Could it have anything to do with your PC monitor? My KPA hums pretty badly when I face it. Also the position of the PC to the guitar has something to do with it.
You don't happen to be using P90s, do you?
Posts by Locrain
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Works fine like that for me. Have you tried a different USB drive?
You probably didn't break it, there is software that should be able to detect and reformat it. But trying another is easy...
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I haven't tried Rick's...I have the TJ pack, and greatly prefer Live Ready Sound's pack. 58 different rigs, 3-4 different mics, different cabs/speakers etc, really great pack.
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I just searched the forum for how to distinguish b/w a studio and merged profile, and all the responses said you couldn't unless the profile was tagged properly. Has this changed recently?
Also, if you have a well-made merged profile, it should sound identical to a studio profile...with the major advantage being able to switch out cabs more accurately in the merged...so in that case why are the majority of profiles out there studio profiles? The only reasons I could think of it is that creating a merged profile involves more steps/hardware, most ppl don't switch cabs in a rig, and the cabdriver works well enough in allowing cab changes in studio profiles. Is that it?
I think that's exactly it.
And unfortunately, unless I missed something, there is no ability to tell which is which without asking the person who did the profile.
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In most respects you are right I think.
So you found a VST that sounds as good as a Kemper? Whats the name of this marvel? If its from Bias then yes it sounds good to me too but doesn't come anywhere near the tones in my KPA. As Always YMMV.
Neural Plini, STL Putney, Benson are really really good. I can't honestly say the Kemper is better. Amp sims have exploded in the last year. Putney's vst drops his KPA pack in it's tracks, no comparison imo.
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As mentioned above, due to the way that EQ knobs not only affect the EQ with different Qs, but actually change the frequencies that the other knobs affect, and in doing so, alter the effect of the first knob. It would be incredibly complex , and to me it seems several order of magnitude more difficult than current profiling. I think it could be done, but I would not hold your breath on it being implemented into the current generation. But I can't wait untill it happens.
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I made my own Kemper Shell with my 3D Printer. Advantages are: half the weight of wood, no corner joints, and tolex sticks far better. Corners and feet are also 3d printed.
That's awesome! How big of a printer did it take, and what material was used? So cool.
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Oh boy. This is a rabbit-hole into itself...
For user friendly I like SSD5. I also like the samples and player algorithm better than SD3. But SD3 is an insanely powerful midi drum program. GGD is great, Room Sound is fantastic for exactly what it says it is.
If I could have just one, it'd be SD3, it's just too powerful and versatile.
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The trick to getting huge pro sounding guitars is focusing on getting a good drum and bass sound.
This really is the trick. Most of the new modern productions like OP is talking about really hit you with the drums and bass, that fills out so much of what we think of as guitar "tone".
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I think you might be served better by modelers like Fractal, as they do aim to do this kind of thing. Kemper does not. I do hope someday (KPA 2.0 maybe...) we'll be able to sweep through the eq/gain/etc knobs of the amp during the profiling process and end up with a profile that reacts to knob changes like the original amp. That would be something...
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Try this one: https://livereadysound.com/product/reverend-g-120/
Really great pack.
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This is my second Padalka and it is just as impeccable as the first.
I would do terrible things for that guitar...wow!
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I have not yet as that is one aspect that I had missed and will definitely try that out tonight...so many features on the unit completely forgot that one. I have also been reading on using a compressor with a fast attack to try and minimize the chirping effect...has anyone tried this before?
That could work, but I would try to dial it out another way if possible, if it works, it works, but it seems like that might choke it a little...high-gain tones are already very compressed by nature. But it's worth a try.
And as has been mentioned, if it only happens in the in-ears, they may be the issue, or at least making it worse. I don't have much experience there, so I can't help much. But I could see high scratchy sounds being exaggerated with IEMs.
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Good day all. I am wondering if anyone has suggestions on the profiler for getting rid of, or at least minimizing, the dreaded (at least to me) chirping sound on my high gain profiles when I pick. I use a Friedmann JJ100 profile that I love and while I do not hear it in either FOH or stage wedges the issue comes when I use my in ears. Very noticeable in them. Any tips or suggestions would be greatly appreciated.
Have you adjusted the Pick parameter in (I believe) the amp block?
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That looks a lot like the frequencies that turn people off the Kemper, very interesting post for sure.
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Mesa Boogie 2x12. Sounds great for metal. Tight and focused. I use Mark II C+ profiles.
I use the same, we play Deftones/Chevelle type hard rock. Great cab.
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Great
I thought so.
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No, they have smear.
I was going off of this, I guess it is incorrect?"A number of delay types feature the parameters "Swell", "Smear" and "Cross Feedback". Each of these parameters will make the delay sound smoother and can turn a rhythmical delay into a more ambient, or reverb-like, effect. And together, they work even better!
- Swell - The Swell parameter engages an auto-swell effect at the input of the delay that lets the volume rise slowly with every new strike of the strings. At low values, only the pick attack is dampened, creating a smoother delay signal. With larger values, the onset of the notes is blurred, creating a pad-like delay."
- Smear - The Smear parameter adds a small reverberation unit to the delay, the intensity of which strengthens with every feedback repetition. Pick attacks become increasingly diffused, or smeared, giving the delay a reverb-like quality. In combination, Swell and Smear are a perfect recipe for ambient and ethereal delays.
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Without having it in front of me, I think several of the delay stomps include a "swell" parameter. Have you messed around with those?
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To me, its as good as a smart gate or decimator
That's very true, I hadn't thought of that, but I used to have a decimator years back, it was awesome, and you're right, I think it is that good.
