Posts by sambrox

Quote from spotter

So,

i did some DI-Profiles of my amp. Then i put a commercial cab in the rig, liked it, saved it. Now i want to share it, but don't want to upload the commercial IR/cab. How can "un"-merge the rig or is it allowed to use some other "free" cab (for example the cabs that come with the profiler?)

I just found how to merge profiles, but not to return it to the original state...

I suggest reading the profiling section in the manual about merged profiles and what the merging button is actually for. Unless you’ve made a Studio profile and a Direct Amp profile with the exact same settings, merging is unnecessary and will actually not yield authentic results. Just adding a Cab by browsing in RM or the Profiler itself is enough to add a Cab to a Direct Amp or DI profile.

Quote from LastHopeForWorld

I'd love to hear from a Stage user if that feature works on the unit like advertised.

It does.

Most serious professionals in the music industry aren’t mathematicians, don’t understand digital audio and don’t have any interest in true blind tests (why would they? They’re busy making hits and money). Marry that to the human condition of “more = better” and you’ll get a lot of engineers working at high sample rates, convinced that it just sounds better.

For the record, I’m a professional and work with digital audio every day. My job includes production, mastering, composition, sound design and broadcasting.

Quote from Jemjulio

Isnt sending from the Helix ( with a cab or IR) to the Kabinet ( powered or not) esentially using it as FRFR?

I find it sounds rather nice

Just my 2 cents.

It would be interesting to know what experiences users are having using the Kab/Kone with other modellers.

No, because the Kone on its own is GFR, not FRFR. The corrective EQ applied using the Profiler's DSP when the Kone setting is ON takes it closer to FRFR specs and without it it is just a slightly more broadband guitar speaker.

Bought!

Quote from BayouTexan

Humans perceive clean tones to be lower in volume than high-gain tones. Clean tone profiles always sound too low to my ears, but when looking at my db meters in my DAW, you can see they are the same signal strength as a high-gain profile. So, be careful with clean profiles so you do not begin to clip. I keep my Sens at Zero, and I use cold/hot passive and active pups on different guitars.

This is also why compressors are so handy when dealing with clean tones

Quote from drkato

It is built on the same type of concept as the "resto mod" in classic cars, where you take an older concept but modernize it some. So I started with a 60s style Fender Telecaster body, and fitted it with a roasted maple 50s neck..

That's the opposite of modernising it, surely!

Just pulling yer leg!

Quote from CKDexterHaven

Clean Sense is always at noon when i load each profile. Same with Dist Sense.

Then adjust Clean sense as the video shows until there is unity between clean and distorted profiles.

Watch these and get a ton of answers to your current questions and most future questions, too :

DAW was my first choice, too. 3 mm, really nice. I should never have tried the Blue Chip Picks...

It’s very easy to do with the infinity setting. I use that setting assigned to one of the I-IIII effect switches to engage it for the end of Eruption, for example (most people think it’s a whammy dive bomb, but actually it’s the Echoplex oscillating and Eddie adjusting the tape speed to take the pitch down a couple of octaves).

Quote from nightlight

They're getting new stock here, sambrox. Once you've had it for a while, could you fill us all in? I've been toying with the idea of getting one, or a Axe FX 2 or maybe even another Kemper for a solo project of mine.

I really really like it. The sounds are really great. The only minus is the complexity of programming things like wah pedals and such. I’ve been totally spoiled by Kemper’s ease of use and programmability. Having to go into different menus just to link a wah block to the expression pedal is a bit cumbersome, for example. However, the complexity comes from being able to set it up to suit your exact personal workflow and needs. The switches are configurable in a gazillion different ways and make the three switches perfectly fine for gigging, though I was sure it would be restrictive.

I think the difference between the Kemper and FM3 can be analogised like this : the Kemper is like having an amp and analogue pedals, whereas the FM3 is like having a rack system and rack effects. The sound can also be analogised like that, I think.

Quote from Jenfi1979

Hi!

I have a harley benton cab with 2 kemper kones in it.

It's a closed cab.

For me, the sound is too "boxy" .

What could be the ideal volume for a cab with 2 kones?

Thx

Display More

11!

Sorry, couldn't resist...

Press and hold Lock and see what lights up. Press the lit buttons to unlock them again.

Quote from Ibot39

I believe it. And I really want to try it one day. But the thicker picks cost 106,- Euro each here in Germany! ?

I know, that’s where I bought mine!

Some good news, however: my brother-in-law just texted me to say that he’s found the pick under his rug!

I was over there on Wednesday completing Resident Evil 3 remake

Quote from Ibot39

The Blue Chips are made of Vespel - a very expensive plastic material. Maybe one day I buy one (new or used) Or get may hands on some Vespel.

If you haven't tried the Flow picks you really have to. The 1,5mm standard Ultex is the most useful and nice balanced tone imo. 2mm is great too, but here and above it starts getting darker and chirp, chirp They first felt strange to me, until I realized that the "strange" thing was that they glide over the string like no other pick (except the Jazztone 208). The Flow pick is easy to play AND precise like a knife.

I’ve tried the flow picks. I have a bunch in different thicknesses. Believe me, they have nothing on the Blue Chip picks

I bought a Blue Chip Jazz XL 100 (2.5 mm), which cost an extortionate sum (google it!), but it was definitely the best pick I’ve ever tried. Unfortunately, I lost it on Wednesday. I’m not sure I can live without another one, but I’m also not sure I can pay that price again, hahaha

Take my advice, ignorance is bliss. DON’T let your curiosity get the better of you!

My FM3 arrived and I’ve got to say, it’s an impressive bit of kit! The set up of expression pedals etc. is way more convoluted than on Kemper, though creating presets, scenes and using channels is way easier than I was led to believe, even without the editor. Now I have the best of all worlds (bar the still-vapourware Neural unit...).

Edit : obviously not the best of all worlds, otherwise I’d have the full-fat Helix and Axe FX3 to go along with my Kemper Stage, but you know what I mean.

lonestargtr Pro tip for checking phase between mics : invert the phase on the one mic channel and tweak the position until the signal is as thin and nasty as poss. Invert the phase back and voila! Thick, meaty in-phase guitar signal.

I got an HX Stomp a few weeks back, mainly because I was impressed at how John Cordy (YouTube guitarist) was utilising it and how it sounded with his presets. I had the full on Helix for a month years back but swapped it for a ‘78 Marshall JMP combo, as I didn’t like it at all. The Stomp represents a matured feature set in the Helix world and is quick, easy and flexible. It sounds good with the right IR and presets, but it’s no Kemper killer.

Incidentally, I just got rid of the Marshall and got a Fractal FM3 today. It’s on another level with regards to the Stomp and sounds, though wouldn’t fit in the pocket of my guitar gig bag.