Posts by Duncan

My mistake - I had seen the drag and drop in the Namm video of the editor and assumed this was a stepping stone to the final functionality of the integrated RM/editor,

Anyway at least now I know nothing is broken

Thanks

Hi

I updated one Kemper to latest OS and also the latest RM and whilst I havent had much time to play around with it I'm not seeing any major issues in either.

However whilst I can see the factory effects presets clicking on them in RM doesnt change anything for me on the rack

I know the unit and RM are communicating as profile selection from RM works fine.

I had asumed that clicking the effects preset would just send that block to the unit whilst keeping the amp static?

I guess I must be doing something wrong as whilst I could see two 'my profilers' in left panel (and could see performance mode content was different when toggling between the two) whenever I selected a new profile it would always send it to just the one profiler?

As I say I'm probably missing a step

Right thats me tonight then

Great tip there as well Raoul on the performance mode -

Hi thought that was probably the case.

So bottom line is second laptop/PC needed?

I have no programming knowledge but wonder is there a basic software/hardware limitation around USB and Windows that that prevent a future version of rig manager supporting two 'devices' ?

Quick question guys

Is it possible to have two instances of Rig Manager running on the same PC for each Kemper?

Great riff, great tone and well mixed. What more is there to say.

Excellent stuff

What is your latency set to in the Focusrite control software? Too short perhaps?

Now that's what I like!!

More ...please.

Now if only someone would have a go at some Chess records style blues .....hint:-)

Great job Sir

Quote from deadpan

I profile LOUD. Speaker drive doesn't exist if you don't.

I cannot say this isn't the case but I remembered an old SOS article where some big wig at Celestion was discussing speaker excursion and breakup, quite an interesting read http://www.soundonsound.com/te…recording-guitar-speakers.

His premise seems to be that once the speaker/cab combinations gets into working range the effects of driving the speaker harder and the difference we as the listener perceive has more to do with how hard the amp is being driven. I suppose to really test the theory you would need a clean channel with masses of headroom and a mic that responds in a linear fashion regardless of signal input, if such a beast exists.

Yes I did catch that video some weeks ago, around 6.20 - 6.40 on the time line was where it becomes very apparent that the Kemper is reacting differently in its interpretation of the power stage.

I don't know what he was saying in his commentary but I guess he must have noticed it too

Not entirely related but I'd be very interested to see a similar video on something like a Marshall non master volume amp with a reamped loop being captured by the mic and then the profile. Whilst I love my Kempers I still have this slight question over how well it does pure power stage tube saturation and that lovely squishy thing a power tube does when its been driven to within in an inch of its life

Some years ago I used to own a non master volume head which for recording I would run to a Palmer PDI03 and then into IR's in Protools. The tones were comparable to some vendors offerings but the sustain was just much greater from the real amp with its volume set between 8 & 10, you could almost create a sustaining note from nothing just with vibrato some which for me at least is less apparent with the Kemper.

Anyway just a thought

Hi Mick following this thread with interest, like everyone else here I sure appreciate your approach to the honing in process and what future customers are going to be looking for.

I'll always throw in a request for a JTM pack when the opportunity arises, don't know whether that's on your scope? Still looking for some great early 'Powerage' era AC/DC type tones, I don't think they ever sounded better than they did on that album

Bit of an odd one really. I'd toyed with the idea of buying a second Kemper for some time with the thought that it would be nice to have the option that the bi-amped sound could offer and a convenient way of having mates round without them lugging their own amp.

What I hadn't anticipated and what frankly has been the most valuable off shoot from the new purchase was the ability to A/B both Kempers in the same room and remind myself that yes the original Kemper hasn't suddenly developed some mysterious problem and it's just my ears or hands having a bad day!

I'm sure we all know that feeling when some days the KPA just doesn't seem to sound right, I can wave those days goodbye and can concentrate on creating music and not looking for some non existent issue.

I have used this free software to analyse my last home studio https://www.roomeqwizard.com/ it's widely used in home and small project studios.

It takes some time to understand what it all means and you will need a measurement mic. It helps you to understand changes as you make them with your acoustic treatment and speaker placement so you know if you are going in the right direction or not.

I built a dozen or more traps for a similar sized room using http://www.building-supplies-o…KuNrI298b0CFYbMtAodg1AAwA

This is very close to The US version https://www.amazon.com/Owens-C…lass-Boards/dp/B005V3L834

I have a few that haven't been covered in the acoustic fabric so you can see how the wooden frame was constructed. If you are interested I could get a couple of images uploaded?

You will never cure all low freq problems in a room of this size but with adequate traps and proper placement you can lessen the affects and the seriously improve anything over 150hz or so

I've not used valhallroom although have heard good reviews. I tend towards IR' for rooms as I own the Altiverb library which of course has some excellent IR's and the benefit of being able to position the sound source within the GUI without having to be too trouble with panning and ER times.

I wonder if anyone could confirm whether they have attempted a profile at distance and if so how did it sound when routed to a suitably loaded Aux send.

It's always puzzled me with the kemper and the FRFR at to how it translates when the frequency content is quite different to what audiences would be used to hearing from a standard cabinet. Not that 'Album tone' on the road is a bad thing of course just different. Whilst not exactly my original question the two points clearly have some cross over

Yes pretty much what I thought Michael I suppose the problem with the far micd profile is even if the kemper understood a reflected signal to create the profile in the first place you would still be feeding the tonality of the amp and that room into another IR based room which would then impart its tonal fingerprint upon it as well as the time based content.

Still I'd like to know how this might work out as this vintage style studio sound is something which is rarely heard now and for me is just magical

Let me preface this question by saying I have not profiled any amps, I just don't own any anymore which apart from the lack of a decent room is why I can't experiment with this myself.

I know the vast majority of modern era guitar sound is tracked in a close mic setup and that as far as I am aware is the method by which all profiles are created. If therefore I am aiming for an old school 50's style roomy sound as heard on many Sun records productions how would I best imitate that with the Kemper and IR loaded Aux sends in my DAW. I'll not direct the topic to the specific choice of amp or mic(s) used as this is more a theoretical question about the wider possibility of re-amping with a combination of different profiles.

Imagine if you will a studio set up with a close(ish) mic, a mic at the back of the live room and then another set on the side wall that picks up sound which is at minimum a first reflection. Currently If I set up this virtual room in my DAW I am only ever sending the specific snap shot of that close mic's profile to the different Aux sends rather than the sound of the whole cabinet as it reaches the rear mic or the whole cabinet sounded as reflected of the side wall.

I know the Kemper profile can't capture the time based aspect of the room but would a far mic'd profile contain all the ingredients of the entire cabinet tonally which could then be routed to the impulse responses of the room I was trying to create? That far micd profile wouldn't be any good of itself but then blended with a typical close mic profile of the same cabinet and amp setting might? I would imagine that any attempt to EQ a close mic'd profile to mimic what frequency content might be arriving at the far mic(s) is wishful thinking at best.

I don't know whether this just nonsense and am misunderstanding what is possible from a profiling perspective. Having never done it I don't know whether there would be enough mic gain from a decent pre-amp - although I suspect there might - or whether the Kemper would even understand a reflected sound signal in the profiling process?

Be interested to hear any views on this.

As one of those who had been asking after this for ages I want to thank OP for doing this.

Only when anotother user helped me out with a wet and dry track and a profile we both owned was I able to see for sure my unit wasn't producing the same wet signal when re-amped in Protools. This lead, after some head scrathcing, to my reflashing the unit completely and getting the missing 20-30% of the tone I was missing to that point.

Hopefully it will be as helpful to other users with problems.

Might be even better if OP could post a re-amped clip of a clean and hi-gain of one of the better factory rigs in this thread to make that kind of easy comparrison. Appreciate that may not help the solely live player but for use in the studio it was definately very helpful to me.

Admin please delete my post, having something of a face palm moment!