Posts by sambrox
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I immediately felt like they were basically per se identical tones - with the first one having much more brightness or highs or going through different speakers or simply using different eqs...
. Of course I can be totally wrong without testing it myself. Telling goodness or badbess just through phone speakers is nonsense, of course. Cannot wait to hear more examples.True about the phone, but you could already tell that the sounds weren't particularly close.
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If it is a modelled AC30 then, yes, it passed the test. Even if it is a capture is sounds pleasing and full to me (admittedly in this case only through the spakers of my phone
).(...man, this thread has the strongest legs in history...)
I actually thought it paled in comparison to the recording he played at the beginning of the clip. It sounded ok to me, nothing more.
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One thing that will always be missing is room ambience. Mics on an amp will pick up some of the room to a degree, whereas profiles will be bone dry, until you add a reverb or use the Space option (recommended if you’re using headphones).
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Kemper Stage
TC BAM-200
Kemper Kone
Peavey 1x12
BluGuitar Amp1 Mercury edition
BluGuitar BluBox
Strymon Iridium
Chase Bliss Automatone
MXR Phase 90
Headrush 108
Pedal Train Metro 24
Some plugins inc. Neural DSP Abasi and Cory Wong and Izotope/Exponential Audio bits and pieces
Ibanez Pia SDG
Ibanez AZ 2204 Gold
Höfner “violin” bass
EVH Wolfgang Special
Probably missed some things -
I agree. From what I've read, it seems that people ideally would like the morphing of delay and reverb to be akin to using the Lock function; switching between slots will ignore the base values and keep whatever the morphed values were at the time of switching.
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The physical Reverb knobs on the Kemper only work as intended when there is a reverb effect in the slot named Reverb.
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Andy Sneap talked about something similar in an old video, matching old tones off albums he’d recorded, though he “tone matched” using the DI off the tape into the Kemper, and the final sound off the tape into the return.
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Ahhh maybe I misunderstood, then
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Thanks for the explanation - I still need a little help to understand this if possible please
If I understand you correctly, once an amp is already distorting then hitting it with a hotter signal simply results in more distortion / compression and not a volume boost.
I've just installed the beta and have chosen a profile that, in Rig Manager shows as zero gain bars (it's a Tone Junkie AC10). I then put the Kemper drive in front of the amp stack.
With volume in Kemper drive at zero, I check out the meters in my DAW for a particular chord progression. If I turn up the volume in Kemper drive, I can absolutely hear a difference in distortion (and I like it) but it is not influencing the volume - the meters peak at the same point so it seems like it is not getting a volume boost. If I turn Kemper Drive below zero it for sure affects volume - with it at -5 the volume level is much quieter.
I'm very pleased with the Drive - just trying to fully understand it and I believed the latest change caused an actual volume boost in certain situations. In my case, it doesn't so I'm keen to understand if I'm using it correctly?
I think it was a question of the volume being levelled after the Kemper Drive but before the Stack, meaning that increasing the volume didn’t affect the drive or tone in the same way as it would in the real world.
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that's what i thought, i think it's pretty close to the mechanics of a crybaby.
They’re exactly the same. I modded a broken old Vox wah with a momentary switch and a TRS Jack to turn it into a Mission EP-1 KP. Cost me just over £5 and has identical feel and functionality.
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The mechanical feel of the pedal is a big part of it, in my experience, though I too didn’t find a wah preset that I instantly loved. I also come from crybaby/Vox wahs, and it wasn’t until a user posted a Satriani cover and shared his wah settings that I was happy enough. There is still a slight discrepancy for me, but I think some of it is down to the slightly crackly old pots, noise and distortion of my old wah pedals. I went through a bunch back when I toured; they always sounded best right around the time they gave up the ghost, then I had to break a new one in all over again. Back then, first thing I did was I always unscrewed the brace keeping the treadle pole on the pinwheel, to adjust the heel position so that it enhanced the third harmonic on the low E string, then it was good to go. I can never quite set the parameters to hit that sweet spot in the Kemper.
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So, I can't record with effects with mono cabel ?
Yes you can. Use Main Out L or R and set the Main output to Master Mono
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I’d wager that you’re correct on that one. Myself, the closest I’ve got is a few pedals. There are more amp builders on the forum, but none that I recognise have made an appearance in this thread.
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Coming from a family of five siblings and being the only male, I don’t believe in the “women are the weaker sex” thing and never have, so Stormhenge doesn’t get any special props from me for her gender. However, she does argue a good point and that’s cool, for sure. She’s wrong, but cool haha
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I understand Axe FX is just for effects and they still use amps
No, they went full on Axe FX some years back.
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I've profiled amps with reverb and delay, as I liked what they did to the tone. The profiles just come out dry, though the tone was the same as it was through the effects. It's pretty neat, actually. Those old Fender reverb tanks impart a warmth all their own. It's kind of cool to get that but then set it in a plate reverb instead of a spring.
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User experience is key. Being able to load a profile made in 2011 and for it to sound the same now as it did then, whether it be on the rack or toaster that I had, or on the stage that I currently use, without having to mess about with licenses or permissions or worry about the OS version is what will win out, tones being (reasonably) equal. The Kemper is so simple for a reason. There’s a huge chunk of guitar players that aren’t tech savvy. Some even struggle with the Profiler! Granted, they’re probably a dying breed, but unless that DRM locked ecosystem isn’t plug and play, it’ll be a ship passing in the night.
People are beginning to realise that it doesn’t matter what amp or brand was profiled, as long as it sounds good, anyway. -
No one seems to be arguing for upgrades to stop, though. You're more than willing to accept the inconvenience because of everything amazing that you get out of the product. So it's not a reason it's an excuse.
Inconveniences when updating are a necessary evil, the times when it goes less than smoothly (only happened to me once in my 7 years of Kemper ownership with a beta, but that’s another tale). I don’t think anyone in the community would think that inconveniences from a DRM system would be worth the few extra bucks that third-parties would make from the few spoiled kids that got a Kemper but don’t have pocket money for profiles.
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I think we should all look at this from Kemper’s point of view. They have absolutely nothing to gain from putting a DRM system in place. All they’d be doing would be enabling third-parties to make money off the back of their tech, with all the R&D, upkeep and updates they’ve put into it and continue to do so. They already make money off it anyway, as little as that may be for the small profile vendors, but nothing is stopping them from continuing to do, with or without DRM.
What they certainly will lose though is customers. Even if we’re all cool with buying profiles and no one is pirating, it will still harm the customer base. I for one hate having to input codes to unlock software, and the thought of having to do that every time I buy a profile pack turns me right off.
Of course people who put time and effort into dialling amps, placing mics, adjusting EQs and whatever else should be paid for their work, if that is what they wish. That isn’t a debate for me. I think most people who have shelled out for a Kemper don’t have a problem with that.
