I find Marshall-ish or profiles with more gain through open back fender style cabinet don't work as well as the other way around so given the choice, I'd rather use a 4x12 (ie. for rehearsals etc). What matters is what goes to FOH so as long as I'm confident in that, I plug in whatever is available in the backline and try to make stage sound work.
Posts by JedMckenna
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I don't agree with most of your negative points. That being said, hope you enjoy.
Don't be too hasty buying profiles, most of the best profiles makers already did free packs included in the factory rigs. Study what you like best first or you'll buy stuff that you'll never end up using. If you have time to search, RE might have everything you need.
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Using EZ Drummer 2 at the moment but for some reason I find myself often just going back to Logic's drummer in spite of the weaker sounds and feels.
Been digging Komplete stuff for some time, does anyone has experience with Native Instruments Studio Drummer?
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Thank for the tip! I've not used the Shapers for that purpose
I'm assuming it's from you, there's a very cool rig on RE called 60s Fuzz Jubilee with bit shapers pre and post stack. I take the gain down a little; it's one of my favorite fuzz rig.
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Those pickups are fine, the effect of a swap would be negligible. I'd try tweaking something else in your chain.
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Not sure what is the point of your poll. If price/floorboard factor/etc are your deciding factors, good for you but let's see how much patience the producer, the client or the MD are going to have while you waste their time choosing the IR and holding everyone's time while you tweak. You are projecting how a system like the FM3 would work in an environment without having tried it first. Sound aside, the kpa has already the most efficient workflow for many session musicians and this will be even more obvious when the editor comes out.
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Yeah, the HS5 sounds like it'd be ideal, Alan.
Yep, Yamaha HS5 or JBL LRS305 are your two best options.
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If you want to downsize, Mesa Thiele cab is badass and just 1x12. Problem is I find non-FRFR cabs make profiles sound too similar; then you try on an FR system and the personality of every rig becomes clearer.
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To me, the elephant in the room is that getting good tone consistently is a skill which is learned by trial (and error) while working in different environments. Can't assume you'll get great tone just by paying top bucks or getting a specific piece of gear.
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I feel like, yes, I am one of Kemper's biggest fans, that's why fractal's announcement makes me somewhat sad.
There's nothing to be sad about. They (and virtually all other competitors) make new product announcements all the damn time for the simple reason that their business model is based on planned obsolescence. Meanwhile Kemper can actually work on developing other visionary concepts like the Kone, etc instead of constantly coming up and abandoning more soon-to-be-useless gadgets (like my Atomic Amplifier 3!)
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The profiler never claimed to "have all the amp models, editor and complete effects selection", but mainly to be able to make accurate profiles and yet only a few people even get into profiling. Like for this reviewer above, it's often just being used as a modeller and then blamed for not being able to deliver the same features as the top modellers.
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We often spend most time on practicing vocabulary or technique in a certain idiom but when I record for other people, I find out that the ideas and concepts I come up with are often arguably more important and also often where individuality really comes through. Therefore, when I get sick of the usual guitar grinding routines like the ones we all go through, it tells me I have to re-focus towards music in a broader context. For example, I started recording with an artist this year who gave me more freedom than usual and I find myself digging into techniques and sounds that serve the music better (fuzz/slide/playing with feedback and other effects) that I had never really explored in depth before, as well as new recording techniques. I also record entire parts in my old way and often zoom out a little, like a producer would, only to find out that what I went for didn't necessarily serve the music at all in the first place. It could be genre dependent (might not apply to metal, etc) but at least in popular music, I feel in my lifetime the guitar has moved from a focus on quantity (heavy in the mix, solos, etc) to a focus on quality (subtle lines/chordal work, tasteful effects) and while "the love of guitar" as you put it is essential to reach a good command and understanding of the instrument, at the end of the day it's just one instrument in the mix and that mix is what people put their attention towards.
An easy way to overcome this feeling of being stuck could be by finding and collaborating with a songwriter - they will immediately appreciate your guitar expertise and it will be fulfilling to apply your knowledge towards a greater purpose than just "getting good at guitar" on your own; connecting with your environment instead of separating. I am fortunate to get awesome work with great artists but when time allows, I still do the occasional open mic/writing session with songwriters where I try to come up with something to serve their music; you never know where those situation (sometimes very humbling) can take you - they are often the springboard for better ideas, connections and opportunities.
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The sounds of acoustic guitars recorded in recent years are much poorer than those heard in recordings of the past when there was less technology.
Not sure what you are talking about, maybe your neighbor records his acoustic guitar straight from his zoom interface but I assure you that a real producer knows how to get a good acoustic sound. The method hasn't changed much from "the past".
IMO, the selection of acoustic rigs from RE is quite limited but some of the most popular acoustic preamps (Fishmans, LR Baggs, etc) have been already profiled pretty successfully by some commercial profilers. However, by virtue of the instrument itself, the totally pure and "kosher" acoustic sound is best captured acoustically by microphones. That being said, there are also situations where that purity factor is not necessarily what the song is going for and the sound of a plugged in acoustic can work (for example, I sometimes use a Godin Multiac Doyle Dykes). Not necessarily a "poorer"sound than a high end Taylor, just a different animal for a different purpose. For live, after touring with a big Martin for a while, now for most situation I'd now much rather take that Godin/crowdster.
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The delay and reverb settings are accessible by the knobs on the front of the KPA but that being said, if you want to further tweak lots of effect settings on the fly, you may want to keep using your traditional pedalboard into the Kemper. You can sometimes get close but there are situations where the remote cannot replace the accessibility/flexibility of a full-on pedalboard.
Edit - Personally, I don't go "by song" because I'm freelancing mostly (otherwise I'd do). I use performances tweaked for the different bands/artists I play with and find a way to integrate all the required sounds of each artist within 1 or 2 performances. I usually set 4 rigs with different flavors of gain and one patch for lead per performance. For cover music, I just have 2-3 performances with more generic amps sounds and effects I can use on everything. The latter are assigned more or less at the same respective position so I generally know what to expect when I turn something on.
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I've seen a couple of my favorite artists live this year and along with a couple of new projects with different requirements I got involved with, it pushed me to go back and invest in an old school rig again. I built a pretty substantial pedalboard to replace my basic one (had forgotten how expensive that can be).
I got 2 of those Strymon delays (El Capistan and Dig - was unfamiliar with that but they are both pretty awesome), King of Tone, Timmy, TCE tremolo, Ehx Pitchfork, Dunlop volume/exp pedals etc, among many other toys. The hardware, power supply, buffers, jumper boxes and little patch cables alone are almost half the price of it but once I started going down the rabbit hole I had to go all in.
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Ironic that you should say this, Jed, given what a posted just 10 minutes ago in response to something you said about experience. I had no idea you were a fan of Bert's stuff:
Agreed, I think Bert has become a big asset to the Kemper community because of the direction he has taken in profiling.
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Bert, I got many of your packs and really dig your profiling work. Your Profile Pack 2 is still the basis of most of my tones. I'm secretly wishing you'll one day come up with a well-detailed XTC pack (like you did for the Friedman).
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If you experience a problem personally, maybe contact support to solve/inquire your particular issue instead of starting a thread with an inflammatory title like this. Plenty of users run this release with no problem.
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Where I was at the time, it took around 4-5 months for mine to arrive and I paid almost twice because of customs. Was debating flying oversea just to go purchase it abroad. Still totally worth it; it has changed my life in many ways as I was also new to digital gear. I still use and mess around with other gear depending on the situation but since the day I got it, the KPA has been the main rig I use when things get real. Anyway, welcome.
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The settings of the Output Section are "global", they are not stored per rig; in other words, you don't have to edit every rig. I don't know what you did but unless you are on some different output preset, everything coming from the main outputs should now come out "Master Stereo" once you set it.
I don't know about "the back of your Yamaha speakers" question, but I'd turn them up to max volume and control the actual volume through the Kemper (once again in the output section).
