Brand new condition....White Toaster model with original box and manual. Hardly used. Will give you a great deal. Make me an offer!
Pick up in NYC and save even more or I will ship.
Love the unit but have to give up my recording studio. The Kemper is totally amazing!
Cool...you know the DB's huh.
I do sound a bit like Chris. Saw the Big Star tribute in Central Park last summer. One of the best shows ever.
Most musicians on these forums never heard of the DB's, Big Star, Teenage Fanclub, The Shoes and a host of other great bands.
Glad you are tuned in!
I did the rest of the album using Vandal. Then on the last song I got the KPA. Huge difference. The power chords practically blew my hair back.
Peter Pan
http://youtu.be/CVgntNCpS9A?list=UU6wOjNX41mBVYmr_l6fGDsQ
This is my site for Sunrise Highway
http://songheads.com/
ENJOY
Hi,
I'm doing a track that sounds like it could be from The Who Sellout album (my favorite)
I know he used Rickenbackers. I have a 360 six string. But its also the amp. Can find plenty of power chord amps like the Marshall's and Mesa Boogies,
Even Townsend doesn't use his original tone anymore, hasn't for live shows in years. Lots of Fender amps with a much more overdriven sound.
His classic sound on Sellout had more clean tones mixed in....plus the characteristics of the Rick.
But any good Hiwatt profiles...the ones I tried don't cut it. Maybe a loud VOX!
Thanks for any advice.............."I know you deceive me now hears a surprise".....whannnnnnnngstrummmpowwwringgggoutttt......that's it.
Do you advise using the Kemper noise gates/stomp boxes or leaving it to post production in the DAW?
Maybe it was the noise gate. I seemed to remember some other knob setting (like the pick...one) where you can just suck out the unwanted noise by turning the knob down. Without altering anything else. Something besides the noise gate. But perhaps I was dreaming.
I've been looking at tutorials and haven't seen this control but I know it exists because I used it before and remember either reading about in the manual or seeing it in a tutorial.
It could be under the amplifier button setting. But now I can't find it.
Its for cutting down on hum, hiss, feedback when using heavily overdriven Marshalls/Mesa amps/fuzztones/etc.
Which button turns which knob into the control that does this? I thought it might be pick noise, but that isn't it.
And also in your opinion (provided there is such a control) how natural is it take out the hiss and hum that comes naturally with the loud powerchord thunderous character of that type of amp. I know that is part of the natural sound. Will reducing it too much make it sound not realistic. And what about fret noise?
I might have read in the manual or seen in a tutorial that this control will reduce all the bad parts and just leave the good parts of the heavy guitar sound. Is this possible or perhaps this control was meant to be used only in small increments....when I find out what it is.
Will read the manual again...but still...opinions on taking out too much natural "noise" is also a good topic.
Thanks for any input!
Expensive toaster $50
Kemper Profiling Amp $2100.00 (price actually went up again on Sweetwater?)
Which one needs the cover?
Seriously though...what are the first things to go in your prized vintage amps?....the volume knob and other dirty pots. They get dusty over time and any knob is a physical device which can get loose and need replacement. With all that amazing technology inside, to control it the KPA has a whole mess of knobs. Who wouldn't want to keep them pristine. Dust is not very knob friendly!
Many Kemper users must use them primarily for recording so the unit is just sitting there on the desk or shelf.
Funny they call this Kemper "the toaster model"
DLaut.....those look pretty good. Did you actually order a specific size and know which one would fit. I thought there would be some custom cover company out there....like the ones they made to cover VCR's....oddly computer or hardware gear dust covers don't seem to be that common.
Here is one from Fellows
http://www.amazon.com/Fellowes…um-LaserJet/dp/B00004Z5IN
This might be good. Its also very light.
Yeah right? Kemper should have shipped the units with a nice vinyl cover with the logo. How much could it have cost....50cents!
Yes there are days when I'm not recording with my Kemper. Now that its getting warm and the window will be open...
Don't like when dust collects on my gear. Surprisingly there is no cover that you can just slip on and off the unit (I don't mean a carrying case)
a cover where you can leave the amp connected but protect it from dust and sunlight when not in use.
Does Kemper make one or does anyone have a suggestion?
I know a piece of plastic wrap would do the job...but something with somewhat of a custom fit would be nice. I mean its such a wonderful piece of gear.
Thanks.
The ultimate summer song "Endless Summer"
http://youtu.be/lI6TM5YlVMg
This is before using the Kemper. I'll be mixing my first song using it soon, sounds incredible.
But check this out for Jangly guitars. Used a lot of guitars on this track.
If any guitarists out there with home studios that have similar taste in music perhaps you would like to collaborate and play on some of my tracks.
Just thought a like minded player who knows lots of theory and has that Byrds/Beatles sound might be able to add a lot to the mix.
THANKS
FUZZPOP
Thanks again everyone.
If anyone wants to check out some of my music to hear what kind of tones I've used and give you a better idea of what style of sounds I'm looking for......
WoW
Thanks everyone. This all gives me a good starting point.
I have many guitars..vintage strat, vintage RIck 360 six string (Peter Buck) a few Shecters and one with special PUP's I like as much as any super expensive guitar.
I play clean, I play super overdriven, They should have thrown the janglebox compressor into this thing for that 12 string Byrds sound. A mindblowing classic sound.
I'll go rig searching tomorrow. I tried some of the TAF sfuff...sounds good.
......It's like there are so many rigs....and people have their taste....but objectively thinking....
for most players looking for a certain amp sound some rigs will just sound better and I think you really only need a few of the best rigs for each sound.....instead of checking out 1000 plus rigs.
I've put up a similar post and got no response. I will be glad to share my favorites when I find out what they are. Just getting started with my Kemper.
Gee Wiz....it would really help this dude out if you can direct me to some of the better or best profiles of certain guitar legends. I've spent too many recording sessions going through 70 amps and thinking "well this one sounds good"..."this ones maybe better" etc. etc.
I know its part of the process, but it would sure save time and a lot of legwork if i didn't have to search for these mostly vintage sounds.
I'm into 60's influenced pop ranging from Jangly chiming guitars and folk rock to overdriven power chords/New Wave twitchy sound/psychedelic lead and clean and jazzy R&B and pop sounds.
So here we go:
AMPS:Fender princeton reverb/twin/tweed champ/bandmaster Marshall 100 watt stack Voc AC 30 Ampeg Gemini 1 or 2 or 6 Mesa Boogie
ARTISTS
Jeff Beck Lead - really the lead guitar sound on "Truth" which is probably some kind of Marshall Stack
Johnny Ramone - I know he used that 100 watt marshall head. Thundering power chords for punk and garage
Keith Richrads - Classic Tumbling dice tone, Gimmie Shelter....Great rhythm tone, a little clean a little dirty. That ringing out sound (I know its partially from his cording style.
Bealtes classic sound - Rain/Ticket To Ride - Harrison's picking sound. I know Beatles used VOX. Many people don't know that they actually used solid state amps for stuff like "I Feel Fine". The Vox Beatles special I think was transistor. So much for ONLY tubes.
Pete early who sound - Sellout period power chords...I can see for Miles..that sound. Powerful but not totally over driven.
Steve Cropper - classic R&B tone for crisp chops and his style....probably some kind of tweed fender.
Byrds - Gotta love that Jangle. I use a RIck 6 string a lot. Rodger uses 2 Jazz chorus amps now and for the past years. I want the original Turn Turn Turn sound. I heard it was through the board with a special compressor. Anyway...they used Fender Blackface amps live back in the day
REM - More modern Jangle. I know Peter Buck uses the vox AC-30...there are thousands of profiles...which do you recommend.
Hendrix - Goes without saying. All Along the Watchtower...1st 3 LP's
Beach Boys - not surf guitar but for stuff like Pet Sounds/Smile. A clean sound obviously. Like a Wrecking crew session guy at Mamas & Papas session.
Garage Rock - not totally distorted but a big dirty. The Ampeg Gemini 1 and 2 were my favorites.
New Wave - That twitchy scratching sound used by groups like Split Ends, Rick Ocasic of the cars would be a good one.
Spirit - insane fuzz tones
Hey all you tone heads.
I would just like to share a link to my site which features my last release from 2010 Which got excellent reviews
and some previews from the next release.
http://songheads.com/
I used the Vox Tonelab.....maybe the Pod here and there and then Vandal.
I so wish I had the Kemper while doing it (why didn't I get one as soon as they came out!!)
I guess a lot of us do. At first I thought Vandal was great...but I started getting real tired of the sound and feel of using it. The Kemper just sounds fuller, more real and responds much more like the real thing...well you all know that.
Soon I will post some of my newer songs done with the Kemper. One of the engineers who mixed the new release is pretty blown away by samples of new songs in the works using the Kemper.
Also I would like forum members to hear what kind of music I do so I can get suggestions of RIGS that would fit well with my style of music.
(any suggestions of the classics:Fender Princeton Reverb/Twin/Champ/Bandmaster Vox AC30 Ampeg Gemini 1 or 6 or Reverb Rocket...have not seen any Ampegs.
I'm not trying to spam and sell downloads with this post.....I just want to be clear as many forums many scream "SPAM" at the drop of a link.
Well....if this is a thread to let others hear your music then I would think posting a link to your web site that has your songs on it is what this forum is for. I hope.
The guitar sounds on my last release are more Beach Boys/Beatles/Mamas and Papas/Todd/Byrds which is a lot of jangly guitars...some R&B and Wrecking Crew session guy clean tones...lots of keyboards and very vocal oriented. But some nice solos if your into the Byrds/Lovin Spoonful sound.
Some newer stuff with Kemper is much heavier PowerPoP....the last release a lot of people called "Sunshine PoP", so I'm keeping the harmonies/melodies but revving up the tempo here and there and adding the power chords and heavy guitar all over the place...Cheap Trick anyone! Garage/New Wave/Psychedelic influences.
So check out what I did BEFORE the Kemper and then after I post the new Kemper fueled tracks lets see what a song with an almost exact copy of a REAL sounding amp
sounds like.
Hope you enjoy and would love to hear some feedback.
Ok...I've learned how to re amp and decided it is much more efficient to select the amp you want to use and record the final take via spidif.
I've been recording the clean guitar track....its great to have as a fall back!
but now I want to try recording the final takes this way:
Using the SPDIF output recording the complete amp or "Stack" sound on one track and the Stereo effects from the Kemper on another.
Can you do this?
and which SPIDIF output setting would one use? DId not see this in the ref. Manuel.
If I mixed the dry amp track with the effects track I could get the same results as if I recorded it as "Stereo Main outs" ?
If you are routing stereo effects to a mono channel (I only have tracks 11 and 12....end each one would have to be a mono track)
How would stereo effects recorded from the Kemper work on a mono track in my DAW?
I think if you are doing final takes and have selected your amp this might give you the most options for a final take.
You could use the Kemper effects and even adjust their levels...or try simulating them or making the dry amp sound even better by using effects in your DAW.
Perhaps someone could clarify this for me.
THANKS
Several KPA users suggest you use a mono signal "Stack" on the SPDIF out when you are doing a final take or re amping and using the delays, reverb, etc in your daw on a dry Kemper track. This does make sense as the Kemper reverb is probably not as good as that plug in in your DAW....or the delay. I believe you will hear the Kemper effects when you are playing, so you have the right feel....but the "stack" setting will give you the Kemper amp sound in a mono track without stereo effects, or any effects...then you can simulate them, or make them better in your workstation. Does this make sense to you?
So what do you do. How do record you final takes?
Thanks lngolf
I think that about covers everything....
I'll have to try adding some MONO production to the process.
..
That sounds logical. Only there is this...
I have read that in the final stage of re-amping.... why not set the output SPIDIF to "Stack" only. You don't need the dry signal again if you already have it. That is one suggestion of KPA support.
Also the effects...especially delay really effect how you play...so you will be playing the track without the feel of delay....even reverb effects how you play.
But I do see your point. Some of the reverbs and delays in the DAW ARE probably better than the KPA.
I also agree with your point about the need to RE AMP. I will record a dry track, but it is much more efficient to select your final amp sound before even recording the track. Why add the extra layer of work which can be quite time consuming?
So if you are doing the original take with SPDIF set to GUT/Stack....you can use the Stack track as your final take if you like it...provided you are not using stereo effects IN the KPA.
The Spidif STACK outputs the best and fullest sound out of the Kemper.....is this correct?
Obviously is you were doing a final track WITH stereo effects in the KPA you would THEN set the SPIDIF to "Main Stereo Out"
of course you would have no clean track....but this would be the final track anyway.
My LP collector friends always wore buttons that said "BACK TO MONO"
I have lots of Beatles and Stones records that were released in mono.
"what would be the point of recording a stereo signal for reamping when the input of the Profiler is mono?
The classic mode for reamping is GIT/STACK-that mode will give you a clean signal on one channel and the Stacksound on the other channel.
The STacksignal is mono anyway-the signal gets stereo after the Stack in the effects section".
I'm not talking about recording the take that you are going to use for re amping.!!!
I'm talking about the recording you are making WHILE you are in the process of re-amping the clean (gut) channel you are sending into the KPA. I'm talking about the final recording after you have selected the amp you want use for the final recording...and then say use delay......wouldn't you want to record a stereo track into your DAW? ,,,,a stereo track that comes out of the Kemper in stereo through the Spidif to record your final take.....after you have made your tweaks.
