Posts by JedMckenna

    Yes, same quality but you'll need a little converter box (which is cheap).

    That being said, sound quality out of Kemper is essentially the same if you use main outs or SPDIF, but SPDIF is very convenient. I use an Audient ID 14 that sounds ok but keeps disconnecting and just being a lot of trouble. Depends how much of this depends on your livelihood but at this point I wish I'd have gotten a higher end one like Apogee or RME instead of the cheaper ones.

    Didn’t mean to mislead anyone my friend, I am not calling them “Chinese Gear”. They are indeed by definition Chinese gear. Regardless of where the R&D took place, like or not, they are made in the PRC. But let’s be fully transparent here. Where are the profiles themselves made?

    Get my point? I am sure they are not made in China for a reason. And I would go as far as take a good guess at the reason: You guys, Kemper, have the highest of standards in your German Factory and manufacturing process and even tough it would be much more affordable to produce it in the PRC, they are not (and likely never will)

    So, I was just noting that the quality of the Kone is very nice, despite being affordable (because they are made in China) thats all.


    Not to hijack the thread but we are not in the 80s anymore and the stereotype you are hinting at really needs to die. The early quality control debacle of the KPA Stage should be enough to disprove your point. There are reasons to not have your product made in China but bad manufacturing quality certainly isn't one of them anymore.

    -Save your kaos file from v6 and old RM somewhere and back up your kpa.

    -Install new release + editor

    -Find out for yourself

    -If you find occasional bugs that are deal breaker, go back to the old v6 + RM

    The transition to OS 7 hasn't been as smooth at it was with other versions for me. Still running on the beta and first editor beta with many bugs but will upgrade as soon as I'm done with this recording project. I'm guessing by now it should be pretty stable.

    I don't use an MS-3 but the way I look at it, it's redundant to have a multi-effect going through a Kemper. I've always been able to use Kemper alone without the need of any outboard effect and while I am sometimes picky with outboard gear when recording, it's not worth the hassle for live as I need to keep it simple and carry less. Also about the delays as well as the majority other Kemper effects, I'm sure you can get close or better sounds than most outboard gear if you spend enough time tweaking.

    Some of those guitar-oriented youtube channels really do everything they can to distract people from actually playing guitar. How about focusing on the real stuff instead of on the variables that matter the least. You'll lose your precious cables soon enough as soon as you start having actual gigs.

    I don't know if those two comments came from the same venue or not but sometimes you can't win, something about the electrical wiring of some places makes your equipment more susceptible to hiss. Try to ask if your hiss is everywhere or just from certain rigs. Try recording your rigs to see if the problem is you, then troubleshoot: try ground loops switches, different guitar/cables, disable effects. Maybe a noise gate could be more effective than an EQ.

    I have always used .009s for regular e-e tuning on guitars with 25.5" necks and. 010s on 24-3/4". That gives about the same tension when swapping back and forth between different guitars. The exception is for 60's-style instrumental music for which I prefer heavier strings. Rick Beato's test unfortunately ignore both clean sound and sustain. With distortion and/or effects masking the true sound of the guitar you can get almost any result you want with any string gauge given a few minor EQ tweaks.

    Indeed, that youtube test is whack imo. Your attack eventually adapts to the gauge you use, of course if you attack the same way on .012 that you do on .009, it'll sound like you don't pick hard enough and if you attack like Stevie Ray Vaughn on a set of .009, it'll choke and sounds like you have no control. Also, as heldal said, this riff he does and overdrive he uses is quite useless to compare tonal difference. The biggest thing about string gauge which he doesn't seem to address is that feel, stability and sustain is a much greater variable than tone in my opinion and except maybe

    for the latter, those can't be understood by a youtube video.

    Another guy started a Kemper channel when it had just came out and because Kemper was in the name of the channel, he explained that he had received a lawyer letter saying he had to stop using that name because the company didn't want to be represented by non affiliated random people doing Youtube videos specifically about their products. Not sure what's happening here and I don't want to speculate but with a name like that, I wouldn't be surprised if it were a similar legal situation.

    If the QC lives up to its claim, and I can't see any reason why not, then it's going to leave the Kemper looking like a DVD player in the 4k/5k streaming era or whatever it is.

    If the KPA stage had half of them it would have been an innovation but instead they just repackaged old tech in a still large floor unit with an even poorer interface.

    The same Kemper box has been gaining market shares every year since its introduction and if you were aware of this market share in the pro recording/live touring circuit, you would know that it's not some new unit, no matter how great, that's going to make it become obsolete overnight.

    "Old tech" is a weak argument and pretty dismissive considering how well it is being sold at the moment. A lot of folks on the pro scene around me are ditching their AX8 (has been for many years and still is the unit of choice) in favor of the Kemper stage these days, as I predicted... old tech or not, it seems to perfectly hit a niche market. I see the excitement of some folks for "Neural" or whatever new company, but it'll take not only quality but a serie of specific circumstances before a product takes over and become industry standard the way Fractal and Kemper have become these last few years.

    I've noticed than many profilers like to crank the level (in the stack section) very high - probably to give a false impression of "sounding better" - and it's creating kind of volume war between profilers similar to what we saw in the field of pro audio. It's a bad habit that needs to be stopped for the reason you mention for one (ie. many acoustic rigs have no way to match some distorted ones). I often end up lowering that stack level variable for all profiles of a seller by a fixed 3-4 Db and compensate with giving more in the mains out. However, a rookie mistake is to have louder clean sounds than distorted because when you set them up, you adjusted them to be the same: they usually have to be much lower in the first place because of the context they are usually used in. That balance is a complex thing that takes a while to get right: when you think you have it right, record your gig and check again.

    Cool use of Bert's Friedmans! They are awesome. At first I thought they were just good but now I've been progressively ditching so many others in favor of Bert's because out of the box they just sound exactly what a guitar should like for a certain genre. I think I also use one with the "Sat" setting too - definitely incredible value in that pack!


    - An awful lot of pedals: Strymon Dig, El Cap, Flint, King of Tone and several other drives, EH Pitchfork, Volume Pedal and tuner, expensive cabling and power supply for pedalboard, etc.

    - Komplete midi Keyboard

    - Ipad (only dedicated for reading sheet music live)

    - Imac 27" (mostly for music production)

    Sold: Nothing

    With some of the artists I play with on smaller venues, I'm enjoying pedalboards a lot again. As good as the Kemper effects are, when playing mostly with effects/textures, I find the pedalboard/stompbox configuration to work way better. Had several music production gigs spontaneously come up this year so I had to get geared up for that.

    This. I use the acoustic profiles of a famous Dutch profiler. I did choose on of his great profiled preamp and eq matched to fit a recording of my singer's amazing high end Taylor mice'd (mostly by ear because the visual representation doesn't seems to reflect reality). I mostly use it with a Godin Multiac kind of acoustic/electric which is feedback resistant. It's changed my life for live acoustic and also useable for recording - unless the part needs very pure/exposed acoustic where I would probably still get a well mic'ed acoustic. I also suggest to do slightly different settings for strumming and picking.

    I think there might be something wrong with your sample. Something in your chain might not be right. One of my main out had become defective on mine after a few years (Kemper took tare of that in an exemplary fashion).

    I'm reading this thread coming back in my hotel room after playing an arena, so I had to chime in. If you want to "hear clips" of other people, just go outside; it's being used everywhere at the moment, from major recording engineers to the live circuit, the Kemper is literally everywhere in the pro world without you knowing it because it's hidden in a rack behind the fake Marshall stacks or on some number one hit where you have no idea it's been used. No need to prove that it's capable, just do your homework correctly and you'll figure it out.

    I look at pickups in this simplified way: either they are single coils, low output HB or high output HB (or P90s/filtertrons but I'm not using those often these days.) Of course different models of pickups all have their characteristics (and often some of this is marketing bs) but the difference can be made negligible once you compensate with adjustments the main eq section of the profile. Figure out one of the 3 category the sound you want is from and then just hunt for profile and tweak until you get it.

    Either you use an EQ post in your sounds to bring out the good frequencies and take down the nasty ones or better, start off with profiles that have your idea of "creamy tone" in the first place and apply minor tweak to fit your intruments. Look for sounds on RE (it has over 14k rigs, many of which are great) or inside the Factory Rigs and then stick to a handful of rigs that you like for a little while.

    Original song recorded with Canadian singer-songwriter Ember Swift. I tried this rig "60s Fuzz Jubilee" by paults on RE with minimal EQ tweaks when mixing (the pedalboard is a prop.) I also lowered the gain down so that I could go from smooth to "chainsaw" just with the touch.

    As MM said, mains/spdif sound the same. Not familiar with this specific interface but I think those Sony cans are closed and have added low end or EQ that you like (they might not be very flat). Maybe it feels better to you through that kind of EQing? You can try to match this with the graphic/studio EQ.