Posts by JSB

    This video just got me PUMPED! I was trying to manage my expectations and not get involved in another speculative frenzy, but the proof I just saw has me going.

    The thing I'm most excited about, of course the Editor, but it was the Kemper Cone, and the new 1x12. When CK started talking about the vintage speaker they found in an attic, the Oxford 12L6, and that they've now added it to what the Kemper 1x12 can do- that gives vintage amp cloners the one thing they could never replicate: the physical vintage speaker, and it's aged characteristics. This means we'll be able to mix and match our newly built heads, to vintage speakers that we'd never have access to otherwise. SOLD!

    When the time comes, I'll be contributing a '65 Princeton Reverb clone head, a '57 Tweed Champ clone head, and a vintage '64 Gibson GA-5T. The vintage speaker is still in the Gibson, so I'm looking forward to profiling that speaker and moving it around to different heads.

    Also, in the video, in the signal chain, there's a 3-D cube called Ionosphere. This does look exciting!

    That switch is not new, I've owned mine for a couple of months now, but it's been around for at least 2 years+. The Kemper cable is sweet. I have this plugged into port 6 of the Remote, and have it set for two more Profiler switch buttons.

    The Pedaltrain Metro 20 is probably the smallest you could get away with. Most people don't like to put the expression pedal on the board, it makes it taller and adds a weird angle. To each their own. Here's some pics of a Metro 20, with the KPA and Mission, for your reference:

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    If the loops would play from a USB stick, then more than 30 seconds/1 minute loop time would be great too.

    Also, someway to sync the tempo with a DAW, would be extremely useful for me.

    I initially expected the looper to be a bit more flexible and full featured, was surprised by the limitations from the very beginning. Seems like an easy module for the Kemper Team to improve upon.

    This extra loud profile is not a bad thing, in fact, it's the other extreme of the results I've gotten so far, which can be too quiet. But out of 20+ profiles I made, this one is HOT, red output hot, and it sounds great!

    I really would like to know what happened here, because I can make use of this extra volume. It feels like it's coming from the input somehow, not like the Amp block was cranked up, but the input is somehow more sensitive and bolder. There is no difference on the input settings from any of the others.

    I made an effort not to refine any of the 20 profiles I made, but I may have refined one, and don't remember which.

    The question: Does the Return Volume level have as great an effect in the initial profile, or is it more apparent in the refine process?

    I'm having a difficult time trying to figure out why one of more than a dozen profiles I've made, is much louder than the rest. This particular profile turns the KPA Output light red, with a SC. Stranger yet, this profile was taken at the lowest volume setting on the amp.

    If I had accidentally set the Return Volume too loud during profiling, would this be the cause of what I'm seeing?


    The guitar and pickup have no influence when refining. This is another common misconception.

    The place this 'misconception' comes from, is the RM itself:

    This is what gives people that impression, that the pickups do in fact influence the profile, else why add that in the notes?

    EDIT:Answering my own question - Because the EQ may be set for a particular pickup - regardless of how the original profile was captured or refined. I get it now.

    I definitely understand that the volume level is crucial for power tube distortion, and also to display the authentic original charm of this little 5F1 circuit, with a 4 ohm 8" speaker.

    The thing that I'm now finding difficult, is setting the profile volume level, after the profile has been taken. To simplify this, I'll start by saying that anything coming out of the KPA headphone jack sounds Right. Routing and translating it to my DAW, is giving me headroom and clipping problems. I'm aware the Focusrite headphone output is near 16 ohms, and is not on par with a $2k+ AI. Though it's pretty impressive for the price point, and with the right amount of volume, it gets close.

    I've tried these profiles set with a flat volume setting, and then set identically to the amazing RMPacheco AC 20 Morgan settings, including the EQ in slot B, as an experiment to see what's possible and if there is a formula. That helped me establish a hackneyed/amateurish baseline of my own misdoings, quickly.

    Enough of my jabber, my question is this: should I upload these profiles in their taken state, at reference volume levels, which may bore some out of the box? Or should I pump them up, like the great Hays and RMP and so many others, to make them shine, and only put out the best few? I have 12 profiles, that I tried to be scientific about, so that the cab could be separated, and with a choice of (2) mics, at (4)volume settings, including (4) Kemper DI, is 12 profiles overkill?

    Thanks guys.

    It would be nice if there were a way to designate your own personal profiles, that you personally make, as being public domain, or freely usable by anyone who wants to change, or augment them in an way they see fit. Maybe a meta tag that lets people know the author is open to that somehow, maybe a Public Domain checkbox .

    I would give my permission for something like this. I'd be honored if someone picked the profile I made, to establish their own version of how it should sound. I'd want to play the amp/cabinet combo they made, and hear their preference.

    I truly am testing the limits of my neighbors patience, with even turning up to 11 to profile with this little amp. So I have to profile when I can and quietly if possible.

    I have all of the profiles completed, with the sm57, an e906, and the Kemper DI, at volumes 5,7,9 and 11, out of a possible 12 volume settings. I didn't refine any of the profiles, as I didn't want to bias them with SC or HB. The problem is now I have 12 profiles. I'll go through them again and see if all them are worth adding to RM.

    Thanks for the reply, Alan. I am finding that with a Champ clone, which has 12 volume settings and no other tone, or EQ knobs: taking a profile of every volume setting is unnecessary, like you mentioned. Volume level 3, sounds about like volume level 8.

    I'll probably do 3 different profiles per mic, and per volume setting, maybe volumes 5,9 and 11.

    @nighlight , as you can see in the video above, if I were to have the Return Volume any lower, the profile process wouldn't have completed. But, even though the profiles were taken quietly, that punch, grit and chime of a '57 5F1, is all there. If I go into the Amp block after the profile has been completed, and turn up the volume, it will make up for it, with that I can make this profile louder than the stock profiles.

    I was surprised to find that the KPA profiles treat volume level 3, the same way it treats volume level 8. Both of these volume settings produced nearly an identical profile. That's why I made a separate thread asking about the volume settings:

    Profiling - Studio and Direct Amp: Capturing Volume Settings

    I definitely plan on capturing volumes 10-12, but volumes 3-8, aren't all that different.

    That cable looks like it's perfect when you open the connectors up. It was playing the sound through the champ too, when trying to profile, that's what was throwing me off. I'll pull it apart a bit further and see if the connectors need to be re-flowed.

    Also, I ran in to that same profiling error again earlier, with a known-good cable this time:

    In this instance, my Return Volume was set to below +10db, turning it up to +15db made it work again.

    If there are any other ways left to blow it, with such a simple task as profiling, I'm stumbling my way on to finding them. I really think I've run out of wrong ways to do it now. :thumbup:

    I've got a simple little tweed champ clone, that I want to get the most out of, in terms of capturing all of the sounds it can produce at the different volume settings.

    I have both an sm57 and e906, that I'll be making volume-setting based, duplicate-profiles with. The champ has 12 volume settings, how many profiles should I take to get the most complete range of snapshots/profiles?

    When using the Kemper DI to create a Direct Amp Profile, is it just as important to capture the many different volume settings too?

    I do have a rolling chair, but this cable was bought and immediately stuck in a case, because it's longer than I need at home. I don't think I ran over this particular one :/.

    One of the ends of this cable does seem loose, I tired to plug it in to a looper and it acted dead. I haven't tried this cable again after tightening the ends. I'll try it again.

    I had this same problem for a long time too, a random artifact, crackle or pop. What finally fixed the problem for me, using Windows 7 x64, was theses two things:

    Go into Power Options>Advanced Settings> and change the Processor Power Management, Minimum setting, from 5%, to 100%. This stops the CPU from trying to save power, at the cost of performance. This one made the most difference for me.

    If that doesn't solve all of the noise, try disabling your network adapter temporarily. I have a shortcut on my desktop, to my LAN adapter, I right click and Disable it when working in the DAW. Sounds crazy, but this stopped the artifacts that seemed to happen on schedule, as if every 37 seconds or so, I'd get a crackle or pop, that I could nearly set my watch by. Disabling the LAN, while in the DAW, fixed this problem for me.

    All this sounds like a huge hassle, and it was, but when I finally got that glassy clean artifact-free DAW, it was worth it.