Posts by kevinduren

    Regarding the delays, remember that not only can you tap the tempo, but you can hold down the Tap button and it will determine the tempo based on your playing (called beat scanner). Caveat being that you have to be playing a busy-enough part for it to determine the tempo. If you are playing diamonds, you will have to tap the button. By using the tap tempo, I get away with using one delay setting for most of my rigs and performances. I set the delay to dotted eighths, and, like wheresthedug mentions above, I use the morph function for delay volume. Tap quarter notes and you get dotted eighth delays. Tap half notes and you get long delays. Tap as fast as you can and you get slapback. Tap quarter note triplets and you get another variation on a longer delay. Tap randomly, etc. etc. Obviously, this would work with other delay values.

    If I need something other than the above, such as quarter note delay or a darker or brighter delay, I set up a second delay and assign it to the same button on the remote so that I can toggle between the two.

    You can set a tempo (per rig or per performance, I forget) and that can be you starting tempo. If the tempo varies, tapping on the tap button will override the initial setting, but you need to have already saved an note-value for the tap in the delay. Can explain that more if anybody needs it.


    It is unfortunate that I use up all of the morphing capability simply for delay volume, but it is important enough to me to do so. I wish there was, and have requested, another way. Without resorting to MIDI.


    Kevin

    You can copy and paste performance slots in rig manager. You can do this from another performance or from rigs. Pasting will overwrite the rig in the slot. You can rearrange slot in a performance right on the profiler without overwriting any of them. Maybe a dummy rig, with everything turn down or off, could be pasted in any slots you do not want to use? I am going to give that a try.

    Hi drog, Your description is exactly what I want to do; get an "electronically" specific level, and then make small adjustments as needed. Typically, distorted tones are more compressed and have lower dynamic range. But, psychoacoustically they sound louder to me so I tend to set their levels lower. Cleaner tones typically have a much wider dynamic range, even when using a compressor. Hence the reason I want a meter to be certain I am not clipping anything downstream from the Kemper while also assuring that I am not dropping out of the mix.


    I bought a ProSonus interface with that in mind. I am ashamed to admit it, but have not been able to make it work. The manual(s) and info I have been able to find online assume that I know more than I do.

    So, since I have taken the step of admitting I have a problem ^^, if anyone knows of any references that might get me up and going, I would be grateful to know about it.

    And sorry to the OP(that's original poster and other posters) for the change of subject, but this would be very helpful to me. Maybe the dissertation that I wrote at #194 will make up for it.

    If someone has a answer/solution/suggestion regarding this, consider starting a new thread. Or I can start another thread. That way the info will be searchable and useful to others.

    I find that along with the comments and suggestions I read above, that VOLUME has a HUGE affect on the sound of profiles, especially regarding bright vs dull, too much bottom vs too little bottom, etc. And I find this to be true in guitar cabs, FRFR cabs, headphones, and IEMs. I find this to be true with profiles from all sources.


    For example, a profile that sounds great at 60 dB typically has too much top and bottom at 80 dB. The opposite also occurs: lowering volume decreases highs and lows (did I just redneck-splain Fletcher-Munson ??). Even smaller changes in volume will make a difference. And in my experience, the increase is both in amplitude of frequencies and range of frequencies; I hear lower range lows and higher range highs at higher volumes. To compensate, I start by shelving highs and/or lows, then decrease amplitude if necessary. My suggestion is to audition and tweak profiles at the loudest volume you might ever use them. There have been many times I thought I liked a profile, until I heard it at stage volume. Most times the tweaks above fixed everything.


    More specifically to the "problem" of any specific profile being dull; be sure you are listening at the volume at which you are going to use it. If all is good except the top end, then modify the amp and/or cabinet parameters starting with Definition and Clarity. Mr. Britt advises this in the documentation for every pack.


    Auditioning cabs may also work. I find that cabs retain the character of the profile, so in your situation, I would start by using the cabinet from one of the other profiles that you do like.


    Don't fall into the mindset that to get a "Friedman" sound you have to use a "Friedman" profile. Audition other profiles. Blind audition them if you can. With your rig, the Victory profile sounded better than the Friedman profile on my end of things. I use MBritt profiles extensively, but the Friedman profiles aren't ones I use. For me, MBritt's 68 Mars 50 1 9 profile has justified the cost of my Kemper rig and all of the profiles I have purchased.


    Keep auditioning profiles. In the universe of profiles that I have tried, there are many that I could not/would not use; if they were all that was available, I would not use a Kemper. There are still a large number that would work and even fill the need for a specific sound. There are a very few that are stellar... and that makes me really happy!


    One last thing to keep you thinking and working on this. I had an experience where I noted that many Profiler users, of varying genres, and varying levels of professionalism, success, exposure, (whatever), are using the free MBritt profiles. For slightly more detail about that, read How do you know - Post #28


    Kevin

    As opposed to emulations of any specific OD or distortion pedal, I'd like to have a stomp with all the parameters to "roll your own".

    In a Boss multi-effect (I think it was the GT-5?), there was an od/distortion that had a bunch of parameters that allowed you to really fine tune the effect, and it sounded much better than any of the built in od/distortions. The snag with that Boss unit was, it was one global setting, so you were limited to one "custom" od/distortion. If Kemper included something like this (and it would seem like the best way to satisfy the majority of users), I would hope they would allow for a way to save at least a few different versions of this "custom" effect, perhaps as presets.

    Like most of the comments above, I use one performance (5 slots) for most of what I do.

    For songs that require something out of the ordinary, I have a couple of performances with specific settings for specific songs. In my case, I have 10 songs that I have done this with, so that takes up two performances of 5 slots. Each night, I make notes on my setlist so that I know which performance and slot to go to for any of those songs. My main performance is performance 1 and the song specific performances are 2 and 3. That makes it easy to get back and forth between them.

    I have one performance where the whole performance is dedicated to one song. I didn't want to do that. I was using one slot and then trying to morph between different settings for that song, but it never was quite right. So, I bit the bullet, and made one performance of 3 slots for that song. It works much better than the morphing I was doing prior. That is performance 4.

    So, I am keeping it as simple (stupid:D) as I can. But, yeah, I change the rigs in my main performance sometimes also.

    While this can probably be done in either RM or the Profiler, the Profiler seems to be more "stable". So, I would suggest doing as much as you can directly on the profiler. And I don't want to speak for Wheresthedug (although I probably learned this from him), but this is how I do it:

    Load the rig that has the stomps and effects you want to use. Lock the Stomps and the Effects (not the Stack). Do this by holding the lock button on the profiler and pressing the Stomps button and then the Effects button. (At this point, make a mental note to remember that you have locked the stomps and effects and will need to unlock them, trust me on this: if you messed this up as much as I have, you would put a relevant sticky note on the front of the Profiler.) Then load the rig with the Stack (read: Amp & Cab) that you want. You can load the rig by scrolling on the Profiler, but this part might be easier to do in RM since you can keyword search, access rigs that aren't on the Profiler, etc. Find the rig you want in RM and double click on it. This will load the Stack into the Profiler but with the locked stomps & effects from the prior rig (that is, the rig that was loaded when you locked the stomps & effects). This is probably obvious, but you can audition a bunch of rigs this way if you want to.

    At this point, before I save this new rig, I unlock the stomps and effects, and then save the new rig. I am over-emphasizing this because if you don't unlock, the stomps and effects will persist and get loaded and saved with every rig or performance you save until you remember to unlock them. I've messed this up so many times that I rarely forget anymore, but I've messed up a lot of my performances due to forgetting to unlock something. You can press and hold the Lock button and any locked items will be lit up. Press those lit up buttons to unlock them.


    I am over explaining this but there is a good reason, and it is not to insult your intelligence. One of my pet peeves is an instructor/ professor / teacher who has forgotten that I don't know as much about their area of expertise as they do. They typically forget to discuss the minutiae that they just take for granted and leave their students with an incomplete understanding. I don't want to be that guy!


    I have gone so far as to set up some performances solely to save various combinations of stomps and effects. You can name the performance and the slots with information pertinent to the effects combination(s). The Profiler will allow you to save sets of stomps and sets of effects (as well as individual stomps & effects), but saving them in a performance slot is a way to have a "preset" of both stomps and effects. For example, I have a performance set up with combinations of stomps and effects with short reverbs, and another performance with larger reverbs. I have a performance set up with effects combinations that I use primarily for cleaner tones, and a performance set up with combinations that I generally use with dirtier tones. I even keep some with wacky or cool combinations that I find in other folks rigs so that I can find them again if I ever want to. Setting those up takes some doing, but you end up with what amounts to preset effects/stomps and combinations of effects/stomps.


    Now that I wrote all of that I realized what I meant to say was, "Use the lock function to keep what you want and then change anything else...just remember to unlock before you save! ".

    Note that there are separate, global EQs for the main out and the monitor out. These can be lifesavers if you use different PAs, types of monitors, etc on a regular basis.


    If you use the remote and any expression pedals, get the pedals set up in the rig section and then lock the rig section. That way, your pedal set up will behave as you want it to, and won't be different for different profiles / profile makers.


    After you have fun playing with all the preset effects, go through and delete, from the profiler, any that you know will not use regularly. This will really speed up your workflow. You can always audition/copy/tweak the presets you deleted from the profiler in rig manager.


    Spend some time learning about the output section. If the presets work for you, great. If you need to tweak the output section, save your changes as "Ray's Default" or "Ray's Studio" or "Ray Live", etc. That way you can easily change output setups for different situations.


    Keyword search the manual(s). Ask questions here in the forums. Folks here are helpful, and nice, and oftentimes have a use perspective that you might not.


    Using the Kemper is like playing the guitar in the sense that you can make it as simple are as complex as you want to.