Posts by Wheresthedug

As high gain as I ever play. TAF SLO or MBritt Dumble lead tones.

Never used a noise gate with any of my Boogies either though. I bought an ISP Decimator ProRack G for my Triaxis but left it off lost of the time too.

i do something similar although I don’t max out the speaker volumes. I calibrate my system so that the flat out lever of everything corresponds to my maximum mixing level then reduce levels at the Kemper, my desk or my DAW as required.

Quote from jippitygem25

what do you normally set the smart gate at? and then what do you normally set a hard gate at when using both?

rarely have the smart gate above 3 and never use a hard gate.

Quote from dmatthews

Similar, but I want to try putting a Kone in a XiTone MBritt powered cab.

is that a good idea?

i thought the XiTone had built in DSP that is optimised for the speaker in it already. If so that is unlikely to be a match for the characteristics of the Kone.

I may well be totally wrong on this so maybe someone who understands active speaker design could confirm.

basic physics and anatomy dictate that our ears are more sensitive to some frequencies than others and this changes in a non linear fashion. Our ears are less sensitive to lows and highs at low volume than they are to mids. Therefore, as you turn down the volume we perceive the sound to be more mid heavy which often translates to dull/muffled/bad. However, if we set the sound to be pleasing at low volume it will have way too much bass and treble at higher volume. That’s why so many bedroom players use the classic V curve graphic EQ shape with all the mids scooped out. They sound god like in the bedroom but then get totally lost in a live band mix at higher volume.

as previously mentioned read up on Fletcher Munson or Equal Loudness curves and all will become clear.

basically you need to different EQ settings. This can be done by putting an EQ in one of the Effects blocks or by tweaking the Output EQ (which can be saved as a preset if you want).

Guavadude you can assign a volume pedal to the Monitor Output which might achieve what you want. Alternatively create a pair of Output Presets. one with the Monitor Output signal routed and another with no signal going to the Monitor Output. Then you can toggle back and forth between presets as required.

Yes.

The performance aspect is still extremely flakey though.

as others have said, you need a surprisingly high volume to completely drown out the acoustic sound of the guitar. Also, if you are wearing headphones you sometimes find the guitar sound being transmitted through the headphone cable by the guitar vibrating against it.

i don’t have a Drop but I have it’s big brother Whammy DT. I no longer bother with he Whammy Dat and just use the Kemper’s own transpose now. My Whammy is gathering dust.

i only ever use my A7x at home and they sound great. However, I have put in a LOT of time and effort treating my room with some serious bass trapping etc which definitely helps ensure that ai am hearing what the speakers are putting out accurately. Don’t underestimate the impact your room and speaker positioning have on what you perceive the tome be like.

would the Low Decay not be able to achieve what you are looking for?

 Low Decay

While High Decay accelerates the decay of high frequencies in the reverb tail when turned more to the left, Low Decay does the same to the low frequencies when turned more to the right. Low Decay at zero will let all low frequencies decay as slow as the generic Decay Time is set, creating a natural reverb response. This is beneficial for performances on a single instrument such as acoustic guitar, or a mix of a classic orchestra.

However, in a contemporary mix with drums and bass it is recommended to accelerate the Low Decay of the reverb to maintain transparency in the mix. To support this aspect, an invisible low-cut filter is automatically established with higher values of the Low Decay, that gently rounds off the low frequencies of the reverb onset.

i am a Mac OS user and I was shocked to read in your other thread how Windows works. I couldn’t work with that system at all so totally agree they should both work the same way.

no, but I have had that issue many times on other software on my Mac. I think the problem is with the Mac OS in my case. Not sure if your issue might be similar thoug

Quote from pat6969

So how much can you tweak the tone stack on a direct profile before you lose the authentic sound of the real amp profiled?

a lot further than running the studio profile through a guitar cab

but seriously, as Paul already pointed out - if it sounds good it is good.

Thanks for the update.

I seem to recall a comment within the last 12 - 18 months which said it was fixed but unfortunately it turned out not to be so.

hmmm, I haven’t tried that as I don’t use stereo monitor out. That’s a bummer ?

just send the monitor out to the input of the power amp and you are good to go. If you want to run with a stereo power amp there is an option to enable stereo monitoring which uses on of the loop outs I think.

if you are using the fx loop of your laney, I would use the Kemper’s monitor out with Monitor Cab dsabled.

you can’t change between the main and alternative inputs. The way to get round it is to have a loop in one of the stomp slots (probably Stomp A) and plg the acoustic into the FX Return. This will activate the X retun as your acoustic input whenever you turn on the loop.

i sometimes use something similar with my piezo equipped guitars. I plug the magnetic pickups into the front input and the piezo into a loop. That way I can send the piezo straight to the ain outs using parallel path and send the magnetic pickups through the amp block etc.

Quote from timo

This is on our list although I can‘t give an exact timeframe.

not something that I need but I am sure there are lots of people who will benefit from it so agree it should definitely be on the development plan,