OK. I agree! The grass on the the other side is always greener...! But I probably never get there.
I now have a LINE6 4x12 cab connected and play on a Gibson Les Paul Custom BB. I tried to get a bluesy tone like in Stormy Monday from Allman Brothers Fillmore. But all suitable rigs sound muddy, with less character. Probably due the the cab. I tried another cab: a Marshall 212 VS with Goldback speakers (OK... bad example) : same result: muddy and undefined. I browsed through all 12 Local Cabinet Presets and press every time on the LOAD knob. I hear no differences. I must be doing something wrong here...Also EQ does little! So I have to spend more money on another cab...?
You're right of course. But why does it play so much easier if that sweet spot tone is within your reach? Why does it feel so good to have that same sound even if it's not perfect playing? Wasn't that what the KPA promises us; playing on the same amps like the hero's (if you ever find out what those amps were...) leaving the modelers competition behind us?
There are actually several ways to achieve that: using your guitar's volume know, switching to a different rig, engaging an effect, engaging a booster/eq pre-amp, or raising volume pre-amp with your pedal.
Ok I guess that's for later... first things first.
Now I'm running into the million dollar question and the capability of the KPA: How to sound just as in the song?
Until now I tweaked a lot and experienced with different amps. But again (as many items in the past with other modelers): How to sound quite as the original?
I know there are a lot of circumstances involved: type of guitar, EQ, ambience, room, cabinet, pick-ups, knowing which amp was used incl. settings aso but the KPA would be known for dealing with all that. Or is this all just for very experienced sound engineers and not for "common people"? Making simple sounds (like clean sounds with delay settings like U2 or chorused rock Status Quo sounds) have been no problem for me. But what about others if you have just your (expensive) guitar?
Never worked with CC's. Always just as a programmed on/offf switch.
Suppose I want to change from a clean sound to a solo sound in the middle of the song (if that's possible), do I use the same switch for that? That would mean foot tapping...right?
And... very convenient. ...heel down the volume pedal on the FC 200 leads you directly to the muted tuner!
That's why I use a midi foot controller on stage and my midi change numbers match my rig number/name so midi 01 changes to 01Hello
I have a Roland FC 200 and I now managed to have 4 rigs under the corresponding switches.: No1 = self made rig 1, No2 = self made rig No2 aso.
- midi out FC 200 to midi in KPA
- press 1 on FC 200
- browse on KPA to desired sound
- press knob SYSTEM
- press STORE and DONE!
But with this midicontroller you only can call up the total sound...no switching off or switching on other effects within the rig..right? I guess this is only possible with something like a Voodoo lab Ground control or maybe a Kemper controller (if the last one allready is on the market...)
Well, for one give that rig a unique name in browser mode, like '01 xxmodified rig'.
In performance mode, of course you will find this rig while scrolling.
Now you only need to place that rig in a slot and save the performance.
Thank you so much for your effort to show how it is done So a rig is a complete collection of everything you need to get a desired sound:
amp and effects. The manual says that the signal starts with the input, but that's locked. Then comes the STOMPS block. But I thought it would be more logical to start with the amps block in section 2 (together with a desirable cab and EQ) and then move on to the effect section on the right. Finally, should I worry about the settings in OUTPUT?
BTW, I see that it still takes you some time to reach for 01HELLO. On stage I guess this is not an option and a (Kemper?) controller would make things easier...?
You cannot browse to a song. You browse to a performance.
At first the profilier attempts to name a slot after the rig.
Is that what you mean?
I'll try again:
I'm in Browser mode. There's a sound I have made (and probably have overwritten a previous one....later on I will do a factory reset when I know how to deal with everything...)
To get that sound I press the blinking right button (load) above the screen.
Now I want to save this as a rig..
I press on the blinking button Store (left to the screen) and press Store as (above the screen)
A black screen on the left says: Store Rig
So I press again on the blinking button Store.
In Perform mode there's no sign of this rig. In Browser mode it takes me quite some time scrolling through all presets to find me that rig.... not convenient on stage...
And just one example of how to do everything in the right order would do the trick (or maybe I'm gettin' to old for this... )
The Harly EL84 is a really nice one indeed.
I personally also like the Fluff Gemini Clean for jazz, but it's totally not a Jazz amp usually. Just does the trick for me. Another personal favourite is the Badcat Sparkle Clean profile.
Where do you guys see all those sounds...? I browsed through all rigs but don't see them.
The machine still sounds awesome but drives me crazy...
I saved a sound in Browser mode and named it 2 Voodoo. I browse to that song with the browser knob. I want to save it as a rig so I press Store As. And then it comes with a totally different name (1962 Electro)... Is this logical?
Thanks! I have it done all wrong! In Perform mode I now have a song name (no.1) and another song name under it (in black). I don't know how I achieved this...!
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I made some simple sounds and saved them as a rig with sound names . But I can't figure out how to put them in a playing order without scrolling through all rigs. I have no controller yet. Can I (for the time being) put one after each other (no alfabetical order yet..)?
Just cycle thru the profiles with cabs off for a 4X12 cab and you should be able to get a rock solid tone. Turn gain up or down, tweak treble, bass and midrange. Maybe some presence. Voila the Kemper now will emulate a $1500 guitar amp. Then multiply that by ten to say the least and you now have ten world class amps for the price of one(Minimum). Then for DI recording solutions the Kemper beats an amp hands down without the use of VST eq and compression parameters, I mean straight out of the box you should be getting great authentic tones out of your Kemper unit without a problem!
OK! That's no problem at all in the Browser mode. I can try different effects to it , tweak them (to a certain level).
But somehow I found a nice sound and stored it. It turned out that I had (over)written EXAMPLE SONG 1 in the Perform mode. The same thing happened finding a bluestone for a song that I have to play in a band. It seemed to be stored as an overwritten rig. That's what I mean. I'm having problems to read the English manual and really technically understand what it says (only myself to blame for that!). And there 's a kind of pression to get things done. Or I have to get back to my other stuff again...
Don't get me wrong. I really want to get into everything.
As Segovia said, "build your expertise and your technique slowly and consistently. Jacob's angels had got wings, but they were walking up and down Heaven's stairs nevertheless"
He also said: "I had only one teacher, myself, and only one student, myself."
That's why I'm leaning on others expertise....
I'd advise you to read about "signature sounds" all over the Net... This requires studies, regardless the gear you use.
Also, you might want to read about the same issue on wikpa.org, in order to see how this general topic is addressed with the Profiler.
I have to catch up a lot....! Studies indeed! I guess I ask to much in one moment. I'll sure get back later! Thanks for now!
All of this brings
me to another issue.
I'm always searching for the right sounds of that
particular song from that specific artist. How did he get his sound?
What did he use to achieve that guitarsound. etc.
The Kemper brings us
original sounding amps whether they were used in 1959 or in 2001 to that song
from that artist in that setting. I guess most of us (me certainly included) are
no sound engineer to copy that. Still, I did some pretty good tweaking for
different songs with fine results (BTW on a Boss GT-100...).
However, there are
great exceptions like Josh Munday by the introduction of Bosses GT-100 in
reproducing amazing artist sounds. But again, he is a Roland Guitar Product
Specialist, one of the happy few.
This leads me to my question.
simple is it to achieve this in an even better way as an amateur on the Kemper?
Let's say I want a very close reproduction ( a duplication) of David Gilmours guitarsound in
Does this mean I always have to know exactly what
amp(s?) and what fx in whatever settings and ambience he used? Apart from the fact that he
maybe used a specific (probably extra for him built) Fender strat! And of course
the undoubtably great influence of his fingers... (some things can't
be profiled... : !)
You're forgiven! I know you're right. ! But it can be a drag to spent hours and hours reading and sometimes not knowing what you read because of unknown terms. That's why I quote someone's remark that there should be a teacher standing next to me to show things. It would make things easier.
Since your remark I started reading, trying and puzzling. My handicap is my impatience....
And, for godness'sake, READ THE FREAKING MANUAL! You're having huge issues with a unit you don't know anything about?!
I started allready....! But you must consider the fact that it's not being read as a novel, though most of it is pretty understandable,(after reading two or three times.)
And watch you style of comment....I'm learning better by friendly comment.
FRFR is a term used for amplifiers and/or speakers that are designed to handle all audible frequencies equally well.
Very clear! This kind of speakers are next on my list for wishes.
In a traditional setup every element in your signal-chain will colour your guitar sound:
Guitar -> Effects -> Preamp -> Effects(loop) -> Poweramp -> SpeakerCabinet -> Microphone -> recording/live mixer
The KPA in its default configuration simulates everything between the guitar and the recording/live mixer. If you connect that to a tradidional speaker-cabinet you add another "filter" to the effect of the cabinet that already is included in a virtual rig.
FRFR is a term used for amplifiers and/or speakers that are designed to handle all audible frequencies equally well. A traditional guitar amp/cab is focusing on the frequencies a guitar produce, and is anything but flat-response. In fact it is the uneven amplification of different frequencies that give the amp/cab its unique characteristics. To use the KPA with a traditional guitar cab without turning off the KPA's internal cab-simulation is like putting a microphone in front of a traditional amp and run the signal back into the power-section of a different amp. It may be an interesting experiment to for example put a microphone in front of a Bassman and run it into the effects-return of a Trirec and listen to the result through a Mesa cab, but I'm not so sure the result would be all that nice