Posts by creative360

    Rangemaster and other treble booster tone shaping pedals were around pretty early. By the 70s most vintage kinds of tones involved at least something on the floor. No madness, just help.

    I agree. The Kemper Shaper stomps are amazing tools. For years I combined a soft shaper with a Green Scream. Then for a while I went back to using a Klone in front. Now back to a -2 Pure Booster and Green Scream, or one or the other depending. Actually more Pure Booster lately. More amp sound is good.

    I can’t really call it “purist” but I do strongly prefer going all Kemper with nothing but expression pedals on the floor. More tools added to the stomp palette wouldn’t be a bad thing for me.

    Not so. First of all the Tube Screamer came out in ‘83. I think the Klon was like 1993 or 1994.
    The Klon is known for its soft buffer. The Tube Screamer is known for it compression and mids hump. Both are “prescribed” to goose the front of a semi-pushed amp, like a Deluxe Reverb on four or five, with single coil pickups. But tons of people have used them successfully at different settings and withhumbuckers.

    Stevie Ray Vaughan used two Tube Screamers. I believe that’s where Trey Anastasio picked that trick up. One of his is at zero drive and the other is at full, both followed by I think a Dan Armstrong compressor.

    Klon is sort of king of the “transparent” (not really) drives. But Analogman KOT, Boss Blues Driver and OD-1 .. are other early days standard-bearers. They’re all classic recipes. Obviously there are several more. Nobels ODR1 etc etc

    Nothing wrong with a guitarist wantIng what he/she knows and is comfortable with. Even if what we hear in the end isn’t so different.

    Zero gain, bumped level Klon would be up my alley, but I essentially do this with the Green Scream and I believe it has the similar effect. Does it not? From my understanding, isn't the green scream supposed to be that OD pedal, that you turn the volume all the way and tone half way and gain at 0 and it gives you that nice saturated tone?

    Very different "clean" boosts. I love both and would go a year with one, then two years with the other etc, back when I was mostly using amps. In the Kemper the Green Scream (a model of a Tube Screamer) is still a little more gainy at zero drive than I want. I end-up using a Pure Booster in front of it and pull volume back –2. Obviously it would be nice to not have to "waste" that stomp slot.

    Again, lots of folks who aren't using pedal boards are doing just fine with the Kemper and it's internal effects and also profiles with baked-in analog pedals. But if it doesn't hurt what already exists then deeper, better grit/distortion/fuzz tools inside the Kemper will be an improvement.

    Like ninety-nine percent of every guitar tone we’ve ever loved has at least a pedal or two in the signal chain. Boost or distortion or a goosed eq or a fuzz. Comp. Anyway I love zero pedals too, but in a band context a lot of the time achieving that sound actually involves using pedals.

    I’ve always felt that with a bit of creativity the Kemper can get you there with what’s already in the box. Unfortunately sometimes it involves using more than one stomp slot which can be frustrating.

    It would be cool to have that absolutely magic feeling of sticking a zero gain, bumped level Klon in front of your amp. Repeat that for each preferred pedal. On the other hand, a drive with truly granular controls that can get at all those pedal tones we love from within one very deep stomp module would be cool too. If it came with presets, users could tweak from that point to get at what’s in our heads, based on the hardware versions we’ve actually owned, which really do vary from unit to unit, or per song, to sculpt a spot for the guitar in the frequency spectrum. And beyond, with no limit.

    But I have to say, having owned all the drives that everybody loves, people make a way bigger deal out of this then it really is. I certainly haven’t heard any guitarist using another device with “better drives“ achieving better tones. Why is that!?

    Drives need (and are supposedly getting) work. Comp is okay but lacks character(s). Everything else is fine-to-great, but it’s a computer so things like rhythmic filter effects (Midi Murf, Robotalk) would be cool. Like their new acoustic and volume sim—nice—but times ten.

    I’ve been evangelizing about CK & Co creating a one-slot master Boost-Drive-Comp-Fuzz for years. No cutesy names that echo the icons, but the capability to get in to all of those territories, that we associate with Klon and the other boosts, TS Zen Jan Ray, KOT, etc etc., FF Muff (bias controls for fuzz). And beyond.

    I still own drawers of special analog pedals so I know what it is, but I think that with certain workarounds (like soft shaper, pure boost and profiles with baked-in pedals) the Kemper has pretty much always been able to get it done inside the box. Could it be better and easier yes. Do guitarists who remain faithful to their analog boards sound better? That’s not nearly as automatic a yes as a lot of people would like to think.


    As a veteran of dozens of shows with the CLR and DXR10, who then pretty much abandoned frfr in favor of guitar cabs, I'm looking forward to experience firsthand if the Kone actually locates that almost mythical sweet spot in conjunction with a powered Kemper. I want to believe.

    The lure of frfr, the way it purports to address so many challenges on paper, can be hard to resist. Sure, yes, an frfr speaker is what it is and kind of does what it claims to do, but something is still missing. Don't get me wrong, sometimes I'll wing-it and carry zero monitor and rely solely on available PA gear. But even that feels less like giving-in to the frfr compromise mindset.

    To my ear and to my gut, frfr has never translated the visceral, amp-like Kemper recording studio experience to a live setting. However primitive, or maybe because there’s something tangible and decisive about them, real cabs do.

    It’ll be so great if the chameleon Kone delivers on its promise.

    **Has anyone else wondered if there would be any benefit to setting the new Kone firmware to “EVM12L” while playing through an actual EVM12L?

    Great profiles don’t require much of anything special beyond ears. It would be so refreshing if Pat and Doug released a pack of profiles created using the same easy approach as the ones in their video. And no more than two or three profiles per amp, at settings that please no one but themselves. As I noted over at TGP any one of those profiles in the video could carry many a guitarist through an entire show. It’s a reminder of how, with so many pedals and effects available inside of the box, just how rare pared-down, vintage tones seem to be in the digital web universe. ymmv

    Sure would be nice to have an official editor already. I hope that it encompasses (and expands) the functionality of Rig Manager. I like the physical device the way it is (powered toaster). But I have so many use cases where editor accessibility would dramatically change the work flow for the better, and in creative ways. It's not just about housekeeping. And I'm still hoping there's a "master drive" in the works (incorporating boost and sophisticated compression, eq and fuzz)—in one stomp. I don't care if it eats-up other resources. I just want to be able to fine tune all those parameters that impact that aspect of a rig in one place. In a way, people make too big a deal about the differences between analog drives. Those differences are pretty subtle. CK & co should be able to create something in the digital realm that gets us in to all the iconic zones and beyond. Every couple months or so I reintroduce analog drives—TS, D-Style, Klones etc—and each time I realize that I really don't want to go back there. Having a deep, easy way to scratch that itch but within the device would put all that to rest, for the most part. Ugh, many of us have been very patient (since really, the KPA gets us to most of these tone spots since day one). Still, it's time.

    The Origin Effects pedals are great. I owned the first Cali 76 with the upgraded internals for about a year. It was just too big for the board and then I went no board. Great to see they combined it with the Sliderig in a small enclosure.

    But the truth is, there are several great compressors even some of the famous cheap guitar pedals that have major character, that aren’t transparent at all. All the old stuff like Dyna Comp and Dan Armstrong and Boss, up through all their descendants, all the boutique era stuff, Analogman etc. Even the $25 Joyo clone has an amazing, particular thing. It’s like a Dan Armstrong, but more hifi.

    The point is that pedal compressors can add so much musicality and zing and they’re not all the same. There must be parameters that could address these qualities. Kemper could easily (maybe not easily but confidently and successfully) design something that provides a way to get at inspiring compression applications, versus purely utilitarian.

    Congratulations to every guitarist who has been waiting, hoping and rationalizing about how for his workflow a self-contained floor unit is the best solution. I hope this unit meets your expectations, and more! And congrats to Kemper too. I doubt this thing will be cheap. I'm pretty certain it will be wildly popular.

    And now I'm hoping that, Kabinet/Kone notwithstanding, this may free-up the Kemper team to further explore new sonic initiatives, versus hardware development. I'm also hoping that my good old powered KPA is still a viable vessel for whatever is coming down the road for the foreseeable future.

    The KPA is indistinguishable from its source a lot or really most of the time. That doesn't negate examples where users aren't satisfied with their results, but jeez, attempting to reverse-engineer those users' particular gear and processes is an imperfect challenge at best. Kudos for CK's open attitude about at least trying.

    Of course that great attitude doesn't invalidate the value of a new, improved, simple to follow step by step instructional video for owners (and prospective owners) of all experience levels. So many aspects of this device are wildly simpler to exploit in practice than they are to research and learn, due to arcane, convoluted documentation. Sorry, but it's true. Hey it's great that the device is so much simpler to use than the manual is to understand, but that doesn't make it right. Still, I use the device for playing music 99% of the time I'm near it, but as with the eventual editor, there's always the potential for a deeper relationship with this thing, as new developments foster easier interaction with the device.

    Meanwhile, to amp manufacturers who take issue with the Kemper . Their problem should be with the modeler designers, who purport to offer "functionally identical" simulations of generalized examples of guitar amplifiers, as opposed to the Kemper, which is actually designed to capture highly personal implementations of specific examples of these amps, usually combined in a signal path with products from several other manufacturers (boosts, drives, speakers, tubes, modifications, mics, etc.).

    And sorry, in this day and age even if it's not digital, most musicians playing-out will opt for lighter, cheaper clean platform amps with a few modest pedals to achieve Marshall, Dumble, etc, versus the heavy, expensive boutique amps. I saw Mike Landau the other day using a $1000 amp with a modest pedal board absolutely killing it.

    At least Kemper, as an archive or whatever, keeps alive the relevance of the real-deal amps, even if those amps aren't making it to the stage as often. Sure, I'd feel threatened by the Kemper if I were a builder, but as a Kemper user, of course I root for the survival and good maintenance of vintage amps and the development of new interpretations of the tube/analog classics. The Kemper will always be (potentially) more up-to-date and (potentially) more unique from one unit to the next than any modeler ever could be.


    Yikes, sorry for this novel.

    When the the KPA can do the Keeley compressor, the Wampler Ego and the Origin Effects Cali 76 ..

    All great ones, a couple of which I still own, but since each is a "new" take on the classics, my guess is Kemper could do the same, another great interpretation,that's all their own, sort of like what they accomplished with the delays and reverbs .. they satisfy my tastes and preconceptions about those tools but aren't exactly like what I used before .. blah blah you know what I mean ...

    As I understand it the amp block compression parameter is designed to offset volume disparity across the range of your guitar’s volume knob. It’s novel and ingenious but it isn’t intended to imbue characteristics anything like what we associate with a pedal or studio compressor.

    I’ve always advocated (wished) for a deep-parameters compressor/drive/boost internal KPA stomp. From Dan Armstrong, Dyna, Ego, etc, to Sliderig, LA2A, and beyond, but including the other effects (drive and boost) that almost always share the signal path and that benefit from (require) sympathetic tweaking—all in one stomp slot.

    I’m not concerned with identical emulations, but with the potential to use compression and drive more creatively and efficiently (one slot), like on so many great records. The current stomp works very well, but it lacks the zing and personality we associate with the classics and the fine-tuning controls of their more recent descendants.

    For an experienced combo in a small venue, mic’ing nothing but vocals is sublime. The potential is for everything to gel. In my experience doing that with the Kemper, a real guitar cab makes a big difference versus the dxr and clr that I gigged many times. Yes, with a decent soundman, very slight PA reinforcement is great too, where you feel the stage but achieve greater clarity. But for bands that can’t or choose not to self-modulate their own volume, the PA isn’t necessarily going to solve their problems.

    There are so many reasons for that "six months' thing that may have nothing to do with the profiling process, per se. More likely his techs were able to get their boss to a/b examples of how they’d profiled his amps every couple of weeks, since he’s inevitably (hopefully) spending more time sitting on a back porch overlooking the English countryside with a $75,000 prewar Martin in his lap. I sincerely doubt that he was in the studio for six months grinding through parameters to get tones. I'm guessing he'd come to a rehearsal, play through tunes, and offer "notes" on his feelings about the tones, that would then be addressed in the next round. Look, he’s many peoples tone god, but there are other fantastic instrumentalists who have put together a similarly "vintage" tour’s worth of tones in a recording studio in a day or two with blissful results. But yes! I'm looking forward to well-recorded live videos featuring his clean(est) live playing with the Kemper.

    If he’s touring a band with a lot of musicians this makes sense—seems to be the standard move these days. And sure, as a primarily clean player, for me he’s the iconic clean hero “endorsee” to end all. That said, it’ll be interesting to hear clips/video where it breaks down to a trio or quartet and his guitar is front and center. And of course to see if he stays with the Kemper live for subsequent tours. Finally, how come Knopfler didn’t post here to rue the risk of buying “old” tech when an “updated” version is obviously “just around the corner” !? ;)

    With a powered Kemper having a great 1x12 on stage while sending a profile—obviously meant to sound good—to front of house, this can be very effective. Even for people who are also also using in-ears. That age-old inference that guitarists using guitar speakers vs frfr somehow don’t care about what the audience hears, it has zero basis in reality. So far signs point to the Kemper speaker addressing the failings of frfr by adding versatility to a (relatively) traditional guitar driver. Hope it’s a success!