the Compression feature in the Amp block itself (not the effect) can play a key roll in getting that “bloom” as it emulates the way power tubes compress at volume.
not sure what the speaker in Jazz Chorus is.
already asked for the CL80 too. Not only is it used in most of MBritt’s rigs it is also the base speaker for the Mesa C90 Black Shadow so would be nice to have for Mesa rigs too.
I agree with Burkhard. The level imbalances between rigs are global not specific to one output or the other. Therefore, use Rig volume to balance level to taste between rigs. Then use Volume and EQ on each output in the Output Menu to adjust levels and EQ to suit the room for all rigs. The EQ content problems you imply are room specific not rig specific. Therefore, adjusting one to the room should be all that is needed.
Hm not so convenient for one hand use. I would like to see a sensitivity setting in the settings. Try dialing in a precise highcut. It seems much harder than it needs to be.
Also feel like there is some accelerationen? Would like to get rid of that as well.
fair point about one handed use. For most editing I would still be happy with two handed use though.
yes, i believe there is acceleration built in by design but I also find it difficult to use accurately.
The ideal solution would be the ability to type in values in the Rig Manager editor.
the ability to type in values in RM is definitely needed however I don’t see it as the “ideal” solution. One of the big attractions of the Kemper Head and Rack is how easy they are to edit on the physical units themselves. Not saying RM isn’t good and value but you still need to be able to edit quickly on the spot without hooking up a laptop.
Nice video Maarten. thanks for sharing.
some lovely playing on that solo! And love the Tom Anderson 😎
I tend to use SPDIF for a Simultaneous DI and Stack Mono recording the Same way that deadman42 does. I don’t do it for audio quality reasons purely convenience. I don’t use a lot of big delays or reverbs so I don’t always record a second track with the FX. If I need them I can reamp later or use plugins. As deadman42 said, you could use SPDIF for the DI and Stack but use analog for the FX track however the only think about is latency. If you use 44.1k the digital track will arrive slightly ahead of the the analog. If you use any other sample rate the digital track will arrive noticeably later than the analog signal. Not sure how big an issue that would be in the real world as I haven’t actually tried it but worth bearing in mind.
As for comping, I’m not familiar with Cubase (the last time I used it was on a Windows 3 machine when it was Midi only) but I presume it is very similar to Logic. Your method of cutting etc seems like a lot of extra work. I know that in Logic I use track stacks with group editing like you do but I just literally swipe and area on each take (“lane” in your case) without any cutting. Crossfades are entered automatically but can still be edited manually if necessary. This saves a lot of time.
Thanks again for sharing.
i think the ideal solution would be to hold another button while turning to knob to out it in to fine tune mode the same way that the SHIFT key does in Rig Manager.
Audiopilot great description of your journey. I really enjoyed reading it. I have to saythough, for most of the two posts I was practically screaming at my iPad saying “just profile your JVM man. JUST PROFIle THE BOODY JVM!!!” Then I reached the part where you did exactly that 😎😎😎😎😎
glad it worked out for you. The lack of clutter and lack of heat in the room can’t be overstated. I definitely don’t miss sweating with my valve amps burning all night. Although I have the Reload, I rarely use it anymore but it is such a useful piece of gear that I have no desire to sell mine either. It comes in very handy every once in a while. I think you did the right thing keeping it too.
enjoy profiling those other amps when you track them down 😁
i’m not a metal player but I doo like a good hi gain tone from time to time. I never use OD or Boost pedals. I grew up on Mesa Boogies and used them from 1985 until I got the Kemper a few years back. I’ve always been an amp gain guy. The thing about Mesa’s (or more accurately Mark Series Amps) is that the tone stack comes before the distortion stages. This allows Mark Series to reduce the amount of Bass going into the gain stages and keep the tone tight while still being heavily driven.
This is also what early heavy rock players were doing with the Treble Booster. It is a boost which rolls off a lot of bass and progressively adds drive to higher and higher frequencies. When pushed into a clean amp it sounds shit and piercing . When pushed int an already driven amp it created a tight bass and fat mid/high drive.
Then people started using the TS (and similar style pedals) to add a mid hump and roll off a little bass. Again the concept was to change the frequencies going into the distortion stages of the amp rather than just add more gain/overdrive/distortion. That is why most people use the TS with low drive and high volume: they are using it to shape the tone not provide masses of extra gain.
So, in conclusion, tight distortion is as much (probably more) about EQing the sound prior to the amp distortion gain stages as it is about adding more gain. Pedals like the TS provide a sort of in the box plug and play solution but there are other options. Try these:
A) put an EQ FX in stomp D before the amp and play with cutting and boosting frequencies as well as the output leve.
B) change the amp block EQ from post to pre and cut some bass while boosting some mids and possibly highs.
great solution. Unfortunately, doesn’t work for us powered toaster users as there’s nowhere to attach it 😒
Thanx for your input !
I thought that the Kone was a flat response speaker....
no, it’s flat(ish) but not totally flat. Kone applies an adjustment to make it flat then imprints apply a further adjustment to create the sound of specific speakers.
ears are correct, its the DAW meters that are wrong. You ears hear sound as it is perceived whereas meters measure sound in a rigid manner that doesn’t take acount of the way ears work. Always trust your ears over any meter.
this sounds like what you are describing:
Latched / Momentary
Every Effect Button on the PROFILER Remote supports an automatic latched / momentary detection: A quick press of the button will latch the assigned function - in other words, the assigned effect modules will change their on/off state permanently, until you press the button again.
However, if you hold the Effect Button for a second or more, it will automatically change to momentary operation. Momentary operation means that as soon as you release this Effect Button, it will immediately revert to the initial state. This behavior applies to on/off switching as well as to “Action & Freeze” functions.”
however, as Steve mentioned, Morphing might be your best best.
As Alejandrocarrera said, they are in the Presets folder. Once you have selected the presets folder just use the search field to find what you want. Search “reverb “ will only show the reverb presets. Search “Cab” only cabinet presets etc etc. Alternatively, if you want to see all presets but make it easier to navigate click on the column header to order them. If you click on Type you will get all the Reverbs grouped together.
+1 absolutely agree. The way the Kemper allows duplication of rigs, presets etc is a major PITA.
totally agree. The multiple presets with the same name issue is extremely frustrating.
this has been asked for several times.
i agree it would be a massive benefit and should be an easy thing to add. At the moment it feels like RM is missing an important function that should be there as a default.
Authenticity isn’t necessarily better or worse than simulation.
if it sounds good it is good. 🤘🤘🤘🤘
i personally much prefer usong the toe switch over the [email protected] options. You could sinple change the toe switch to a momentary switch. It will cost you less than £5 and only requires a couple of solder connections so takes less than 10 minutes.