Go to performance mode and the slot you want. Turn the browser knob and enter the profile you like. You'll be browsing through the browser mode menu. Then hit save. Repeat for other slots.
In addition, (and just in case):
If you’ve been using Rig Manager, make sure the rigs you want to add to a performance are stored on the Profiler and not on your computer.
Rigs, Presets and Performances all have a ‘folder’ that show “your” Profiler. If the rig isn’t in there - it’s not on your Profiler.
I think the history of ‘celebrity made’ presets demonstrates the difficulty with doing this.
As Kellerblues points out, there are so many variables involved that have nothing to do with the amp/effect sounding the way it does. It’s frequently useless .
I’ve tried presets that were purported to be near-exact re-creations of an effect. I never found one I considered even close. With *their* gear? It probably does….but not with mine.
With few exceptions (Eric Johnson being one), a player’s live sound is….kinda-sorta-not-really like their recorded sound.
it's been a while, but I'd like to hereby ask this thread/discussion to get
back on topic
Was it something I said? 🙃
I wondered when we’d be steered back to the topic. Future updates to Tom Bukovac……
Making the EQ curves match the amp profiled would be a disaster. Every amp would react differently to the controls. Confusion is all you’d get.
How do you remember what one amp does versus another so you can get the results you’re looking for quickly? And AC 30 reacts very differently than a Fender Twin or JCM 800 or…….
No, thank you.
As already mentioned, don't go cheap on the earbuds.
I would not suggest people buying el-cheapo IEMs, but as a first step a set of Shure SE215s are impossible to beat for all around value.
No - they do not compete with good, multi-driver brands - but they’re also WAY less expensive at $120 or so.
I’ve got a pair I’ve used at church since 2015 or so. Are they great? Well….they aren’t bad and they’re as durable as can be.
I replaced the cable once….in 7 years, being used a 4-6 times per month depending.
LOL!!! Never discount studio musicians you've never heard of. I recently saw him touring with Anne Wilson from Heart.
Bukovac began playing guitar at age eight, and performed his first shows at age thirteen at his widowed mother's bar, The Surfside Lounge, in Eastlake, Ohio. He moved to Nashville in 1992 to pursue a career as a guitarist.1
Bukovac has played on over 500 albums, including projects by Steven Tyler, Stevie Nicks, Bob Seger, John Oates, Joan Osborne, Vince Gill, Dave Stewart, Joss Stone, Hank Williams Jr., Sheryl Crow, Don Henley, Carrie Underwood, Rascal Flatts, Keith Urban, Willie Nelson, Martina McBride, Faith Hill, Kenny Loggins, Reba McEntire, Blake Shelton, LeAnn Rimes, Florida Georgia Line, Dallas Smith, Lionel Richie, among many others.
Bukovac has toured with Joe Walsh (2017 – Tom Petty and the Heartbreakers 40th Anniversary Tour); Vince Gill (2016); John Fogerty; Faith Hill; Trigger Hippy; Wynonna Judd; Tanya Tucker, and others.
Bukovac is a beast. One you’ve never heard of - but definitely heard. An absolute monster player.
A first-call session cat in the order of a Tim Pierce, Steve Lukather or the late Tommy Tedesco.
The volume of the amp on the stage is a huge thing. I also run sound and have probably done almost as many gigs as a sound guy as I have with a guitar in my hand. I have done many gigs doing both at the same time. Many guitar players don't get the affects of the volume of their guitar amp on the FOH sound. I used to run sound for one band that was like pulling teeth to get the guy to turn down. I would have him all the way out of the mix and he was still too loud. I approached him one night after two or three songs and told him he got to make the decision on how the band sounded that night. He could either turn down and let me make them sound good, or he could leave it where it was and all people out front were going to hear was his guitar and his singer's voice would not make it through the night because she couldn't hear herself over his stage volume. He got ticked off at me but he turned down. I dialed them in during the next song and we moved on. His uncle was there there night and they talked at the first break. His uncle told him it sounded really good out front so he came over and told me that he heard that it sounded great out front. I told him that is because he turned down and let me do my job. Guess what happened at the next gig...I had to tell him to turn down again...
Years ago, a club owner told me that last week’s band had a guy with a Twin on 6 or 7 that would not turn down.
“It’s my sound.” He said.
The owner paid them at the end of the night and said something like “You guys are OK, but (pointing at the guitarist) this prick made it impossible for my servers and bartenders to hear our customers. You chased people away and cost us money. Don’t ever come back.”
Remember who agreed to book you, who’s paying you and what you’re there for.
You’re there for their customers. Not yourself.
I’ve played at church for 8+ years with in-ears only and play in a Rock band using a Kabinet to monitor while wearing quality filtered ear plugs.
I have no issues going back and forth.
The Kone and Kabinet are really for monitoring. They’re for the player - to get an amp in the room sound.
I point the Kab at me and away from the audience. The audience gets the mains sound, the sound engineer doesn’t have to contend with a speaker they can’t control and I can tweak so I can hear myself.
It works beautifully.
Given that the OP still hasn’t commented again - not even logged in since starting this thread:
As has been said, unless you’re playing quite loudly or using headphones, you’re almost certainly hearing the acoustic note from the guitar and the processed signal together.
I can imagine for a few tasks, manual method may be better. I do all profiling manually (Have not seen how to do it in RM?).
But, I would rather not own the Kemper than have to manually edit the 37 lines of description when making a profile. If you used the Kemper it would take you 20 minutes to do one profile.
I also have folders in the local library for IRs/Cabs, effects, amps based on style, specific profiles I used for each song (Gtr, Bass, Voc), etc, etc, etc.
I would never even look at a device that did not have a fully capable PC connection. So I guess I am lucky I got in once RM was fleshed out
The PC connection is overrated. Especially if your primary use is live.
I would never attempt to do anything on a complicated piece of gear without a mouse, keyboard, and large monitor.
In other words, Rig Manager is always the way to go.
For the better part of 10 years the *only* way to build rigs was on the unit itself.
For many operations, I still prefer working on the hardware instead of RM.
The display needs a re-think. Not particularly visible in high ambient light. I'm not a big fan of the UI either, but Rig Manager takes the sting out of it by providing a consistent GUI front-end.
I respectfully disagree.
*No* display does well in high ambient light. Not a phone, monitor or even the highest quality movie screen.
The on-unit UI is very good, IMHO. For a box that is very deep, the layout is simple to use. RM could use the ability to drag and drop rigs/presets into performances without having to open a second window. That’s always felt like a hack than a solution to me.