Posts by lightbox

As a general rule when you connect and setup active speakers:

1. Turn the volume knobs on the back of the speakers ALL the way down before you hook up cables and switch it on!!!!

2. Set the output level of the Profiler (e.g. Main Outputs) to maximum (0.0dB).

3. Use the built-in Looper and have some loud and heavy powerchord loop with a good amount of lowend.

4. Now start adjusting the volume knobs on your speakers to what you feel will be the loudest you want to ever go and still be safe for the speakers.

Once this is done you have managed basically 2 things at once:

1. You have minimized the necessary amount of amplification in the active speakers (saves quite a bit of energy as well)

2. You can now reduce volume with the MAIN OUTPUT setting but you can never accidently go higher and blow your speakers.

Quote from Craig F

I'm having this same issue......

Which firmware version are you on?

You can't make a profile from a recorded track.

Quote from Linux0701

Wenn ich die Bedienungsanleitungen richtig verstehe, besteht doch die optimale Verbindung aus unsymmetrischen Klinkenbuchsen Kemper mit TS Klinkenkabel in Line- Eingangsbuchse des Mischpults.

Jupp, falsch verstanden Die tontchnisch optimale Verbindung ist die Variante mit XLR->TRS, wenn das Audio-Interface oder das Mischpult symmetrische TRS-Eingänge hat. In deinem Fall (Zoom LiveTrack L-12) wären das die Eingänge 1 - 8. Die beiden Stereo-Eingänge 9/10 und 11/12 sind nicht symmetrisch ausgelegt.

Quote from Ruefus

With the company being German....

Kemper Profilierungsverstärkerkopf

Not sure it will help you but I have NEVER seriously used the PERFORM mode on any of my (4) Profilers in the 10+ years since I became a Kemperite ... because this crap just doesn't work the way I would expect it to work. Drives me nuts to even think about it.

But I'm not a gigging musician, I'm "just" an audio engineer taking care of 2 studios in different parts of the world.

Quote from Kemper Support #1

... Any recordings that did not exhibit the issue for the OP were by people recording the same rig with different guitars in a different environment. ...

Not exactly true, I had reamped his DI with his rig almost 2 years ago.

Is it my ears?...my last attempt to get a resolve.

His reaction:

Quote

Werw!! thats like a trillion times better haha so im clearly doing it wrong Oh my! thank you so much for this amigo, You've brought hope to my desperate situation \m/

Sadly I don't have the reamped file anymore, sorry.

Quote from AxelF42

(used headphones)

Headphones on the Profiler or headphones on the audio interface?

The only difference I'm aware of is that the newer Profilers can be slaved on the S/PDIF connection.

With older ones like yours, the Profiler needs to be "master" and the audio interface slaved.

If someone doesn't use S/PDIF it makes zero difference.

Quote from Burkhard

Naja, damit das hilft, muss man aber nicht nur den SPEAKER OUT des PROFILERs auf Speakon umrüsten

... UND darauf achten, dass man keine SpeakOn/TS Combo-Buchse verbaut

Die gibt es nämlich auch und sind sehr beliebt.

Quote from MikeMoriarty

My "git" signal for recording the direct signal (for reamping) is extremely hot and clipping in my daw.

I don't know which DAW you're using but (if you can) you might want to check if you're accidently boosting this particular input channel.

E.g. in Cubase you can make the input channels visible in the mixer view and actually move their faders. And whatever you do with this fader (or any potential insert effects or other channel settings) will be recorded on the corresponding audio track.

You're most welcome ... Once you get the cables, make sure you open the RME interface settings and switch "AES Format" to "Consumer" ... that's the correct setting to use S/PDIF through the AES ports.

The cables you linked are the right ones.

I own and use the RME UFX+ and that's exactly how I have (digitally) connected one of my Profilers.

PS: And I almost forgot to mention that in my studio in Kathmandu, we use the RME UFX II and Profiler exactly the same way as well. So I have basically double proof that it's correct, haha.

Quote from ToH2002

So, legally you can't do this without explicit consent from the vendor - you might want to send them an email, but prepare for the answer being "no".

As JAC mentioned before, it depends on the country you live in. Here in Germany you can legally sell perpetual licenses you own, even without explicit consent from the vendor or rights holder ... and no matter what the terms and conditions say.

Of course only once and you have to delete all copies you might have.

Just incase you wonder how to find these "first reflection points" or "first mirror points", here's a picture I found on the interwebz that might help. On top of that you can also imagine mirrors on the walls and ceiling. When you sit in your listening position, these points are where you would see your speakers in the mirror. A commonly used size of the acoustic foam absorbers is 50cm x 100cm (20" x 40").

https://www.powerestudio.com/w…st-reflection-in-room.png

Let me give you a very simplified (yet easy to understand) example why some degree of sound treatment is key to improve the listening experience.

Let's assume your listening (ear) position is exactly 1 meter from your speaker. Let's also assume that the same sound travels 3 meters total from speaker to side wall (reflection) and back to your ear. So the difference between direct sound and reflected sound off the wall is exactly 2 meters.

This situation leads to the following effect:

• The reflection of a 1kHz sine wave will hit your ear (6 wavelengths) later than the direct sound ... but "in phase". So what you hear is direct sound PLUS reflected sound.
• The reflection of a 500Hz sound will hit your ear (3 wavelengths) later than the direct sound ... but also "in phase". So what you hear is direct sound PLUS reflected sound.
• Problem is with 750Hz. Obviously the reflection will also hit your ear later than direct sound. But this time 4.5 wavelengths late. So it is 180° out of phase. This leads to the effect of hearing direct sound MINUS reflected sound.

Now if you feel like you need to boost 750Hz, you need to keep in mind that by boosting 750Hz (e.g. via EQ) you also boost the reflection, not only the direct sound. Bottomline: EQ doesn't help at all to fix your issues.

The example above is VERY simplified, but it should help you understand how important it is to manage especially first reflections (which carry the most energy). Best way to tackle these (at low cost) is acoustic foam panels in the first reflection points.

Talking about acoustic foam:

Thickness of the acoustic foam matters. The thicker the foam is, the lower the frequencies it can absorb properly. For example 3cm foam will only handle high frequencies down to 1kHz. If you want to make sure you can handle lower frequencies as well, 10cm foam will help down to roughly 250-300Hz. In my opinion (and experience) 10cm of foam in the first reflection points already helps massively. You will instantly hear the difference and the improvement.

The key to good sound in a room is a good mix of absorbtion and diffusion. In a completely untreated room, reflections off walls and ceiling lead to pretty severe issues like comb filtering. A typical rule of thumb ... spend as much money for sound treatment as you have paid for your speakers (and subwoofer).

I'm willing to help but currently I'm still at work in the studio. Will follow up with some more info as soon as I can.

There's not much to adjust in terms of crossover. You can either engage the 85Hz Satellite Filter or not.

1. If you have the Satellite Filter engaged (85Hz LoCut) and the Sub Filter set to 85Hz, the crossover frequency is 85Hz. The benefit of this is that your A7X get less work to do with the low frequencies and might do a better job handling the mids. Use the Sub Level knob to achieve a good balance of A7X vs. subwoofer.
2. If you have the Satellite Filter off (FLAT), you use the full range of your A7X and the subwoofer is used to extend / augment the low end of your monitors. Use Sub Level and Sub Filter to adjust how much you want to extend / augment the overall low end response.

General advise:

Listen to quite a bit of recorded music of various genres to get a feel for how much subwoofer you actually need. Otherwise it's easy to add too much. You want to go for a well balanced listening experience, not an extreme techno club sub experience, haha.

Quote from hofnar

Sehe ich das richtig, dass das über den S/PDIF-IN nicht geht?

Jupp, siehst du (leider) richtig. Aux In ausschließlich analog.

Quote from Wheresthedug

I had a quick look at the manual for you interface. It looks like the Mic/Line inputs are auto switching. If you use an XLR cable you will engage the Mic Preamp. If you use a TRS cable you will bupass the mic preamp. For connecting the Kemper you should bypass the mic preamp. Therefore, you need to use a simple instrument cable for an unbalanced signal or an XLR to TRS cable for a balanced signal.

... all of the above, plus you should check the "Space" settings. By default it's active on the headphones output (to give you a touch more room feel) but NOT on the Line Outs on the back of the Profiler.