I still have my Torpedo too. I found the Reload a bit dull and muddy compared to the DI box.not necessarily bad but definitely different. I keep meaning to get the Kemper DI and try that but it isn’t high on my priority List right now
I tried some profiles with my Two Notes Torpedo Reload instead of a speaker. It was definitely different than my cheap ART DI boxes. Torpedo didn’t sound as good to me but some others might like it. A lot of it is just personal taste.
were some of the friendliest folks I've met. The country isn't the only thing that's beautiful there.
i’ll second that. Canadians rock !
Having said that the first place we stopped was Whistler and it appear there are no Canadians in Whistler. Just about everyone we met was Australian.
Lihsiang there are two different things at play here. One is time and the other is level.
Monkey_Man has explained the level issue
The part I was refering to was timing related. Yes it is normal for the two waveforms not to line up perfectly due to latency. Some people just accept it because it isn’t serious enough to matter in their particular project. However, many people find it severe enough to change the feel so compensate for it manually. To do this they either move the reamped track slightly to make the waveforms line up. Others apply a sample delay with a negative value (minus a ser number of samples) if their DAW has such a plugin.
This latency delay effect won’t change the sound of your reamped guitar track but in some circumstances the effect of other things around it can make it appear different. The most obvious situation is if you play the original track and reamped track together. The fact that they are slightly ofset can create a slight phaser effect.
Good spot Michael!
AJ - amfuckedifanno
They both sound very similar though, as Michael said, its hard to hold the sound in your short term memory long enough to compare them.
The reason they don’t line up properly in the DAWis latency. I’m not sure what resolution you are zoomed in to on your screen in terms of time but that is probably only a few milliseconds or samples. There is always some latency when reamping as the signal has to go from the DAW to the KPA be processed and then go back to the DAW. This can range from almost imperceptible to noticible timing feel or tonal changes due to comb filtering when played back. The comb filtering effect would happen if you played the original track and the reamped track simultaneously.
Those are the correct connections. If it isn’t coming through in stereo you need to change the output settings.
And the alien noises are very important. You don't think the guys in Germany figured this stuff out on their own, do you?
Indeed. The Kemper is proof more advanced life forms on other planets.
Not something I would use much but I can see how it might be useful for some. I thnk better tagging and searching is something that needs looked at in general though.
As long as you run the monitor out setting as Master Mono you should be fine. If you have it set to Master Stereo you will lose half the delays etc.
Are you using the main outs for ypur own monitors only or do you need to send a sognal to FOH pa?
If no FOH then just send one XLR to each cab and make sur the Main Outs are set to Master Stereo.
If you need to send a stereo signal to FOH plus have a stereo monitor on stage then use monitor out and direct out and use the stereo monitor tick box.
For playing the ipad through the Kemper use the Alternative in AND Return input make sure you don’t try and use the Stereo Loop for any external pedals in this case because the two are mutually exclusive. Then turn up the appropriate Aux volume in the Ouptu Menu. Aux to Main/Monitor/Headphone depending on how you setup everything else.
Different in what way?
It is most likely a matter of needing to adjust the reamp sens. There is a good description of this in the a Reference Manual.
Thanks AJ. I hear you and understand the point you are making. To be honest I was using OD as a generic term for any gain pedal rather than the specific type of clipping involved because I was to lazy to type “distortion “
In this case I was only using it for an A/B comparison. Both the real DS and the Stomp DS were going into a clean profile. The objective was just to see how close I could get them to sound.
My experience has always been that nothing sounds as good as plugging straight into one of my Mesa Boogies (except a Kemper profile of plugging straight into a Mesa Boogie)
Using peak meters in a DAW can lead to very unreliable results due to compression and frequency response. As already mentioned clean sounds have much wider dynamic range than distortion sounds (i.e. distortion is a form of compression). Also we hear frequencies differently at different volume levels so setting sounds that have the same “level” doesn’t mean they will have the same “loudness”.
A better solution is to use a LUFS or “loudness” meter which tries to adjust for this frequency content. It is better than simple peak metering but is still. Long way from perfect. I gave up on the LUFS meter idea pretty quickly too.
At the end of the day there really is no substitute for using our ears to balance levels in the context of the band and venue. While a self levelling, band and venue agnostic algorithm sounds like utopia in theory it’s never going to happen.
Hi RiF, as I mentioned I’m not a real pedal geek so don’t have an extensive list of real pedals to compare against. With the DS1 the Kemper was close but definitely not the same. In this case that was a good thing as it sounded much better than my actual DS1 to my ears. Others may feel differently thats just personal taste.
However, I think there is also the issue of realism being influenced by which real pedal was used to create the model. Two versions of the same amp or pedal can sound quite different de to component tolerances. I remember a video Brian Wampler did a while back where he compared two of the same pedals and measured the components. Some of them use +/- 10% pr even 20% tolerance which can make two pedals that should sound identical sound quite different. Perhaps as different as a real pedl and a Kemper model of that pedal.
It isn’t something I lose sleep over as I just want a “good” sound and don’t really care how I get it. Equally, I want my rig to be as simple (bomb proof on stage) and easy to set up/strip down as possible so if I can get something in the box to get me 95% there I will always do that instead of carry external pedals and power supplies and cables etc etc. Again, I fully understand that is a personal choice and a matter of priorities. There is no wrong or right. All that matters is that it works for the individual.
In the old days strobe tuners were more acurate because of how they worked. They were supposed to be much better at holding the pitch over time rather than just getting it right on the initial transient apparently. I’ve read that’s stil the case but I’m not sure I buy into that in the digital world. I think digital strobes are just a different representation of the data rather than a fundamentally different way of measuring.
This review of the Peterson has a nice little explanation of what I was trying to say.
Having said that, I recently switched to strobe after having used old Boss TU-12 with the VU style needle, TU3, Korg DT1 rack tuner and finally Kemper bubble tuner. It took a bit of getting used to but I think I prefer it now.
I don't have any doubles showing in my RM.
I can't see any of the ones in your picture either though. Are these from rig packs you have purchased/factor content/Rig Exchange?
It could be something to do with the way you import rigs from rig packs.
I had turned my Kemper off for the night so my search was only showing content in Rig Manager and Rig Exchange.
When I turned the KPA back on all of a sudden I had lots of doubles. Looking through them it seems that the doubles are rigs that are in RM and have also been copied to the KPA.
Can you see the column headed "Located In" in RM? If not right click at the top of the list and add "Located In" as one of your fields. You should then see that the doubles show as being in a folder in RM and "My Profiler"
Can you hear the difference in tone from different colour guitars too
Part of the issue for me with the Kemper Vibe compared to the Voodoo Vibe is actually the wave shape. The Kemper doesn't have the same flow to it and it doesn't have the ability to change to different wave types and control the symmetry of those.