I have also found that changing the cab, even though it is bypassed from the monitor out, changes the sound in some cases. For example, Ownhammer's 412-GTR MAR-CB MIX adds strange kind of rattle to the sound, when playing trought a regular guitar cab with the KPA's cab disabled from the monitor out.
TAF soundclips. Which is funny because I don't use any of TAF profiles anymore.
Ok. This profile sounds pretty darn good.
Are these only studio profiles?
Some of you asked me when I would do merged profiles from my IIC+. Well, I would love to but my amp is out of order for one month and is still on the amp tech workbench...
I thought it was LDR problem (no distortion on the lead channel), but the LDR are OK... One resistance somewhere in the preamp... Of course, it was a big mess because some values of some resistance were erased with time (they are 30 years old !). Hopefully, I managed to get an accurate schematic. I keep you informed. The worst is that like Michael Britt I have one SM57 and one Fathead Ribbon mic ready to profile !!
Waiting for this, Thumas pack is awesome !
Any news on this matter?
Any news on this subject? Is it worth it getting the Kemper di or is the Behringer just as good?
Here is a quick test that I did today. I made an IR of my cab with TwoNotes Torpedo Capture and loaded into my Torpedo CAB. Then I left the mic's in the exact same position and recorded the amp & cab into my DAW and I also ran the direct out of the amp into the Torpedo CAB and recorded it at the same time. I don't do cleans but I did start at a light crunch and worked up to a higher gain tone. I mixed it down so you'll hear the same riff twice, can you tell which is the amp & cab vs. which is the amp & Torpedo CAB?
This is why I think Kemper should give us the option to make speaker IR's.
They sound really almost identical. I'm quessing that the first one is a real cab and the second is Torpedo. Did you ever give the right answer to us @timowens ?
The ability to use impulse responses with Kemper would be very good since so many of profiles suffer from poor micing. And also because there are lots of great cabinet impulses available already from Ownhammer etc. Of course you could use the Cab Maker but it seem to change the sound of ir quite a bit.
when you set the delay to 100% wet and use quite a bit of Modulation, do you now hear the vibrato?
Thanks for the suggestion. Yeah, it is vibrato.
Like @andrasvermes suggested, the "chorusy" sound must be due to L and R being modulated separately and in different phase.
It would be very nice to have the L and R modulation in phase and also it would be nice to control the depth and speed parameters. For "Edge" -kind of sounds I use quite shallow vibrato with speed around 5Hz.
Well, the Modulation of the Delay is a vibrato.
It is working in opposite phase to detune the left and right side to create a stereo effect for the delay, equal to the air chorus.
Tthe Modulation parameter controls the rate and depth simultaneously.
I cannot see an advantage to have those controls separately for the delay.
The U2 example can be well achieved with this.
The Strymon Timeline has an equal setup, but with separate rate and depth control.
Can you tell that having separate control is a big advantage?
Background: both rate and depth control the detune of the delay, but work against each other in a way. A combined "Detune" does the job perfectly, without having to trade two knobs against each other. That's what "Modulation" is.
If you, as the one who designed the unit, say that the modulation is vibrato, then it must be vibrato. The reason why it sounds more like chorus or flanger, is then beyond my knowledge. Maybe it is because of the opposite phase?
I know this has been mentioned in other threads but how about this for implementing it-
if you could have a soft button in the delay to link the Mod slot to the delay repeats. with this option you could apply any effect you like just to the delay repeats?
That would be a great idea. Something like in TC Electronic G-System where you can choose different routing and have the modulation effect the "normal" way, or just for the delay repeats.
if you look at the origin of thise effects/names, yes.
A chorus effect - like the name implies - happens when more than one performer plays the same phrase at the same time, subtle shifts in timing and pitch between the two (or more) create a lush sound.
Vibrato is achieved by periodically changing the pitch and returning to the original pitch.
The electronic versions of these effects however are created the same way:
If you take a chorus stompbox (a real one) you can disable the dry signal by cutting the right wire/component or inserting a switch in the right place and you now have a vibrato unit.
A chorus can have more than one voice, making it more complex than a vibrato, but the same principles apply.
Yes, I'm aware that those two effects have similarities, and chorus is a delayed vibrato mixed with the dry sound, as I mentioned in one of my earlier post. Still they are considered as different effects, they sound different (at least in most cases), they have different names and they are found as separate effects in fx processors.
IMHO any pre-delay-fx is automatically part of the delay trails as it is part of the signal chain which hits the delay.
Adding delay to a modulated sound vs. adding modulation to the delayed sound are two different things. The feature of adding different kinds of modulation effects to the delay trails is a very common practice and it is a feature that has been in countless rack and stomp box delay devices since the legendary Electro Harmonix Memory Man, TC Electronic 2290 and Korg SSD-3000.
As an example of vibrato in the delay trails, listen to the first bars of this song:
I'm still confused. Isn't a chorus just a vibratoed signal mixed with the dry signal? Isn't that what you get when you have a vibratoed delay?
As with all requests like this (like the one for continuous adjustment of Rotary Speaker speed), more control = more sounds. If someone wants a delay with fast vibrato, why foreclose that option, assuming it's not resource intensive? An effect that doesn't seem "useful" today may be tomorrow's must-have sound. Actually, it would be fun if the KPA allowed stomp FX (distortion, EQ, pitch shift, etc.) to be applied to the delayed signal, although I recognize that would introduce the kind of routing complexity that you've tried to avoid.
I think chorus and vibrato are two different effects. Vibrato changes the pitch of the original signal, or when talking about delay trails, the vibrato changes the pitch of the delay trails. Chorus however is different and explained in this quote:
"The chorus effect is based upon a short delay. Incoming audio is split and run through the delay, then mixed with the original audio and sent to the effect's output. With short delay times (20 to 50ms), the delayed audio blends with the original audio instead of creating a distinct echo. To add movement, chorus effects slowly modulate the delay time with a low-frequency oscillator (LFO). As the LFO cycles the delay time up and down, the delayed audio shifts up and down in pitch by a little bit."
So, I agree with you that a short delay with vibrato applied on it's trails would be something like a chorus. But with longer delay times, for example 300-600ms, it doesn't sound like chorus anymore.
And furthermoere, vibrato and chorus sound different, no matter are they applied on the main signal, or on the delay trails.
To me to modulation in Kemper sounds more like chorus than a vibrato that is found for example in Strymon Timeline or Boss DD-20:
The reason for the rate control would be because we all seem to have a little different opinion what would be the best rate.
Vibrato. And if possible, also rate and depth control for the vibrato.
I don't think that there is a way to change the modulation type.
It would be great if there was an option to choose the type of delay trails modulation. For example, vibrato would suit better for U2 -esque delays.