Make sure your pickups aren't too high on your guitar. Especially with high output pickups, a magnetic pull too strong and close to the strings can cause sonic weirdness.
Posts by JedMckenna
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I'd suggest to start with the factory rig packs by commercial profilers who cater to your genre. They cover much more than they did in 2013 and with this and RE, you can probably get everything you need without buying anything. - except maybe a set of real speakers/FRFR so you can actually what it sounds like for real (through guitar cab, they can all sound too similar.)
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I have the same problem. I really take care to have the cable pass under the profiler so that it doesn't pull away from it in case there is a tiny pull on the cable. It's very fragile and really waiting for a catastrophe to happen (like when that cameraman fumbled into my cable and pulled out that UK power adapter right before my solo intro during an arena concert... tape your cables on the floor folks!)
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Still rocking some OS 5 release here while I've been into this never-ending recording project... looking forward to upgrade soon but at the same time, I don't get the obsession to always be on the latest betas. Those earlier releases were rock solid.
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When the editor does get released this thread may turn into a "We WAITED 9 months for this piece of ...???????"
You might not have been here long enough to remember the delays, the reverbs and the multiple OS releases: the editor release will go almost unnoticed/unappreciated and a few hours later, the same users will just move on to the Kone/Kabinet thread whining about why the latter still aren't out yet.
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Varying the gain on the original profile via a boost/od stomp is a great way to keep consistency in the tonal character of the profile because different profiles of the same amps can sound very different. However, if you want a different flavor of tone and eq shape altogether (closed back 4x12 vs combo, etc) or something way outside of the spectrum of gain of the original profile, getting a different one might be easier, more accurate or preferable. About the obsession for trying presets and tweaking, I suggest consciously limiting your options to a few profiles at a time.
I encourage to explore Rig Exchange and especially the free packs from commercial profiler for some time before splurging left and right on a bunch of commercial profiles you are likely to waste if you don't know what you are really looking for in the first place.
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I'm not getting angry.
As it's a forum I'm quite within my rights to comment, as I see fit. I really don't need your input, or critique, and patronising retort of every line I write...
You being "within your rights" is irrelevant. Sorry that someone has to point it out but those kinds of posts by people who don't even own the thing are trollish at best, and that's why it annoys some people. Like any products, of course there will be bugs and malfunctions happening to a small sample (and be well taken care of) but while thousands of other are doing just fine, you generalizing over the entire line is childish and not helpful to anyone.
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I'm not sure whether it's fugly or nice to look at haha.
I'd say both... what looks weird in a living room sometimes looks badass under stage lights!
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The way I operate is I have a main rig folder that I use 90% of the time. This folder contains only 4 profiles for every one of the 10 gain increments (so 40 "favorites"). Once in a blue moon I sit down just to try other profiles and they better be real good to replace one of its respective 4 in that main folder. Eventually, you get to know quite well what to go for and what is at your disposal so that there is no time wasted messing around.
Concerning recording, I recommend recording your DI no matter what so you can re-amp later when you find a dozen profiles that you think would have sounded better.
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Audient makes great interfaces but unfortunately, with it's single line input and no spdif, the ID4 is too limited for proper stereo recording. I used a Audient ID14 and while still not packing too many features, at least there is what's needed (and more importantly an ADAT input with which you can use spdif if you get a cheap little adaptor). I suggest either getting this or a cheaper Focusrite in order to take advantage of spdif.
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Even if they "ship worldwide free", some countries has very intense custom or weird protectionist type fees that in some case are very hard to predict before the product actually arrives and get stuck at the custom. With that and the rate of change, I paid around twice the retail price for a toaster+remote+bag when I got it some 4/5 years ago. If I get a Stage, I will definitely wait until I tour in the EU/US to buy it!
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In my experience, when there is feedback or sound issues like this, we go into survival mode and all this fancy gear, KPA rigs and tweaks suddenly become totally irrelevant... then I wish I had brought just a Blues Junior and a TS9! These kinds of gigs still occur very often for me and I still really hate how dependent we are on other factors when going direct with a digital device. If I have any doubt that this situation might happen, I bring a small amp instead. I recently went back to a nice full pedalboard (that has the ability to go direct too) and live, I use it now as often if not more than the KPA (depending on the gig); it's just consistently good throughout any random system or situation I come across (ie. touring in small venues).
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But ... Dual Amp allow great and infinite creative possibilities (many of us would use and experimenti with it), so, to start, it could be a fantastic addition just only a "dual stack feature" without missing the other ones you listed.
So, to be more precise: today all the chain is mono till the stack included, then from slot X start a stereo configuration. Let's think that the stereo mode start then from the stack itself... "Dual Stack" feature would allow to run a double stack A & B in parallel with just two additional parameters: a Blend parameter that goes from 'only stack A' to 'only Stack B' and a Stereo/Mono parameter that goes from 'Stack A fully Left Panned & Stack B fully Right Panned' to 'Mono Merged Stack A&B'. All the rest of the signal chain would remains exactly like today. So, not a full flexible parallel chain, but the most important thing of a parallel chain: two increbible Kemper Amp Profiles together! I'm sure this could make happy more than 90% of the "parallel chain users" ... like a dream
I personally don't get the hype at all about dual-amp. Same signal through 2 amps is not how you make guitar wider in a mix. I'm actually genuinely curious as I might have been missing something about this but in your example of "Stack A and B panned on either side", I'm not sure when that could ever be favorable over a proper double tracking panned on each side. If you really want the exact same track with two amps, just re-amp the DI track with a different amp... If I want a different kind of definition or accentuate different frequencies, it's probably because I haven't chosen the right amp/eq/settings to begin with. Seems to me just like a trendy feature that make it sounds like all of a sudden, your guitar will sound better because 2 amps must mean bigger/better tone...
Edit: Sorry about going off the topic of this thread!!
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I got my toaster four years ago and am surprised how big of a crush I still have on this thing. There's no rush in getting another device but it will probably happen within 2/3 years, or the moment I get on a gig that helps me justify it!
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Yes. Seriously. Kind of cool.
I don't care what you and the rest of the basement jammers on this forum have to say. I have been using the Kemper in a professional recording context since 2012 and it desperately needs a better editor. These floorboards are not what a touring professional wants and I'll be seriously surprised if they sell anywhere nearly as well as the the rack/lunchbox units.
No offence but I'm certain this company is more in touch with "touring professionals" than a random guy chiming in on the Kemper forum. As a "touring professional", that's exactly what we want. What stopped a good chunk of my peers to get KPAs was the form factor: if they used an AX8 live (was the unit of choice in my circle), they usually had a AXII/III at home, why would you change ecosystem? A surprising amount of gigs/tv shows are plugged direct, no amp on stage and IEM, so besides AX8, some use Amplifire 12, or real boards with Torpedo kind of thing, those bringing their rack for fly dates are a bit zealous. This form factor eliminates any air travel luggage restriction (KPA bag was usually ok as carry on but still heavy with remote and rack sometimes needed to be checked in.) and it makes everything lighter and easier (hence the success of the AX8). But this doesn't lag between patches and can be used to profile the amazing amps constantly in the vicinity of our rehearsal rooms/studios; it's just the logical upgrade for many of us. Nice try on your part but no doubt in my mind that this thing will take over within a couple of years. Also it's getting pretty obvious by reading between the lines that the editor you desperately seems to need is right around the corner.
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It really does seem to have everything a unit of this type needs to become the golden standard among touring musicians. Around me, it seems to have been the AX8 for quite a while but I believe over the next couple of years, I can see many folks switching to one of these. Not going to lie, I'm probably going to jump on the train at some point too... Well done!
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I quite like the TC Polytune as a tuning pedal for live and the newer versions are very efficient when doing quick tweaks in between songs (strum all-strings-together mode), the v3 has a built-in buffer so is also very cool for pedalboards. The complaint is that they are not quite precise enough for recording purposes as the cents are not indicated and I have to agree that the Peterson style tuner is much more precise. Btw, the Kemper implementing the Peterson type instead of the bubble was an awesome upgrade IMO.
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Not a fan of small radius nor a fan of the Custom Shop at all. My Suhr strat has compound radius and feels the best my far from the moment I took it off the rack. Soundwise, maybe a Fender could potentially get more authentic tones but the feeling of handling a toy in comparison doesn't make up for it.
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If your goal is have equal output between guitars, I would simply run a clean boost pedal in front. However, I think that defeats the purpose of having guitars with varying degrees of output. I always have a +2.5/3 db boost in the mod slot, either for solo boost or whatnot so if I need the tone of a lower output pickup at a higher volume (for example, the inner positions of a HSH configuration sometimes), I would use that switch but otherwise, I try to choose the guitar/pickup accordingly instead.
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Different rigs for different situations. As cool as digital modellers/devices can be, the way the effects are laid out on a traditional pedalboard makes it a lot more intuitive to use in some contexts than just having 4 pre-programmed effect knobs like on the kemper remote and that's why the pedal business is still in good shape.
While my main rig is generally KPA + remote alone, I also have a substantial pedalboard + amp rig that I would rather use with some artists or in some specific playing situations where I need more flexibility in the way I use effects or if I need the amp in the room feel (like in a small venue). On that particular board, all pedals go through an Atomic Amplifire which has the amp block/speaker emulation either disabled or not, depending if I need to go direct; that way this rig is pretty flexible and I can adapt to any type of backline in a few seconds.
