Posts by kevinduren

    I tried it in several positions, including on top of some amp cases to get it aiming right at my head/in my ears. I even had the monitor engineer add my guitar into my monitors, which were aimed right at my face. It was strange, and I was really bummed out. But adjusting that eq fixed it.

    I didn't ask, but I bet the other guys didn't have to run my guitar as loud in their monitors once I adjusted the monitor eq.

    Did gigs this past week without my normal cab (Xitone MBritt). Because of a significant amount of travel, I just backlined a FRFR cab and was provided a Yamaha (not sure of the model).

    The band uses floor wedges, not ear monitors. Well, I immediately noticed that I could not hear myself even at ridiculous volumes. Needless to say, I was bummed. After the first night, I remembered that there was a separate EQ for the different outputs. I used the Monitor Output EQ and added Middle +3, Treble +1 and Presence +0.5.

    BIG difference!

    It wasn't my "dream tone", but it worked well. Oh, and I considered how I was sitting the mix at FOH; the engineer said it was great out front.

    So there you go, FWIW.

    Not sure if this is relevant to what happened to you, but, I have noticed that when I do anything in RM, I have to be sure to wait several seconds for it to communicate with the Kemper. And that is especially true if I am favoriting, deleting, or moving multiple profiles or performances. There is a "progress indicator" of some sort at the bottom of the screen when doing this, so be sure to wait for everything to ... do whatever it does before you do anything else.


    I find RM useful for re-ordering performances, but would strongly recommend reordering the slots in a performance directly on the Kemper.


    I've had several snafus with RM, but have learned that if you treat it with kid gloves (that is, go slow, do one thing at a time, hit save more often than you think you should), then it works pretty well, and certainly easier that working directly in the Kemper in most cases.


    Sucks that that happened to you, but just think, you get make even better performances (silver lining?).

    I am always looking for a better rock solo sound (with most of my gigs, it only gets used once, maybe twice a night, so I want it to be awesome :D).

    I spend a ridiculous amount of time auditioning profiles looking for a better one and that is my suggestion to you: keep looking for the profile(s) that are the closest to what you are looking for. I keep a folder in rig manager that I put any potential solo profiles into. I also keep a couple of performances with potential solo profiles, just so I have access to them when I don't have rig manager with me. My current fav is Bogner Ecstasy Ch2 N2 from a certain "Lone", "Amazed-ing" profile maker :whistling:.


    In addition to the all the great suggestions the other posters have made, try these:


    I have noted that some really distorted profiles smooth out and fatten up when the gain is lowered, while still having plenty of sustain. (This also works great when looking for clean/cleanish tones.)


    Take which ever profile you are considering and crank both the Middle and Treble knobs on the front panel to taste. I really like this, but I am aware that some of what I am liking is Fletcher-Munson related. Depending on how much you raise them, you may have to lower the rig volume to compensate.


    Caveat to the next suggestion: I hated chorus on distorted guitar tones in the 80's and I still hate it (apologies to Zakk Wylde). Judicious use of some kind of chorus/micro pitch can smooth things out. With the Kemper's ability to mix the effects you can get that smoothing effect without the "chorus" being obvious. Try the Air Chorus or the Micro Pitch.


    This next one is counter-intuitive: I find that if I lower the volume and/or the tone knobs on the guitar just slightly, some tones smooth and fatten. See if that works with your rig.


    Lastly, an observation: I find that when I get a really fat, smooth solo tone that I like, it is often unusable for rhythm/chords. I assume it's just too gainy, too fat, etc.


    So, just my thoughts, and I am searching right along with ya!

    Not sure if you found the setting you were looking for but here is one I use:


    Dual Delay

    Mix 100.0/91.8%

    Delay 1 Time 32 ms

    Delay 2 Time 49 ms

    Delay Balance +22.1%

    Feedback 1 0%

    Feedback 2 (is grayed out)

    Low Cut 107.0 Hz

    High Cut 3994.5 Hz

    Reverse Mix 0%

    Stereo 200%

    all other settings at 0


    I put this after the stack so that it can be heard in stereo (works OK in mono, but really works best in stereo)

    If you are using reverb also, be sure and adjust the Del+Rev Balance(in the reverb settings) to taste.

    I have had a similar experience: the notes C through D# tended to have a lot more bass than any other notes (both on the low E string and on the A string). I noted this on both the neck and the bridge pickup, though somewhat more pronounced on the neck pickup. So, I searched Google for the frequencies that corresponded to those notes. Turned out it's about at 130Hz like PhilUK84 noted above. I used the studio/parametric EQ centered around at 130Hz, adjusted the cut and the Q and was able to, pretty surgically, bring those frequencies back to where everything was nice and smooth, without having to reduce ALL of the lower frequencies. Your guitar(s) may resonate at a different frequency, so adjust to suit. Also, experiment with the placement of the EQ; placing it before or after the stack may make a difference.

    +1 on the multiple compressor solution
    Use a clean profile that has the attack you want, put two compressors in the stomps section, adjust the compressor stomps and the compressor in the amp section to taste.
    Now, you will get noise, just like cranking the gain on a distorted amp, but can also use a noise gate, just set the gate so it doesn't cut off the sustained notes.


    I tried this and it was fun to play around with.

    Just be sure you unlock anything you don't want in EVERY profile when you are through auditioning. I can't remember how many times I have messed up an entire 5 slot performance because I hit STORE and forgot I had locked something.

    I ordered the cables below on Amazon and they were perfect; I was originally using some straight plug cables and they kept me from being able to set the expression pedals next to the remote or each other. And, like mentioned above, I order 4 TRS so that I didn't have to worry about which cable went where.


    Audio2000's C25003P2 3 Ft 1/4" TRS Right Angle to Right Angle Patch Cable (2 Pack)


    http://a.co/d/dtPCT1O

    Not only are the profiles great sounding and feeling, but you get a glimpse of how Mr. Britt might use the amp/profiles in the performances that are included. FWIW, my favorites are the Tweedy Verbs. I don't think this is a secret (because he mentions it in the notes) but there is an "easter egg" profile of a 57 Vibrolux in his Folsom Prison performance and it is killer. I mentioned this in another thread, but I am sure I could do any gig with just the profiles in this pack. Heck, I could probably do any gig with just the Prince Rec profiles.
    I have LOTS of profiles, but rigs from this pack would be my desert island rigs.

    I'll start by saying I love the MBritt Grab n Go Pack. I could do any gig I get hired for with the profiles in that pack.


    So, this evening, using profiles from that pack, I made performances using profiles of the same amp varying from cleanest in the left slot to dirtiest in the right slot. I went through each set of amp profiles and chose the clean profile I liked, put it in the the left slot, chose the next "dirtiest" profile, put it in slot 2, etc, etc with the heaviest/dirtiest profile in the rightmost slot. I did this with the Prince Rec, Tweedy Verb, WC Spanky, Town Car, and Zee Maz 18. (The Tweedy Verb didn't have a super-gainy profile, so I used the MB-Tweed Champ 4 and tweaked it a little)


    I liked that, in one performance, I could change through the various gain levels, but have the characteristics of the same amp.


    I found that this allowed me to easily compare the amps at similar gain levels by scrolling up or down. For instance, to my ears, the WC Spanky and the Town Car are very similar at all gain levels. Using these performances to compare, I think I will eventually make a performance made up of my favorite profiles from each amp at each gain level.


    Oh, by the way, I used Rig Manager to audition the profiles with the Profiler in Performance mode. Once I had the Profiles in the slots, I saved the entire Performance. For the first two performances, all went well. For the last three, the Profiler did not save/display the profile names in the slots; the slots just display "Slot". Can anyone tell me what I did wrong, or give the workflow to have the names populate. I realize I can manually change the names in Rig Manager.


    This was easy, and fun and, I hope, informative.
    Thanks