Posts by Greg

    Hmmm....I'm guessing you've already tried some other profiles/variables in the signal chain?


    Sometime on profiles I am checking out for lead sounds (in particular) when you bend a note it sounds like there is a weird swirling underneath it - a bit like if you are playing a unison bend that is intentionally dissonant...


    Sometimes turning the modulation down or off in the the delay helps - sometimes there is something weird in the delay if it is set for stereo and you are monitoring in mono (without adjusting outputs)...if there is no delay on the profile - I have always thought it has just been profiled badly and move on.


    Not sure what else it could be...just as overall checks - is space turned off and is monitor cab off when you are using your real cabinet?


    Hope that helps mate - if not - please post an audio clip and I'll have a listen.


    Cheers,

    Greg

    I downloaded it...and am going to try it today and if its any good - figure it out before getting it to the rest of the band.


    From looking at the map of active users...it looks like I am mostly going to be jamming with random people from the philippines today - which is exciting!

    I tried jamkazam with 2 other musicians and it was alright, but not that satisfying for me.


    Now I'm just sending them recordings of my parts with a click intro. It's a pain, but I tend to practice more than them, so this lets them get things together without me having to play it 20 more times.

    WE always practice more than THEM :D

    Hi, I'm not entirely sure what you are asking.


    First of all, can you hear your sounds through the cabinet? Are you saying the volume is too low?


    If it is too low, then click output button, and scroll through to where it says monitor out level. You can control it with the knob and raise it in volume.


    Dependant on how you have the kemper set, this volume can be independent to the master volume - so that could be an issue you are having.


    If that isn't what you are asking - then come back to me and we can walk through step by step :)


    Cheers,

    Greg

    Johnny Marr - my older brother was a smiths fan when he was a teenager and when I got to 11 he started my education and the guitar blew me away...it was the layers of guitar...


    He bought me an acoustic...and I got a four track tascam portastudio before an electric guitar or amp...I remember asking if there were any other bands with 3 or 4 guitarists in and he said no...its just johnny marr and he plays things on top of one another...so getting that four track was more important than anything else


    By 13 I had red converse, tight jeans and my hair I'd started growing to have a rockabilly hair-do had become a mullet...which became long hair as van halen, motley crue, ratt, wasp, rough cutt, dokken....became jason becker and marty friedman


    Now I play doom death metal...and I'm going bald.

    I've had an axe fx3, and a kemper since it came out...and many plexi style amps...


    All make great sounds - but the kemper will give you 95% of the real amp when it is profiled with particular settings.


    If you then grab another 'real' plexi amp from the same run, and have them side by side through the same cab and microphones, they will at best be 95% similar too. Tubes, component age/wear etc


    So nothing is identical to anything else - and thats great news for people on the never-ending tone quest - and horrendous for our poor dusty cobwebbed wallets.


    The axe fx, sounds like a plexi or a boogie or a fender - but before deep editing, it will sound like the specific one they modelled, and it does a great job at doing it.


    Unless you are profiling your own amp...then it is best to get into a mindset that modellers are giving you a flavour of that style of amp...and profilers are giving you a snapshot of a specific amp...at a specific setting.


    Especially with the deep deep editing available on the fx3 - where you can edit controls that are not included on the original amplifier - the whole purpose of that is to manipulate your sound 'beyond' that of the original - for better or for worse - is for a different day. From my experience, the fx3 doesn't sound great until you start deep diving into the controls available to you - something which anyone that has scrolled through fractal presets will corroborate. It's all about the deep editing capabilities, which if that is your thing, are wonderful.


    So short answer is - nothing is identical to anything...but thats great. Until we have all, as a planet, agreed on a consensus on THE perfect plexi sound, THE perfect Mk 4 boogie sound, THE bassman sound...then its a big merry-go-round of exploration. Even then...someone will say....hang on hang on...I play P90's...

    As a bit of a rule for me - LCR for the first 80% of mixing...leaving your odd jangles and little bits of interest/sweetness some room to pop in and out from the 10 and 2 o'clock positions :D


    Though have been doing more and more of the guitar at 10 and the delay/effects corresponding to that track at 2 oclock - a bit van halen-y without the playing!

    Hi, are you wanting to see if there is something wrong with your guitar?


    You are worried that the profiles sound different or wrong with your guitar - compared to somebody else that owns the same guitar playing the same profiles?


    The best advice I can give is you plugging into a an amp you already have - if the guitar is working there - then the guitar is working with kemper. It may just be you have to edit the profiles to get a sound you like or use a different profile - not every profile (or real amp!) sounds good with every guitar.


    And rarely - do profiles sound anything like what they do on youtube! :) Check your input levels, and then look at the definition control in the amp block before you start tweaking pre or post eq :)


    Good luck!

    Hi,


    If you put the tracks hard left and right...and solo them and can only hear left....and then solo right...leave the other setting.


    Its just asking you what panning you want to appear when you create a new track...and the default for a stereo track will be...stereo panning! :)


    Cheers,

    Greg

    Profiles are cheap enough to treat yourself reasonably often, but like some have said above - you need to prepare yourself for only using/liking a small proportion of those profiles you purchase.


    I particularly like vendors that sell a pack with 10 to 15 profiles of an amp in the sweets spots on that particular day rather than 300 profiles of amazingly tiny variance. They are often a bit cheaper too.


    A great suggestion above of cataloguing your rigs using folders - I try and choose a profile based on what STYLE amp I would choose to plug into if I had a tim pierce style set-up with 100 real amps all around me. I use the 'standards' of vox, fender and marshall as we can identify what we typically expect from each of those...mid-scooped fender cleans or biting tweed style boxy chewy mids etc


    I'm tracking, and think...this part needs to be a spangly sparkly vox sound to sit in the mix or poke out...so go to the folder with those in...now this 'vox clean' might have a vox, a divided by 13 and a morgan profile in there - but I have found separating folders into the standards, along the lines of what I have written below helps you get to sounds quickly (and identify which bases you need to invest in for profile buying):


    Vox Clean

    Fender Clean

    Marshall Clean


    Vox Crunch

    Fender Crunch

    Marshall Crunch


    Marshall Gain

    Diezel Gain

    Mesa Gain


    Solo Gain

    Solo Gain Crazy Sh*t


    Hope this helps, this type of work flow helped me to figure out where to spend my money, and also sped things up abit when auditioning and looking for sounds as I record.


    Cheers,

    Greg

    If you have a four bar measure, play through a complete four bars - and then press record with your foot on the 'one' of the beat as you continue playing the riff.


    If you play nothing, do a count in, and TRY to press record and start playing with your fingers it will always sound like a stutter or glitch when it returns to the beginning of the phrase to loop again.


    Think that when you are playing the following chords in the pattern A, B, C and D.....when you move from the D chord to the A chord again you need to hear that transition from D to A...there isn't a minute pause every time you repeat a section in real life...unless its for a musical purpose :)


    Looping is a pain in the ass when you first start...but very rewarding after a little practice :)


    Cheers,

    Greg