Posts by bagginz

>I see screws inbetween the TRS< Well spotted Maybe the sockets are supported after all?

Can anyone else comment that actually owns the unit?

I'm thinking of possibly picking up one of these.

My concern is that the jack sockets appear to be soldered directly to the PCB with no external nut clamping the sockets to the metal casing to support them.

I've had a micro-cracked solder connection develop on an output socket/pcb before on a Digitec floor unit because the sockets were soldered to the PCB exiting through holes in the case with no support.

I found out at a gig by extremely loud crackling coming through the 75 KiloWatt P.A. at a festival.. I'm quite eager not to repeat that experience.

Anyone got one of these new Profiler Stage floor units? Are the sockets supported from the inside? Or do we have a situation where an accidentally placed boot would transfer the shock directly to the pcb solder joints?

In which case I'll stick with my Toaster & Remote

Thanks for your time.

Hit the System button, go to page 12.

The far right soft knob is "Looper Volume."

Is it turned down?

+1 Yes!

I'm currently abusing the Tremelo by using it as a tempo synce'd chopper effect. - Sounds great (y) but would really benefit by the addition of a Pulse wave (and possibly a Sawtooth also)

I would love to have the possibility to expand it's sonic chopping possibilities by varying Pulse Width (how long the slices are) as well as Phase (where the slices start in relation to the beat)

Quote from P3t3rB

It sounds like you're really getting to the bottom of clean sens.

I am.

Still, it strikes me as slightly kludgy. Rather than jumping through all these hoops: ( turning Clean Sens up, turning the Rig down & re-saving it - with the result that I still cannot turn the level of the stomped sound below the clean & as well as losing the ability to set the input parameters globally ) I can't help thinking that it would be far simpler just to provide more attenuation range in the distortion stomp.

But I would guess there is a reason it's designed that way - something to do with the KPA concept of keeping all the Rigs both clean and distorted, sounding approximately the same level.

Which is a good feature...

Quote from P3t3rB

Try adjusting it.

Ok I've spent some time adjusting the input parameters.

I found out some useful things:

1. By boosting the clean sense by the full 12db I can level the clean sound in my rig up to the uber loud Fuzz sound I had set up in a stomp in the same rig (which already had the maximum -5 of level cut applied ) I cannot make the stomp sound quieter - but I can at least make it an equivalent loudness to the clean sound now.

2. Clean Sens. is saveable per patch!

I had assumed Clean Sens was a global setting for guitar compensation. (and I had thought by extensiion that all my carefully tweaked patches would change if I adjusted it. )

3. Interestingly Dist Sens. affects the saturation levels in the stomp boxes too.

Clearly my thinking about the KPA has been limited by taking the analogy of it as an Amplifier with 4 stomps in front and 4 FX slots post power amp too literally. It's a digital device that can avoid the limitations of a serial signal flow.

Thanks for the er.. input P3t3rB

Quote from P3t3rB

Hi bagginz matching the level of the clean sound to the level of the distorted sound is exactly what clean sens is for.

Is it?

I was under the impression that it was to allow input gain compensation for different pickup outputs. (This is what the Kemper manual section on Clean Sens says:)

" ♦ Clean Sens
Extremely “hot” guitars can generate unwanted distortion, indicated by the Input LED flashing red. This is only
relevant for clean sounds, however - prominent amp distortion will fully mask a subtle clipping of the input. You
can verify this fact by trying different settings of Clean Sens. However, if you want to avoid a red input LED, you
can always lower Clean Sens."

Quote from ckemper

Not an oversight.
Please check the correct clean sens leveling, as this will level the sound without distortion.

Clean sens (and Dist sense) are set to zero in my profiler as I'm using neither high or particularly low output pickups in my guitars.

I want to match the level of the distorted sound (with stomp on) to the pristine clean sound (stomp off) in my Twin Reverb profile.

I'm aware that the peak value of the two resulting waveforms may indeed be the same (if recorded and measured in an audio editor) but it's the perceived loudness value that I'm trying to match.

>Howd you guys get past it?<

By buying a new pair of matched 6L6 output tubes for the Kemper.

Nah. By the certain knowledge that it's internal and nothing to do with external reality.

Quote from Michael_dk

>Interesting - is this for all OD stomps, or just some of them?<

Certainly on the TS-808 & Rat models - which are the ones I use mainly.

Quote from Michael_dk

>it could be a bug.<

I doubt it. Seems like more of an oversight.

I would guess it's not shown up as a problem because most people also want the level boost as well as adding distortion - rather than wishing to accurately level match two sounds.

Support ticket submitted anyway. Thanks for the info (y)

Often I'll add an OD/Distortion stomp to an amp rig to add gain at the touch of a button.

I find that many times that once I have dialled in the correct amount of distortion/gain, there is not enough *attenuation* range to match the level to the un-stomped sound - even at the maximum cut (only -5 available)

It would be most useful to have more range available

Quote from paults

You can do this now by Morphing the Mix control of each effect.

That's a useful work around. Thanks!

Like many people I often set up two versions of sounds on each switch of the Remote - a clean rhythm for chords and a lead sound for single note lines - typically with more gain and volume - so I can toggle between them with just one switch. (I prefer to stay inside one Performance of 5 rigs for shows)

It would be *most* useful to be able to simultaneously toggle the the Delay on (or Distortion, Autowah - whatever) for the lead sound when switching between the morph states ( while turning the Chorus off for the chord sound)

Would help keep the stage tap dancing to a minimum.

Yep (y) I love the idea.

I suspect Fractal is going to shift a lot of those AX8 units at that price.

I'd pay good money for the convenience of a compact, all-in-one Kemper floor version for live. (Perhaps without the profiling function? )

I'd keep my Toaster & remote for the studio.

I would be tempted by the AX8, except:1. As a former AxeFX owner, I just couldn't face dealing with that annoying interface again (no particular argument with the sounds - they're excellent)

2. With the Kemper, I now have a collection of the best guitar sounds I've ever had - and I'd prefer to not have to go through the long process of creating and perfecting them again.

Geese_com said"

Quote

That's actually what I'm doing. I'd just like the seamless integration of just having it all in one unit and the flexibility and ease of programming of the Remote but in a more robust unit.

I can't argue with that.

Plus, having led on/off status buttons is really useful.

"Time for A Floor KPA Unit, Like The AX8."

Yep

I'd pay good money for the convenience of a compact all-in-one Kemper floor version for live. Perhaps without the profiling function?

And I'd keep my Toaster & remote for the studio.

I suspect Fractal is going to shift a lot of those AX8 units at that price.

I would be tempted by the AX8, except:

1. As a former AxeFX owner, I just couldn't face dealing with that annoying interface again (no particular argument with the sounds - they're excellent)

2. With the Kemper, I now have a collection of the best guitar sounds I've ever had - and I'm loathe to not use them live.

Yes, I use the guitar's volume control to regulate the loudness of the looped part.

However, it's quite clearly a compromise:

1. In order to get an amp with a lot of gain to be lower in volume, it has to lowered to around 1 or 2 on the volume control - which radically alters the sound from say, your cranked Paul Kossof Marshall tone into a muddy cleanish tone - that sounds nothing like your original.

2. On "edge of breakup" sounds, same thing applies - it alters the tone by changing the gain structure.

3. Even on carefully tweaked ultra clean funk rhythm sounds, lowering the volume knob even one notch dulls the sound due to the volume pot loading on the pickups ( which is a function I do find useful when playing lead guitar, but not when playing chords)

4. Apart from completely altering the tone, different amp gain amounts need radically different amounts of guitar volume reduction - which make the mix between looped & live source tricky to judge until after you've recorded the loop.

All this can be avoided - as well as being able to actually loop with the sounds that one has carefully tweaked - by simply adding a looper mix control - which I assume (hope) Kemper are eventually going to get around to implementing.

In the meantime, get yourself two double foot switches and plug them into 2 of the remote ports? (still leaves 4 ports for volume & wah etc. )

If it's a clean boost placed after the stack section, it will make no tonal difference whether it's before or after the delay & verb. So use either the X or Mod slots.

Another perhaps better and simpler way to boost the patch for solos, is to use the morphing feature to programme a volume increase. This way, you don't need to use an fx slot or to tie up one of the 4 fx buttons on the remote either.

I came to the forum to request this very thing - but saw that it's already been requested.

I can understand the "dumbed down for guitarists" Bass, Mid. Treble, Presence e.q. concept on the amp section, it makes perfect sense to carry that tradition over - inaccurate though it may be.

But to shape the final output to match guitar cabs needs something more precise (in my experience even the so called FRFR cabs can benefit with a little eq tweak - usually subtle but precise low end attenuation.

Ideally a 24db Hi-Pass filter, followed by a low shelf, 2 fully parametric mids, a high shelf (LP not so neccesary) would do the trick - or the Studio Equaliser. - Icing on the cake would be with a graphical interface.