Posts by kevinduren

    After getting the new reverbs, I found that I don't really like the spring reverb. I think what I don't like is that it is so different from the reverbs I'm used to. There was just a large difference when changing from a slot with a hall reverb to a slot with the spring reverb.

    My "hack" is to use the spring reverb before the stack and then use my "normal" reverb in the reverb slot. That lets me get the "sprongy / vintagey" kind of sound of the spring reverb, but then the same sonic space treated by the second reverb later in the chain.

    Anyway, thought I'd share in case that is useful to anyone else.

    I would be very interested in anyone elses spring reverb settings if anyone has come up with something they like and would be willing to share.

    So, get:

    Petty 12 String on the Rig Exchange (by paults)

    And I agree, it works pretty well(pretty good?). It uses a Vibrolux profile. If you want to, you can change the Stack to something else, such as one of the acoustic simulator profiles in the RE, there are a few. Search acoustic (but beware you will get some bass amps with that search), sim, nylon, piezo, etc. My point was, paults tweaked up a pretty good approximation of a 12-string, and you can keep his tweaks/effects, and change the Stack to something else if you are trying to simulate an acoustic 12-string, a Rickenbacker 12-string, etc. etc.

    Some unsolicited advice based on a problem I had related to rig/performance volumes that may be useful to you or others:

    I use one expression pedal as a volume pedal, set post stack and with the range set all the way to the right. I checked the Lock Volume Pedal box so that this would be applied to all rigs and performances. Worked great.

    One day, several months later, I was checking to see if anything was locked, and noticed the Rig button was locked. Thinking "I didn't lock that", I unlocked it. I've had some pretty poor experiences because I locked something, and forgot to unlock, and then saved over several rigs, or an entire performance. Well, after that my rigs and performances were really out of balance, volume-wise. After re-balancing several of them, I noticed that the Lock Volume Pedal box was unchecked (you can probably tell where I'm going with this). Turned out that the rigs/performances that were set with any other volume pedal configuration were louder or softer than they were with "my" preferred volume pedal set up. So, once I checked the Lock Volume Pedal box again, and reset the volumes I had changed, all was good again.

    A long-winded way of advising, if you are using an expression pedal as a volume, be sure things are set your preferred way before you start balancing volumes.

    Similar to the adage "always be tuning", I should also "always be checking to see if anything is locked" !

    I've been watching this but had not commented, because there so many great ones that I didn't have any way to narrow it down. Now that there have been some suggestions from others, I'll chime in^^.

    See if you can still find Mats Nermark's free profiles. He had a great tri chorus and a specific funk profile as well as many others. I can't remember where to direct you for his profiles, but I think I got them from his website, not on RE.

    And just in general, try these:

    Experiment with several profiles and turn the gain down. You may find that, even some of the really dirty ones clean up and sound great. I did this with the mbritt little walter from the free pack and still use it, even though I have since bought the pack that had all the little walter profiles.

    Put a compressor in a slot before the stack and turn the volume down so you are not hitting the amp as hard. Similar to above, even dirty profiles will clean up and might be what you are looking for.

    Add direct signal in the amp section. This is one I just discovered and really like.

    As a bonus, for dirty profiles, adding a little direct signal makes them really "crunchy".

    I love the tap tempo and use it on every song,

    especially for delays and tremolo (sp?), but also for phaser. To my way of thinking, being able to adjust to any variance in the tempo is a necessity. And with the Kemper, one tap tempo button addresses all the effects in that performance slot. With my pedal board, I had separate tap tempos for delays, tremolo, etc.

    Don't forget, you can hold down the tap tempo button, while playing, and it will set the tempo for you.

    Please note that you can turn the brightness of the tap tempo button down.

    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.