Posts by JedMckenna

I don't have to carry my gear so I always request a 4x12" Marshall 1960 AX (sometimes I play through it, sometimes not because I end up using IEM), the reasons are because I dig both the G12M vintage 25 Greenbacks and the salt and pepper tolex!

I run electric, acoustic and nylon all through the Kemper in the same channel (with a different rig for each). I have all those difference in volume and eq-ing tweaked in their respective rigs. Had to balance this on the first couple of gigs but now it works like a charm. You can use an ABY or ABC splitter box to switch between guitars for convenience.

The other option is to have your acoustic not go through the Kemper and have its own channel by using something like a LR Baggs/Fishman DI.

Quote from blandified

Maybe I am crazy, y'all can tell me lol.

But I have never ever turned chorus on on any of my pedals/multieffects/etc. in the years past. I really don't like chorus at all. Maybe this is because all the music I listen to never has chorus on the guitar parts, maybe if they did have some chorus on, it was so insignificant that it could have been easily missed and otherwise unnoticeable.

I realize we all have our personal tastes, but am I weird for never using chorus?

Actually, same thing goes with flanger, phaser, tremolo (can be nice subtly), etc.... am I missing something for not using any of those?

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You're not weird at all, I also would rather be minimalistic in that respect. However some of those effect can be more popular in certain genres than others and I think it's a great exercise to find out and be attentive in which situation they can be applied tastefully.

Had the opposite problem with the Mission, went loose and started falling forward, randomly activating the wha... that happened at the worst possible moment during a tv show rehearsal! I need the hex key to tighten it a bit. But I hear you Ash... quality but heavy and not the best control as a volume pedal.

You never know what's going on in this business. He might want to get one of his buddies re-do the tracks and come up with some excuse, or it could be legitimate user error. An honest engineer would present you a way to salvage the tracks at the best of their abilities. But yeah, the 4 track method (one DI, one dry stack, one stereo wet) as explained in the Kemper videos is my safe way of doing it.

Morley makes an ABC switcher.

I often use 3 guitars (electric/acoustic/classical) on concerts and I still favor muting with my volume pedal and plugging/unplugging the other guitar. A tad bit slower and I sometimes have to drop out of the last song early if there is a quick segway into the next one. There were times I thought a switcher would be worth it but I like to travel light.

There is a section literally called "Shared tips and tricks" in the private section of this forum. FYI

Quote from barryjohns2126

I simply no longer expect thier effects to be anything quite frankly, usable, on a normal basis. (...) most of them are mediocre at best.

Rolling my eyes at this. Wondering which gig you are playing where Kemper effects aren't cutting it, really.

I've been doing my share of long 30+ songs songlists / 2-hour concerts only with Kemper + remote + 1/2 expression pedal and I figure that once it's well thought out, carrying more stuff is redundant and just not worth it. It even covers tone for acoustic/classical. Adding some external effect like HX could imo be mostly useful to get more room in the post stack section so that one could have more stereo modulation/delays/reverb options but even some of those reverbs effects people are impatiently waiting for can be achieved to some extent by the delays already present (which are already great.)

Quote from nightlight

For example, here's a tweet from Avril Lavigne's guitarist:

official_line6RepostBy @amodernanimal: "I'm playing guitar for @avrillavigne on @jimmykimmellive tonight. Will you be watching? Tonight I'll be using the @official_line6 Helix. The amp modeling is amazing, FX are fantastic and UI and UX is the best available. The amount of thought and attention to detail by the team is astounding and I highly recommend for any musician looking to step their game up. This unit has changed my entire perspective on playing live. Thanks, Line 6! .

Nope, won't be watching.

Quote from pamplemousse

@Alienator get yourself an amplifire. it does the job very well. but you will see you will still need you kemper

Bingo. The new AA6 is pretty awesome once you got it dialed right. Small, light, great editor, can go direct, no gap between presets...

It's neat but could be really be more compact, lots of thread entries are one or two lines therefore there is a lot of wasted space between entries. But a forum is more about its community than its format design so I hope it won't alienate the veterans.

The remote is awesome, I can't imagine using something else.

This thread is very interesting. Very grateful to Frank (Eltzejupp) for those examples. It's really not about "the volume knob being rolled a bit" or "action/attack/humidity level of the room is different" as we are talking about significant tonal differences. That might be a weird perspective but listen up. Professional musicians are in a business that is sometimes dirty. Making a living is hard and sometimes the ethics are put aside in order to advance ourselves career wise. There is no doubt that there is often if not always post processing on a lot of the demos from either the makers or the guys who try them (because they got them for free or some other perk?) deception is often part of the game. I've been in similar situations where some low tier company offer a big perk in exchange for vouching for their sub-par product... the rent is due, what do you do? I am obviously not talking about all these profilers but you get the point. I know which ones are more trustworthy.

First advice is to use critical thinking. I think it's relatively easy to see the profilers more concerned about trying to push their business than making good product. Then, see how you can perfect your own taste so that you can tweak this random Marshall profile from XX into something golden. Even the legendary Mpacheo Morgan AC20 seems to have pretty heavy tweaks with volume boost and EQ curve.

Quote from lakewood

Thank you for your answer, but that's not my point.I know the different types of catching the sound of an acoustic guitar. My guitar is equipped with a K&K System (transducer&mic) and a soundhole magnetic pickup. I didn't mentioned it explicitly, but my system works fine with my TCHelicon Voice Live3.
I do hear all the percussion effects through the kemper, but not the frequencies below 100 hz.

You introduce the premise that "Kemper doesn't pick up low frequencies below 100hz". That's wrong, there are plenty of 5/6 bass players using Kemper with no problem. An 8 second Google search with "Acoustic Guitar with Kemper" led to this random video of a dude doing what you describe with his own profiles:

So why would you have both a soundhole magnetic pickup and a K&K? Which one of the 2 are you plugging in? Because the soundhole magnetic pickup is also not be the best to respond to you banging on the body. I can do it with any guitar with a soundboard transducer.

Edit: Maybe it's the profile... if you think the low frequencies are the problem, you can always use the parallel path feature or the Direct Mix parameter in the "stack - amplifier" menu to add some of your direct signal.

The Kemper has nothing to do with this. Besides the soundhole bar type, there are 2 types of acoustic guitar pickups: soundboard transducers and undersaddle transducers (piezo). You are probably using the latter: those undersaddle piezo (a strip under the bridge saddle) react to the pressure of the strings and therefore are not the best at catching other percussive sounds happening on the body. Soundboard transducers-type pickups (like K&K) on the other hand are more like little microphones and are better at catching this.

There is sometimes a glitch when using the KPA in performance mode while being connected to Rig Manager with a laptop; not sure what the variables of this behavior are but I think it's a known issue.

The other thing that happens to me sometimes is the remote cable getting slightly pulled from behind the KPA (I think the little tiny piece of plastic holding it might be broken?) and even if it's not out completely, it causes the remote to disconnect. I can't remember if it has always been this way or not but I have to make sure the tip is inserted deep inside and couldn't be pulled during a gig.

Powerhead or not, to send to the front of house/PA, the main outputs (2x XLR or 2x 1/4") are generally used. The red 1/4" output socket at the back of the Powerhead is used only to send to an unpowered cab/monitor. Not adviseable to connect this to anything else.

If you want to prevent plugging in the wrong output accidentally or just to reduce energy consumption, you can turn off the power amp in the output menu.

For big concerts, I always send my signal to FOH without any master eq change. In my opinion, it is not really helping to send an "optimized" signal eq-wise; the equipment, the room and the amount and distribution of people along with other factors will all effect the final result and at the end of the day, it's not up to you how the FOH will eq your signal. I listened to many of my recorded concerts and the tone is often slightly different (using the same profiles). I'm more concerned about things like finding the perfect rig for each song, the compatibility of my profiles with each others or the volume balance between patches.

I use IEM for monitoring most of the time but otherwise I sometimes use a 4x12" cab and reduce the high end a bit and boost the mids a bit. I mostly try to trust the fact that the sound I send is good and not let my brain analyse the stage sound too much because it always sounds different than in the house.

Quote from paults

This is a general statement, not about anyone in particular:

When a product endorser with a long history of appearing in advertisements that are also coordinated with their music releases and tours describes multiple products that they use, it cannot be assumed they mention using the products because they sound better than using a smaller amount of equipment.

Well said. Like countless athletes who make most of their revenue by endorsement rather than their sport achievements; when there is money/perks/contract involved, take an artist endorsement of a product with a grain of salt.

More than any missing piece of equipment, the most consistent obstacle to getting a perfect tone every time with the Kemper has been my own judgment and committing on improving the latter happens to be cheaper than any piece of gear.

If you are that specific about an amp setting, the best way is to get your hands on that amp, tweak your specific setting and profile it yourself. It is not a standard modeller like a pod; profiles of the same amp + cab models even at the same settings will vary from one creator to another depending on many things such as how it's miked etc. Some profilers indicate the knob/switch settings but ultimately, you should let your ears guide you.

If you use Rig Exchange, I suggest sorting first by 1) the amp you are after 2) the amount of gain 3) the user rating if applicable, then find a couple of "winners" and compare them side by side (in the context of a mix and at gig volume if possible) until you have one or two. Then minimally tweak/eq those to taste if needed.

By repeating this process often, you can often find certain profile authors that you consistently like and some that you consistently dislike and eventually you can stick to those that kind of share your sense of tone to limit your selection.