Posts by chu

Quote from Roeffel

Should this also be used to fatten up leads ? make them sound les thin ?

Raf

You could try it and see how it works out. But I can't think of a time where I would double track a traditional solo type lead though. Despite the immediate wow factor when double tracking stuff, there are often downsides and that can be punchiness. Like a good, punchy, fat vocal, lead guitar often has the most impact when mono (maybe some stereo effects such as delay though). Double tracking and panning have the effect of pushing it away, creating space and air.

I would be most likely to use it for massive sounding riffs, chords and cleans.

Quote from steinweiner

Most of the profiles I use are profiled with a V30, or just sound great through a V30 loaded cab...I bought the Kemper cab (..has the Kone..what else would it have??) thinking I wanted all of these different speaker type options, but nope, I like 1 or 2 maybe, so I don't need it. I hear it sounding pretty good for different types of cleans, but for the modern hi-gain stuff, either one of my V30 cabs already sound great (..of course I turn the "Cab" sim button off to monitor.) Again, the profuiles I use are profiled with V-30 or OS Recto V30 cab, so for when I need to be loud and have the air moving, I just plug my Powerhead into one of those cabs, still use the main outs for PA or recording. The Kone/cab just isn't for me. Love the Powerhead tho : )

I fully understand what you're saying. When I got my Kemper, I assumed that I wanted amp x for clean, amp y for crunch and amp z for lead. Then a few others for certain sections.

I've enjoyed the journey of finding what profiles produce my preferred sounds and the ability to try new ones whenever I get bored but like you, my preferred sounds aren't all that different and don't require a number of different speakers to produce when one decent one will do.

Genuine question, were you using the shoulder strap? I've never used the strap and think it went straight in the back of a drawer. My bag has been entirely robust and confidence inspiring so I wonder what the difference is.

I use a pretty advanced MIDI board with semi automated switching. I don't need the bank of five feature but do always use one Performance bank per song, even if I only use one sound in a song. The only two measurable benefits I get are a) having mildly different versions of the same profile for different songs, whilst having a standardised version in Browse (maybe a different delay time for example) and b) Faster switching between sounds.

If that isn't an advantage to you, I'd say stick with Browse.

A 5 pin DIN Midi cable only uses three of the pins and I have previously wired XLR cables to Midi connectors in wiring looms. So, at a guess they're saying you can use a TRS to 5 pin Midi plug cable, if wired correctly.

Quote from spotter

I think most people don't use Windows tablets. They are mostly used in a business enviroment and a lot of people will have an ipad or an Android tablet.

You are one of very few who already have the hardware to do this stuff that we will hopefully get soon, so i can understand why it's so underwhelming for you

I bought it for £38 on ebay when the editor came out. I use it for controlling our Behringer X18r mixer, lyrics and for the aforementioned editor. So i could use it at rehearsals but don't. I'm not trying to be mean, nor dismiss why someone would think 'ooh, that's handy. Thanks again Kemper' but still, I'm just not as excited as some.

As cool and welcome as this feature is, I'm not really seeing the excitement. I use my Kemper for home practice, recording, band practices and gigs. I use a large number of patches, loads of effects and it's far from a straightforward guitar-amp-rockout.

At home, it's connected to a Windows tablet so I create my patches either with the front panel or RM editor.

At band practice, I'll try the new patches and might have to tweak the volume at the end of the song but I'll just make a note of what needs adjusting when I'm home. I don't want to be the guy that frequently asks the others for a moment to fiddle with their gear as we're paying for the room per hour. The next time we get together, those new patches will be 99% there.

At gigs, I don't adjust things. Whoever is doing the FOH might tweak the EQ on the mixer but my sounds are well rehearsed and good to go.

I understand that it's a welcome addition but it's not going to help me do anything I can't already. But each to their own!

I've got an MEI 1000 system and am happy with it live. It degrades the sound though, i don't care when playing with a band as the benefits of wireless iems are immense but I wouldn't use it at home.

Quote from Ruefus

Authentic compared to what?

Is this for me?

I remember my Line 6 HD500, it mimicked the model perfectly. The Vox had a cut knob instead of a presence control which (like the original) worked counter clockwise and one of the models ditched the EQ in favour of two gain knobs (again, like the amp modelled). It felt like a great idea but sadly, I spent forever tweaking it to sound right.

Then came my KPA. Sure, the controls aren't modelled to work exactly like the real amp but they work surprisingly well. Find that great Marshall amp profile but need a little more gain or less treble? Do it. Does it sound entirely authentic? Well, to my ears, I now have a perfect sounding Marshall tone. It's lost none of the character I chose the profile for. It's only my brain that considers if it's authentic or not.

Give me a genuine valve amp and I don't tend to play with the extremes of the settings, I find perceived sweet spots and adjust it to best suit the guitar. Then it's a minor tweak here and there depending on circumstances. Isn't that essentially what we do with a KPA?

I had a Mimiq pedal (the full size one)and I tried it in a stereo loop and at the main outputs. It made things sound massive when active but I remember it creating problems with difference in levels when switching it on of off (I forget the full details). I ended up keeping it on all of the time and convinced myself it sounded great but changed my mind after a while. It did sound really immersive on headphones or monitors at home but with a three piece band, direct to the PA, panned hard left and right in stereo it fell apart. The crunch/filthy rhythm stuff sounded really good but there were moments when it detracted; it was really dependent on what riff I was playing. Maybe if you could send one output to a different amp or profile it might work, but less so for use with a KPA with its single profile. On cleans it felt like you'd scooped the mids and on leads, it destroyed the cut and aggression completely.

I honestly though it was going to be a great solution for me but it created more problems than it was worth, even with a PA controlled entirely by me. I sold it within a month I believe which is the opposite of my tendencies.

Sonar 8.5 with Windows 7. No crashes and I know the system fluently.

I've just had to buy a new (used) interface and went with a cheap M-Audio Ultra 8r. I can't notice any sonic difference from my previous interface. I wanted spdif as it makes reamping so simple but it has no influence on the sound quality.

Latency is irrelevant. If you're playing through a Kemper, either direct monitoring or a second input to the monitors makes it meaningless unless you're playing midi keyboards to a vsti.

In terms of power, it depends how loud 'really loud' is. For most purposes, it would likely be ok for rehearsals but once that volume starts rising, it can be increasingly hard to achieve separation in a confined space. Having multiple sounds coming from one source can lead to frustration and arguments; that's effectively why individual mixes are preferred.

But it's all very subjective, I've rehearsed in tiny rooms with just two small powered wedge monitors and full rock band. Sure, the rest of the band don't hear the vocals so well but the singer can.

This is getting a little bit impolite, there's no need for any of us to be so.

I appreciate the OP's desire to have the profiles automatically select an imprint to match the cab used during profiling. But not only would that require either a reduction in the profiles available or for Kemper to come up with a massive number of Imprints immediately. It simply isn't viable.

We can already store Imprints against Profiles so that we can achieve just this, but that requires us to do so. With the vast variation in miking positions and differences in personal taste, we will always require lots of profiles. The majority of us are entirely satisfied with the route taken by Kemper to give us some of the guitar speaker sound.

If you consider that for any live performance with decent PA or studio recording, the drums, voice, guitars, piano, strings etc have been captured through a mic. If you were able to remove the sound of the mic from the guitar, you'd have a hard time making it work in the mix. It's really about the monitoring for the Kone.

So yes, maybe there is a compromise to be made by having to assign an Imprint to the sound you're making, which may not be entirely the same. But you can flip from FRFR to V30 to whatever and still get close. The alternative compromises will disappoint far more people than this method.

Instead of changing Imprints and the main outputs not changing to suit, I consider it the opposite way round. I am changing the Imprints to match the cab used in a Profile that I like. If I want a different IR for recording or playing live, I select a different Profile. I then make sure the Imprint sounds equally as good for me on stage. The priority for me is still the Profile used. If I'm dialling in the perfect tone for the Imprint without considering the main output, I'm neglecting some of the Kempers best attributes ie reliable, authentic sounding mic'ed guitar tones. No worries about the engineer dangling some cheap vocal mic over the cab. Same every time. That is my priority but the Kabinet allows me to play with the familiar sound of my guitar speaker au naturale.

There's no magic, one click solution when using FOH. All mixed guitar sounds are captured through a mic, the same as drums, vocals and keyboards. The audience's ears expect that but us guitarists don't due to years of playing beside an amp.

If the Kemper automatically changed the cab on the main outputs to reflect the imprint applied to the Kone, you might not get the desired result. You could get a sound that doesn't work on the FOH system you're using on that occasion and would have to adjust it after being told by someone else.

The best way to us the Kemper, Kone and FOH is to dial both in to suit. I'm entirely happy with the concept that with a well dialed in FOH, I can still change imprints to find my own tonal mojo. It's a monitoring solution that covers all the bases but accordingly will at be slightly less intuitive to some.

It's not an oversight. It's not a flaw. It's a feature that suits the majority of users.

Nah. I've got a couple of much longer USB cables which are about 5m. I've also got a 10m USB extension cable. I don't do much with them but know that they certainly handle connecting to a printer and even record DI guitar when used between a USB interface and laptop. I would imagine that 10 mics on drums might be an issue but I've never had a single glitch.

Mine were from nothing more specialist than Amazon.

if you can borrow a second Kemper, you could capture a profile of your Kemper with effects (not time based effects including modulation). Because, ya know, we've all got a spare Kemper laying around, right?

When I say 'sound card' i am referring to a USB device.

Nearly every sound card will have direct/hardware monitoring. And a lot of monitor speakers have multiple inputs. It doesn't matter that the drum track from the DAW has as much as 10 seconds of latency (other than it taking ten seconds to start after pressing play!) as you're playing into the ultra low latency Kemper. The output of that is split a) to the DAW and b) to the direct/hardware monitor outputs which has zero lag.

If you record, the sound card has already measured the latency and knows how much compensation to add to the recorded track.

The only thing that latency effects in the real world is DAW effects when tracking and soft synths. There's a lot of dick swinging on the subject which if you have a Kemper is irrelevant for guitar. I use a similar approach with synths, I use on board synth sounds and send that and midi to the DAW. I can leave the latency control on maximum and record and monitor with zero latency.

It can rarely be an issue when micro editing loops but otherwise I'm far more interested in stability.

Latency is only relevant if you are using the DAW for monitoring whilst recording. For example, you record vocals and use compressor and reverb plug VSTs as you sing.

If you're connected to the Kemper, you can send a full sound and an unprocessed track to the DAW but unless you're using the DAW for effects, latency is irrelevant as you're monitoring the guitar directly from the Kemper, not through the DAW.

Mine is usually set on maximum latency, unless I'm using a soft synth VSTi or really need a particular plug in whilst recording. I believe that some people overplay the importance of low latency universally.