Ein herzliches Grüss Gott aus CSU-Land.
Check the input section of the Kemper. Here you can adjust how loud your clean vs. the driven sound shall be.
If you miss the compression or evetually power sag you liked for certain tube amps: check the amp section and its parameters. There you will find just that - for each and very profile: compression parameter and power sag parameter.
I am quite sure will will be able to nail down the sound of your desire.
Thanks for the help! I'll work on it this weekend.
I also want to the use the KPA's R/L XLR outputs to feed into my mixer. My mixer only has one XLR input per channel so how do I map both of the KPA's XLR outputs into the mixer?
Thats how it is! Use one channel for Kemper LEFT and turn the panorama poti to left. Use another channel for Kemper RIGHt and turn the panpot to the right. So two mono channel strips are resulting in a stereo mix. Voila!
I would prefer a more general solution: a guitar playing robot. It would play in my Style, just without my flaws. I would meanwhile sit in the audience and have a couple of beers. AFAIK this has been done already by Kraftwerk. No guitars, though and hence no punk.
All right, just got my Kemper a few days ago! After about 5 years with the Fractal unit I finally decided to join this camp... but why? I had the chance of trying the Kemper for this first time at NAMM '17 and I was floored by the fact I could get a few awesome and very usable sounds within 10 mins with a stock Gibson guitar. I was still skeptical because I wasn't sure how everything would pan out with my gear (I'm mostly 7 and 8 string player), so a buddy of mine bought one and I immediately tested it with my stuff... veredict: it got me headbanging (which is not easy to do) within 10 mins yet again! Said no more, a month later here we are.
Could be me!
Welcome to Toasterland.
Main output mean front of house
Yes. Stereo. No magic here, just set your output level to something the FOH mixer is happy with, typically just a line signal.
monitor output mean my IEM's? (I use in ears)
Well, IEM should play the whole band, no? That means you will get your IEM signal from the front of house mixer. And depeneding on its capability even in stereo.
I'm an unashamed MOR guy so right now I'm going through a Cast kick (yes that one lead by the bassist from The La's), it's all because a friend of mine posted that he was going to see them play, I had honestly totally forgotten them.
Good spirit in there!
Just for my understanding: the cab behind you is more for the audience, because you will have your floor monitors?
A German lesson:
(The elder guys might want to skip this.)
Just out of curiosity, is there truly 0 latency with a cable?
By all practical means: yes.
The cons: Cable quality is affecting sound quality a bit, especially when the cable is on the longer side.
I love total recall.
With the remote you can recall very complex and fine-tuned Kemper sounds (from amp to all FX). And morph. And connect expression pedals (WahWah!). You have to like the internal FX, though. I certainly do.
(I cannot comment on the live situation.)
Not really, Spinner - the Kemper and G10 will "throw you back" 3 feet each, not metres, so it's really only 2 metres.
Damn! You mean small stages are just big enough for me?!
(Back to school: speed of sound in air: 330 m/s = 1 ms delay every 3 meters = 9 feet. So you are spot on! Shame on me.)
Thanx for sharing.
In other words:
I am typically sitting 3 meters away from my FRFR speakers. The toaster will throw me back by 3 meters. If I use my G10 it beams me back another 3 meters. In total now 9 meters. Still a small stage to move around on... but bigger than I expected.
In my experience it's more the early reflections that reveal the space's size and therefore push it back the more you crank the 'verb, Spinner. Not exclusively-so, but more-so, if you know what I mean.
I'd be inclined to shorten the tail anyway to avoid mix clutter via the decay setting unless, of course, there's no other option (unlikely), in which case gating is all that remains. In passages where it's desirable to hear a tail, such as when the arrangement's sparse or nothing else is playing, automation can be used to mute the main 'verb and activate a copy of the same algorithm, but one where the tail's much-more evident. Alternatively, the decay setting could be automated.
I fully agree again with one minor exception: "there's no other option (unlikely)". If this is meant just for reverb, then IMHO its perfectly right. But if its meant in general to sweeten vocals without pushing them back in the mix then there is still a chance...
I have to come back to what many on this board call "phase issues", as if its deadly poison. Historically this came from orchestra and jazz recordings. For the first its true until today. But not for many modern jazz sub-genres and not at all for pop or rock. Quite the opposite is true!
What is *reverb* - technically?
The early reflections are the direct echoes of walls. Delayed. And out of phase. And those are telling us much about the distance of the vocalist to us. The later, more taily sound is a massive numbers of echoes of echoes of echoes, including the walls further away and then bounced back echoes bouncing back. Just to be bounced back again. Again: massive numbers of delayed multi-path signals with different phases. This is telling us much about the size and structure of the room. Dull reflections mean softer walls, bright reflections mean tile, brick or concrete.
So *the other option* is: For upfront into the face vocals do not use reverb to sweeten or fatten the vocals. Just split the signal into delay 1, delay 2 and direct (dry). Play with delay times (in the order of couple of ms, well below 60ms or so). This is introducing phase issues! Just as any room does. Adjust the delay times until it sounds right. Its just the same as you would change the reverb from this to that until it sounds right. Its not science. Phase issues can wreck your sound. Or magically sweeten it. Delays being so small will not act as Early Reflections and creating distance!
To refine things: insert a micro pitch into each delay path. Insert EQ after micro pitch, to roll off treble and cleanup bass to taste. If the sound got better, but not strong enough, the add another delay path. Or why not 5 more others?
(Funny enough: this is again Phil Collins, but this time its his vocals and not the drums. He colaborated with Eventide, if I remeber correctly...)
I said that Kemper doesn't seem to be driven solely by profit, not that it wasn't a factor at all
I do also think you are right. Listen to Mr. Kemper himself on YT interviews. If you can read between the lines you will asure yourself, that he was sololey interested to solve the digi-tube-sim problem. He was even complaining about customers saying the Kemper can sound better than the real thing. His mission was to make it sound the same, *not* better! This is engineers- or problem-solvers-talk, not so much salesman bulls**t. He has to pay his staff, though. And yes, its not charity. But price-value of Kemper stuff is excellent to me...
with more modern components I guess you could achieve the same result with a tenth of the size... and maybe cheaper too...
...and would lose the greatest user interface on a digi amp ever. To me its all about haptics, real knobs with proper spacing.
What I could imagine though: Dial in the sounds with the toaster and transfer those to a standalone floorboard with just some knobs for volume matching. Would be one piece less to carry around...
Ooh, nice trick, SpinnerDeluxe! I'll try that.
Your welcome. Keep it almost inaudible, though. If you mute the reverb bus you should just miss sweetness or fatness. If you unmute again there should not be obvious gated reverb (it should not sound like Phil Collins' drums back in the 80s! )
Vox - trickier, 'cause you don't want to push it back too far. I reckon a small room or small plate for this one, and again, mostly early reflections. Throw in a little delay to help it gel.
You could also consider a gate after the reverb. Set it to a level where it cuts the reverb tail quite early. When doing so you could use more reverb to thicken the vocals without pushing it back by the reverb tails...