content embedded from external sources will not be displayed without your consent.
Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.
Content embedded from external sources will not be displayed without your consent.
Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.
Content embedded from external sources will not be displayed without your consent.
Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.
Content embedded from external sources will not be displayed without your consent.
Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.
and here you can download a ton of multitracks with bass and drums seperated
hmm , looks like there are two midi cc controllers 26 and 27
so the eureka eprom is issuing the one that doesnt leave the delay trails , and theres no way to change it . Ok so I guess I will toss the eureka eprom anyone have experience with he uno prom ? does it work correctly?
What I mean is when i use a midi controller to control the delay like the fcb1010 with the eureka prom , clicking the delay button off . simply chops off any remaining spillover or trails . Is there a way to use midi to mute the input to the delay but leave the delay decays?
I know you can do it when changing rigs , but why not when simply turning off the delay ?
i have a few close friends who are mega producers in the heavy world of things: they've never once voiced anti kemper type comments, hell a few of them were early adopters and use it to this day on HUGE label bands.
What I DO hear from them though is, how absolutely horrible most of the profiles available are haha... I mean some of these guys absolutely DOG loved profilers and profiles on this forum , and rip them to shreds on their tones, and then explain to me why they feel that way....then i hear some of their tones and profiles and...well... Let's just say I can understand why they feel that way! Haha!
Thats all good , except how do we get theese "studio guys!" to share or at least sell their profiles to enrich the rest of us and So we can hear them !
I mean if they say they are great and better than most , but they wont share them or put up samples .... how can we really ever know if they do have good sounds better than most of the other profiles??
Im all for paying for great ones !! Lets hear em !
I think its a great idea and Im thinking about doing it myself , renting am amp and getting some great profiles tailored to my sound .
I find it more difficult to get my sound , buying tons of profiles and trying free ones , because you can only edit them so much with eq etc. if they dont fit the sound you are looking for or what works in the mix. So Im considering the same thing , one great tone in the kemper I will use has more value to me than one thousand I wont use or have to tweak
I want to show you my latest song. It has the 70s style from the krautrock era, and I will finally realize my studio project as a real band now. All building up...
For the gearsluts: Drums: SuperiorDrummer Guitars: Kemper (left: Gibson LPJ/ right: Squier 70s Tele) Bass: Kemper (Fender Preci) Organ: UHL X3-2 (Hardware, based on HX3 Board. Highly recommended if you want to get the original B3 sound!) Choir: Magnus Choir VSTi Mic: T-Bone SCT800 Tube Plugins: Izotope Nectar/ Alloy/ Ozone5, U-he Satin and internal Cubase 8.5pro
Since I have no singer, i had to do the job by myself- but that is no option for me when playing live. I am not a singer and got no technique, which results in that I am completely wasted after one song.
But enough said! Let me know what you think about it
Content embedded from external sources will not be displayed without your consent.
Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.
Display More
sounds great!
love the drums sound too , I use superior but i never got that roomy sound !!
Content embedded from external sources will not be displayed without your consent.
Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.
Display More
yep its like for him he has a million dollar studio , can crank any amp anytime and mike it . never has to worry about living in an apartment or condo where you cant turn the amp past 1 on the volume knob
so for this guy he thinks .. why use a kemper I can us the real thing !
but I wonder if he can play ?
Alot of guys who own 1000 amps look good on paper and then you hear them play , ouch !!!
The kemper is not going to hurt amp sales . if anything it drums up an interest in tube amps for people who dont have access to them but they hear a profile they like , now they want the real beast . I think there will allways be a demand for tube amps , like theres a demand for classic cars. .you can get a replica , but the original holds value and ussually goes up as it becomes more rare, example marshall plexi hella expensive... mesa mark iic + insane expensive
Welp, here we go... Another 22 page thread... Good lord
no offense ves medic but I think its ok hes starting a thread about this . The kemper is an expensive piece of gear and after spending 2 grand he has a right to post in the forum and ask for help if he is not getting a tone he likes , please lets not turn this into a fractal forum where any1 who blasphemes the kemper gets stoned
During profiling session, we never need to raise treble over 12 oclock. We've got an original Mark 2c+ in our studio, definitely are two different cups of tea
do you have any profiles of the mark iic ? i will buy those for sure!!
Thanks for support man! You get the best Mark V pack available, will be satisfied!
one question about the mark v profiles ,
it looks like you never ran the treble control past 12 oclock when profiling , on the mark iic i had the tone controls were pre distortion and it was normal to keep the treble about 7 or 8 , if at 5 ( 12 oclock ) it was dull sounding . Is there a reason you never did profiles like that ? is the mark v alot different than the iic in its response ? or are the tone controls moved after the distortion (treb mid bass) ? its supposed to be the same circuit when in mark iic mode.
oh ya thanks , I actually bought all of them the uber and the srudio pack , Im a profile addict and i spend way too much on em , trying to find my sound . I cant really crank amps in an apartment and mic em , and i dont have many amps anyways , so im looking for the perfect tone .... still searching for that marshall tone i hear on 80s records !!!!
