Posts by Coldflesh

    Thanks for the input. So I’m not the only one who’s a bit skittish with expensive equipment in the presence of drunks.

    I guess there is always the option of using the 1010 with the kemper stage when the stage is too small, even if I’d feel pretty stupid using a control pedal with a floor board.

    Sorry if there is another thread about this topic.


    Just wondering about people’s experiences with the stage version. I’m seriously concerning selling my rack and buying it to get a lighter gig rig. The gigs I do vary a lot from proper stages to smaller clubs where the audience is pretty much right in your face, drunk and disorderly.

    I am currently using the kemper rack with a behringer 1010 foot switch (I previously used a POD) and have had plenty of people step or fall on my gear and spill drinks and beer on it. An occupational hazard I guess. If a 100$ piece of gear breaks, not great, not terrible. If a 1700$ kemper breaks because of some drunk it would hurt considerably more.

    So, what are people’s experiences with the kemper stage? Any accidents and if so how did it fare?


    A pre-production/teaser track we did. Rhythm guitar right and all the leads are Kemper. I think I used the JEVO Engl savage 60 profile for the rhythm and Bogner shiva lead for the leads. Don’t really know what the engineer used for the rhythm guitar left. I think I was a LePou Engl amp sim.
    Cheers!

    Thanks for the reply!
    There was plenty of headroom into the interface, and no distortion when recording directly into it without using the kemper, so I’m 100% sure the clipping occurs in the Kemper.
    Since I saw the input LED indicate clipping I actually didn’t borher trying to use a different output. I’ll try the different options you recommended!

    So I'm recording metal guitars that are to be sent to a studio for re-amping and mixing. My thought was to record via the Kemper splitting the sound into one clean, unprocessed signal and one processed signal. When listening to the unprocessed signal I hear quite a bit of distortion on tremolo picked parts, it's also visible in the waveforms in my DAW. When recording directly into my audio interface there is no distortion.


    I've lowered the sensitivity on the input section to -12 dB but still get distortion that is also visible in the input led. I'm not using any active pickups, just a regular humbucker so I don't think the line signal from the guitar is that hot compared to most other guitars.
    I can't really hear any negative artifacts in the heavy distorted sound so I don't think it affects the sound in any audible way. Then again, I really don't want the engineer in this high end studio to think I'm a complete idiot that can't set my input levels properly. :D



    So my question is, is there any other way to adjust the input to get rid of the distortion?

    I prefer more Hector Annihilator :D Deep sounding without fizz, and again its not another V30 but G12EVH speaker. @Coldflesh nice riff not uploaded all my profiles from MRP Pack into RE, but if you have time you can test more. :thumbsup:
    Stay Metal!

    Actually, this experiment hasn't really made me any wiser. Most of the sounds would probably work just splendidly depending on the genre and your personal taste.


    I'll certainly be adding more profiles to the folder when I have the time. My band has an album in the making and having a portfolio of good sounds to choose from can't hurt and I'll gladly accept any tips on great sounding metal profiles to try out. :)

    So I've been trying to get some kind of grasp of the thousands of metal tones in the rig exchange. Instead of just randomly recording stuff here and there like I usually do I figured I'd try a bit more organized approach and recorded a short snippet with each tone, dubbed it four times and panned 100%.


    There is some slight compression on every tone (to a max of about- 3dB) and some conservative EQ on some tones (some 0,5 dB cuts around 200 Hz and a hi-pass filter at around 50 Hz) just to get a bit more clarity. I also added a limiter on the master track. Other than that the sounds are completely raw. All guitar tracks are normalized and I tried my best to adjust the volume to make everything sound roughly at the same level but some of the more scooped tones sound like they are a bit lower in the mix.


    Some recordings are tighter than others and some are a bit out of tune, but I figured there's always someone who might find this useful besides me.


    Cheers! :D


    https://www.dropbox.com/sh/bnb…NQKcTT0jGnUxEJo0WX_a?dl=0

    Thanks guys!


    You know, I kind of expected the Kemper to be a difficult transition from using an old Pod XT and Guitar Rig, with the Kemper being more dynamic and detailed. It turned out to be the exact opposite. With a good profile the Kemper is just a sheer joy and the guitar just seems to play itself sometimes. I've been going digital for so long I've kind of gotten used to the latency and undynamic, unresponsive sounds so playing the Kemper was like putting on a pair of old comfortable shoes. :thumbup:

    The benefits.

    • A massive sound-bank. Last I counted there were about 9000 profiles available for free. Granted a lot of them sound bad, some are pretty much duplicates of each other but a lot of them sound awesome.
    • The Kemper does allow for a lot more tweaking than I expected. Changing cabs or editing beneath the hood of the amp can make a big difference. It's nowhere near the amount of fiddling around you can do with an AxeFx but you aren't stuck with a static profile either. I don't know how the Ax8 differs from the AxeFx though.
    • In my ears it sounds just fabulous. Granted I've mostly been doodling around with crunchy/clean/lead sounds so far but I think it's worth every penny.


    The drawbacks.

    • No software editor. A lot of people on this forum say the Kempers internal editor is enough. It works OK but it's nowhere near as user friendly as what you get from Line6 and Fractal.
    • Limitations in the profiles. You don't really have as much control over the sound. You can't pick out a specific microphone or cab for the profile but have to pick from existing ones. Also the profile is made with a particular gain level. Although you can adjust it quite a bit I think it tends to sound best when close to the amount of distortion it had when the profile was made.
    • A massive sound bank isn't always a good thing. Finding the tones that suits your needs can take a long time and you'll have to wade through a lot of them to strike gold. There is a rating system that can help you, but unfortunately the users don't rate profiles as much so many good tones have zero ratings.
    • A bit of messing about is required in order to get a good foot-switch working, or you could pay an extra 400€.


    I don't really agree that you have to spend tones of cash to get good sounding metal sounds. There are plenty of great sounding profiles out there, you just have to sort through a lot of bad and decent sounding profiles to find them. If you are into metal tones I suppose you've already visited Ola Englunds youtube channel. If you're not sold after watching his videos Kemper might not be your best choice.

    So I thought I'd try some recording with the Kemper. The song is actually something my first electric guitar teacher showed me on one of my my first lessons long ago. I've recorded it from memory to the best of my abilities and arranged it in a kind of swedish folk music rockfish style as I think it was intended. I recall him saying he wrote it himself, so it's named it after him. The title roughly translates into "Wramsby's Song".


    I used a Suhr Badger 30 profile for the rhythm, a combination of r.u.sirius. Bogner Shiva Lead, Tonesculpt Biting Blues Lead, rmpachio Morgan AC20 for the melodies and @Mattfig Salvation JJ Dirt Alnico for the solos. The bass is the standard factory Kemper bass transformer.


    Cheers! :D


    I doubt any phase issues could drown out the vocals, if anything phase issues would make the guitars disappear. Sure your vocalist knows what the hell he's talking about? :D The only issues I hear is the harshly compressed mp3-format. The mix should sound OK in any speaker but some cheaper hifi systems have weird "sound enhancement" stereo widening features that can make mixes sound pretty strange.


    Anyway, the mix sounds just fine to me, maybe a bit lacking in the low end but still well balanced. Love the song too, gives me some nice Running Wild vibes! Cool! :thumbup:

    I always return to Jan Johansson. He's most known in Sweden for his recordings where he merged jazz and swedish/russian/hungarian folksongs. He tragically died in a car crash in -68.
    Fun fact: He's the father of Anders and Jens Johansson who played drums/keyboards with among others Yngwie Malmsteen.


    Matt, thank you but the Salvation JBE and Duoplex are way too dark on my setup. I was able to tweak them with added presence and treble however... Sorry, just trying to be honest.


    First of all, I liked the tones and found them very useful.


    Having said that, I agree the raw tones are pretty heavy in the bottom end which makes them appear a bit dark in contour. The Salvation JBE LB with the iso cab in particular had an excessive amount of low end.


    Then again cutting out a bit of bass took me about ten seconds with the basic EQ. There is a nice clear top end in the tones without having to boost the treble, it's just concealed behind the bottom end. In my DAW it was an easy thing adding a hi-pass filter, but using that sound in a live setting would necessitate some heavy handed eq-ing in the lower frequencies. Using the kempers graphic eq to tweak the sound should be quite sufficient if the basic eq doesn't do the trick.


    Rolling back the gain a tad gave a delightful dynamic crunchy tone that worked perfectly for the soft melodic leads i tried it out on. Adding the tube screamer produced a thick lead sound with a nice smooth high end.


    In the end I prefer some excess low end to not enough low end. It's way easier to cut something out then add something that isn't there to begin with. I'll have to fiddle around with the sounds a bit more to give a more informed opinion but the Salvation JBE LB and the Salvation JJ Dirt Alnico sounded excellent to me. Sure, they might not work straight out of the box but tweaking the tones is part of the process and the fun and gives way more options in moulding the sound in my opinion.