Posts by JedMckenna

    Dear random user... we get it, you work in software and it's a sensitive topic for you but;

    - No need to upgrade your OS compulsively within hours of a release. Touring pros are not reloading the Kemper page every 10 minutes to find out if there is a new version out. Give a few days/weeks/months to see reported bugs be addressed.

    - Stick to official releases if your stability is that important (the latest one that you refer to was a beta.) No one will look down on you for having last year's version. I don't sound any better with 7.3 than I sounded with 5.0 (which I rocked until last month.)

    - It might be a better idea to delete something problematic from the download section rather than leaving it, wouldn't it?

    - RM is supported on both platforms and specific bugs can't always be replicated. If they can, they will be probably addressed or worked on in a later version.

    -Kemper customer service is second to none. But don't take my word for it, ask others who have been there from the start.

    I totally disagree with the idea the we “should always record dry” and add FX in the mix.

    Of course this gives almost unlimited options later but there have been plenty of great recordings made over the years where reverb and delay were printed to tape on the original 4 track before being bounced to a single track and freeing up 3 more for overdubs (the Beatles didn’t do to badly). The classic Motown records were all done with reverb on the original recording too. There are a number of highly regarded engineers who advocate the idea of making decisions early on and sticking too them rather than being left with option anxiety at the mix stage. I am by no means a recording expert but my advice would be do what works for you rather than what someone else says is “right”

    I hear what you're saying and used to approach it from that angle too but I find that nowadays, the workflow seems to be happening in stages, whereas in the Beatles era, their songs were probably in final form already at the time of recording. If there's a producer involved, the arrangement may very well change and I found out a couple of albums later that providing the dry could have saved trouble. For example, you might think your chorus/reverb combination sounds perfect for the song now but then you find out that all of a sudden the keyboardist now has a swirly thing on his Rhodes and it becomes part of the song, then you wish you didn't have effect anymore because it's a mess. Often, once you submit tracks for artists, you have no idea where they go or what will happen to them so now I give both a dry version and a wet with effects baked in (mostly as an example) - and Kemper is awesome for this - and I see the engineers going for one or the other, but usually the most experienced ones seem to use the dry track often because they are used to think of the whole more than I do (or possibly because of my questionable choices!) However when it's a very straightforward task (demo, etc) just for myself or needs to get it done fast, I do record wet directly.

    The algorithm to separate the cab from the amp is not perfect, therefore the result won't be "kosher" (wouldn't sound like this combination in real-life). That doesn't mean it can't sound great.

    today i was testing a mbritts profile Helios that was sounding mehh but i changed the cab and omg glorius sound,i used a LRS ir

    Guidorist said that he is not a fan of switching cabs but i think after some testing that switching can make some profiles sound awesome

    Messing with pickups is definitely not guaranteed success and more often than not, will only bring marginal differences. This market has become ridiculous with all these crazy names out of Greek mythology with statistics and buzzwords used as marketing hype to something which is really just a pair of magnets and some wire of different lenght around it.

    See if you can tweak it closer/further from the strings according to your liking and if not, the problem is likely not the pickups. If so, I'd suggest to exchange the guitar for something else.

    Since you don't really need the preamps, I'd say the difference in sound quality between mains and SPDIF will be negligible on most interfaces. The most important in my opinion is stability/quality of the drivers (something that doesn't occasionally disconnect or is trouble) and specs (do you want thunderbolt or USB, supporting spdif if that's what you want, number of in/outs if you want it for a studio or tp track something else where you need the preamps).

    That's anecdotal but in my experience, I've had great results with: Native Instrument Komplete (cheap) and RME and bad to terrible results with Audient and Apogee (which I'd avoid). The Germans win again I guess.

    Not sure what is implied by your question here. If you want to adjust volume between patches, use the Rig Volume.

    If you want to know how to find balance between lower gain rigs and higher gain rigs, try the free rigs of an experienced profiler (for example Michael Britt, Meulendijk, etc) in the Kemper Factory Rigs and examine the volume difference they have between clean and higher gain rigs and then take the clean and dirty profiles you like and match them volume-wise. That will put you in the right ballpark right away as this could be hard to figure out when building rigs in an environment without a full band.

    Not sure what DAW you are using but if you are using Logic, you have to pan with the "direction mixer" if you want to retain your stereo sound; if you pan stereo using the pan knobs, it will just give you more of one side of the stereo.

    Upgrades are a bit of a necessary evil and the more time between the last one, the more things can get messy. Find a time in your schedule when you have some slow time between project so that if something goes wrong, you can focus on fixing it or going back to the previous settings. The new KAOS seems to work great and is probably the most stable in a while for me at this point but I just upgraded to Catalina OS last week and now I'm dealing with a bunch or computer issues never seen before.

    I usually use a tiny bit of compression on clean profiles but sometimes, there is also compression present in the amp block already so one has to be careful not to overdo it. I think the Kemper compressor is a bit limited and subtle but not bad at all for that purpose. However, these days I'm more into recording than live performance so I usually turn it off to provide tracks as dry as possible. what everyone else considers to be a much more professional sound.

    What is that even supposed to mean? "Professionals" use all kinds of sounds and using a Kemper/modeller doesn't make us special snowflakes. Go tell Scott Henderson or Joe Bonamassa how "unprofessional" they sound through their rigs. Make no mistake, the appeal of Kemper/modellers still mostly lies in their convenience factor.

    If you have a friend who has another interface you could borrow temporarily, you can check if the problem is your interface. I have a soundcard that seems to work differently from season to season and I can't wait to replace it. Welcome to the rabbit hole of troubleshooting recording issues. How many times I had to re-track the same thing twice or more is actually embarrassing. Good luck.

    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.