Posts by gitarretyp

Quote from drog

That is quite a bit different than morphing which can control so much more at once. ***( edit I do see that you can assign more than one item to an expression pedal on the QC, so would like to compare more with Kemper morph)

I also do not see a way to assign the volume knob to just one output independent from the other outs , like I can do with the Kemper and monitor output. This is something I use quite often live

But you can assign multiple parameters to a single expression pedal on the QC, too, and like I said, even "morph" between completely different amp/cab/effect combinations. I guess I just don't understand the fascination with morphing on the Kemper, since you can do similar things with most modelers.

Quote from drog

I don’t like the compact/tight placement of switches, no morphing , no built in amp, I don’t like wall wart style power and the big one for me is the ability to adjust the output eq without the need to adjust my rigs/patches for quick adjustments at a gig.
Sure there are work arounds and you are correct that I have not tried the unit, this is just my initial impressions with reading the manual and viewing the unit in videos and pictures. So yeah, the jury is still out on it...

I don't understand the no morphing complaint. You can assign any parameter on the QC to an expression pedal. This could easily be used to adjust gain, or even switch between different amps and cabs, e.g., switch between rows in a QC patch.

Quote from paddyc

Is this true?

Definitely true. In terms of the kemper, think of it as taking a direct profile of an amp paired with a full profile of a cabinet with a clean amp. You can do each of those individual profiles with the kemper, but you can't put them together like you can on the QC.

You can also do a full on capture of just the cab, which means cone distortion and other nonlinearities should be more accurately captured than a traditional IR. Also, that gives you BMT and Gain controls for the cab.

There are clearly a few software issues to be worked out (this is a pre-release demo, after all). The main point I took away from Paul David's video was that the captures sounded much closer in tone to his reference amp than the kemper profiles--and I think the comparison is even further in QC's favor in Paul's video than previous ones. One can argue that his profiling skills are not on par with some of the pros, even he makes this point, but it seems like the capture process is at least less finicky than profiling. And, this seems to be supported by Rhett's video (Kemper maybe didn't do a good job because of a compressor in the signal path, but the QC handled this ok) and Rabea's video (maybe if he had refined on the kemper, it would have been closer).

Another head-to-head with the Kemper by Rabea. It's close on the clean, but he prefers the QC for clean and high gain in tone and feel.

https://www.youtube.com/watch?v=RlvrBs41WDk

Quote from FlyingPig

I thought so too based on the youtube video. I listened to the wav files after that though and the kemper sounded closer.

I mostly agree. Neither the kemper nor QC are perfect, but I do think the kemper is closer in this test. Listening to the wavs, the QC has a noticeable cocked wah tone to it and is a bit brighter than the amp; whereas, the kemper is a bit congested in the low-mids.

Tl;dw from Rhett's video is that the capture is better than kemper, but the current amp models and effects are inferior to AxeFXIII. Also, Rhett's video is not a review paid for by Neural.

I have tried the Ozzy Top Jimi pack as well, and agree that it pretty much sounds as you describe. I don't like the Ola or Lars Luttge packs, either. As others have suggested, you should try samples from some other vendors. For metal, Josh Middleton's packs are great, I also like some of the metal profiles from ReampZone, Big Hairy Profiles, and Live Ready Sounds, but I mainly use modified MBritt profiles for everything up to more modern metal tones. By modified, I mean I use the V30 cab from MBritt's Wizard profiles on many of his other profiles, in addition to small EQ, definition, and overdrive pedal tweaks.

Quote from Vinny Burns

Much simpler to just have separate pedal blocks where all the tone range and gain range match up perfectly with the named pedal.
Keep the KD as well for people who like to mess about even further.

Either way, the KD is a great tool to be added.

100% this (I would also add the the volume matches the gain of the pedal, which is not the case now with most of the pedal blocks). I said the same thing several pages ago. Keep the KD for flexibility, but have separate pedal blocks that behave like the real pedal they are emulating. That would make everyone happy (flexibility) and avoid a lot of confusion about how to recreate the pedal tones you are accustomed to or want to copy from other players/idols, e.g., if I want to copy Bonamassa's Klon settings, I wouldn't currently be able to do that with the KD without a lot of guess work.

I think one of the points Duffman is making is that these don't behave like the pedals the presets are emulating. For instance, consider the Klon presets 1 - 5. They are all supposed to emulate the klon pedal with the same tone and volume settings but just adjusting the drive on the pedal; however, the kemper presets adjust three of the four kemper parameters to accomplish this feat. That's fine, and it's great that the tone shaping can emulate the nonlinear effect of adjusting the drive control, but that's highly non-intuitive if you want to emulate a klon pedal, i.e., the intuitive solution is that you choose preset 1 and just adjust the kemper drive parameter down to get a klon emulation with less drive.

It seems like it would be much better to have completely separate kemper pedal presets, like the green scream vs the plus ds, with fewer adjustable parameters that then behave more like the pedals being emulated. For instance, have a Klon preset with just drive, tone, and volume, and have the definition and slim down parameters controlled under the hood by the drive control to match the Klon pedal. Having presets like this does not preclude retaining the ultra flexible kemper drive in the current beta, but separate kemper pedals with controls that reflect the actual pedals would be much better from a user standpoint.

One other point I would add is that while this tone shaping is great, at the end of the day, the kemper drive is essentially just the green scream with a sophisticated eq added. While many pedals like the klon and king of tone are pretty similar to the TS808, others are not at all. For instance, the Boss SD-1 uses asymmetric clipping; whereas, the 808 uses symmetric. No amount of eqing will ever make the 808 sound like the SD-1, and it's a more than a little silly that the 808 and SD mid presets are identical (and the max settings are negligibly different) for pedals that are fundamentally different circuits.

Quote from HeavyJ

Yeah, but what if set something incorrectly on the Kemper. I always found that the MBritt profiles sound very dull or muffeled.
I uploaded a testvideo to show you what I mean:

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Yep, that's the classic lead 80 that MBritt uses on almost everything. It's good for clean to low gain, but I do not like it at all for the gain levels you're using, because it sounds dull and muffled, exactly as you describe. I suggest switching out the cab for a V30 of your choice. I use a V30 cab from one of MBritt's other profiles (Wizard) on all of his profiles with gains >~4. I've tried a few Top Jimi profiles, and I don't like them much, either.

To me, that just sounds like it needs to be low passed at between 7-10kHz. This is always done when recording, especially, distorted guitars and will remove the fizzy/phasey issue you cite, which is due to micing.

Quote from Luca79

I've been using the 69 Greenback cab with other profiles, it often makes them sounding great, but I notice that they all end up sounding very similar to the 69 Marshall profile the cab is borrowed from.

Is that normal, that the cab is so dominant that imparts 90% of the final sound, or I am doing something wrong?

While some of this is due the Kemper not being 100% accurate separating cabs from amps in studio profiles, the cabinet/speakers (and mics) account for a significant portion of the tone. Here's just one example from the "real world" of the importance of cab/speaker where Marshall and Fender amps are switched between Marshall and Fender cabs https://youtu.be/7-st0iUbEFg

Quote from mtmartin71

I'd love to hear some of the other Marshalls he's already profiled in the past get a new treatment with the Greenback and H30 4x12s that he has. I realize for his own live work, that's probably not the sound he's necessarily going for, but that's a Marshall pack I'd go buy from him for sure.

I feel like when you take the IR of a Studio profile and move it to another, it's kind of like 70% one amp and 30% another. It's obvious when you try different profiles of the same amp and pull the cab over. Some part of that profile's gain/aggression bleeds into the cab IR, almost like a room mic, and feeds too much (for me) of that profile into the other. To me, a fully baked profile is the secret sauce of the Kemper vs the other methods.

I'm OK with the 3P 2x12 and CL80 speaker. It's certainly more even and "mellow" in tone vs. others but the low end response is great for a 2x12 and it's blank slate-ish.

I basically agree regarding swapping studio profile cabs around, but I've found that when switching between similar amps at similar gain levels, say cranked Marshall/Marshallesque, from the same profiler using the same mics/micing technique, say MBritt, that it works really well. MBritt's profiles are overall my favorites, but I almost always swap out his Classic 80 cab with either his 69 Marshall Greenback cab or his Wizard V30 cab. With moderate to high gain (4+ on the Kemper), I find the Classic 80 too smooth in the mids and scratchy/papery in the highs.

Quote from Luca79

Yes, that is one way to use the 69 cabinet on the 68. You can also lock the cabinet, or save the 69 cab and load it. I use the 69 pack greenback cabinet on quite a few profiles.

I'm finding that I prefer the Marshall tones in the 2020 pack to the 69 pack, with a caveat. I use the Greenback cab from the 69 Marshall pack. It's an option I highly recommend trying, especially if you're like me and not a fan of the classic 80 for anything more than low gain.

Rather than mucking with the output EQ, have you tried putting a studio EQ in the post amp effects chain? Recorded guitars are almost universally high and low passed, and I apply a high and low pass to most profiles. Try applying a high pass around 80-100Hz and a low pass ~7-10kHz.

I would leave the profile cab stack alone. You can either run it with Monitor Cab on or off in the output settings. With it on, you will still be using the cab included with profile, the sweetening parameter will be available, and the kone will be in flat mode. I find this approach works much better for gainy profiles. With monitor cab off, the profile cabinet is bypassed, and you can then select speaker imprints in the output settings and directivity will be an available parameter. I've found the V30 speaker imprint to be bright and fizzy, as you are describing it. Another thing I recommend trying is cabinet placement. I first had my kone loaded cabinet elevated and pointing directly at me, and that didn't work well at all. On the floor and vaguely pointing at me seems to work better; however, I often find that in that configuration using the flat (monitor cab on) setting that gainy profiles are somewhat dark and boomy.

I can't comment on the Modern pack, but the Crank N Go is very good. I also highly recommend trying the Vintage 30 cab from the Merlin profiles in the Heavy pack on all of the profiles in the Heavy and Crank N Go pack. I am not a fan of the Classic 80 for heavier/metal tones, and MBritt uses it all over the place. But, the Merlin Vintage 30 cab works great with all of his more distortion oriented rigs and is my favorite all around cabinet.