Awesome. Thanks guys.
I think I’ve proven my point . You cannot trust other people and their experience regarding what is good and bad sound. One of these two guys are obviously wrong. But who?
There is no “point” to be proven here. The VERY first line of my post says “I know this is subjective.”
I’m just looking for advice from other Kemper users regarding headphones used with the Kemper. You said you don’t trust what random people say online, but then you also say to trust what the pros use. Well, a “pro” is a very subjective term too. What do you consider a pro? Only famous people or those online? I’d consider a pro in the context of what I’m looking for here as someone who has extensive experience using various types of headphones with a Kemper. And even headphone experts aren’t really of much use to me in my original question because I specifically want to hear only from Kemper users and their experience with headphones since that’s the exact context that I’m referring to here. Some dude on YouTube with over a million followers telling me that he thinks one pair of headphones are better than another doesn’t mean much to me unless he’s saying they sound better with the Kemper.
I tried both the DT770 and the M50x. They both have solid points. But IMO after trying them both, the M50x seem to come closer to the sound of my profiles when I play them through various PA systems. If I were looking for headphones for listening to tunes or mixing, I’d probably lean more toward the DT770.
Simple question here. What exactly is the "Low Gain" and "Low Freq" as well as the "High Gain" and "High Freq" in the Studio EQ stomp?
Obviously, the freq parameter controls the frequency and the gain controls the amount of, well . . . gain. But what I'm confused about is, why don't these two options have a Q parameter as well? For example, if I set the Low Freq to 600 Hz and boost the gain, am I literally boosting only the narrowest of frequencies centered at 600 Hz? Or is this acting like some sort of shelf? The shelf option wouldn't make sense to me because there is already a low cut and high cut already available in this stomp.
Just trying to understand better what this particular section is actually controlling and why there isn't a Q parameter tied to them.
I’ve just ordered DT-770 Pro 80 ohm. I was looking for studio reference headphones with linear sound. A lot of people points in the direction of these headphones for that. So that might be what you’re experiencing regarding the difference in sound.
What good sound is is a question of who you ask.
Regarding them being more quiet it depends on the ohm variation of the headphones and the headphone amp, you are using.
I brought these headphones back today. Didn’t like them at all. Lower volume (80 ohm version) and a noticeable drop in high end. I was also told that these headphones aren’t very flat.
I went with the ATH-M50x. I liked them better than the DT-770. How accurate they are in reproducing the actual sound of my profiles remains to be seen. But I know the DT-770 were definitely not reproducing the profile sounds very accurately.
I know this is subjective, but I’m looking for advice on which pair of the headphones below will give me the most accurate representation of what my profiles actually sound like. 95% of what I use my Kemper for is live gigs, so I always check my final profiles at gig volume during soundcheck to see if they’re useable. But I like to use headphones to dial in initial drafts of my profiles at home.
For the last two years I’ve been using a $50 pair of Audio Technica ATH-M30x headphones. They’ve sounded fine, but they’re the only pair I’ve ever had. So I wasn’t sure if I’ve simply grown used to that sound and accepted it as “good”. Today, I decided I’d splurge and buy the DT-770 from Beyerdynamic. They sounded great in the store listening to mixed music. I plugged them in to my Kemper expecting to be blown away, and the sound I got was very different than the ATH-M30x. The volume was lower, and the high end seemed to be dialed back more than the ATH-M30x when listening to my profiles that I’ve been using live. I’m afraid to boost the high end of the profiles to make them sound better in the DT-770s because my live sound through our PA shouldn’t have any more high end added to it.
So my question is, in your opinion, which set of headphones below produces the most accurate representation of what your profiles truly sound like?
1. AudioTechnica ATH-M30x
2. Beyerdynamic DT-770
3. Sennheiser HD 300 Pro
4. AudioTechnica ATH-M50x
I haven’t tried options 3 and 4 yet because the newest Guitar Center is about a 45 minute drive for me. So I’d like to see what you all think is the best option. Are these Beyerdynamic headphones better suited for studio mixing than for dialing in Kemper profiles? Or are these the headphones I should be using for editing profiles and my ears have just gotten used to the sound of the cheaper ATH-M30x?
I'm currently using a Studio EQ in the "X" slot to help make some fine tuning adjustments to my sound. I make all the typical adjustments that many of us swear by (e.g. cutting everything below around 80Hz and anything above 9kHz give or take, depending on the profile).
I'm also using the Studio EQ to set a really narrow Q, boot the gain to 12 dB and sweep around to find the horrible frequencies that need to be cut. My question is in regards to the Kemper's "Q" value. I'm used to doing this process in a DAW where I can see on a screen, how wide of a spectrum my "Q" or sweep is affecting. I know if I set a really high "Q" (all the way to the right), then I'm only affecting a very tiny range. But how do I know how wide of a range I'm affecting using other Q values since the Kemper doesn't give you a way to actually see it on an EQ graph or visualization? For example, the default starting Q value is .707. What does that mean? If I set the frequency to let's say 2500kHz using .707 as the Q value, how wide of a range am I affecting? If I want to cut everything between the 2000-3000kHz range, what does that equate to for a Q value? Is there a chart somewhere that shows for example what the difference in Q value is between .707 and .200 for example?
Obviously, the best thing to do here is to use our ears. But I find it VERY helpful to actually see how my edits/cuts/boosts are affecting certain frequencies.
Honestly, I had a very similar reaction to my first experience with the Kemper. In my opinion, the stock profiles are borderline garbage and in the 3-4 years I’ve owned my Kemper, I’ve never used ONE that I liked.
Look around this message board and you’ll find some threads recommending certain profiles. I play mostly in cover bands and want good classic rock and modern rock tones. For me, the MBritt profiles are the best out there. In general, I find a good rock sound from one of his profiles, turn the treble and presence up just a tad and adjust the gain to taste. MBritt profiles make up about 90% of what I use for live shows.
There are a ton of other tips that you’ll learn in the first couple months of having the Kemper. But my advice would be to start by getting some MBritt stuff (buy a pack from his website) and DO NOT GIVE UP ON THE KEMPER! After 25 days with my Kemper, I was ready to return it. After having it for 3 months, I said I’d never go back to tube amps again. 3-4 years later, I’d never get rid of it and it’s saved me so much money because it has everything I could ever want (and I’m CRAZY picky about tone).
A big part of that tone is the guitar and pickups. I believe he used a Jazzmaster guitar. Live, he uses a combination of Marshall JCM900 and Fender Dual Showman amps. I'd start by finding a good Fender profile (try Michael Britt) and go from there.
First thing I want to say in this post is that I absolutely LOVE Kemper and have been using mine religiously and exclusively since I got it 3-4 years ago. I have both the rack and toaster version, and if either of them ever break, I’ll buy another without hesitation.
With that said, I’ve just been wondering why in the world did Kemper rush this Stage out when it clearly has a ton of issues. Both on this forum, as well as the Facebook user groups, I see SO many threads about glitches and issues. What I don’t understand is, why was the Stage rushed at the expense of the unit working properly? I mean, hardly any of us knew about this unit until a week or two prior to it being officially released on June 24th. So Kemper wasn’t obligated to meet some deadline that they gave to buyers.
Another thing that has me scratching my head is this; one thing I personally love about Kemper is that in most cases, they take their time and don’t rush updates or new features at the expense of the reliability of the unit. They took their time with delays and reverbs, and have taken their time with an editor. I’m they type that respects a company for taking that approach. But in this case, not only did they ship the Stage with a bunch of issues, but they also released it during a time when many of their engineers are on vacation, which is one of the reasons they have said that they are pushing the release of the editor back a bit. They don’t want to release the editor and then not have enough engineers on hand to fix any issues that might come up.
Anyway, again, I’m not complaining. The Stage wouldn’t really be something I’d want; the rack works perfectly for my needs. But I do think it’s great they created this new option for Kemper users because it’ll likely attract more new users. And the way I see it, the more people who use Kemper, the more high quality profiles we’ll continue to have access to. I just don’t understand the timing. Since nobody really knew about the Stage, I don’t understand why they wouldn’t have kept it quiet for a little longer until it was properly tested and they had the bulk of their engineers back from vacation. This is different than releasing a beta firmware to existing users because those users can simply roll back to an officially released firmware if there are issues. Releasing the Stage in this condition (especially to new Kemper users) could cause new users to have an unnecessarily negative view of the Kemper team and products (which I wouldn’t agree with).
I’ve just been thinking about this over the last few days as I see all these posts about these issues.
Have your recording engineer to the same thing that he did for you with the drums, bass, and vocals, but just for guitar. Have him give you a mix that has ONLY your recorded guitar parts on it. Then play that through your practice system and compare. If that sounds bad, then you know it’s something to do with how the sound is being passed through the PA (or the speakers themselves). If that sounds good (and assuming the engineer didn’t tinker with your sound further) then you know it’s something that is happening with the Kemper.
Thanks for all the help guys. I found the TAF Gilmour Hiwatt last night. I’ll give that a shot. Messed around with it last night but it isn’t as “full” sounding as all my MBritt profiles. I’ll see if I can tweak it to sound right.
As the title says, I'm trying to duplicate the sound that Dave Keuning of The Killers uses for Mr. Brightside. I know he use a David Gilmore Hiwatt for this song. Anyone out there have that sound already down and care to share your tips/settings? I was hoping there would be a Rig Rundown episode on YouTube for The Killers so I could see exactly what he's using, but I didn't find anything.
I'm using a Guthrie Govan signature model with HSH configuration. So with those pickups, I should be able to get pretty close. If any of you have that sound already replicated and want to share, I'd appreciate it. I use mainly MBritt profiles, so starting with one of his would be ideal, but I'm certainly open to whatever produces the best sound.
I currently have a Mimiq Doubler pedal running through my effects loop. It’s all working exactly as it should. But I’m finding that I really like the sound of it in my in-ears but not so much through the mains. So what I’m wondering is, is there a way for me to be able to ONLY have this effect in my ears and not through the fronts?
You can go straight up to the new version since your rigs would not have been affected or changed by the previous OS...
No, that’s what I’m saying. I was on the official release that was out before the release with the new reverbs. I then upgraded to that one, and it changed my reverbs. So my question is, if I upload to the firmware that just came out in the last couple days, is it going to take my reverbs back to the way they were before the new reverb firmware came out (which is what I want), or is it going to keep my rigs with the current messed up reverbs and just update to 5.7.4, thinking that my reverbs are the way I want them (which is not the case). I need to know if this latest release that just came out will recognize that my reverbs were screwed up with the 5.7 release and correct those parameters.
if you update to the 5.7.4 public beta the rigs will sound the same. There was a bug in the previous version that changed the reverb mix settings in rigs that were stored in a version previous to version 5.
So to clarify, I updated to the official 5.7 release that came out at the very beginning of March and I noticed that my reverbs will much louder and higher in the mix. So in order to correct it and get them to sound like they used to, do I need to revert back to the older firmware and THEN update to the 5.7.4, or can I just go from the version that is loaded now to 5.7.4 and it will correct the mixes at that point?
I do not understand the benefit of running two Profilers at the same time with the exact same settings other than in a backup situation where both units are never sounding simultaneously but exclusively.
If you want to combine two PROFILERs into a two amp stack setup you should use the PC and Pedal to MIDI features. The later will ensure that the pedal movements on the first PROFILER will be passed on to the second one.
I was thinking of running a TC Mimiq pedal in front of both of them. One stereo output of the Mimiq to one Kemper and the other output to the other Kemper. This way, I’d get the benefit of the Mimiq, and still be able to control the amps and effects.
The other option would be to get rid of the Mimiq all together and use two Kempers for the purpose of combining two different rigs. But I’d want to be able to have the same effects on each. For example, if I had stereo delay on one, I’d want that same delay on the other so that the delays aren’t interfering with each other or going off time. Same with the wah. If I activate the wah on Kemper 1, I’d want it to instantly activate on Kemper 2, because otherwise the wah effect is just going to get drowned out in the PA by Kemper 2.
At this point, I guess all I really need to know is, what is the best option to connect the Kempers to run 2 different rigs at the same time, while also making sure that when I step on my Kemper Footswitch to go to a new rig, they both change instantly as opposed to the delay that I encountered using the MIDI UI connection (posted earlier in this thread). And as I mentioned, ideally, I’d be able to control my effects on both from the footswitch as well (i.e. if I step on the button to turn on delay from one Kemper, it also turns on the delay of the 2nd Kemper).
So if you want to mirror set PC on KPA 1 , exactly like you described it here:
and disable UI to MIDI on both, Set on both constant latency.
One last question. If I use PC commands to change the Kempers, will it also do the same for effect stomps? For example, let’s say I step on performance 2, slot 1 on Kemper one and I have a PC command telling Kemper 2 to also go to performance 2, slot 1. If I step on a stomp to turn on my delay on Kemper 1, assuming Kemper 2 has the same delay settings, will that automatically come on as well? That’s what I need. Same with a wah. If I activate the wah on Kemper 1, I need it to do the exact same thing for Kemper 2 so that the effect doesn’t get washed out in the mix. I basically want both Kempers to do the exact same thing at the same time.