Posts by Chris Duncan

    Probably a dumb question, but did you report the problem through the official channels so that they have it on their list to fix?

    To be honest with you, there is not much that the TC pedals do that the Kemper doesn't. In fact the Kemper does ducking and that the TC pedals need to use a tone print slot to be able to do. I still have those two pedals left over from when I had my Archon. I have been thinking of trading them for an over drive or something but not sure what to get. Have also thought of selling them off and possibly a couple of other things to get an MT15 amp again.

    I sold all my tube amps after buying the Kemper, but I kept all of my pedals. Resale value of music gear is always painfully little, so I just figured I'd keep them around in the "you never know when..." category.


    While I haven't experimented with running pedals in front, my first inclination would be to play with the Tube Screamer. For tremelo, reverb, delay, chorus, flanging, etc. the Kemper does that very well for my taste, so those pedals wouldn't bring much to the party. The only reason I haven't fooled around with overdrive pedals is that I use a lot of MB stuff and my favorite profiles are ones where he used a Klon in the process. So, I already have that vibe anyway.


    I should probably just sell the pedals, but I still haven't completely shed my gear pack rat mentality.

    i personally like the idea of users keeping their computers for a long while. but in this case, you should consider your old computer as a system that doesn't change anymore. as much as your computer probably doesn't run an macOS which is newer than mavericks.

    All of my computers were Windows 7. Ultimately I decided to move them all to 10. It had to happen sooner or later, RM was just one more sign of the times.


    However, what I had considered doing before that was to have just a second computer running 10, some low powered spare box that wasn't getting much use anyway, and running RM 3 on that. USB from that box to the Kemper, and then on my main computer just open up the RM computer in Remote Desktop. That would have let me continue working on my Windows 7 studio box, with RM running as a separate window via the Remote Desktop session.


    Perhaps that's a bit clumsy, but it might be a viable workaround for those with a spare box who don't yet want to migrate their main music computer from 7 to 10, or the MacOS equivalent. I don't know if MacOS includes something like Remote Desktop but I'd be surprised if they didn't since Apple has always been the innovator and Microsoft the follower.

    I use the stage as well. You can set the effects loop anywhere you would like to have it within the chain. The stage does indeed has the same tones and can run all of the same profiles. I run outboard effects with my stage as well and it sounds amazing.

    I own both of those pedals and think the TC Electronics stuff is great. However, with the new Kemper reverbs I'm surprised that you're running outboard reverb and delay. I haven't done any A/B testing between them, though. Is there a big difference in tone quality?

    If you go with the powered version it allows you to take an incremental path towards FRFR if needed. In my case, I was very happy with the sound I got running into my 4x12 and really had no reason to change (other than, you know, GAS) until transportation became a factor.


    So, if you start out with your physical cabs and like what you hear then you can always add an FRFR at some later date if you'd like to experiment with that sound, or never if the physical cabs make you happy. That's one of the reasons I've enjoyed my decision to go with a powered head, as it gives me all the options with both physical and powered speakers.

    Thanks to everyone for your support ! I am thinking getting involved with this community would be awesome, and getting to the point where I can give back to the next player a must.

    These are some really nice folks, and the vibe is overwhelmingly more positive than pretty much any forum I've ever seen. They've been incredibly generous with their time and advice in helping me find my path with the Kemper.

    we never have volume wars, stage feedback (unless we want it) or ear ringing after a performance.

    Back in the 70s when they asked me about my version of the perfect future, this was my wish list. The guys who wanted flying cars were considered far more realistic.

    doesn’t sound too big of a learning curve

    Honestly, the only learning curve I had was realizing the thing about profiles / genres, and that I didn't have to make a bunch of adjustments like I did with a modeler (or a real amp, for that matter). Being a techie, I probably made it sound more complex than it needs to be.


    For a geek like me it's been shockingly simply to use. Plug in guitar. Pick profile. Rock and roll.

    I do understand your last two sentences. And logically it makes sense that it wouldn't be the same sound. But then how come some people say they get very close to their FOH sound and others say they dont? Maybe it's the style of music being played? A hard rock/metal solo might be harder to emulate via IEMs than a jazz solo maybe?

    That's an excellent example. A pure and clean sound suitable for jazz won't carry the same expectations as the representation of all the harmonics, compression and gain stages that go into a metal tone. Chalk and Day, as the TPS guys might say. :)

    Echoing the thoughts of others regarding the impact of the ear buds you choose, I eventually moved from generic fits to custom mold Ultimate Ears. I only got the ~$500 range stuff and even the sales reps said for what I was doing there was little benefit to the $1200 ones. The difference in quality of sound (with custom molds, regardless of brand) is absolutely life changing.


    That said, IEMs alone just don't do it for me. Even if the sound is spot-on, part of rock is physical. For one, I missed that thump in the gut when I played rock stuff. Also, with no speaker on stage there's nothing for your guitar pickups to interact with. For me, including an actual speaker along with the IEMs allowed me to get some thump and guitar interaction. That helped the playing experience.


    Also, custom molded IEMs are often designed for a 100% seal. I just wasn't comfortable with being that cut off from my surroundings. The UEs were designed with a 12db port that allowed a small amount of stage leakage. They usually recommend that they deliver with this port sealed. I chose to leave it open.


    As in the studio, most people want "more me" in the monitor mix, so tweaking both EQ and levels / pan will help if you're in a position to get a separate monitor mix. But it's important to set expectations. The sound coming out of microscopic speakers stuffed into your ear canals is never going to be the same as a 4x12 cabinet with speakers holding on for dear life. As mentioned by others, it's an exercise in trade offs.

    TL;DR - What the other guys said. :)


    While there are lots of people far more qualified than I am on most of your questions, I'll share my relevant experience in the spirit of helping.


    My background is classic rock (from Zep, Clapton, Hendrix to Greenday). I quit gigging and play mostly at home in the studio, max 105db. Prior to purchase my amps were Marshall JCM 900 (90s), Vox AC15 (new), Fender Blues Deluxe (90s), EVH lunchbox (new), Gibson Lab Series L5 (80s), some V30 cabs. My main guitar is a PRS McCarty (humbuckers), followed by an 80s Strat and a new Tele.


    There is a massive amount of free profiles on Rig Exchange, but I decided to buy some genre-appropriate profiles from some of the most popular commercial profilers (moderators prefer we limit talk about specific brands to the third party forum) to get a sense of the best that I could expect to get from a digital recreation.


    So, that's the context. Now, to speak to your questions...


    Yes, the Kemper profiles respond to the nuances of your guitar, as well as your actual playing (e.g. when you pick harder or "lean into it") and to me feels very much like my tube amps. I've previously had Line 6 offerings which are modelers rather than a profiler (an important difference) and was never quite satisfied with the feel. For me and what I play, the Kemper feels familiar.


    The effects in the profile are flexible so you can place things in the order that feels right to you. You can also run pedals before the input of the Kemper, just as you would a tube amp. I don't do much of the latter, but one of the popular profilers who tours with a recording act has recently been experimenting with this approach rather than using the Kemper effects exclusively and has positive things to say about it.


    I started out running the Kemper (I bought the powered head) through my well-broken-in 1960A Marshall 4x12 (V30s) from the 90s. It felt very good and I was content with just that. However, for a while I considered going back out to gigging and I have a very small car, so I looked for a powered FRFR (I went with the much loved Yamaha DRX-10) as much for convenience as anything else. It doesn't sound the same as the 4x12 but still sounds great, and when I decided to quit gigging I put the 4x12 away and prefer the FRFR at home.


    One of the reasons the FRFR feels best for my purposes is that most anything I do ends up being recorded, and this brings up an important thing to know about the Kemper. It's not designed to reproduce the "amp in the room" sound. It's designed to give you the guitar sound that you hear coming out of your speakers when you put on your favorite record. To be sure, at least for my taste, the "amp in the room" sound (i.e. playing at 105db and feeling the thump in my chest) has everything I'm looking for. Nonetheless, knowing what it's designed to deliver is a key element in being happy with your purchase.


    A modeler, like the Line 6 / Pod or Fractal / Axe stuff, is designed to digitally simulate the entire amplifier and allow you to tweak every knob. So, per your question about EQ, the knobs on a modeler are designed to simulate what the knobs on the amp do.


    The profiler is a completely different approach. It's not designed to completely emulate your DSL40CR. Instead, what a profile does is capture a single snapshot of sound, including your amp settings at that instant in time, the speaker cabinet, the mic you chose, the speaker placement and angle of the mic, room reflections that make it back into the mic, the humidity in the air, the exact position of your cat as it sits in the corner, etc. In other words, what's being captured is the specific signal chain exactly like it would be done in the recording studio. That's why the EQ knobs don't behave the same as they would with a Pod or Axe. You're adjusting this particular snapshot of sound, not interacting with an amplifier emulation.


    What you hear is analogous to listening to what you just tracked through the studio reference monitors in the control room. That's the reason I enjoy FRFR speakers in my scenario, as they're designed in a similar fashion to studio reference monitors and thus what I hear through either set of speakers is going to be the same kind of sound. Obviously I wouldn't monitor my DAW mix through my 4x12.


    On a side note, it's also why I love the Kemper for recording. I don't have to worry about being half an inch off in my mic placement (huge difference) against the 4x12 to match song two today to song one I recorded a month ago. It's always the exact same sound - whatever mic and speaker cabinet / position that was used when the profile was actually created.


    There are a number of reasons the Kemper was the right choice for me. One of them is that I honestly kinda suck at dialing in a killer tone. Never been good at it. If I have an amp modeler, I have to dial in the tone. No matter how good the Line 6 or Fractal amp recreations are, it doesn't help me if I still don't know how to dial in the tone.


    With a profile, it takes my deficiencies out of the loop. What I get when I dial up a profile is the result of someone else dialing in a killer tone - and making good speaker, mic and placement choices, cat position notwithstanding. I get the final product. If it's the droid I'm looking for, then grab the guitar, rock and roll. And there are a lot of people out there who are really good at dialing in and capturing that killer tone. Yes, you can tweak your profiles. Many do. I don't. If I don't like what I'm hearing, I just move on to another profile.


    This brings up my final point regarding profiles. There are thousands of free profiles on Rig Exchange, and many of them are very good. When I first got the Kemper, I tried loads of them and was discouraged by how bad even the most popular ones sounded. Eventually I realized my mistake. A profile is a snapshot in time of someone dialing in a tone and capturing it. So why does the Marshall on 11 sound terrible to me? Because the way you dial in a Marshall for a Led Zeppelin song is very different from the sound you want to dial in for a drop tuned guitar playing New Age Post Apocalyptic Lunar Metal (NAPALM). When considering profiles, free or otherwise, it's important to be cognizant of the genre that the people are dialing in the tones for. A Marshall is not just a Marshall. It's a Metal Marshall, or a Classic Rock Marshall, or a Rhythm & Blues Marshall. It does many things. A profile is optimized for one of them. To me, that's really the secret to finding great sounding profiles.


    If you match the profile to the genre you're playing you'll get very, very good results. There's a lot of deep tweaking you can do if you really want to dial it in to the millimeter. I don't. And for the record, I've been making a living writing software for decades, so it's not that I'm afraid of technology. I just don't want to screw with it. Give me a guitar, plug into an amp, rock and roll. That's all I want to do. And once I figured out the Kemper ecosystem, I was able to do exactly that.


    My guitar, both in the room and on recordings, has never sounded this good. A week after finding the right profiles for my taste, I sold every single amp I owned. I kept a couple of speaker cabinets but hummed a happy little tune as all those tubes walked out my front door. I love tube amps, it's what I grew up on. And I don't miss them even a little.


    As always, your mileage may vary, but I think this speaks to the questions you asked, at least from my own experience. Hope it helps.

    I first bought the Hola! Music HPS-290B Professional Tripod Projector Mixer Stand ($45 USD) but it was a bit too wobbly for my comfort. That said, I have a powered toaster so it's heavier. An unpowered one might be okay.


    I returned that one and replaced it with the heavy duty version: Hola! Music HPS-300B Heavy Duty Professional Multi-Purpose DJ Tripod Stand ($55 USD). While they named them differently they're both the same type of stand. This one's just much sturdier. It's exactly what I was looking for, and since it's only $10 more is the one I'd recommend for powered or unpowered toaster.

    While I sold all my tube amps, I kept my V30 cabs, a 25 year old 4x12 1960A that's nicely broken in, and a couple of closed back single cabs. When I first got the Kemper I ran through the 4x12, and it sounded great. However, I have a small car and it wouldn't fit, hence the DXR-10 (in no small part due to your recommendation among others). It also sounds great, but different.


    I'm no longer looking for a band to play live with so my Kemper usage is studio only. Sometimes I listen through the studio monitors as I track, but when I want to feel the hair on my arms vibrate I go into the live room and fire up the FRFR. Having lived with that setup for quite some time now, I think I need to wheel the 4x12 back out and see how it sounds with fresh ears.