Posts by NotScott

    Have you tried the Kemper DI yet? Maybe just make a few and report the quality of profiles you’re getting. I’m curious about tips on getting good direct profiles as well. Mine seem to get an exaggerated mid hump around 700-800hz and that gets worse in the octave from 1.4k-1.6k. I have to use most stomps, mod and x slots just cleaning up the artifacts.

    It took forever to get levels set so that the Kemper would accept the DI signal levels but, I was finally able to make some direct profiles of my RedPlate RP-40. A pushed clean tweed setting was closest to sounding like the original amp when I used the amplifier's line out. When I used the Kemper DI, the resulting profile was down in level 3dB and sounded a bit congested compared to the original and the line out versions. And yes, I compensated for the gain differences.


    When I went into the overdriven tweed channel of the amp, the resulting direct profile did have that same mid bump you mention. It appears to be centered right about where the Middle tone control is centered. I had to dial the Middle back and dial up the Definition to clean up the profile. It was also more compressed than the original so, I dialed back the gain a bit and bumped up the Definition a hair more.


    So far, I am confident I can take these profiles I made and make them sound good for my gigs but, making them sound exactly like the original amp is going to take some trial and error. Hopefully I can find more tips and tricks around here before I get to my larger amps.

    Mine came in the same packaging, but was held tightly to the cardboard by the plastic over-wrap.


    There is a picture of the inside of the Kemper DI out there on the web, it's as solid-of-a-state as you can get inside there. Seriously, you could run over it with a car, and if the chassis survived, the internal components did too. Don't spend another second worrying about it, tomorrow it'll work just fine. Enjoy!

    Yeah, I saw the pics too and it does look like a sturdy unit. The packing just looked like something you would expect from a Malaysian eBayer.

    Monday I will have time to start trying some profiles. I hope the DI survived the shipping. I will start with my Tweed Deluxe and AC10 SRT, They are both low watt amps that I can bear doing repeated blastings with.

    I just received my Kemper DI so I can start making direct profiles of my amplifier collection.


    First, I opted for the free shipping from Kemper USA. This is how the unit arrived:


    [Blocked Image: https://i.imgur.com/bW4oQn4.jpg]


    It was just rattling around inside this oversized box with no packing materials of any type and no sealing of the box. It just had the tab folded in. It is not exactly a delicate unit and I did opt for the free shipping but, I would expect at least an attempt to show pride in one's job and/or care for their products and customers .


    Second, can anyone offer any tips and hints in addition to the manual that can help me get the best possible direct profiles? Thanks!

    I bought a Korg PC1 for open mics and any gigs where I didn't have my tuner-equipped Kemper or other pedal boards with me. It worked great in quiet environments but was absolutely useless in any noisy environment, i.e, a stage. Does anybody recommend anything that will actually work in noisy environments and is chromatic? Thanks!

    Thanks but my old Vox/Dunlop and my Tease RMC2 both had better tapers than what I had programmed. I spent some time the other day auditioning all of the wahs I have in my Kemper. I adjusted a couple that are better suited to my needs. I will try them at tonight's gig.


    As for the wah and boost turning on when powered up into Perform mode, I haven't figured that one out yet.

    I am using a Mission EP1-KP as a wah using switch activation and another EP1-KP as a volume pedal with a slight boost programmed for the switch. Both are wired into my foot controller. I have two issues that I could use some help with:


    1) If I power on the Kemper into Perform mode, both the wah and the boost turn on. They have been stored as off in my performances. However, if I power up the unit into Browse mode, they do not automatically turn on. If I then switch to Perform mode, they stay off. I know someone here mentioned changing a setting for the type of switch to fix this. I believe I tried it a while ago and it did nothing for me but that was a while ago. Anybody have a solution for this?


    2) I like the wah that I have programmed. However, all of the action seems to be concentrated near the end of the pedal travel. What parameters do I need to change in order to maintain the current sound but just adjust the pedal sweep so that everything isn't occurring within a small range near the toe position? Thanks!

    For small gigs like that, I use custom made 1x12 pine cabinets loaded with EVM 12S with my powered head. I just store an EQ curve in my performances that allow me to shape the cab response but leave the direct out alone. I have done dozens of gigs like this over the past few months and have never received anything less than stellar reviews on my sound. The cabs are small, lightweight and extremely reliable.


    I have tried FRFRs and they just sound unnatural to me, particularly in the high end.

    @NotScott is that a PRS Santana? How you like it?

    Z:


    Yes, it is a Santana, a 25th Anniversary to be precise and I love how it feels and how it sounds. I have 20 guitars but the Santana is one that always comes to a gig. What I like most about it is that it has a short scale (24.5"), 10" radius fingerboard and a fat neck profile like a mid-50s Les Paul, so it feels and plays more like a vintage Les Paul or SG and not like a modern PRS with those wide, thin, flat necks. The trem stays in tune very well and with a couple of coil-splittable Bare Knuckles humbuckers, I can easily get Les Paul and Strat-like tones out of it.


    The only negatives about the guitar are some players feel cramped high up on the fretboard by the shorter fret spacing due to the shorter scale. I wish the trem bar was screwed into the bridge and not just pressed in place with a nylon washer holding it. I have pulled it out of place with some excessive whammy bar use. And finally, PRS has constantly changed the neck and control layouts on the Santanas, so not all Santanas are created equal.


    Overall, if I could only have one guitar to do everything, this would be it.

    Wow! That's something to think about............

    I won't say that the 6129 can replace my Les Pauls. It does have its warts. The neck sits high in the pocket limiting access to anything high up and I tend to bang my picking hand against the strings more on the Gretsch because of this. If you like big necks, the Gretsch ain't that. The 6129 has a soft oval that is somewhere between a 59 and 60 Les Paul. The factory frets on the 6129 are not very wide nor very tall. If you bend a lot (like I do) it can be work at times. The Filtertrons are significantly weaker than vintage-spec PAF clones, but significantly clearer.


    All that being said, it has a definition that the Les Paul can't touch. You can clearly pick out notes in complex chords on the Gretsch that just turn to mush on a Les Paul. Even when you crank up the gain, the Filtertrons never get muddy. What is interesting is that even with all this definition, the Gretsch never sounds harsh. In fact, I found myself adding presence to my Gretsch profiles compared to my Les Paul or Tele profiles. The Gretsch is lighter than the Les Paul, since it is basically hollow inside, so it is very comfortable to lug around a stage all night. And finally, the fit and finish on the Gretsch is much better than anything from Gibson, Custom Shop or otherwise.


    I have another gig tomorrow night where we are sharing the stage with another act. I will be using whatever backline they provide. Since I am not sure what I will be playing through, how much time we will have for soundchecks and changeover and since I am too lazy to bring any of my rigs, I will bring a Les Paul to this gig because it will be easier for me to push whatever amp I am given with the Les Paul and then clean it up with the guitar volume control. I am not sure I would be able to get enough drive and control from the Gretsch.


    I have owned 6120s before but never a Jet. This was my first and I bought it without trying it first. That being said, I was very impressed by the Jet and would strongly recommend that if you have a chance to play one, by all means do so.

    Now you've got me TV Jonesing!!!

    The 6129 comes stock with the TV Classics. The 5420 currently has the stock Blacktops but I plan on replacing them with TV's T Armonds. I used the 6129 at a gig this weekend with the Kemper. I didn't miss any of my Les Pauls. ;)

    I don't use many effects and I don't do the 7-string chugga chugga thing. I go about as far as 80s metal tones and generally stay in the cranked, vintage amp tonal range with a slight bit of reverb. So take the following for whatever it is worth to you.


    All I know is, I run my powered toaster into 1x12 and 2x12 conventional cabs for my live gigs and it compares favorably to my Carol-Ann , RedPlate or vintage amps. I primarily run TAF and Britt profiles with the cabinet turned off in the output section and on for the mains. I then EQ my guitar cabs so they sound best with the stock rig and generally leave the main EQ alone. Stage sounds great and main outs sound great. No noises, no weird anomalies no BS. It just works. It may not sound 100% identical to my amps but, A) I am using someone else's profile of someone else's amps and B) on a stage with a full band, the slight differences in tone are more than made up for by the conveniences the Kemper offers me.


    All that being said, I have noticed the following:


    1) As the Kemper gets turned up, it doesn't compress like a tube amp. At first, this felt odd to me but I have adjusted to it and it is no longer an issue for me.


    2) Since this thread started, I have run the Kemper through two of my 4X12s. One is a 1960TV with a blend of Eminence Red Fangs and Wizards. The other cab is an old 1960B loaded with Red Fangs. I tried for a couple hours to get what I wanted out of the 4x12s using the same rigs I use with my 1x12s and 2x12s but, I just couldn't find it. The high end on the 4x12s just sounded thin and cold to me. FWIW, both cabinets sound like god driven by my 73 Marshall 100W and the rigs that I didn't like with my 4x12s sound perfect through my smaller, open-back cabs. I have some spare time coming up so I will try the 4x12s again with different rigs. Considering how good my smaller cabinets sound, I see no reason why my 4x12s shouldn't sound as good.


    Finally, just a small rant, I wish guitar players would stop trying to "cut through a mix". We are a part of a band and we need to "fit" in a mix, not brutalize our way to the front with excessive treble through Vintage 30s. When I wasn't playing in bands, I mixed monitors and FOH for several years. You would be surprised how many guitar players I made happy by simply applying a few subtle frequency cuts to other instruments. There is a sonic niche for everyone. Just find it and fit in. Your audience will thank you.

    I reset the link in my previous post. Hopefully it is cooperating now.


    What pups are you using in that Strat? They definitely are hotter than typical vintage specs. Regardless, it is a nice tone you got there (great touch and feel too!) and I understand what you are after. I can dial in Trower type tones on my Kemper with vintage spec pups with no problem but that is about all the gain I ever use for my Strats. That being said, my tube amps do fatten up when I hit the gas, something my Kemper just doesn't seem to do.

    This is a crappy phone video from Thursday's gig and my first with a Strat into the Kemper. The Strat is an older Cunetto Relic with vintage spec pickups and totally stock vintage Strat wiring. I am playing my powered toaster through a 1x12 EVM 12S loaded cabinet using Michael Britt's Dumble profile with some of the gain and reverb dialed back and the compression turned off. I could have dialed in more fatness but this tune works better with more of an old school cranked Fender tone with a bit of cut. It sounded and felt right and very tube-like to me and comparable to my Carol-Ann Tucana that I used to gig with prior to my Kemper.


    Strat Tune

    I have been using my powered toaster for live gigs with conventional guitar cabs for several months now. It has proven to be more compact and versatile than my vintage and boutique tube amps and still sounds and feels close enough to them for my needs.


    That being said, I think I know what you are talking about. What I have noticed about my Kemper and other digital units I have used is that as I get louder, the attack stays the same as it was at lower volumes. With my tube amps, they get more compressed and roll off more highs as they get louder and hotter and I push them more with my pick attack. If you've grown up gigging loud tube amps, it is something you immediately notice but maybe not something you can quite put your finger on.


    While this isn't necessarily a bad thing for me, it does take me a little bit of effort to adjust my playing and setup the Kemper to react more like I am used to at stage volumes.