That versa delay preset shared above isn't so far from what I had. The main difference is the 66% which is a triplet feel/swing time whereas the strict dotted eight feel is 75% so that the delay is falling in the first pass on the first and last semiquavers in a block of 4. These are just two different feels that you would use according to what the rhythm of the tune was or which you preferred.
TJ includes performances in some of their packs. Not sure if this is the issue but you might be trying to paste a performance into Rig Manager. (Edit - no performances in the Rack Attack Pack but I will leave the info below in case it is useful for anyone dealing with TJ profiles that do include performances)
Performances have to be imported using the file menu. Select the Local Library folder under "All Performances" - you can create and name a new folder if you like. Then go up to the file menu in Rig Manager and you will see "Import Performances" (Ctrl+I) pick them from the folder where you have them.
Not really. With a high impedance source, like a passive pickup, cable capacitance will create a low pass filter...but that's not the case in this scenario.
The differences the OP heard is likely either lack of level matching, or the mic preamp colouring the signal.
The R in that equation is the input impedance of what you are plugging the TS lead into, as I understand it. What do you think the output and input impedances are if you are running out the KPAs TS output into a mixer or amplifier?
TS cables act as an RC filter - they low pass the signal, just like a guitar lead plugged into an amp, pedal or interface. The longer the cable and the higher the capacitance per meter the cable has, the more the treble roll off. ( roll off freqency is 1/2 pi RC where C is the cable capacitance and R is the input impedance).
Assuming the signal has the same amplitude to start with, XLR balanced lines are louder than TS lines because they use a noise cancelling differential design which makes them suited to long cable runs (low noise, low impedance). This design sums two copies of the signal together at the receiving end (one copy of the signal runs phase inverted in the cable) giving both noise cancelling AND a significant boost in output level once they are summed.
Thanks for these.
Any chance you could share Kemper settings to replicate the signature AT 'halo' preset?
I'll see what I can dig up - I might have a preset saved with the AT style delay config. It was probably applied to a ToneJunkie profile so I would need to transfer it to a stock profile if I was going to share it. In the meantime you could probably do as well or better than I did in about 5 mins.
The Halo has quite a few parameters, all of which are accessed without a screen or menus - echo compression, echo saturation and it can do a variety of rhythmic delays as well as simple delays. I don't own one so am going on what was demontrated in the Youtube demos when it launched -- some of which were detailed and quite excellent. The Halo has an AT preset which uses two different synced delays. A dotted 8th delay AND a simple quarter note delay.
I wanted to emulate what I was hearing in those demos on the KPA and was pretty happy with what I could achieve.
Kemper has many delays options - the Dual delay and sevaral other options - which allow you to do the dotted 8th thing and a simple delay will give you the quarters.
An easy way to go would be to put the two delays in 2 slots one after the other before or after the amp block. Just run those two, one after the other and play around with the other parameters. You could try doing this with one of the more complex delays with more tap and feedback options and you might end up with something as good or better in one single delay block.
Use dirt parameters in the delay blocks if you want saturation and you can also have reverb in series or parallel and compression is also there if desired in the KPA.
KPA delays and verbs are not praised enough but they sound really good and are very flexible.
On the right wall in shot is a stack with a slant front cab with what looked to be a largish front on it - I thought it might have a large driver (eg 15") in it. Two basses are are among the guitars in the rack beside it. I wondered if a Bass version of the Kone/Kabinet was possibly on the way.
I was listening to the new Andy Timmons HALO delay demos and pretty much all of it can be replicated in the Kemper Delays which are amazingly flexible.
I loved those scenes where Tim Robbins' character tried to explain his invention with the aid of your patent application (or something more or less the same). And the marketing guys spitballing product names between shots at a hoop in the office etc and the precipitous rise and later fall of the new craze.
I have patented this shape. Anyone using it must pay me royalties. That includes anything with volume and tone knobs, and also includes avatars and smilies.
Have you seen the Coen Brothers' Hudsucker Proxy?
This might encourage Kemper to build a <gasp> PowerStage!
If they do, I hope it supports Stereo/Mono.
RM is typically updated prior to a new round of betas or just to fix any bugs that have cropped up. So since 8.7.3 has upgraded to release, we might be seeing another round of 8.7 or 8.8 betas or even (gasp) some pre-release versions of OS 9 - NAMM is just a couple of weeks away so ya never know.
Good luck with your project, Dan.
All those Thurston Howell III pix still crack me up.
Do you remember this line?
Heavens, a Yale man!
Has anyone tried the serial pair of Kempers approach with drive and amp profiles?
I use SD pups almost exclusively on my guitars. Most are hot HB pups (+12 ohms), however, I truly love the bite and growl you get with 6-7ohm PAF HB style pickups. I think the Kemper shines more with low output pickups even when you split them to singles.
Rather than swapping pups out of a guitar that sounds good already, I would opt to get another guitar with different pickups.
Those are all kOhm figures I think you'll find. Which models did you go with for hi and low output? People seem to like Antiquity/Seth Lover/Pearly Gates in the low output models.
Some devices like the Line6 modellers will sometimes not complete updates successfully using USB leads that have worked fine for other purposes. I had some issues of this nature and there were quite a few others who also had them and finding a better quality lead worked for me. Some leads work fine for power but not so well for large contiguous chunks of data at USB 3 speeds.
I am having the same issue. Windows 10, RM Version 18.104.22.16872, Release 22.214.171.124318.
Profiler is sometimes found by RM but the connection is is eventually lost within a few minutes. Multiple reboots of PC and Toaster, Windows updated, RM uninstalled/reinstalled, driver uninstalled/reinstalled. Nothing resolves the intermittent connection. This is a new 'feature' for me.
I would definitely trying substituting another USB lead and maybe a different port on the PC to make sure it is not a connection issue. Usually, if the software configuration is messed up then the KPA will not be recognised at all (until you do some uninstalls and clean out the various files in the OS and then reinstall RM). Some of these devices are pretty fussy when it comes to USB leads.
Just a note on the technicalities:
Level is an objective measure - signal voltage, sound pressure - and you measure it in dB relative to some agreed standard - eg dBu, dBV.
Loudness is a subjective experience - how the sound iteracts with your perceptual apparatus and nervous system - and is measured in phons.
If I say something is louder, that is analogous to me saying it tastes salty to me. You can't argue with me about my perception. You can only say - well, hmmph, it doesn't taste salty to me. We may not agree but neither of us are necessarily incorrect.
This is not exactly true, as mentioned above.
Quiet Profiles are not a problem.
And.. it is not possible to create quiet or loud Profiles. Every Profile is set to a unity level during the Profiling process.
The user has no influence to that whatsoever.
I was describing my experience with some profile sets. So I am trying to reconcile my experience with what you are saying here.
By unity do you mean unity gain over the input level? Or unity as in a standard RMS or peak volume level?
I have many profiles and some are much louder than others. It is possible to boost the level of a quieter profile in the parameters of the profile as I described and I have done this and the result is a louder profile, not clipping. So clearly, the KPA has headroom to cope with boosting in this way. Some profiles may be boosted perhaps after profiling by vendors. Another possibility is that clean profiles are not as compressed as profiles taken at higher gain levels, so subjectively, they are louder even though at peak levels (eg in attack transients) may be more nearly similar in level.
That is true - lots of quieter profiles out there. You can boost the volume of overly quiet profiles in several ways. Eg - you can get into the amplifier parameters and boost the volume there and play with other parameters like compression if you need to. Save your edits and you can match the volume of profiles that are too quiet for you to the louder ones.
It seems quite common for professional profilers to do a profiling run with different gain levels on the amp they are profiling, starting with gain/volume pots down at 9 o'clock and gradually turning up for the progressively dirtier profiles. The result of profiling this way is loud dirty profiles and very much quieter clean profiles.
If you are setting up a Performance with a set like this, you will likely want to boost the volume of the quiet clean profiles to better balance the levels.