Posts by Locrain

    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.

    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.

    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. :D

    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.

    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...

    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.

    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?

    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.

    https://www.kemper-amps.com/ne…s-for-the-KEMPER-PROFILER

    Fluorescent lights, LED lights, dirty power can all have an affect, although I find this less so on the KPA than a regular valve ( for obvious reasons) at like for like gain settings.


    I find I can effectively eliminate any noise using the 4:1 noise gate stomp from any set up though so you should get it sorted.


    In other words its unlikely you will get problems live...

    I was messing around with this the other day, and it really is a great solution. I was kind of surprised at how far I could crank it without it prematurely cutting off softer notes. Really good.

    Locrain


    Do you talk about when you hit the strings, the pitch bouncing up and then down on the sustain?

    Well, Evertune does reduce that "pitch bounce" on the intitial pick attack. It will make the notes more even. Almost no pitch bounce.

    No, and I should have been more clear about that. But it is related of course, it's likely to be out of tune the most at the attack, so that's a good point.


    But no, I'm just talking about the physical travel of the string, since as the pitch lowers and the low string gets either larger or has less tension, which are really your only two options, the distance the string travels during it's oscillation increases, and eventually it just drifts too far in and out with the rest of the chord.


    A baritone is nice since you can achieve a lower tuning with the same tension and string gauge, but then the length of the string is longer, which I assume would offset some of those benefits.


    The sustain reduction does bother me a little. It's a semi-hollow, so I'm not really sure how the evertune would affect it there. And I have P90s in it and love them, but they can be a little lacking in that department. It's not really a big deal, I could move up to the BPK stockholms if it was an issue, and it's not likely to be often, I don't do a ton of leads or long held out notes...


    I wanna check it out though. I know one guy who says it makes his guitar sound like a piano. That sounds pretty cool. :D