Posts by Preacher

    That's indeed interesting.

    I remember way back, hooking up my first guitar right into my audio interface and doing processing on the computer. I remember trying to record at like 10-12ms input latency (this was long before I understood buffer settings and so it was left in the default near-middle position) and feeling like it was unplayable.

    Right now, I use a G10 Relay into the Helix, XLR out to Kemper, SPDIF back again, 1/4" out to two Strymon pedals and a rack compressor, back into the Helix a second time, then out to Powercabs through AES. In order to go from Kemper via SPDIF I have to use a box that translates SPDIF to AES, not sure if that has any inherent latency, but one should figure I had tons of latency in this rig. However, it's totally playable. There's no way I'm above 8ms latency. I haven't played straight into an amp in a while, but it feels like there is no actual latency, that's how tight it feels. So that's five rounds of AD/DA and any latency introduced by any of the four digital signal processors (five if you want to count the SPDIF/AES box) that are in line. That's just mindblowing to me. So in all actuality, it doesn't really matter. I don't mind when things are optimal, however.

    Why would low values of Pure Cabinet help in this situation? I see the opposite.

    I pictured a spectogram of a recorded guitar signal and how the pure cab seems to smooth out the visual peaks in a spectogram-like representation. So if we accept that fewer and smaller peaks in the signal equals less audible diversity (which isn't given, but I'm ready to make a case for it), and that more diversity = more complexity, on that basis alone I was ready to totally agree with the guy.

    But only because OP described their tone as "dead", "sterile", "lifeless" and that it lacks clarity :P

    I'm scratching my head.

    First off, there's not enough information to diagnose your problem, but it is not possible that it is a matter of profile. If only a handful of profiles out there do it for you, "sterile" isn't the right word to be using. I'm not questioning your preferences, but a direct profile sounds exactly like the line out of the amp it profiles., so much so that people regularly fail blind A/B tests. There's probably a million Youtube videos like that.

    You then proceed to say you want your guitar to be "dark", and that what you get is a guitar that sounds almost "happy". I read the word "scratchy". Overall I'm not getting a very good idea of what your guitar actually sounds like to begin with, and I'm not really grasping how you would like it to sound. When you say that it sounds "scratchy" and you want it to sound "dark", I'm assuming your guitar is pronounced in the mids, and you want a typical, mid-scooped BBE Sonic Maximizer sound, but without the high end. That is easily EQable, but there are parameters in the amp section that interact with the EQ. Clarity and definition both do something that sounds like EQ. If they are set too high, they will make the profile sound artificial (unnatural). There's also the "Character" parameter in the cabinet section. That too can cause some artifact-like things in your signal if set too high. And then there's the Pure Cab parameter which smoothes out peaks in the frequency spectrum. They all play a role in your tone, and the way you're describing it, it sounds like you should look at those settings and play with those.

    What kind of guitar are you playing? And what kind of playback system do you use? FRFR speaker or cab? Monitors? Headphones? I'm just asking to ensure you've ruled out that it's the speaker you're using that is making it sound "sterile". And about the guitar because the "whine" noise you're describing makes no sense, so I'm wondering if you have a hollowbody or an LP and it could be your strings ringing out above the saddle or below the bridge. Either way, that's not something I've never heard anyone say about the Kemper before. Mine definitely has no whining noise on any profile, and I've probably demoed a few hundred profiles. They only ever sounded sterile or unnatural to me when those parameters I mentioned above were set to some out-of-whack value. Imagine if your playback system is bright and the person that made the profile you are demoing used a playback system that had a darker signature. Any settings in the profile would be dialed for that speaker that was darker than yours. Everything would sound brighter on your system. That could be a thing maybe?

    I also know some people have reported that they updated their unit, and afterwards it sounded like shit (thin tone, I believe the word "shrill" was used to describe it and I connect that to your "scratchy"), but a factory reset made it sound like normal again. This is more of a long shot than anything else I'm posting, but thought it was worth mentioning. I've heard three or four accounts of people having that happen to them in the FB group.

    Like others already pointed out, if you post a clip of what it sounds like on your end, it's way easier to understand what's up and give you the right advice. Also, suggesting a song with a guitar track that has a tone you like would benefit you as well.

    Edit: okay, I just kept coming up with more stuff to add, this is my fourth edit lol. Anyway, check this out:

    This video shows you what the Definition parameter does to the signal. At 10, everything sounds a lot more scratchy to me than at, say, 2.

    What can be a possible explanation for why SPDIF adds more latency? So that means, for live playing, analogue outs are more optimal? I just recently startef using SPDIF due to no AD/DA noise. Not sure it's worth it with added latency. I mean, I can't tell a difference, but I go wireless through a Helix into the Kemper and back into the Helix again and out to digital. Any latency reduction I can squeeze out is most wanted.

    I haven't used a stop watch but to me , my Kemper boots up pretty much in the same amount of time as when it ran on version 4

    Isn't that kinda like saying "I don't have ears, but to me that one sound was pretty much as loud as that other one"? :P

    I don't know why this, of all things, was what I had to bring to the table today, I have never cared about boot-time as long as I owned a Kemper, but there it is. Not trying to start a fight! ^^

    I'm thinking they want to make each update have some kind of theme, for whatever reason. So if patch 5.0 was the delay overhaul, patch 6.0 was the reverb overhaul, and patch 7.0 will be the file system overhaul. Patch 8.0 hopefully OD / DS stomps? :D

    Just to be technically clear, if you put a compressor into slot A-D somewhere and run it into a high gain rig, you aren't compressing the gained tone. You are compressing the raw signal. It then runs into an amp model that makes it gainy and compresses it some further (but not necessarily). Using a compressor pre-stack would effectively change how everything sounds after applying gain, but it's not technically the same as placing a compressor after the stack and compressing the gained sound, which in turn would yield a different effect. It's the latter that is a supposed "no-no", and I suspect more so in a live situation than studio. I got the impression that that wasn't entirely clear, but it's an important distinction. Compressing the signal going into the stack can be very beneficial.

    What about using the Helix for the second parallel Amp instead of a second Kemper?

    You've probably tried it already, so what's your experience?

    It definitely works. This is just GAS talking but two Kempers could have many uses. I picture being in some kind of band at some point, and I envision taking it way more seriously than anyone at my level of playing, nonetheless I would care about the overall product we'd create. I could use them for connecting 3 or 4 guitars to this one rig, elaborate dual amp setups on one guitar whilst chasing the elusive ultimate tone. But yeah it's mostly just GAS haha.

    Another thing is, from the Helix to the Kemper there's added AD/DA conversions that potentially could cause phase issues. Two Kempers could be run at constant latency. This isn't an issue I've actually encountered although I only set up a quick patch to try it out. It sounded good to me then and there but I didn't qualify the experience. I could've just had unattentive hearing at the time. I dunno but probably it's just GAS trying to talk myself over about how good the idea is on paper lol.

    What I really want is a huge rack with lots of blinking lights. Different colored Kemper screens. Lmao.

    It would still be a closer approximation. It definitely feels like a 6.0 or 7.0 kind of huge feature update and I'd gladly welcome it. No more having to use several performance slots per amp, each rig is an actual entire rig. I've heard that the Kemper was released with more memory than it was actually using. It's not far-fetched that the unit could do it.

    Imo, that's genius and should be elevated above mere thought-level.

    It's almost as if part of me wants to incline you to keep expressing that thought everywhere on the forums and on FB. It would be a huge leap, or possibly a feature for a future Kemper 2, but it's a simple yet genius idea that we should ensure is out there for the people that be.

    I currently only have one, but have been thinking about getting a second one lately. I have the unpowered rack version, and have it in a rack with a Helix. I run my guitar into a pedalboard which goes into the Helix, out to the Kemper, back into the Helix, out to a tray of Strymon pedals, then back into the Helix a last time and to output. I want to get another rack Kemper so I can run two different amps at once and pan them left and right for a fat, fat stereo sound. Imagine then running that through a Mimiq. Oh lord, it'll sound like a whole band camp!

    Then further down the line, I want to get a power amp like the Powerstage 700 and two 2x12 cabs. I bet it'll sound like there's a million guitars, everywhere.

    It may sound like I'm joking or just being plain silly but I'm actually dead serious. I have two Powecab Plus', I want to place those on top of the 2x12s and use them as wet speakers in a W/D/W setup with all of this behind it. That'll probably sound like around 1,5-2 million guitars or more, all the way to Mars. Still not kidding.

    I just realized that "Kemper Kone" and "Kemper Kabinet" probably weren't just typos, but rather, the baby steps of a new trademark in the making. When can we expect to see "The Kempressor" in the effects list? :D

    That is all, thanks for an amazing product, and have a nice day! :)

    Edit: Cristoph (god) damn it, this wasn't supposed to go in the support forum, my bad!

    One noteworthy thing I noticed about the alt input is that it's rated at 825k ohm vs the 1M front input. Not sure what that implies, but doesn't lower input impedance darken the sound of the guitar? Anyway, that's neither here nor there, your logic seems right. There should've been a difference in levels indeed so that's out of the window then.

    I stumbled over an old forum post that was a couple of years old, where a user said something along the lines of "the alternative (back) input is designed for line level signals". I kept searching and ended up finding a few more posts from different threads that all stated the same. I already know that the front input expects an instrument level signal. If that's true, this could possibly be a solution to a problem I am having, so I was excited. I am at work so I went to check the manual to confirm and there is nothing in the manual about what specific signal level the inputs are designed for. The manual only states that the alternative input can be noisier.

    So were they just blowing smoke or has someone official confirmed that indeed the front input is for instrument level and the back input is for line level?

    maybe I don't get it correctly (in case excuse me!)...but you would sell the kemper because you don't retrieve a math info or something similar involving numbers? :)

    No :P

    I just realized something. The TS output is +16dB. If you happened to simply subtract the output pad from that number (-12dB) you land at..... +4dBu. Pro line level. XLR is 22dBu, if you subtract the 12dB you land at +10dBu.... A slightly hotter, balanced line level. This all fits what people have been talking about earlier in the thread, leading me to think you can actually just do it like that. I mean, considering my track record I'm probably wrong, but it's a funny coincidence at the very least. In any case you have to actually activate the output pad to be at "baseline" line level. Alright, I'm not mad or anything lol, but that wasn't obvious to me in any way. I don't gig but Isn't this a problem when trying to feed a stage mixer? It seems more intuitive to me if it worked the other way around - the output being regular line level at default settings but having a toggleable "output volume boost" in the settings. Anyway, I am running the main outs into the FX return of a Helix and I've been having so much trouble taming the signal, having to apply gain cuts in several places of my chain to compensate. I knew the pad existed, so yeah, I dunno why I wasn't using it, maybe because I got caught up in trying to maintain unity gain at an earlier point, and not thinking critically. This thread was mostly created to just put my experience out there, say, if anybody else were silently struggling to wrap their head around what's causing their frustrations :)

    Lol, so I should read better and/or check the most obvious place on earth before making a thread next time. I'll take note :)

    Thanks for the info though, I now know what I must do! :)



    Does anyone know what the output is with the 12dB pad on? I know enough to know you don't just subtract the number from the +16dBu, but beyond that I'm not knowledgable about the maths involved. Is there anyone that simply knows or has a gefühl that care to just tell me what the answer is? :saint: