Posts by OneEng1

    You do have a point.... which is why I always bring my own PA to any venue that I am not absolutely sure has a good setup (even if they have their own). BTW, this does irritate some bar owners since they generally feel like they have a "great" system that they have personally setup. No one likes to hear that they suck with their PA abilities .... especially if they have dumped a bunch of money into it.


    If you show up to a venue where the PA is crap, you are doomed to sound horrible anyway. Only guitar players actually listen to how the tone of a guitar player sounds. The reset of the audience is listening to the vocals and feeling the kick and bass. If the kick, bass and vocals sound bad, a great guitar tone pealing through the crowd isn't going to save the night IMO.


    It is my understanding from others that have posted, that the speaker emulations in the KPA sound awful through PA full range speakers. You really need the Kone or the Kabinet for this to sound good.

    HI,


    I have the DSR112 and it is very close to completely silent without anything plugged into it. You would certainly NOT hear it in a bar.


    Have you tried unplugging everything (but power of course) from your DXR and raising the gain fully up (just to see the max noise).


    Another thing you can do to minimize the hiss, is lower the gain on the DXR and raise the output from your Kemper.

    two words spring to my mind “Alan Murphy” 🤣


    he never seemed to have any problem being loud enough on stages like Wembley Arena with a 12w Fender Champ. Apparently people used to laugh when he turned up at gigs with the Champ until he turned on and they heard to tone he got.

    Indeed! I know a few guys that gig with fantabulously huge rigs, but mic a single speaker ;) I have also seen the stage setup of some popular bands where there are stacks and stacks of 412 cabs .... none of which are plugged in.


    It is the one thing I miss about my VHT stack .... it looked really impressive on stage. Of course around 3:30am when I was shlepping it down the stairs with my whipped butt draggin on the floor ..... it was no longer feeling "impressive" :)

    Just my opinion .... but any 1x12 is "loud enough" for any band .... for several reasons:


    1. The cab should be mic'ed through the PA so that most of what the audience hears comes from the mains, not the guitar speaker.
    2. The volume on the guitar cab should only be up enough to get good action on the strings and let the guitarist hear themselves play. In fact, the cab should be put on a stand and tilted up toward the guitarist's head to that effect.
    3. If at all possible, the cab should be shielded away from the audience to keep it from beaming from the back (you really don't want any of the cab sound getting out in front any more than you have to IMHO.

    Now .... having said that, I know that there are LOTS of people out there gigging without having their guitar go through the PA in small to medium clubs. I just think that most of us graduate from that form of garage band style playing and up to making the band sound good at some point in our lives.


    No offence to those who play with just a cab. There really isn't anything like playing with a dimed amp for a guitar player. I am certain all of us here have experienced it. I just don't think that is a good way to make the band sound great.

    I look for the general genre of tone and the gain level I am after.


    I only spend 10-20 seconds to make an initial determination if I go on.


    I flip through these and usually do the following on the ones that make it to 80% of what I am looking for:


    1) Turn off any efx that are overtly coloring the sound. Not all efx get turned off since they are integral to the sound IMO.

    2) Adjust gain to where I want it to be for the purpose I am after (note, only a rig that is already close gets this far)

    3) Adjust the rig eq to my liking and purpose (again, it has to be close or I move on)

    4) If it is a little muddy, I might add clarity or cut mids with a studio eq. Sometimes I add in some of the raw signal to clean it up.

    5) If I want a verb on it (I have a verb on most rigs even if it is turned down, I get one of my presets for that genre out and tweak it to that rig

    6) As above, if it is fizzy, I add a little pure cabinet to it


    In general, I only add new rigs when I need a sound I don't already have for that genre or purpose. I might spend 15-20 minutes on tweaking a rig.


    Over time, I sometimes refine an existing tweaked rig by making an entire performance of just that rig. Then I tweak 4 of the 5 to different settings (all that sound good), and try them out through the PA along with a multi-track of the full band playing (without my guitar track in it of course). This lets me see how it will sound in the mix with the real PA and the real band .... minus any stage noise :)

    The 5 "new" reverbs was introduced in OS 5.7

    and two more ; "Formant" and "Ionosphere" in OS 6.0

    as per the "Addendum 6.0 (English).pdf " :)


    Cheers !

    Thanks.


    In that case, the biggest advantage for someone who does not want to use an editor would be the preset navigation and management. No audible difference though, just easier to get around :)

    Am on v7, did not encounter any issues. I do not use the editor too much and stick with my „old“ performances, so far so good. The preset management really helps, one of the main things for me. The new reverbs are nice to have but the legacy reverb was fine for me. I use the spring reverb from time to time but more or less only because I can.

    The new reverbs are way nicer IMO than the legacy. I have pretty much eliminated all my old legacy verbs now. I find that even for higher gain rigs, the new verbs bring new life to the rig giving it a much clearer ring of harmonics. I guess I thought the new verb engine was in 6 already which is why I didn't mention it.


    If you don't have the new reverbs, then you should really update.... no doubt.

    I would save the v6 firmware you are on somewhere. Create a v6 backup.


    If you really don't like V7, just be prepared to lose any tweaking you did while on V7.


    For me, V7 is a pretty big upgrade. I really like having an editor and presets. I went through nearly all of my performances and modified things based on being able to quickly mix and match presets I created on another performance for some part of the rig.


    Even if you don't want to use the PC editor (which is really pretty nice now), having the drastically improved preset management on the unit is really nice. I can't believe my little scroll knob for efx didn't simply wear out since 2013 ;). It is really getting a break now since it is very easy to navigate to a specific effect or preset directly on the unit.


    Have fun!

    This sounds interesting! Can someone help me out with a question or two?


    First, I setup my own guitars. This lets me get the appropriate action to note cleanness ration for my playing style.


    I have noticed that there are quite a few factors that go into how true notes are across strings and across different positions in the neck.


    1) Which string? Bigger strings ring out sharper than smaller strings. String gauge also goes into this

    2) What kind of cords are you playing? If you have a mix of opens and holds, it sounds different due to the held down strings being bent slightly sharp.

    3) How hard are you hitting the strings? The harder you hit the string, the more sharp the initial attack is.

    4) How high do you have your action? Higher gives you more clean sounding notes, but also makes the notes sharper.


    So .... while I can see some sweetened tunings that could be standardized (string gauge, length of strings, number of frets, etc), the individual setup would seem to cause some issues with tuning standards.


    Are you guys suggesting a method of setting up a custom "sweetened" tuning setup that could be saved as a preset?

    I'd like a good mid-distortion sound similar to Ghost's and I'm having trouble finding or dialing one. Everything I play through either sounds too distorted or too clean. I have a Solar A1.6 with Duncan Solar pickups. Those are medium output so I'm expecting they should be able to pull off this kind of tone. Any advice is welcome.

    It's one of my favorite jams! Did it in a band a couple of years ago. I have used a rack recto OD820 from premier profiles which is squishy and doesn't bite into the mix enough to cause you to notice it is biting, but I really prefer the Bogner Shiva Heavy that is on the rig exchange by r.u.sirius. I have done some work on it to make it work with my bare knuckles pickups on my PRS SE 24 as I do all my performance rigs. I like the "cleanness" of the Bogner over the Mesa. It is just a little more .... balls and a little less fizz :).


    Hope this helps. It is an awesome jam

    Agree to an extent.


    I have owned several high gain amps - Bogner, VHT, Peavey, PRS, and more. They all have their own voicing where as I am finding many of the profiles I have tried (only a dozen or so thus far) do not. Just wasn't sure if I was doing something wrong.

    Certainly different amps sound different. Even into the same speaker; however, it is surprising how much tone and color does come from the cab.


    I had a VHT rig with a 4x12 and 2x12 fat bottom. Still have the fat bottom. If I play into an amp and into the fat bottom, most of the differences between higher gain amps goes away.


    Play the same profiles through my DSR112 FRFR speaker .... and the difference comes back. No doubt about it.


    I really do need to sell the 2x12. I will never use it again and it is a classic VHT cab with the vintage VHT P90's in it.

    I use an SKB 3 space with a custom made back patch panel. The panel 2 main XLR outs, one 1/4" monitor out, USB, POWER, and the Ethernet connection having an Ethercon connector. I have a modified KPA controller cable that has an Ethercon on both ends for better protection.


    The entire patch panel also has the side benefit of ensuring that I don't bang up the Kemper when some drunk person trips on a cable across the stage.


    I sit the KPA on top of our digital mixer (X32 Rack), and connect it directly to XLR stereo inputs with 2 short XLR cables.


    This makes setup and tear down fast and easy and the rig is VERY road worthy.

    That little bit of extra resistance would probably have prevented the jack on his KPA from having the known issue of becoming faulty. My understanding is that the jack is physically connected to a circuit board, which means it can't be repaired after market. Correct?

    I assume that you mean that for a KPA that is out of warranty, you could replace the Ethernet socket part on the Kemper if it got broken? If so, then, yes, you could have it replaced even though it is physically connected to the circuit board..... unless Kemper has put epoxy potting on the part or a strong glue. These techniques are sometimes used for highly stressed components on a board.

    The update worked great for me. I was using the beta before.


    Note, I am not using the SPIF, so not sure what is going on with that (from the post above). I am not having any green screens though.


    I am loving the preset management! SOOOO many possibilities now!

    The cost of a good FRFR powered speaker is painful for sure; however, IMO it is worth it.


    This is particularly true if you are not projecting your guitar through the PA, but rather with the monitor speaker. In this case, it is even more important to get a good FRFR speaker.


    If you can snag a used DSR112, I think you will find that you can bury everything else on stage if that is your desire.


    My personal opinion is that if the Headrush is getting burried then EVERYTHING on stage is too loud.