you could add a new function in the amp section: "saturation" to increase the distortion without adding an OD that changes the original sound.
Compare a Super with volume at two to the same amp at ten. It sounds like coloration to me. In fact, isn't that the whole point of profiling an amp with different gain settings? If the gain of the profiler was about as neutral as most tube amps then there wouldn't be a need to profile across the full gain range. I must be missing something here.
Play any rig with gain 6 and try to turn up to 7 or turn down to 5: in my opinion the Kemper's gain works well when I turn it down, while when I turn it up it doesn't give me the saturation I would like to hear.
Saturation/distortion gives a different result than a volume booster.
I doubt, when trusting my ears. What Kemper states maybe right in a very technical view. I always found when increasing gain a remarkable lost of tone clarity and especially a lost of the characteristics of the profiled amp. After all, distorted or heavy gain profiles tend to sound the same: mud, especially when played loud in a band context.
From another tone experience: using above mid or heavy gain profiles and decreasing the gain level always leads to are real amp tone .
Just my ears...
I have been using the kemper for many years and I've found the gain function a weak point: in my opinion it works more like a boost than a real drive.
I find it more satisfying to use a rig with more gain and turn it down than try to turn up a rig with less gain.
With the gain I' ve increased the Distortion Sense, the Power Sagging, the Tube Shape... BUT the result was disappointing.
I think the gain function is very important and they should improve it.
This is only my opinion with my tweaking experience.
Marshall SL-X 01 (straight into amp, no pedals or pre-boost) , try the Kemper Drive!
Marshall SL-X 02
Marshall SL-X 03
Marshall SL-X 04
Marshall SL-X 05
02-05 have different Boss RGE-10 settings as a clean boost, also different IR´s in the Two Notes Torpedo Live.
I aso used the free IR´s from Catharsis, I believe these are from 2009 but still rule!
If you feel there is too much bottom end, check the Studio-EQ and change the highpass to a higher setting.
Cheers from the Netherlands!
Love this amp: I'll try for sure!
Can you make some DI profiles, please?
But I absolutely understand that they sound too dark and boxy standalone at low levels. I will make some brighter ones this week, but they will not be bright, they will simply be a bit brighter than this one
it would be nice to have it...
New Jet City 100HDM profiles. The number indicates the settings and the letters D and M means Direct and Merged. Different flavours. My favourite is the 02, really cutting thru the mix and I like it better for recording.
Hope you like it.
Hi, I don't find these profiles in Rig Exchange...
Here's what will come in the following weeks:
- Lenz 20W Octane Prototype that I'm building for Jeff Loomis
- 1983 Marshall JCM800 1987 MKII that is getting a Full Jose Mod
- Marshall 1959SLP with Full Jose Mod
- Marshall 2203X with my Arcturus Mod
Can't wait for "1983 Marshall JCM800 1987 MKII " and "Marshall 1959SLP with Full Jose Mod" !!
Many profilers give the opportunity to try a couple of rigs: can you do it too? Thanks!
I love it!
I uploaded it onto the Rig Exchange earlier. Look for " GS TROWER/DR 2 " . Take some gain out and save as a cleaner rig, or use volume knob to get the softer parts of those songs. Either way...
Hi, I don't find this rig... can you re-upload please?
Are you aware of the Compressor descriiption in the manual. Which concrete sound effect cannot be achieved with those?
Which artifacts are you referring to? Can you provide a concrete example?
Have you ever played with a CS3? It's different from a "usual" compressor and it's not easy to describe.
You can listen it with Stef Burns on "In your room", "Burn's blues", "Mepukori".
Can you add this wonderful stomp-box?
Sure, not disputing your choice, I'm just trying to figure out the reasoning behind the absence of a mix parameter.
A mix parameter is commonly used to make an effect more subtle by combining it with the dry signal, so I assumed that is what you were after. But in this case, turning down the mix from 100% wet to 50% wet, the effect would become less subtle. I think that would confuse a lot of users, even though the result might be interesting.
I know I know, I don't want to argue
I think it's a simple addition, that's all!
The manual says a mix parameter "would contradict the character of the effect". I think this is because the Air Chorus achieves its subtle effect by modulating the pitch of both sides of the stereo signal independently, so that they are mutually detuned but only mix in the room, or "in the air between the speakers", as the manual puts it.
The moment you would mix this effect with the dry signal, that subtlety would be lost. The detuned signal and the dry signal would be pushed through the same speaker, making the detuning effect much more pronounced, with audible "beating".
I think this happens for all stereo fx - it's my choice how much to set it.