Posts by meambobbo

    Yes, indeed. I've actually been kind of avoiding some of the Pod HD circles since I got this thing. I don't want to dog the Pod, but I'm afraid there is no other conclusion at this point. I haven't turned the Pod on since I got the Kemper. I eventually want to use it as a midi controller and possibly for some effects the Kemper doesn't have or I can't fit on the Kemper. But my first priority is to get some good sounding Kemper rigs and A/B Kemper vs. Pod HD. Gonna be a sad day for L6 fanboys.


    Good to see your name again as well. I remember you talking about the Kemper I guess about a year or so ago. Your satisfaction spoke a lot to me, especially since you, like me, aren't the type of guy that's going to dump a ton of money on gear that doesn't absolutely blow you away.


    Now we can fight about EQ'ing the crap out of your rigs! Hehe, actually, the Kemper is much, much, much simpler in that regards. It is not limited by crappy cabinet simulations that have to be used in parallel, but also adjusted for phasing issues via EQ block latency. LMAO - what a disgusting little hack that was. So now, you just find the right cabinet, make some small tweaks using the BMTP tonestack, and maybe add a Studio EQ to lop off the extremes and tame any problem areas or get just the right emphasis on some part of the mids.

    EDIT: see my post on Page 3 - after some extreme testing, I do not believe the EQ's were clipping. I think I was creeping into Output clipping without realizing it. There may be some additional weirdness going on, but I was not able to replicate my initial issue while keeping my output levels clearly in the "safe" zone.


    I have a couple patches rigs where I am using a few Studio EQ's (one patch rig has 4). I know how everyone says "try to make cuts only". Yeah, yeah, I know. But if EQ's weren't meant to boost ever, there would be no option to boost. Anyway, I found my tone was getting a bit harsher than it should be, particularly on the high strings in the middle of the neck. At first I thought it was the profile and started adjusting EQ to compensate - reducing the highs around 3 kHZ to get less crackly breakup. This helped a little but I was still left unsatisfied - something else must be going on.


    I remembered another patch got nasty because I had a chain of Distortion and Compressor where they were both boosting volume and it sounded terrible. I forget which one was the offender, but the problem was that the first effect had a big volume boost going into the second, and the second did NOT like it. Once I turned the volume parameter down, the tone cleaned up and sounded smooth and natural again.


    I tried the same approach with the EQ's - reduce the volume parameter of any EQ that feeds another EQ. Voila. Tone completely cleaned up. EDIT: this was probably due to lowering the output levels, not due to the EQ's. I did tweak to compensate for that initially, but I probably didn't tweak to match the initial output level.


    Another thing that helps is if you are ever daisy chaining EQ's, make sure the first one has your cuts. If you have to boost there, only do your mildest boost.


    A good setup is Graphic EQ (easy to maintain the sound you want with cuts only) into Studio EQ (to use the parametrics to boost/cut those specific areas that need work still).


    "Why so many EQ's?" Because I like to party. No, actually I find EQ'ing is the crux of a good distortion tone. Normally, people use OD stomps or boosts to pre-eq their tone. This works great, but these units/models often do more than simple EQ. In some cases that's good, but sometimes it changes the tone too much. Also, their EQ'ing abilities are usually quite limited in comparison to the dedicated EQ blocks. On the other end of the spectrum (post-eq), bass, mids, treb, presence are great, but often not enough for me. I like bass but not boominess, treble and presence but not fizz. You want to lop off the ultra-high and low end, you're going to need one of the dedicated EQ's. And sometimes you want to get "between" those BMTP controls, or make boosts/cuts that are narrower or wider.


    Don't fear the EQ. Just know the pitfalls.

    For those of you who don't know me, I'm a metal guy. I don't discriminate - Dokken, Maiden, Periphery, or Hatebreed. Anyway, I haven't demo'ed a huge amount of cabs yet, but after doing a good shoot-out with a few different cabs last night, including Till's Recto (not sure which version), one cab emerged the clear winner.


    From Lasse Lammert's recent rig pack, the Mesa Rectifier cab on the LL ChugChug rig is head and heels above all the others I demo'ed.


    Try it out and let me know what you think. Seems very balanced - I EQ'ed things a few different ways and it never exposed any "problem" areas. You always get a clean, high-quality tone.


    EDIT: I can't tell if I'm liking Lasse's cabs or TillS more at the moment. see post 12 for more info on TillS Rectifier cabs.

    if you boost clean sense too high, you will get clipping with gain at 0 (EDIT: for reference, I had to set it quite high to get clearly audible clipping, and my input LED was COMPLETELY red, not just on the attack of hard strumming). i'm not sure what exactly is clipping - as noted above, clean sense is not a simple gain stage - i imagine it occurs AFTER the A/D converters.


    it is not a nasty, hard digital clipping. in fact it almost sounds musical. A very mild clipping here would likely be completely unnoticeable in a medium or high gain tone.


    lohworm, if you are concerned about tone degradation, i would make a copy of your favorite rig/patch, and raise the gain but reduce your guitar's volume knob until the input LED never hits red. Then compare the original patch with your guitar's volume knob maxed out vs. the cloned patch with higher gain when reducing guitar volume to compensate. i doubt you'll be able to tell the difference. note: different guitar volume pot settings CAN have an effect on the tone (which is why some people wire treble bleeds into their guitar electronics), try to roll off as little as possible - just so you are more comfortable with the color of the input LED. I wouldn't go lower than 7.5.

    clipping can be a strange beast in that some tones fare worse than others even if they display (and sound like) the same overall level. Try lowering the volume on the rig and see if the output LED stays green/orange instead of red. does that improve the recorded sound?


    If you hold the output button, you should be able to change the SPDIF out send level.


    It does this on all profiles?

    to all the guys setting their tones up in X setting but wanting them to sound good in Y setting with minimal hassle, I can think of two solutions. The cheapest and simplest solution is to buy a $50 graphic EQ stomp pedal and put this in the Kemper's loop, which you assign to your "X" slot. Then you can toggle the loop in the KPA or step on the pedal depending on the scenario. Or get a fancier stereo EQ you can put post-Kemper that has a bypass so you can toggle it on/off for the given situation. The other solution is to make 2 copies of all your rigs - one for X setting and one for Y, with different EQ settings using one of the more advanced EQ effects (Studio or Graphic).


    You could also lock down the cab section and change it's parameters (or even find a less boomy cab for live use). The whole concept of having an arsenal of amp/cab combinations for live use is a very new thing and not really practical anyway.


    You have to appreciate the global EQ's on the different outputs, even if they aren't powerful. At least they match most mixing boards. Better than the Pod which has no global EQ.

    I think ultimately everyone should stop worrying about a glimmer of red until they understand the tonal implications. So set your gain to 0 and start strumming hard while adjusting clean sense. Use your ears to identify the threshold where clean sense starts digital clipping and see how the LED responds at that setting. Try chugging mutes and open chords and single notes. Now, turn up the gain and see how a digitally-clipping input sounds when distorted. Then, turn down clean sense and compare the LED behavior and tone.


    Words on a forum won't likely help you. You need to either watch a video or do the above experiment yourself to get a grasp of the tonal impact and where the true "danger zone" in relation to the LED behavior lies.

    not to resurrect a dead thread, but has anyone compared this approach to using the "space" parameter on the output menu? i haven't tried it yet but it sounds specifically designed to reduce the artificial sound of using headphones, which as mentioned is very off-putting when listening to close-mic'ed tones (double especially when mic'ed with a 57 on axis).


    also, if you're not using any delay, you'd be wise to set your delay/reverb balance to center (0).


    and as to what exactly character does:


    Use this parameter to change the overall character of the cab. Turning the knob to the right of center will
    enlarge the peaks and notches in the frequency response curve. This will emphasize the character of the
    cabinet, and may sound too penetrating at extreme values. Turning it to left of center will smooth the differences
    between the peaks and notches in the frequency response curve, and flatten the character of the
    cabinet. Towards the leftmost position, the sound will resemble that of analog cabinet simulations (which
    often have a very simple frequency response and little character).

    oh and as for delays, I like to keep things simple. I tend to use a small room reverb with low mix (~8 %) for rhythms just to add a little air, but for leads I prefer a large room or hall. If I'm using just reverb and no delay I set the mix a bit higher (20-30%) and time slightly longer (5 s). If I tend to use mild delays when I use them - 20% mix, 600-800 ms (audible separation between delays), and just enough decay time so that it doesn't trail off so fast it sounds artificial.


    Keep in mind the Kemper has an incredible parameter on the reverb (i think its on the verb, not the delay...but i could be wrong) that determines whether the reverb applies more to the delay trails or the signal without delay. Setting this to the middle (i think that's 0) will be even. I think the default is a bit to the right, which applies more reverb to the delay trails, which I find sounds more natural. However, it might not be what you are expecting, which leads you to boost the reverb mix to compensate. That's where you can get into trouble because it'll sound like you're not getting enough reverb at the same time as there's a lot of ambient noise to the tone. If the reverb mix just won't set right, try moving the delay/reverb balance more towards the middle position.

    Here's some quick advice that has helped me (but I've only had mine for less than a week, so take with a grain of salt):


    The first thing I'll do to soften up a tone is reduce Treble on the tonestack (bass, mids, treble, presence on bottom of the unit). If this makes things too dull, try compensating by boosting presence a bit. Mids, Treble, and Presence will all have a ratio that makes for a really, really sweet spot, but you gotta play around to find.


    If you still can't get there, use a graphic or studio EQ in the "X" slot. That should give you that last bit of control you need to get your EQ sweet spot.


    Once you have that basic sound, you can start trying to tweak the distortion sound. There's many good ways to do this on the Kemper. My bread and butter is to add an EQ before the amp. I find a boost around 250-500 HZ can fatten up the sound and get it a bit smoother. Reducing the very high end (> 3000 HZ) can also makes things smoother, but can take the life out of the tone if you overdo it. I like to set the Studio EQ's high shelf to -4 db and move the frequency from around 8000 HZ to 3000 HZ and find the sweet spot where things get smoother but still have life. Then maybe reduce the cut size - I usually end up between -2 and -4 db.


    Definition is a good parameter to mess with - turn it down a little to reduce the djenty chugga chug to the tone which will make it a bit more open for leads. Also, tube shape - the higher you go, the "softer" the distortion, but again you can lose some "life" to the tone.


    Of course expiriment with different amps and cabs. As far as the cab controls, I leave everything at 0 except maybe MILD tweaks to character. Things can get digital/artificial fast here.

    i definitely got more high end from the Kemper when going through headphones, but in my case I thought it was a negative, at least on some high-gain patches. I found the light crunch and clean tones were fantastic though. Things are really dry, but that's how things are supposed to be. Add a mild touch of reverb, a little compression, and reduce the treble a touch and it sounds more like listening on my monitors.

    Hello! You will soon be in love with it. Check out some of the threads in the tips section and advice in the wiKPA tutorials page. I was initially a little off-put that I couldn't get that Mesa Mark II/III and Mark IV tones I wanted, but a little pre-EQ, amp profile parameter tweaking, and post-EQ and now I'm dumbfounded by how perfect the profiling is.

    Thanks for the warm welcome. I'm finding the users here are on another level as the Pod HD as well. I'm just getting into the forums, and I haven't seen much of the "How do I do <basic function>?" "RTFM, noob" dialogue here, which makes me smile. I see lots of advanced posts on the unit, and many of the users seem quite informed as to all the deep parameters and how to manage rigs.


    I have actually looked through the basic manual and some of the advanced manual - I just avoided the UI stuff to see how intuitive the unit was and was VERY impressed on how easy it is to use despite it being something completely new and having so much capability.


    Viabcroce, I saw the wiKPA page - excellent stuff. I'm already a contributer actually - I posted the 2.2.0 beta release notes. I hope to be quite active in fleshing out the wiki.


    I have not gotten into mixing cab and amp profiles yet. That's kind of phase II for me. Right now my goal is to identify as many free rigs as I can that sound real nice, then tweak them to sound exactly how I want them. Obviously, part of that will be mixing amp and cab profiles - finding my favorites and finding new methods to get different sounds out of them.


    I did try to mess with the cab profile parameters. These have some rather bizarre effects on the tone and not sure how I would really use them right now. Subtle tweaks to character seemed to be ok, but any adjustment to low or high shift seemed to hurt the tone.

    Hi, I'm meambobbo and I got my KPA on Friday, luckily my off day.


    I am coming from a Pod HD, but I also own a Spider Valve, and I've owned a Mesa Boogie Quad Preamp and Simul 2:95 power amp and a rock solid 4x12. I've also spent a considerable amount of time on other amps. I really like the digital approach due to the sheer versatility and ability to emulate giant speaker cabs and cranked amps in a variety of settings. Most of my time has to spent in lower volume settings now.


    The Pod HD has had me tweaking seeming like forever. The main amps I wanted it to emulate it doesn't have models of; however, I felt with a good amount of pre-eq'ing or distortion stomp effects you can get other amps to sound in the zone you wanted. I found the unit was full of other weird behavior, such as eq's with units in arbitrary %'s, lackluster cab/mic emulation, cab/mic emulations having different latency thus creating phase issues when combined, and eq effects introducing latency. I ended up creating a whole guide on the unit, collected from forum threads and usage, and I made it publicly available.


    The Pod certainly isn't a horrible unit, but getting there is insanely complicated. I finally felt I was hitting a ceiling with how good the unit could sound and certain sounds I couldn't get, and I knew I wanted a Kemper or an Axe-FX. The Kemper's unique design drew me in. If I disliked the built-in model on another unit, it's kinda tough toenails. But here, you just gotta find another profile. Also, I'm a budget player and found I could get the Kemper for a good bit cheaper than the Axe II. This rivals my largest purchase ever, so I would hope it's worth it...


    I started by taking the unit out the box and playing in my living room with some headphones. I went right to the tuner - immediately I knew the unit was quality - the display is high resolution and the pitch tracking was very fast and steady. Also I want to say the feel was better than I'm used to - like the unit was completely transparent. That might just be a bias - I still have to do a direct A/B Kemper vs. Pod before I'm going to say the Kemper blows it away.


    So anyway, right away, I decided to try to see how far I could get with the unit without reading anything about the user interface. It didn't take very long at all to be able to do everything I wanted. I toggled through almost all the factory presets that were hard-rock/metal. Also tried some random ones out. I could tweak a rig, save it as a different name very easily. Favorites/recently added views are very handy. I updated firmware and loaded rigs I DL'ed. All very easy. Sensitivity of the knobs is very high but the control is good, so it is pretty awesome having that much control.


    Through the headphones, things can sound pretty biting just browsing through the raw profiles. Clean/low-gain sounds were phenominal. Pitch and other other effects-based rigs were pretty interesting. But I was curious about the higher-gain sounds. I wasn't finding quite as many rigs that I really liked as I thought.


    I moved the unit to my work room so I could play it through some monitors. Being in a room instead of in the headphones, things opened up a lot and started sounded very nice. I also started diving in with EQ'ing and adusting the amp parameters. I'm really starting to get the hang of things.


    My favorite amps I want to emulate are the Mesa Marks - do the whole Petrucci thing. I was kind of curious about this, as I didn't see many clips online of the Kemper doing them, and many of the default rigs were rather thin and harsh. I have actually found some killer profiles that totally nail the Mark sounds, once I tweaked them a bit.


    The tones I'm getting are totally amazing. I'm a happy customer. The amazing thing is there's so much versatility. Demo'ing profiles I'll DL a bunch and go through them, and I'll have several for the same channel of the same amp, with the same cab, same mic, and same person doing the profile, and they sound subtly different.


    Overall, I don't think I'm going to have much to complain about with this unit. I have some plans so far as to how I can give back to this community, but I will save that for future posts.


    Oh, does anyone have a Dual Rectifier profile? That's the one amp I can't find profiled. ;-p