Love Sinmix VH4 - my go to for years!
I have owned Kemps since 2 weeks that they became available...what a huge leap of faith that was!!
I had lots of giving up moments...stopped taking it to practice...preferring my amps....until I dialled in a sound I thought was 'ok' (heavy dirt) after about 2 months...
About 2 months after that I took some tracks I had recorded for a 'mix check' at a studio that had 30K monitoring system...and I was dreading my guitar tracks being 'found out' and being awful...
They sounded even better than I had ever dreamt...
Its just time and patience...and never Kemps fault!
I turned the amp comp down to zero, to remove some noise when using single coils...great profile.
Been playing 24 years...in a band...and I do love guitar, more than life itself.
You know when you are 'on it'.
You dream about playing all day at work, you even find somewhere to hide a guitar at work BECAUSE GUITAR IS THAT IMPORTANT...you get home and play for 8 hours and think 'jeez...where did that time go?'
And then sometimes, you only pick your axe up at rehearsal with the band...and not at all between.
You can't be arsed even getting it out the case, or walking across the room to pick it up...
What do you do to make it sexy again?? How do you break the 'cant be bothered cycle??'
Your interface is fine for Kemper.
What is it specifically you don't like?
In one of the eq's you can pull 5kHz down, that helps fizz, and also, high pass and low pass at 100 and 9kHz.
Are you in the UK...if you're close to Halifax I would be happy to help mate.
Higher the value - the higher the QUALITY.
Q = quality/precision/focus/surgical incisiveness
Would this leave the FOH main outs with cabinet module on, all effects and guitar signal?
I have the space set to 'headphones only' - it is one of the parameters in the menu and will save you having to switch it when you change from FRFR to headphones. For me, it sounds better off when on a FRFR.
The benefit of FRFR for many guitarists, that don't have good monitors with a good space in which to monitor, is that you can tweak your rig to make it sound good FOH.
They aren't as 'fun' to play through as a thumping cabinet moving lots of air - but for me, the crowd and what they hear (all 6 of them) are more important than me
But as a previous poster mentioned...if I was just starting the journey now...I'd wait to see what the Kemper proprietary cabinet is like.
Even guitarists can't agree on tone...a Judge is going to be buggered!!
Have both...keep both.
They are very different products, with very different talents!
I don't see a problem either with having circular knob controls.
Having the option to set a value with the keyboard might be useful though (maybe by double clicking on the number below the knob icon.
+1 for being able to type the numeric value into a box below the knob/fader whatever...
Though I have no need for the Kemper cabinet, Ive decided I'm going to buy one.
Just because Kemper has given me more value from my initial purchase than any other piece of gear I have ever owned...and for the first time in my life, I feel like I need to give something back to a company.
CK could have rinsed us for every update and charged us for it like AVID do, and he hasn't...even though 90% of us would have paid...or signed up to a subscription model...
Kemper's business model is unbelievably customer focussed and has made me incredibly loyal and proud to be a Kemperite!
Just watched the video linked here earlier...
Seems to be some confusion regarding what FRFR means...
Each FR in that phrase means two entirely different things.
Lots of speakers are FR...with an incredibly wide range...
Few speakers are the 2nd FR....with a flat response.
Ah, but that’s not suffering. It's a feature only present (to this extent) in 4x12" constructions.
And if one of the Kemper/Celestion speakers behaves like model x it will interact with other speakers behaving like model x the same way.
It seems that the 4x12" lovers can not only have the cake now but eat it, too (when slamming 4 of these speakers in a cab, that is).
That was my thought too...
Hopefully it should be no different to putting a quad of v30s, or greenbacks or lynchbacks or evhs or whatevers into your current cabinet...if each speaker receives individual dsp correction - the interactions should be 'a 4x12' experience.
I'm so-disappointed to have to say it, but the spec's, in the form they're provided, are a joke!
In the genreal-specification section, instead of a proper frequency-response description (eg. 20Hz-> 20kHz, +/- 1.5dB), we're given a "Frequency-range" one. This tells us practically-nothing. Even your crappiest home-stereo speaker's gonna produce 60Hz ->20kHz, the range quoted. Sure, it may be down x amount at 20kHz or60Hz, but there's still a measurable response, which again, is all this specification format tells us.
Then there's the graph. This is passed off as a frequency-response chart, which it technically is, but instead of providing us with a reference to the input level, which is usually represented by a "zero" line in the centre, they've shown only a level "curve" that reveals a 30dB variation across the spectrum. 30dB! Are you kidding?
No wonder they opted to avoid the standard +/- dB above-and-below-the-zero-line format. It would have meant that the response shown would have had to deviate 15dB in both directions (+ and -) at a minimum, but more-likely be lop-sided, possibly reaching into the 20s in one of them. That would've looked pathetic and raised alarm bells for any audio person who looked at it.
Anyone who knows anything about FR charts knows that this would look ridiculous and not-even-good for a set of satellite computer speakers. In fact, it's the most-terrible response deviation I've ever seen for any piece of equipment claiming to be flat-response. Remember, it's the FR (full-range) FR (flat-response) market that they're going to be competing in with these things. A 30dB deviation is so far from a flat response I'm at a loss for an appropriate descriptive term.
OK, so the spec's are suspicious to say the least, but what about the advertising blurb? Surely that would provide some insight; maybe I'm reading the spec section incorrectly? Put your seatbelt on and hang onto your hat:
1) "... truly full range driver..." - It's not full-range, let alone truly-full-range, but it's appropriate for guitar-cab simulation.
2) "... that delivers a frequency response from 60Hz all the way up to 20kHz..." - Wow! Really? See expose above.
3) "... enables the F12-X200 to reproduce the full spectrum of audible frequencies..." - Really? So nobody can hear below 60Hz? Further to that, the spectrum means nothing if the levels (response) ain't there. See expose above.
4) "... for the most accurate output possible..." - P-lease. 30dB of response variation can't be described in any universe as being "accurate", let alone as-accurate-as-possible.
5) "... response is remarkably neutral.." - Uugghh... and I fly remarkably like Superman.
6) "... with Celestion technology built in to ensure there are no unwanted colourations... " - Words fail me.
If you tweak your Rigs to sound good through this, God help you if you sent that signal to FOH. Sure, the engineer will shape it as-necessary, but it's not going to sound anything like the KPA's post-cab-sim output. You'll be having your pants flapped in blissful ignorance of what's really going on out there off-stage.
If that's a problem, imagine recording those Rigs. You would never want to make tweaks based on what you hear from this thing and then expect to hear anything like what you think you have post-recording unless you mic'd the FRFR cab, which would defeat the purpose of the KPA for recording anyway.
Lastly, there's one aspect of the blurb I can't argue with, and feel, based on the spec's I've seen, that it ought rightly to be the main selling point of the cab, and that's the claimed authentic physical feedback one would expect from a guitar cabinet. I see no reason to doubt this claim. The cynic in me, unfortunately, sees a salesperson standing next to a rig saying, "Check out our latest FRFR cab for modellers; It's FR... without the second FR, but hey, it feels like a friggin' cab, mate.".
So, based on the advertising blurb, I'd definitely hold onto my money and let it prove itself in-the-wild long before parting with my hard-earned if I were you, guys.
I bought CLRs, which is nowhere near as nice to play through as a cabinet (thump etc - all the cool stuff), but I would rather sacrifice my 'pleasure', to be sure that a signal I send to FOH is bang on.
For a fatter clean rhythm sound (single notes and chords) a really short 20 to 50ms delay can really help notes seem fatter and bloom a bit more.
Sometimes for solos, especially if you play percussive rakes unto your note, you need to lose some low end from your delay - so cut the low in the delay parameters, and often the top end of the delay can interfere with the actual notes you are playing, so cut the highs.
I find this gives a fuller sound than ducking - but setting the ducking to 0.5 can really help clarity.
Hope this helps!