Posts by V8guitar

  • The best way to manage output level

    Hmm...not sure I agree with all of your points and the added complexity, particularly where you suggest having a set of balanced rigs to reuse.


    The balance of the volume, although the point of this post, is to me the easiest thing to set, takes seconds, so no idea why you would invest in pre balancing the volumes, especially when there are many other factors which could override that. For example, you may want one sound quieter for certain sections, or louder to boost for riffs, so you will end up editing them anyway. Also EQ is also as impactful and volume...



    1) learn what clean sens does as others have mentioned. This is only necessary if you want to switch guitar types on the fly and balance them. I have never touched mine and never needed to. If you stick to your point 7, its hardly a big overhead to match between rigs using the volume.


    3) Make necessary adjustments to the amp volume not Rig volume. The benefit of adjusting the amp volume as opposed to Rig volume (and saving the browse mode version this way) is that should you have a Rig in performance mode where you have dialed in a bunch of effects just so for a particular song, but then decide the amp doesn't suit it well, you can replace the amp in the existing Rig. If your replacement amp was volume balanced already, it will be volume balanced when you plop it into a new Rig. That is such a niche case, the overhead of saving it just to retain a set of balanced rigs. Just not necessary.


    5) solo boosts. Most guitarists only have a need for different volumes when soloing. Having an EQ in the X slot is again beneficial. Since it has its own volume control, you can make that adjustment here when you want a solo boost, which also gives you the option to toggle to volume boost. Then why not either morph volume or have a separate slot. Selecting an effect is slightly hard tap dancing wise and you take up a slot. This emulates the old trick of having an eq pedal in the effects loop to boost for solos ( I did it with my old Laney) and it was always a work around because I didn't have selectable volumes. TBH I also add more gain and a touch more mid and presence, so having a slot dedicated is way easier IMO.



    7) Limit the number of profiles you use in a gig, regardless of how many performances you create using those profiles with song-specific effects. Your core tone, the profile and overdrives pushing them shouldn't be different for every song. Have a set of profiles that give you the gain stages you need. Maybe have a second set you like better for a different guitar you may use. Maybe even have a couple others that do whatever special thing you need for a specific song. But it's hard for the sound tech, the band and even yourself to constantly have your core tone changing. Totally agree with this! I learnt the hard way with this.

  • The best way to manage output level

    Quote from dfdfan

    You should set 'rig volume' only to minimize the volume difference between all of your rigs to avoid volume discrepancies when changing from one preset to another. Then when all of your rigs play out at the same level, set your master to accommodate the PA at your volume pedals highest level. That way all of your presets will hit the PA at the same level. For instance, if you have 2 presets (1 clean, 1 dirty) and the dirty rig is louder, lower the dirty rig volume to match the clean rig so that switching back and forth does not cause a volume jump or drop. This is not the same as adjust the amp volume in the stack section as rig volume will not affect the overall sound of the rig itself.

    Just to add/sumerise - the process is really simple:


    1) get your rig volumes balanced between each other. Some will be louder on purpose e.g. solo, so it's about relative volumes. I use rig volume for this purpose but as mentioned you can also use amp volume. I also boost for riffs using morph....

    2) unlink your volumes

    3) If you have a powerhead/rack and are plying through a speaker on stage, use master volume to adjust this. When unlinked it has NO effect on the output to the PA

    4) Set your PA output to -12 to -20 db, anywhere in that range is fine for a PA

    5) Sound check and check your highest volume doesn't clip the desk..


    Done.

  • How to use Distortion Sense

    Quote from OhG

    Yeah, for me, I either need this distortion sense thing to be set up the right way, or I need to duplicate all of my performances/rigs and then adjust them for my 2nd guitar. I'm one of the rare breeds that only carry 2 guitars to gigs. For the longest time, I was only carrying one. But I need a backup given the nature of our shows (weddings and events). I'm using a Guthrie Govan Signature Charvel as my main, and my second is a Suhr Custom Classic S Antique with pickups that aren't as hot as the Guthrie. So if I break a string on the Guthrie, I need to be able to switch to the Suhr and have it be pretty close to the Guthrie in terms of the gains. So the only way for me to do that is either getting the DS fixed, or setting up an entirely new set of performances. I feel like the DS is the best option and will be more efficient in the end because if going forward, I want to make a change to one of my rigs' effects or whatever, I'll only need to make it in one as opposed to both sets of performances if I don't use the DS.

    I always take 2 guitars as well. Are the differences THAT significant between the 2 that for an emergency you need new performances? That was my point.


    Conversely, others seem to have preset inputs for their guitars but some it must be possible.


    Another option is to add a gain stomp to each slot that is unselected and just add IF you had to change guitar. Yes bit more tap dancing BUT it is only in the case of an emergency.

  • Player coordination with Rack for live work?

    I had ruled the player out because it seemed so limited....but then last night at rehearsal, I didn't particularly like the Blackstar Amp'ed and ended up using the a duff in studio amp....given I only use a few basic sounds, I'm starting to think it might e good solution!

  • Looking for FRFR recommendations outside of Kemper Kab for use with Powered Profiler

    I have a more simple answer....take your KPA to an audio shop and try out various unpowered FRFR...that's what I did and found the one I like the most.


    BTW I switched from a 4x12 to a passive FRFR which was way better...until I got a Kabinet which is way better....but you have to invest time in every monitoring solution as you will have tweaked your sound based upon your previous solution.


    Just switching will not necessarily sound better. For example, when I switched from my 4x12 to FRFR, I realized that my profiles were really bad. I had tweaked them so much to compensate for the mid heavy cabinet. I could have easily blamed the FRFR but it was actually the 4x12 that was at fault. Once I tried different profiles, my world lit up!

  • How to use Distortion Sense

    Quote from OhG

    Cool. Thanks guys. I'll now begin an hour-long episode of cursing the previous owner of this Kemper while I reset the DS, gains and rig volumes. But at least going forward I'll have the unit set up the way it should be for multiple guitars. Appreciate the help!

    Dude - TBH with you I get your confusion as I have never really understood Distortion and clean sense - I probably could if I bothered to read about it, but...and here's my point....do you really need to adjust it?


    I have never touched mine in 9 years. TBH I tend to use different guitars for different songs and so I have the rigs set up for those. For example, I use a Les Paul and a White Falcon. I have a performance set up for the Gibson and one of the Gretsch, but that also includes other changes to those songs.


    In my other bands, my backup guitars are so similar its not needed. So only really if you switch between a single coil and humbucker equipped would it really show up....perhaps my bands are too one dimensional :)


    If I broke a string, I would switch performances OR I would put up with the slight mismatch for a set. For me, it would not be worth having 4 performances to cross cover any issues....does that make ( distortion) sense?


    In my mind its an over engineered solution ( one of the rare cases in the Kemper). I would just really think about if you need to re-set everything for that rare occurance..


    Just my opinion...

  • Can't get rid of reverb and delay SOLVED!!

    Difficult to tell. Its either as BayouTexan said you did something inadvertantly, a software error that has cleared itself or a physical problem with those butttons that has just started.


    I think if it happens again, you do need to go through some basic diagnostics to see if you can narrow it down, otherwise you will continue to worry.

  • Can't get rid of reverb and delay SOLVED!!

    Quote from theplayer

    Long press both Delay and Reverb buttons makes no difference. Both buttons are not lit (of course not in RM too) but any rig is full of delay and reverb, whether button is lit or not...

    So I'm really start thinking too about a serious problem. Buying a new Kemper? Since my 10 years of having my Kemper I never have heard anything about a specific repairshop for the Kemper. And I need my Kemper for doing gigs. And now it abandones me...

    Woah, unlikely to be a physical problem as the buttons are switching the lights on and off, so more likely to be a software or user/setup issue.


    So couple of questions:

    1) Can you eliminate reverb and delay or ANY profiles?

    2) Can you switch off any other effects?

    3) How are you monitoring? Have you tried other monitoring e.g. headphones? If it is headphones, make sure space isn't enabled

  • Show your latest guitar

    I love tele's....thats very nice!

  • Hollow sounding Kabinet in overdrive

    Quote from Lindsay

    The ear bit at the moment is a sensitive issue :) _ I am in the smae year league as Ozzie and Plant ..... so you can Imagine. Maybe its me ears :) - But changing a few things as suggested certainly seems to have helped . Thank you for your time

    Understand dude. You will know if its your ears if all sounds are like that and from any other amp.


    Hope you get it sorted :)

  • Hollow sounding Kabinet in overdrive

    My ears are also quite old, I have played a passive Kabinet since release with a powered rack live with hi gain sounds and definitely have no hollow sound, so Im fairly sure it is a global setting issue.


    Before you go into eq-ing, you need to check some basics, eg output settings.


    As mentioned, give more detail on your set up.

  • Getting a good tone live

    Quote from AndySchick

    The most issues I have with iem are related bone conduction when singing. But that‘s a different issue and we‘re highjacking the thread 😂.

    I think I‘ll give it a try at our next rehersal weekend, where we set up the whole PA. But I‘m not relying on that, so everything is fine. Was just a thought.

    Personally I would not mix the 2. The temptation, which I have seen many times is to have 1 ear in and 1 out, which is more damaging than both out.

  • Getting a good tone live

    Quote from karlic

    A lot of in ear monitors are voiced with too much of a scoop, or overly bright top end. Once I got the out front sound right, it was a gentle roll off from 4k upwards with a 6db curve for the in ears feed from the Kemper (not for FoH).

    Im not sure its a pure eq issue but I hear (get it?) what you are saying :)

  • Getting a good tone live

    Quote from AndySchick

    I also rely on IEM only, but am thinking of bringing an extra monitor for some speaker-strings interaction. Can be very helpful, if you‘re as mediocre as I am 😂.

    TBH I think unless you want specific controlled feedback, this is overkill and creates balance issues. Personally I struggle IEM's but the benefits are huge

  • Getting a good tone live

    Quote from Ruefus

    That....and if you listen to a LOT of famous guitar tones in isolation, they often sound horrible. No bottom, harsh....kind of ewe.


    In a mix? They sound incredible.


    Whatever you do, try to hear your guitar in the context of a song being performed. It may sound like trash, but it might sound phabulous.

    Double yes!!

  • Getting a good tone live

    Quote from mcvmcv

    As the first responder said; dial you live tones LIVE, at volume, that’s the key.

    Mbritt profiles do it for me

    They sound dull and lifeless in my desk, but come alive at gig levels

    I think it has something to do with the Fletcher Munson curve….

    Yes!!