Posts by paults

v2.3 software will introduce new possibilities for bass sounds, and may include some new factory bass rigs. I think that is why no one has any recommendations at this point. Also, there are more guitarists than bassists using the Kemper (Including me, but, I also play bass when I record)

The Amp Factory Ampeg profiles cover a lot of ground for me, too There are also good ones on the exchange(and searching/downloading from it will soon be more convenient, too). It may depend on what kind of a sound you want. In addition to the kind of bass amps that are currently popular, I'll sometimes use a Fender Bassman or even a Marshall plexi (with a cabinet swap, it starts to sound like their old bass amp) when I am doing retro or rootsy music.

Many of us have the non-powered Kemper, so we can't speak from experience. Is there a music store near you that sells PA speakers and floor monitors? If so, go there, take the Kemper, and try the ones they have. Make sure each one you try can handle all that power before you try it

Start with the ones that have one 10" speaker with a horn - there is a lot of love for powered monitors with that size speaker, so the passive ones may be fine, too. If they sound too small, move up to 12", and maybe 15".

Nice job - Looks great!

Quote from db9091

Now, the question is to profile direct, or via Microphone?

Would it benefit from the added realism a microphone provides?

Although, if you and I are the only ones amused by the idea, two people are not quite:

"Now if you all ring in with MUCH desire" LOL

I've never heard this particular Roland, but their modeling can produce some interesting sounds, like the VG-99 profiles that Bill Ruppert has created. Their products don't have the accuracy and dynamic range of the Kemper, but the Stack and Cab parameters can be used to really change the personality of a profile, so a Rig might actually end up sounding better than the original model:)

And, people were asking for song-specific tones in another thread - these were intended to be that sort of thing, but any of them might be even more useful as NEW song-specific sounds for original music.

Sounds great!

You're welcome - his GR-55 sounds are good, so those may be of some use. If nothing else, come up with something really strange, and make a profile unlike all the other ones

In Browser Mode, you have to assign MIDI program change numbers to your preferred Rigs in the Kemper.

In Performance Mode, they are default mapped to MIDI program change numbers based on Performance Slot and Bank.

You can use the GCP in "ten per bank" mode to access any ten performance slots per GCP bank, or in "four per bank mode" to access any four slots per GCP bank.

If you use Ten mode, bank One on the GCP will default to MIDI programs 1-10 (Performance banks 1 and 2). BUT, you can change them to be any MIDI programs you want them to be

If you would miss the momentary switches when using Ten mode, you can always use the back panel switch inputs on the Kemper to give you four of those switches. If you are already using them, you also can use one or both of the Expression Pedal inputs of the GCP as footswitches.

I'm no longer using a GC, but have my G-System configured essentially the same way as the GC was configured - In each Pedalboard bank, the five rigs I use the most are always available as 01 to 05, and I use 06 to 10 in each bank for more specialized sounds. I don't use the momentary switches for effects- I just switch to a different rig.

Great sounding clip!! My compliments to you

VESmedic1,
The reason it is hard to get a Les Paul to twang is because it has loud and warm pickups - If you want some more twang out of your LP, you can use EQ in a PRE effects slot or two to remove the midrange fatness that doesn't sound like a Fender. It would also be a good idea to cut the overall amount of EQ output, so the amp model is not being driven harder than it would be with a Fender.

When you get something you like, SAVE it as an effects preset, and you can easily use it with other rigs.

For a reference to the difference in sounds, here is a YouTube video comparing an LP and a Tele. Coincidentally, it is done with a Dr. Z.

Tele - LP

Rig Manager looks like a search by "comments" may be possible - that could be a great way to index profiles by song.

Same advice for 16 bit digital recording (CD quality is more than enough for what I do) - keep the peaks of your tracks in the yellow (no peaks above -3db), and all is good. Unless you record with compression, though, you may find it is safer to keep the track well below that, so a random peak will not ruin the take.

Something like the Kemper can be recorded at a lower level (entirely in the green) without running into noise problems, because there is no room noise added by a microphone.

BTW- when recording to an analog recorder, you DO want the signal on each track to be as loud as possible without distortion, so the tape hiss will be far below the sound. That is the where the tradition of 'as much signal as possible to tape' originated. I pretty much ignored the meters on my old Fostex reel to reel recorder, and kept the signal "warm, but not quite distorted".

Here is a list of settings for "artist" sounds, done by someone who does a lot of Roland programming:

SoundsDerHelden

That is their 10 foot price - as you know, all PRO guitarists use that length of cable when they perform.

I use 30 foot cables live, so two of those would be only $35,958.

Even if I needed that kind of tax deduction, that kind of money would buy a '60s strat, AND a '50s Les Paul Junior, AND a '50s tweed Bassman, AND a '60s JTM45. Those guitars and amps sound better with $10 cables, anyway.....

Quote from DonPetersen

good call.

Thanks!

MIDI merger boxes have been available for decades, and the oldest ones will work just as well as a brand new one. Used boxes are extremely cheap and plentiful.

NAMM was SO last week

[Blocked Image: http://musik.messefrankfurt.com/content/musikmesse/frankfurt/en/besucher/_jcr_content/keyvisual.968!.113!.png]

But, then again, I'm not a Beta Tester....

Quote from DukeOURL

man a good looper is going to need to be able to play multiple loops; not just a single loop for 30 secs.. and it's going to need to play them in series or parallel and you're going to need them to sync to midi time clock or generate their own time clock.. it's just a small touch of what a decent looper does... of course it can be done but I've yet to see a company integrate it into their amp effectively; not to say that the KPA team can't mind you... it's just a lot of work to get it right and useful.

Most multi-effect processors include a looper with fewer options than a dedicated looper, because the processing power is used for so many things at the same time.

donbarzini is an amusing male......

Could you just use NO amp/cab profile, and add EQ, and whatever effects?

I've not tried it, because my classical doesn't have a pickup, but, there something on the rig exchange that may be useful. It has gotten five 5-star reviews:

Rig Amp Profile Cabinet Author Rating from
Aura Ny 7 AURA NYLON AURA NYLON Torcuato Mariano 5.00 / 5.00 May 02, 2013

(5 votes)

" paults & crankyrayhanky - I think you're imagining large amounts of reverb, or trying to emulate the sound of the amp as you hear it, which is a different thing"

Per,
Agreed - I was suggesting that a room reverb might not be what the original poster needed for the kind of profile sound he wants. Mic placement can be used now, to make a profile with a frequency response that sounds like the amp, as heard from playing position, without including any time-based elements of a room reverb element to the profiling process.

r_u_sirius,
I'm with you - I use dry guitar tones for recording and live, too, unless I'm using it as an effect (like Surf music, etc.).