Posts by Andrew_Ongley

  • Frequency curve loader

    Quote from TomR

    Thanks Don. Mr. Peter Weihe (Some of you might know him) did talk at the "Frankfurt Musikmesse" about a similar topic in the good old days. Bottom line was: Do not try to make your Amp sound like on a record. On the record you are hearing a processed signal (MIC/Mic Preamp/EQ/...).

    Why though? You may not want to make a valve amp sound like a recorded tone because it then has to go back through a mic and won't end up sounding the same, but a profiler direct to FOH, that will be in a full mix? Surely a pre-processed signal (in conjunction with your sound engineer) is exactly what you want.

  • Frequency curve loader

    Quote from lespauled

    I went down the EQ Tone Match IR rabbit hole years ago. The problem is that you end up with the sound on the recording. Yes, it sounds great in that recording, but sounds horrible in others. That's because that sound is EQ'd for that song. Not anything else.

    True, but in my use case it's a musical project that I'm putting together a touring version of, so sounding like the main rhythm sound of the album is absolutely desirable.

    Quote from DonPetersen

    you could start with an IR, use Fabfilter to do the EQ matching, then use Voxengo Deconvolver to create a sweep of the IR + Fabfilter,
    turn this into an IR (again, with deconvolver) and import this IR into Rig Manager.

    Since just disabling the CABINET activates CabDriver, you'll have to import the 'starting point' IR first, and then record your track to be matched with FabFilter.

    This is great, I'll definitely try it. Thanks so much for the detailed answer.

  • Frequency curve loader

    What would be really useful is some form of EQ curve loader. I did an EQ match on Fabfilter yesterday between a really great pro recorded guitar sound that I have and my current main Kemper rhythm patch. I was able to replicate the main peaks and cuts using four Studio EQ blocks after the cab, but it would be great if I could just load a curve from my PC into Rig Manager to be more accurate.

  • PLAYER - what were they thinking?

    Quote from OneEng1

    Still, just 5 rigs with 3 buttons and NO LCD to tell you which one you are about to switch to? That seems like a tough sell live.

    That's the issue for me too. I always have Rhythm and Lead in slots 1 & 2, but normally have some specialty sounds and tunings spread over the next few banks, dependant on what set my band are playing from the back catalogue. In the heat of a 2+hr originals set, there's no way I can work without the re-assurance of a screen, however much the player seems like a god-send at airport security.

  • It looks like Profiler Player is coming...

    Quote from Ruefus

    The whole point is to use your phone or tablet. Especially live.....what's it matter?

    For me it really matters, I use the screen of the Kemper Floor a lot during performance, I can see Phone/Tablet for editing, but performance wise I'd really want the UI to know where I was.


    I'm glad people are stoked on this but it's not for me, it's too compact. I was hoping for a Floor + Player & output functions, basically the bottom half and back panel of the stage, without all the editing buttons.

  • Pitch-shift Bad Latency.

    Quote from dutch99

    Is there any pedal out there that is significantly better than the Kemper for this type of digital capo trickery? There are a couple of songs I sing live that I need to capo up 2 to 3 half steps but I’m also doing a lot of string bending,whammy bar and horizontal lead playing (Hendrix songs) so I don’t like to capo for obvious reasons with this type of playing. The kpa transpose function works pretty well and the latency doesn’t throw me off much but if I could find a pedal that had a significantly better outcome I wouldn’t mind dropping 300 bucks or so on it.

    Digitech Whammy (Drop & original) have a slight edge over the Kemper on latency and accuracy. It's marginal but enough to make it worth carrying extra outboard gear. If you get a Whammy DT, you can also midi control it from the Kemper.

  • Titan Audio

    Anybody else tried the Titan Audio profiles yet? It's one of the guitarists from Whitechapel and so far he's released a Dual Rec Rev F, Dual Rec Rev G (Racktifier) and Driftwood Purple Nightmare.


    What's great for me is that they are DI profiles with different tube combinations and a couple of baked in pedals (normally Fortin 33 and Blade). The tube combinations are great for getting wide stereo guitars, because you can pick complimentary but different sounds left and right.


    I would have said I didn't need anymore Dual Rec profiles, but the Racktifier is hands down the best sounding out there by a long stretch.

  • At Last, a Digital Whammy Bar!

    I also just realised it has no Midi integration, that's a real shame. I currently run a Whammy DT to alter between four different tunings in my band, my patch changes send Midi messages so I can use banks of sounds for different tunings.


    If this had the same or better latency than the Whammy and Midi then it would have been a no-brainer, especially because I could switch to all Evertune guitars and benefit from the added tuning stability but still use tremolo dives in the couple of places I need to do them.

  • At Last, a Digital Whammy Bar!

    Quite a cool idea, means you can use something like an Evertune set to 'You can't even bend a note' and still have trem expression, although I'd want to try one to see how close it can get to behaving like a trem rather than a whammy pedal. The other thing that concerned me is the data wireless being 2.5ghz, if it doesn't do active management then it may well fight with other networked stage equipment.

  • Feedback generator wanted like the Digitech Freqout

    In fact, perhaps there's scope to go beyond the Digitech as the Kemper is software based.


    On the Digitech you have to select which harmonic order you want with a dial, but in a real life situation onstage with a long sustained note (say the ending of a song) the feedback will quite often move up through the harmonic order as it swells, and then drop back down partially as the note finally dies out. I've mocked this in my DAW by recording each order seperately and then cross-fading through them over time, perhaps the Kemper could have a setting where it will replicate the more natural behaviour?


    Edit: In fact I was originally thinking of an algorithm, but if you could just assign the harmonic order to an expression pedal, that would be perfect.

  • Sennheiser EW-D CI1, Shure GLXD16, or something else

    I can definitely throw my experience in here, I ran a Line G90 for 10+ years with no problems, but since the advent of 2.4ghz networked stage systems (Mixing desks, IEM systems etc) I had to get rid of it because I was getting regular long cut-outs. I did some research and have heard from friends with first-hand experience of the same issues with Shure GLX systems. It stands to reason, you're effectively using signals in the wi-fi band that do not announce and differentiate themselves from other systems.


    Speaking to a tour manager friend of mine, it's not unusual for support bands with digital wireless to be told to not use them by Tour Managers, as it often screws with the venue wifi and stops them being able to work.


    I've moved over to Sennheiser EW and haven't had any problems since.