Posts by Will_Chen

Quote from Raoul23

But what if you want your profile to have more gain ?

Clean sense is a relative volume boost applied to "clean profiles" (gain less than 12 o'clock). You should not be using it to set gain levels. If one is seeking no clipping (as the poster claimed to be hearing clipping), the only absolutely clean setting (especially with hotter pickups) is the gain knob on 0. When you profile an amp and set it to "clean" the gain will always come back at 0. If you are hearing any breakup with the gain at zero, either your clean sense is too high distorting (soft clipping, the KPA is smart enough to avoid the uglies) the input or you're distorting (again soft clipping) the output which can be controlled by lowering the amp level or lowering the cabinet volume.

Quote from kc120

Problem I have is that i'm going to an onstage monitor via the KPA and also L/R out of the KPA into a PA. It would be ace if we can place the FX Loop wherever we like in the chain, I do this on a Boss GT100.

But of course the GT100 doesn't have reverb and delay spillover. It's a trade off...

Quote from nightlight

Is the red LED on your input flashing? Turn down clean sense.

If the red LED on your output is flashing, turn down rig volume.

Is your gain at zero? Turn down the gain...

Quote from Robman

I asked a question guys , Not complaining just making what I think is a valid observation.

I have about 250 rigs on the KPA that I use in different bands. I don't want to install too many profiles and have to delete them one by one as I review them. Maybe we just need a bit of code written that will audition profiles without the need to download and install them.

Still a LOT of Mesa profiles there though I like Mesa Boogie , I own a triaxis,A 2:90 that I run my KPA through as a monitor , A triple rec and 2 cabs so its not a criticism of the product in any way.

thoughts ????

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With you 100%. But realize for some the fun is the auditioning. Me personally, I've given up on the exchange a long, long time ago. Very low ratio of good profiles and just would rather spend my time playing than auditioning stuff.

Quote from nightlight

Is that how it works? I assumed that a red light means your input or output has clipped. Don't think it has to be constant. Ideally, it shouldn't happen at all, or at least, that's what I thought.

I think Mr CK should change the LED colours, I was really confused initially by the yellow/orange and red LEDs. Perhaps it would be easier to identify if the LED for clipping was purple or blue!

This is a scenario in which my color blindness seems to be a blessing...

Quote from nightlight

I think it's great there are so many profile variations. One might not nail the particular sound for a certain song/mix, while another might.

Choice is a good thing!

Only to a certain degree. A great many studies have been done showing that the more options a person is given the worse choice they make. The reason is that the human mind isn't able to perform comparisons of more than a few things at a time. So as more options are added, we are unable to pick the best of the bunch but rather the best in comparison to the most recently reviewed options.

Quote from lohworm

But what if the metering is made after the A/D conversion ? Then the red light should mean something like 3 samples at 0dbFS, i.e. digital clipping...
Does someone know how the input metering is done ?

Trust...your...ears! Think about what you are asking. After your signal has been converted to 1's and 0's, what threshold would you be clipping? The Kemper is distorting digitally by design...

Trust your ears. Have any of you guys ever had gear with meters on them before? They are typically more for quick visual reference in setting signals, but you've got to trust your ears. A quick flash into the red is typically no big deal, what you want to avoid is a constant red (unless distorting the input stage is what you're going for). In fact without some type of compression, you probably want a quick flash in the red (or darn close to it) as the electric guitar's unprocessed signal is comprised of a transient much, much louder than the sustained sound.

Quote from michaelmellner

well it is just my cent, but if it is only light, why bother?

just to give you an example: I found my clean sense set at 5 and no clipping. so I don't care if it is a too much high setting. it sounds good, so I keep it.

+1. I don't mean to sound condescending, but maybe it would best to trust one's ears rather than eyes when it comes to sound.

I was in there yesterday and a couple clerks were discussing. If your in the area and looking to try one out, perhaps they can help you out.

You're awesome.

I think your Cornford Carrera profile set (especially the cranked one) is the bomb. I think I'm probably spending close to 85% of my playing time on that single profile. Just a beautiful profile which seems to pair with my Parker particularly well. Love it. It's all over my forthcoming EP. Thanks so much for your fabulous ear!

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Quote from Raoul23

It sounds like your slowing a vinyl down. It doesn't work at its best with the FCB because of the way the FCB is made. Something about a metal strip and an LED light in the FCB so Burkhard said

FCB expression pedals employ an optical sensor similar to the way the old Morley pedals worked. Strange that would have a negative impact. Typically this type of effect is essentially just a pitch down effect.

Quote from StealthAMD

I am sure that if I would have never heard, played, felt, searched or known about the the Kemper; I would still think that the POD line of products would still be awesome.

Unfortunately or fortunately I have bought a Kemper. There is no going back really...

Still I found that my VG-99 is still a pretty decent unit.

But honestly, no gear (apart from a couple of guitars) have made me happier than my Kemper for so long (almost a year now already).

Marc.

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Quote from StealthAMD

I am sure that if I would have never heard, played, felt, searched or known about the the Kemper; I would still think that the POD line of products would still be awesome.

Unfortunately or fortunately I have bought a Kemper. There is no going back really...

Still I found that my VG-99 is still a pretty decent unit.

But honestly, no gear (apart from a couple of guitars) have made me happier than my Kemper for so long (almost a year now already).

Marc.

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Funny, I thought the GT-100 wasn't as good as the HD500. Of course I like the Kemper best...

Huh. Very odd. I found he HD500 to have some excellent tones available and acceptable dynamic response, I just thought it as very hard to get them. I've since sold it but I do plug up my GSP1101 once in a while and the difference for most tones is not night and day, more of a small hop than giant leap.

Quote from nakedzen

Nice work! I think it's fine as it is, but a few ideas: add a dB or two of air to the clean guitars at 10kHz'ish, and volume automate the drum bus to be a dB louder during the guitar solo.

Quote from mDan

Cool, sounds really good!

Quote from Per

I enjoyed that a lot, thanks for sharing! I felt the bass was just right, the drums though were a little dry, I feel it needs more of an intimate "in the room" live atmosphere to compliment the great guitar work, but that's a very minor thing.

Thanks guys. The has gone though some pretty big changes since this initial version to try and separate the instruments a bit more but your suggestions are all very appreciated!

Quote from nightlight

Nice chops and riffs and tasteful playing.

Quote from Armin

Sounds even great via the iPhone - great playing too.

Thanks guys!

Quote from burningyen

I don't have experience with real treble boosters, but the one in the KPA is 1 of the 2 OD/distortion stomps that I use the most. I love what it does.

Huge +1. Please do not change the treble booster. And to the OP, very easy to get a Brian May tone on the KPA, there are actually a couple factory presets emulating it and a couple very good factory AC30 (regular channel) profiles in the factory pack as well.

Quote from DonPetersen

so we're having this discussion again, eh?
I'm really looking forward to more stomp box OD och distorsion models

I'd really appreciate it, if you could please stop using this 'Are you implying...' 'Are you suggesting...' construction (also see other thread).
It's a little tiring and I'm always tempted to answer with sarcasm - which doesn't translate very well in a forum.

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My bad! I'll refrain from commenting on such topics again. Just trying to understand the tech.

Quote from DonPetersen

like you said: the stomps are models, not profiles.
the OP is requesting (and this was asked many times before) to run two profiles at the same time.

That just doesn't make sense to me. Its all code. In my understanding from reading interviews with CK, profiling is more the process than result, a way to automate the programming of "models". Are you suggesting the stompbox models are not of the same quality level as the profiles? Seems a similar automation of back end parameters could be applied to the stompboxes. Though I'm sure I'm making it easier than it is in reality...

Quote from Deny

I don't own a studio with a separate control room, so no, I can't do a decent comparison between the profiled tone and the original amp through monitors. What I usually do is compare the profiled tone with the original amp, although that takes a lot of turning off the DXR10 for listening to the original amp and turning off the amp for listening to the profiled tone, I wish the KPA would have a "single room mode" that took care of that for me but whatever.

Anyway I digress, I started with this one profile because it was the one selected when I turned on the unit, it's a profile I took with my K10 and the original amp doesn't sound too good to begin with, so I thought it would be an interesting challenge to make it sound good because it would mean the rig would end up sounding better than the original, and I think I've succeeded in doing just that.

Truth is, I don't care what I have to do in order to have an inspiring tone coming out from what I now call my compact setup (KPA + DXR10), as long as it's there, as long as it's "happening". If I have to tweak it a lot, so be it. If I have to redo my profiles with a different mic, I'll do it. Hell, even if I have to have the KPA blessed by a priest, if it works, I'll do it. Whatever it takes, all I want is that this setup works for me without compromising my tone.

You will never achieve a like sound because of the radically different dispersion patterns of the 2 monitoring systems. Its like complaining about the stereo image of AM radio. Mic your amp and record a clip and then a clip on the kemper with a profile made with the mic in the same position. If you want the Kemper to sound more like the off axis sound you hear in your room, mic it that was and profile it. Just don't expect to cut though the mix very well. With the KPA you are now hearing what your audience has been hearing for years rather than the off axis tone guitarists are used to due to the speakers being aimed at their knees.