Posts by b9788217979d0d8344db4da45919913948c2ac74

    The standard way vendors do it is to append the word "Merged" to packs' and Rigs' names..

    Dammit... I don't have any characters left as I have already exceeded the max rig name length, because I want to give the rigs some meaningful names that show you what to expect to be in there.

    I'll need to find a way to sneak the word "Merged" somewhere into the rigs, because currently you have to memorize it, which is... err... sub-optimal to say the least ;-).

    Seeking to recreate the sound of a Bugera 6260 (which is a copy of a 5150) through Mesa and Kitty Hawk cabinets using different speakers.

    I also have a 6505 sitting right next to the 6260, but I am still undecided about which on I like better. They share a similar character, but they do sound different.


    The pack contains 37 merged profiles. These are made up of 30 DI-profiles. The DIs cover all channels from Clean to Crunch to Lead. Each amp setting has been profiles with different gain settings (see codes like "-3" or "-5" in the name, where "-3" means "-" = no pedal and "3" = gain at 3) and different drive pedals (see codes in the gear list below, like "MT" or "DS").

    There are 12 cabinet profiles made from two different cabs (Mesa 4x12 and Kitty Hawk 4x12) with 3 different speakers (T75, V30 and G12-65) and two mics (SM57 and e906).

    These cabinet profiles are stored as "RiF-.Cab *"-profiles for easier usage. See the manual for instructions. You probably know that you can use these cabinet profiles with any DI profile you have, not just those in this pack. I am striving to make these cabs work with all of my DIs, though if they sound good with other DIs depends on the voicing of the DI.


    All my profiles are going through an analog-only audio path. No digital gear (besides the KPA) involved.

    To create these profiles, the following gear has been used:

    • Bugera 6260 tube amplifier
    • Mesa Rectifier 4x12 cabinet /w G12-T75 speaker mic'd (Shure SM57 and Sennheiser e906)
    • Kitty Hawk 4x12 cabinet /w G12-65 and V30 speaker mic'd (SM57)
    • Maxon OD808 ("OD") , Boss DS-1 Distortion (1991) ("DS") , Boss SD- 1 Super Overdrive (1984) ("SD"), Boss MT-2 Metal Zone (1994) ("MT" , EHX Big Muff Pi ("PI")
    • BAE 1073mp preamp
    • Palmer PAN-01 DI box
    • Furman Power Conditioner


    Here are some sound samples that cover the high gain, rock and clean tones of this profile pack. The guitars in these samples are bone dry, directly from the KPA and no other FX applied in-Kemper nor in Pro Tools (other than a transparent Limiter on the mix bus and KPA-Delay and Reverb from the profiles in the clean tones).


    As usual, I like to show you some pictures of the gear used during profiling.

    The pedals and their codes used in the rig names:

    I hope you'll find this pack useful and fun!


    Download the pack here (it includes the PDF manual):

    I noticed that I am not able anymore to level-balance clean vs overdriven tones. Even if I turn CLEAN SENS down to -12, clean tones are waaaayyy louder than overdriven tones. As soon as I start to up the gain on a clean or breakup-type of tone, the volume starts to drop significantly.

    AFAIR, this has been an issue for me before but could be solved by turning down CLEAN SENS. Now it's not.

    Simple and very effective! This gets my vote.

    I would color mine like this:

    Clean = blue

    Clean with chorus = purple

    Crunch = yellow

    Gainy = orange

    Lead = red

    Although my KPA already chooses random colors for me, because I have a loose connection on my display :wacko:.

    Es reicht den KPA an den vorderen 4 Schrauben im Rack zu befestigen (das ist eigentlich bei jedem 19" Rackgerät so), aber es ist ratsam unterhalb des KPA's noch 1 HE frei zu lassen um eine gute Lüftung zu gewährleisten. Ich habe dort eine €5-Rackblende mit Lüftungsschlitzen im Rack installiert.


    Starting with the RiF-DR v2-pack, all my new packs will be Merged Profiles and will contain:

    • Different amp settings profiled as DI-profiles and saved as Merged Profiles ready to use
    • Each amp setting then profiled with a set of drive pedals (see this blog-post on my website for details about the pedals)
    • A set of cabinet and speakers are profiled with my InfiniCab-method: You'll get up to 18 mic positions per speaker, ranging from center and then moving in about 1/2 inch steps towards the outside. Plus three different distances (0, 1, 2 inches) from the grille. On top of that, you're getting a bunch of angled mic positions as well. Pheww... You should be able to find YOUR tone here easily. All cabinet profiles are stored, conventiently named, as "RiF-.Cab..."-profiles, so you can easily apply them to your DI profile by chosing CABINET and then selecting FROM RIGS.


    In the case of the RiF-DR v2 pack, you'll get 105 cabinet profiles from two cabinets with 4 different speaker types (V30 MiUK, T75, V30 MiA, G65) and 83 DI/Merged amplifier profiles from 5 different modes with 5 drive pedals, resulting in 8,500+ possible combinations.

    For a complete list of the profiles in the RiF-DR v2 pack, see the Profile List and Manual PDF for this Pack.

    The pack can be purchased for just €10 right here on my website. Paypal and automatic electronic delivery supported.

    This is a free update for all existing customers. Check your inbox for a new download link.


    Here are some samples of the RiF-DR v2 pack:


    Because more amps (6505, 2205, 6100, 620, ...) and speakers (Greenback, Creamback) are already in the process of being profiled, this is only the beginning.

    All upcoming packs will extend your arsenal of amplifier and cabinet profiles where ALL of them are meant to be freely combinable.

    The KPA cabinet-profiling process sounds great, but there's always a bit of the amplifier "shining through" into the cabinet's tone. This can be used to our advantage, because I will profile the same V30 4x12 with another amp, so you'll get a slightly different sounding cabinet profile to be used with all other amplifier DIs. Calculating the resulting number of possibilites is mind-boggling...


    MeBo Rack-T-Fire:

    MeBo 4x12 /w V30 and T75 speakers

    BAE 1073mp preamp

    Kitty Hawk 4x12 /w V30 and G12-65 speakers

    The G12-65 from the early 1980's

    Sennheiser e906 which has been used besides the 57

    Regarding the gain variations, I would be fine when I were able to combine several profiles into one "profile-set" where the KPA even simply switched from one to the other profile when a certain gain amount is crossed.

    Profile 1 : Gain (on the KPA led-dial) 3

    Profile 2: Gain (on the KPA-led dial) 5

    When turning the gain dial beyond the middle between 3 and 5 (4), the KPA switches from profile 1 to profile 2.

    That would even give me the freedom of including a drive pedal profile into the set, where say from 8 and up, I could set it up so that it switches to a profile that has been created using a drive pedal. I could even combine different amps for different gain levels. Why limit this?

    1. The KPA takes over whatever rig-tags were present in the profile that you've selected before going into PROFILE mode. You cannot change the rig author in the KPA, but you can in the Rig Manager software. So create one profile with all your personal tags first and then create profiles with that profile selected.

    2. Sorry, I don't know what a "pin plug" is (I am German). But if it sounds good, it is good :-). No kidding.

    3. The 896HD has great A/D-converters, just use those. I am not using SPDIF either, because I don't want to clock my interface from the KPA, which is the only clocking-mode the KPA supports. Therefore I am using analog inputs. All good.

    4. The refining process is kind of a mystery to me. Usually I do refine, because the unrefined profiles sound a little duller and have less attack than the original amp's tone. Refining on the other side can over-accentuate these. The best way would be to have the amp in an isolated room and switch back and forth between the amp and the profile after a refine to see how close they actually are. Or just use your ears and don't care how the mic'd amp actually sounds and if you like the profile, go for it. In the end, this is all what matters. I'd prefer an unrefined and different and great sounding profile to a a 100% accurate profile of a bad sounding amp.

    If you have tube amps you like, and you seem to have the equipment to mic them, create your own profiles. It takes some practice, but this is what the KPA has been initially made for.

    Although profiles created by other people probably can sound great, they are not YOUR tone by default.

    Like the others said, dial your amp to your liking to get a nice sound "in the room". Then (ideally) find a mic position on your cab that gets you a mic'd tone that sounds similar to what you're hearing "in the room". Right on the edge of the speaker's dustcap with a little distance of an inch or two to the cab's grille is usually a good start when using an SM57. But mind that a close-mic'd amp sounds different to what you are actually hearing when standing in front of the amp, so be prepared to "compensate" the amp settings to a tone that sounds great mic'd. I might bet that your first attempts will yield some boomy bass or a slightly muffled tone (mic too far to the outside edge of the speaker) or too trebly of a tone (mic too far to the center of the speaker). Don't give up too early, move the mic in very tiny steps and you'll get your tone with some experience. Note the mic positions in the comments-tags of your profiles to learn better what works and what doesn't. Using some chalk to mark good mic positions on the cab might help to reproduce tones you like, too.

    A Tube Screamer in front is fine, but there are two things to consider: 1) The KPA's manual says that it cannot capture the TS-9 circuit behaviour correctly, so I'd do one profile with and another one without the TS-9 (and use the TS-9 in front of the KPA). Gives more options as well. And 2) I found that - especially on clean(er) tones, not so much on distorted ones - I had to crank the tone knob on the pedal higher (=more treble) than I would normally do. Btw, in my experience the KPA can capture my TS-like pedals just fine.

    Don't use a noise gate! The KPA does not like it and will even report that a noise gate has been detected, although it will make a profile. There are plenty of in-KPA-options for noise gating which work great. I like to have the 2:1 Noise Gate in Stomp-Slot 1, which I find works a bit better for me (more transparent) than the noise gate in the input section.

    Just a remark. It is funny but all the sounds I create at home are more warm and got more bass. But when I go practice with my bands it is lost in the mix a little so I have to add treble and presence to be heard. Is it the same to you? I mean it is not really a problem for me it is probably normal

    I was just wondering if it was the same for you ???

    If I am dialing in tones in isolation (as in: no drums, bass, keys going. Just my guitar) they usually come out darker and possibly more mid scooped than I would dial those in when I have a "band" running.

    Have you tried to get kind of a backing track (must not be from your band, but this would be ideal) running while you're dialing in your guitar tone at home to see if you end up with a tone that's translates better to when you actually play with your band?

    Some examples:

    • Bass: In solo, I would add a hefty dose of bass and low-mids. In a mix, this would create a muddy and cloudy low end because the bass, the kick and the guitars are all fighting for a place in the same spot and all the oomph is gone. It's hard, I know, but give the bass and kick precedence :-).
    • Low-Mids: In solo, this adds nice body to the guitar tone. In a mix, this could easily lead to some honky/boxy sounding overall sound.
    • Mids: In solo, scooped mids can sound great on high gain guitars. In a mix, your guitars run the risk to disappear almost completely, because the guitar tone lives in the mids.
    • High Mids: In solo, you might want to tame those down because they can sound harsh or even piercing. Or you crank them up to get a nice crunchy attack. In a mix, too less high mids can make your attack disappear, too much can compete with the vocals or can create a ringy kind of annoying tone, especially audible when you're turning up the volume. This area I am finding the most critical to balance right in the mix. The amount of high mids depends highly on the context. I found that the area around 2.5KHz is very crucial and fragile at the same time. This frequency range gives the guitars bite and edge but can sound piercing easily. I usually make a sharp cut here to prevent ringing and give some headroom for further high end boosts (if necessary) without over-boosting this area at the same time.
    • Highs: In Solo, you either want to tame those down to get a warm tone or you want to crank them up to get some nice high end air. In a mix, too much high end can make them fight with the cymbals and create a bit of an undefined mess up there.

    This is not a definitive guide, but hopefully might help a bit.

    I have replaced my DR profiles on Rig Exchange with a set of 9 new profiles from my "RiF-DR" profile pack, because I think that these sound way better and they serve as a demo for the pack.

    Search Rig Exchange for "RiF- FREE" (there's a space between RiF- and FREE). And check the "RiF-DR" profiles.

    The free profiles cover all modes (Clean, Raw, Vintage, Modern) and it shows how I am profiling a whole set with several drive pedals. The "RiF-DR Mod A3 * FREE" profiles cover the same amp setting with 5 different well-known drive pedals. Check out this blog post for a description of the pedals used.

    *removed by mod*

    Today, I have opened my site where I am offering my Kemper profiles:

    RiF's PLACE:

    The first profiles are up there, all for € 10 each. Paypal and instant automatic delivery:

    • RiF-DR:
      Seeking to re-create the sound of a Dual Rectifier from about 2000 with a Rectifier 4x12 V30/T75 cabinet.
      Several drive pedals were profiled as well (e.g. OD808, 1984 SD-1, 1994 MT-2, 1991 DS-1, Big Muff Pi).
      All modes covered: Modern, Raw, Pushed, Vintage and Clean. 114 Studio Profiles.
      Link to product page with audio and images:
    • RiF-30th:
      Seeking to re-create the sound of a Marshall 30th Anniversary from 1993 with a Kitty Hawk 4x12 Creamback/Greenback/V30 cabinet.
      Several drive pedals were profiled as well (e.g. OD808, SD-1, MT-2, DS-1, Big Muff Pi).
      All modes/channels covered: Lead, Crunch A/B/C, Clean. 71 Studio Profiles.
      Link to product page with audio and images:
    • RiF-KittyJr:
      Seeking to re-create the sound of a Kitty Hawk Junior Combo from 1984 with Kitty Hawk 4x12 Creamback/Greenback/V30 cabinet.
      Several drive pedals were profiled as well (e.g. OD808, SD-1, MT-2, DS-1, Big Muff Pi).
      Both inputs covered: Overdrive and Normal. 68 Studio Profiles.
      Link to product page with audio and images:

    My profiles are all categorized into Amp / Mode or Channel and what I call "Brightness Level". This ranges from A (darker) to B (normal) to C (brighter). This allows you to quickly find the profile you want even if there were 100's in the list. The use of the pedals is clearly labeled in the profile name as well.

    Example: The profile "RiF-DR Mod B1 OD V30" is from the "RiF-DR" pack, Modern mode, Brightness Level Normal ("B"), 1st variation, OD808 pedal, V30 speaker

    All profiles were made with an SM57 microphone through a BAE 1073 MP preamp. No digital gear (except for the KPA itself) used.

    Also check out my blog at for some side-information about the pedals used, how to EQ KPA profiles and such.

    I hope you like the profiles.

    EDIT: Here are some audio demos (no post-processing on the guitars. Usually bone-dry without any KPA-FX. Some tones - esp. leads - have delay+reverb from the profile, e.g RiF-DR Psh):


    Note that all product and company names used are (registered) brand names or trademarks of respective holders and I am not associated or affiliated with them. The names are solely used to describe the gear used during the profiling process.