Posts by Greg

    Ideally, you do the following:

    Turn 'monitor cab off' in the output pages (press output and scroll) - this will mean that you don't hear the cab emulation through your powerhead>real cab, but it will still be there on the direct outs (xlr) to FOH.

    Preferably (and this is presuming you don't live in a million pound studio - genuinely hope you do!):

    Best: Dial your profiles for FOH using a FRFR at gig volume (this removes the acoustics of your monitoring situation)

    Dial your profiles for FOH using studio monitors (if a treated room - fab!)

    If no other option: Dial your profiles for FOH using reference headphones - though even high quality reference headphones respond differently to speakers of any sort.

    Those are most important as thats what the crowd hears.

    For your real cab monitoring, select the profiles you just optimised for FOH - then click the output button again, and look for 'monitor out' you can change JUST the sound of what comes through your cab. It will not affect the sound you dialled in for the main outputs to FOH. You will probably need to add a db of mid, treble and presence. Just to brighten things up.

    Good luck.

    Hi, the question was if there were things the editor would enable us to do things we currently cant in the hardware...and it relates to this specific this is a topic on this specific editor :)

    Thank you to those that understood the question and provided some insight!

    Genuine question...what will the editor be able to do that we can't currently?

    My studio time = money....and if it makes things easier and speeds up workflow, then lovely...but is that it?

    Use less gain on each track if you are double tracking - especially if you are quad tracking. The way I think of it, is you have your 'live sound' amount of dirt...and the compression that naturally comes with that...when you add all of your tracks together, you want to have that amount built up by your multiple tracks.

    I dont compress anything OVERALL apart from clean guitars, and for metal (especially technical, or chug/single note definition metal), you want tight articulation - room mics remove that. For mics are super super cool! Multiband compression - where the low end is dropped by a db or two on the chugs (low end only) is the only compression I would recommend using - especially on extended scale or lower tunings.

    Some people like to double track per side (quad) - using a very saturated tone (amp generated) and a middy bright tone (amp or mic placement generated) and blend those together to taste. Then repeat on the other side.

    Cannot say enough about the importance of our support act though (the bass and drums).

    Good luck pal!

    Thanks both,

    I have used a 5 button midi-moose with Kemper for years, and have it set up how you suggest - clean, clean with delay, clean with verb, dirt, solo...

    But I am needing more sounds within a single song (to make up for my poor songwriting craft hehe)

    So I though the remote would allow me to have 10 sounds (un-morphed and morphed) within one performance slot?

    Thanks for your time!


    Before I buy a remote, I hope you can help.


    I press button one and am on slot one, a clean sound...I then press button one AGAIN to add in a delay etc.

    I press button two, to change rig.

    When I press button one go back to I go back to the normal state (just clean), or does it go back to its 'morphed state' with the added delay?



    I think its important to note we have all paid only once...never paid for one of the many excellent updates...and that we knew what it's feature set was when we did pay for it.

    A great policy for engineers and musicians is to buy something for what it is today - and anything that comes in the future (expansions/updates etc) that makes the workflow or the actual sound better - is a bonus.

    An editor will be great, but before it was announced that an official one was in the pipeline - we all seemed to be ok :)