Posts by OhG

    My band plays along to click tracks so that we can have samples playing at the right times during the songs. Doesn’t sound like you’d need the click part of the equation but the same setup would solve your problem. I just use my iPad with the Soundcue app on it. You can load any MP3 you want (I have over 40 on mine). I run an 1/8” cord from the output of the MP3 into a direct box that i have mounted on my pedalboard and then a mic cable out of the direct box to the PA. It sounds like a lot to set up, but it’s really not. All I do each show is mount my iPad to my mic stand and plug in the cable from the direct box to the PA. Literally takes less than a minute. But then you get far more control over your samples than you would with a looper. You’d have a dedicated channel on the board so you could adjust the volume or EQ however you need.

    I dig this tread up. Is there a way to adjust the volumes off rigs at the same level (Rig manager or directly on the profiler)? I have plenty of them, set at very different levels, and I would like them to be homogenized.

    There is no automated way to do it. The only way to do it is manually. I'd suggest using one of the rigs that come stock on the Kemper as your baseline, and then manually adjust all of your other rig volumes to that one by ear. Once you get them all matched, what I usually do is build my new rigs off of one that has already been volume matched. If you're using a completely new rig, you'll want to volume match against one that has already been done. And I wouldn't totally rely on volume meters as a sole reference point. Just because something is the same volume in terms of a volume meter, doesn't mean it'll cut through in a mix as well or seem as loud in a mix. Using your ear is the best way to go unfortunately.

    I use 2 pedals with my setup. Both are Mission pedals. One is always a volume pedal set after the amp. I can use my volume knob on the guitar to clean up the signal or reduce the gain. So having the volume set after the amp section for this pedal allows me to reduce volume but not reduce gain. I also need this volume pedal because there are times when I'll set the volume to zero on it, but I need to keep playing guitar chords to feed my vocal harmony pedal. This allows me to send the chord info to that pedal without having the chords actually come through the PA.


    The 2nd pedal is always set to a wah, regardless of what rig I'm on, except for songs where I'll need some sort of pitch effects like a whammy. For those songs, I've got my rigs to use the 2nd pedal as a whammy pedal.

    As others have, I would STRONGLY recommend you don't go "budget" for IEMs. For guitar, you need at LEAST triple drivers to get a fairly full sound. I'm currently using the Westone PRO 5-Drivers and they are awesome because they are strong enough to really make everything sound full, guitar, bass and drums. If you go with some cheap single or dual drivers, it's going to sound like you're listening to an AM radio. Your guitar is going to sound really thin. The 5-drivers I have cost around $400-$550 depending on what kind of deal you get and where you buy them.


    Another option you have is to just use a nice set of headphones instead of IEMs. There are a LOT of pro bands that go with this option (Linkin Park's guitarist has done this for over a decade). The sound you'll get out of a $100-$150 set of headphones will absolutely blow away any single or dual driver IEM that you buy.

    Would someone be kind enough to walk me through routing my MIMIC pedal in STEREO?


    I need to know how to route the cables AND how to configure for it...


    Thanks

    I used to use the Mimiq with my Kemper. I ended up taking it out and just using the delay widener feature because the Mimiq didn’t really have much of an impact on the sound out front (I was running in stereo). It actually had a slightly metallic sound to it that I didn’t like. The delay widener sounded slightly better through the mains without this metallic sound. I still use the delay widener instead of the double tracker feature of the Kemper.


    As far as how to configure the Mimiq, it’s been a while, but I know you need to run it through the effects loop, put it in the “x” slot as a stereo loop. Make sure you’re running in stereo or it’ll sound awful. The part I can’t quite remember how I had hooked up was which inputs to use on the back of the Kemper. I’m pretty sure I know I was using some combination of the direct out, and alternative input.

    I don’t experience any lag when switching between performances. My Kemper does however skip over performances when I use the buttons on the unit rather than the remote. And it skips them not matter how slow I hit the buttons. I just have to keep trying to get to the skipped performance (usually takes 2-3 tries). This is annoying as hell and it would be great if Kemper took the time to fix it. And yes, I submitted this issue via a ticket over a year ago.

    I've been anxiously awaiting the official release of the latest OS so I could try the double tracker. For quite some time now, I've been using the Delay Widener set to an intensity of 20 ms to help give some real spacial separation in my in-ears. I run everything in stereo for live performances and using the widener doesn't really have much of an effect out front, but make my in-ears sound/feel better.


    The one thing I wasn't crazy about with the widener is that if I have reverbs or especially delays after it, some of the definition in those either get lost or there is a LITTLE bit of phasey sound in the reverbs. I'm assuming this is because the delay widener is causing the signal to hit the delays and reverbs at slightly different times, so they end up sort of washing over each other.


    I was hoping the Double Tracker might fix that. But after installing it, I honestly don't hear any difference between the Double Tracker and the Delay Widener in terms of effect or getting rid of the phasey stuff. I created a track in Reaper going back and forth between the 2 effects and I couldn't hear any difference at all. Obviously, with the Double Tracker, you can turn up the detune effect, but that sounds worse to me because it sounds almost like a slow panning effect from time to time rather than a detune.


    Just wondering what everyone else's opinions are of this effect so far and if there really is any actual difference between the DT or the DW. For me, I think I'm just going to leave the DW on my rigs since there isn't any noticeable benefit to switching to the Double Tracker.


    And to be clear, I'm not complaining. The Delay Widener allowed me to get rid of the Mimiq pedal I was using in my rig. The Mimic made the in-ears sound great too, but it had a noticeable negative impact on the tone coming from FOH. So either way, I'm happy. Just wondering what the real difference is here between these two effects. Is it just the ability to adjust the detuning and stereo field to 200% (which also negatively impacts the tone)?

    Try your setup plugging in a decent pair of headphones into your IEM receiver. If you like the way that sounds, then the issue is PROBABLY in the quality of your in-ears. If you're using solid headphones and it still sounds weak or high ended, then it could be the profiles themselves that need to be tweaked.


    For reference, I'm using Westone 5-drivers (UM-PRO 50). I've found that triple drivers don't deliver enough bottom end with the bass or kick drum for everything to sound full. Made the move to the 5-drivers and it was like night and day. Definitely improved what I was hearing.

    I've got some standard delays and reverbs set up in the delay and reverb slots. I've noticed that in some rigs, they kind of interfere with each other a bit. For example, my delays aren't very clear and they sort of push into the reverb so that the end result sounds more like the reverb is pulsing a bit rather than being able to clearly hear each individual delay. I know one solution could be to put the reverb first and then the delay, but I'm assuming there must be another technique to solve this problem, otherwise, Kemper wouldn't have put the delay module before the reverb (which is where I agree, it should be).


    Is there some other setting that sort of separates the delay and reverb so that they are more clear rather than mushing them together? I've also noticed that if I use a delay widener in the "X" slot, that also causes my reverb to sound a little off (in a bad way). I'm assuming that's because the delay widener is causing the signal to hit the reverb module at 2 slightly different times, causing a SLIGHT out of phase sort of sound.


    What do you all do to keep your delays and reverbs really defined?

    Answered my own question. I took my buddy's stuff home with me and profiled at my place. Apparently he had some sort of a grounding/equipment hum that we didn't catch (we tried the ground lift option and that didn't work). When I brought everything to my place and profiled, it worked perfectly.

    After owning the Kemper for 5 years or so, I decided to try profiling a friend’s amp. To start, we profiles his Marshall TSL head with a Marshall 4x12 cab. Nothing fancy, just wanted to go through the process.


    My connections were as follows:


    Guitar into Kemper front input

    Direct out into TSL input

    SM57 mic into the Kemper return

    We also ran an XLR cable from the Kemper left out to his mixing board for reference later.


    We went through the profiling process with no problem. And when we were done, we couldn’t hear a difference between the reference amp and the Kemper profile, which is a good thing.


    However, what we noticed is that if we plugged directly into the Marshall, the tone was more full. When I took the same cable and plugged it into the Kemper (meaning, running through the Kemper and then using the direct out to get to the Marshall’s input), there was more noise, less bottom end and a little more quacky mid-range introduced. This is all before the profiling even began.


    So the end result was that the Kemper did match that quacky/less full sounding tone. But not the actual tone of what the amp really sounded like when it was mic’d and fed straight to the board rather than through the Kemper.


    What could be causing the Kemper to introduce noise as well as extra tone coloration before the profiling process even happens? Are my outputs supposed to be set to anything specific?

    So in the end, Focusrite customer support helped me out. They are amazing by the way. They did a screen share with me and walked through everything. I had everything all hooked up correctly. In the end, we just did a factory restore of the Focusrite and that fixed the issue. Glad it was something simple.

    Thanks. If Focusrite support can't help, then I'm going to have to take a look at other interfaces to see if it's just a general Focusrite or Focusrite Control issue. If it is, I'll end up getting a new interface. I'm thinking that is where I'm headed because the tests that I've done are leading me to believe the problem is somewhere in the Focusrite stuff.

    I would suggest doing something a little more scientific. Get a software that can generate whitenois and frequency sweep. or create a WAV file online with whitnoise or frequency sweep. I use the Room EQ Wizard program , with which I also measured my home studio.

    You do a loopback (connect the output of your interfaces to the input or use the audio output of your Mac / PC and connect this to the input of your interface).

    And now you measure each whitnoise and frequency sweep.

    How exactly does that work ...

    Ok, but what exactly would this do for me? I'm not incredibly knowledgeable when it comes to these types of things. I ran the REQ as you mentioned but I have no idea what I'm looking for in the results. Or how it'd even apply to my particular situation. How would this help me determine why I'm losing a little high end and clarity whenever I run into the Focusrite Clarett?