Hi MonkeyPeanutButter,
you're right, that was asked before 
Over here:
In ear monitoring via Auxiliary Input and headphone output?
Custom cable recommendations
Short answer: I highly prefer round cables with two cables in it over twin cables like the Fischer as they won't tangle too much. Therefore solder it yourself with a Sommer Cable Symasym or use the cheaper TC Helicon: https://www.thomann.de/de/tc_h…tc+helicon+cable_331543_1
Cheers,
Stefan
+1 ...my Strymon Deco is pretty much always on
As mentioned earlier, you need a y-split-cable from one xlr female to two mono jacks 6.3mm. You're right, your balanced signal will then be unbalanced. But I wouldn't mind that as long as you use cables <30m. (If there is a 100m xlr cable that gets the feed back to your Kemper, you should consider using a DI transformer. But I don't think that's the case, therefore I would try the easy y-split solution first 
)
You could use those: http://www.thomann.de/gb/cordi…kabel_klinke_klinke_2.htm and http://www.thomann.de/gb/pro_snake_tpa_1003_mp.htm
That way you can also get the monitor feed via jack cable.
If you are willing to pay, why not put a compressor on the headphone out?
Hey,
I've wanted to have a high quality backup for my guitar and iem wireless, so I've used a Mogami W3106 (twin mic cable). I had to use it once as my guitar wireless failed and I won't recommend it! Because of its twin cable design it's pretty stiff and curls awkwardly, especially if you move as much as I do on stage ...
Therefore I would go for a round cable which houses two inner cables. If I had to build a new one for myself, I would probably use the Sommer Cable Tricone Symasym. Interference shouldn't be a problem at all as otherwise all of those 48-and-more-multicores would have significant problems
(Btw there is a similar thread to this topic: In ear monitoring via Auxiliary Input and headphone output? )
Cheers,
Stefan
How do they monitor their in stage sound? Cab? In ear?
I can answer that They are using inears only, no cabs on stage. It's really quiet on stage. I think they said it in a PremierGuitar RigRundown - but I can't find the moment they've said it right now...
Questions:
-> Which inears do they use? Manufacturer? Model? And how long did it take them to get used to those?
-> When do they use the Remote? (I've seen them using the Behringer FCB again in the last month.)
Btw the sound differs quite drastically between Transpose, Chromatic Pitch and Analog Octaver, which you could set to do the same. So experiment with this, if you won't get a good bass sound with Transpose + Low Pass
Well, Plek is no magic. If your guitars play fine, I wouldn't get them pleked. If there's need to refret a guitar anyway in the next years or one guitar plays really bad, then Plek is just fine - to me it is as good as a good luthier
Engl Powerball and Palmer PAN 04 -30db works fine. (Palmer PAN 01 should be identical )
Thanks for the test, of all the tones, I liked the third set best, which was likely the actual bass lol
1. OC3 2. Kemper 3. Jazz Bass
I've uploaded a comparison between the Boss OC3, Kemper Transpose function and my Jazz Bass to the soundcloud:
There are two parts. First one is a single note riff, second one are some chords, so you get the idea how well the OC3 and the Kemper track. Both parts are played 3 times. Boss OC3 and Kemper Transpose were recorded simultaneously. I've also uploaded the bass-parts only. Those are on a separate track in the same playlist, which you can find here: https://soundcloud.com/stef-an…spose-vs-oc3-vs-jazz-bass
I will not post my opinion about it, yet. Just listen and compare for yourself
I think a better route would be to use the transpose of the Kemper, works very well. A better option would be to set the transpose, then use a loop insert, send the direct output to a low pass filter like a Moog MF101, process that sound further with a graphical EQ and then route it to the bass amp.
It would require two pieces of external gear (or just one if you forego the EQ) for better results than the OC-3. However, in all fairness, I've never used an OC-3, so I don't know how well it would track. IIRC though, it does not handle chords that well. The Kemper does so extremely well, so keep that in mind.
Well, I was thinking about this option, too. But then I can't use my stereo loop in x-slot anymore and need an external low pass filter like you said. We really need more than two stomp slots for the parallel path.
BTW I've just ordered an OC-3. Let's see how it compares to the transpose-function.
Definitely +1.
Sending both parallel paths to two distinct outputs, e.g. main out left/right would be killer! 
I think this type of method would really shine if you could send the output of the parallel path to another output and then output it to, say, a bass amp!
I've created a feature request in this regard, please support it if you like this idea! Thanks.
That's exactly what I think the Kemper needs!
I've seen the German band Mantar a few days ago. One drummer, one guitar player and he's splitting his signal to a guitar amp and a bass amp with an Boss OC-3. Since then I'm looking for the Boss OC-3 as the Kemper can't do it that way when another FX-Loop is engaged.
Inspired by sambrox' Folreden Strat I've got myself a new pickguard. As a matter of fact it is on my newest bass, so I hope it counts for this thread
The pickguard was painted by Emma Klemets
What the heck, that's great! IMO even better than the original. You have the hang of getting fat rock and fuzz sounds!
To set the return level in the profiling process toggle between the reference amp and the current rig and dial them in to the same volume. Sometimes it helps to connect the main out of the Kemper to a mixer with a VU meter, so you can precisely set current rig and reference rig to the same volume
The Atomic CLR is not a guitar speaker, therefore one should - in theory - use the cab emulation from the Kemper. On cleaner profiles you won't notice too much of a difference and so some profiles can sound better without cab emulation. But any higher gain profile should sound really harsh and fizzy if you turn the cab emulation off and use the CLR. But in the end use the sound that pleases your ears most
Have you set the CLR to its correct mode (FF, Tilt, BL)? That can result in some bass-heavy or thin tones if it's set not correctly. To cite the CLR manual:
QuoteActive CLRs provide user-selectable presets for three common acoustic boundary conditions: free-field, tilt, and backline. The free-field setting is optimized for use when the speaker is elevated off the floor on a pole or stand; the tilt setting is optimized for use as a floor wedge, with the speaker on the floor aimed up at the player; and the backline setting is optimized for placement of the speaker on the floor and aimed horizontally, as is common for guitar amp usage.
Klangtechnisch empfinde ich den MA8/2 CL mit dem Kemper als sehr angenehm. Im Vergleich zum Atomic CLR etwas dumpfer, aber auf keinen Fall ein fizzeliger und dünner Sound. Ob der allerdings laut genug für eure Proben ist, kann ich nicht sagen. Als Monitor für ein Akustik-Duo mit Akustikgitarre und E-Bass reicht der allerdings allemal (Volume auf 1/4 etwa) - wobei das als Referenz ja wenig taugt
Bestellen und testen - für sowas gibt es ja Widerruf/Money-Back
What about a stereo DI-Box with link-out.? activ or passive
Connect to the TRS at main.
http://www.thomann.de/at/millenium_di_66.htm
http://www.thomann.de/at/palmer_pan_04.htm
I'm afraid that this wouldn't solve the problem. We "need" a stereo output with cab off while the main outputs still get the full signal (with cab)
