Posts by Ruefus

Quote from lbieber

I agree. My logic doesn't not suggest anything, I am stating that the audience should hear the best sound possible and that I should too. Ideally, those two sounds are the same. Just because limitations previously existed that resulted in me not hearing what the audience hears, doesn't mean that I have given up. The Kemper allows me to to remove some of those limitations, so I have. And inserting a Kab/Kone back in is not the answer for me. In fact, it goes in the wrong direction.

We can agree to disagree. I will not convince you and you will not convince me.

Sure it does. With your comparison of the Kone to Monster cables - you’ve basically called it snake oil. Fraudulent.

There is no way you understand it.

Your logic suggests that the player hears what the audience hears.

They don't and never have. Not in my scenario nor in yours. It doesn't work that way and never, ever has since the days of Leo Fender tweaking his amps WHILE they were being played.

Quote from lbieber

We can laugh at each other, but I'm not afraid of disagreement.

I believe that amp in the room is related to some tradition, for which guitarists have many, that is rooted in how guitar amps have been monitored on stage for decades.

In my opinion and experience, it is illogical that the Kemper main out connected to any PA results in a sound that the guitarist wants the audience to hear, but that same sound is no good for the guitarist.

We can disagree.

All this tells me is that you've never spent much time in front of a real amp on stage and therefore have no idea what you're talking about.

Quote from lbieber

That's the claim.

In reality, it is a diifference between speaker systems that forces a profile to sound different through each. Seems inconsistent given all the claims by Kemper users that speaker cabinets are more important to the final sound than any other part of the chain. I see amp in the room similarly to Monster cables, $400 power cables and the like.

The only purpose of the Kabinet/Kone is to provide the sound of standing in the room, with the amp.

What you're basically calling bullshit, isn't. Laughably so, I'm afraid.

Quote from toni dd

Might it be the influence of the SD 700? It would be logical.

No. Absolutely not.

Class D amplifiers (which the SD700 is) provide no discernible color of their own. In terms of 'clean' power, things don't get a lot better.

The fact is - you will not get the same sound elsewhere. It doesn't matter if you spend $10 or $10,000. You may get close, but if you're insistent on getting 'that' sound and nothing else you'll be in a constant state of disappointment.

Global definition would drive me absolutely nuts. I use it all the time with the same amp, settings and guitar to get a different character.

Pigeonholing it for specific guitars? That's not what its for at all. I suggest reading the manual (again if necessary).

Quote from jperttu

Yeah, seems to be down. However, his profiles are still available for purchase in here: https://www.multitracks.com/producers/Brian-Carl/

-Jari

Several years ago he made a deal with Multitracks. You can’t get them elsewhere anymore.

For a cat to take care of business anywhere but in their litter box? Now that’s a pissed off cat!!!

What the heck did you do !?!?

Meh…. Works fine for me.

Quote from lbieber

I don't quite get the concept of the Kabinet providing amp in the room(whatever that is).

Badass.

That’s what it is. 😀

Bent on the cable or the Profiler?

If the band you're playing in has any aspirations of playing live, you need to find a sound you like in that context. Even when recording your sound may be perfect on its own, but will likely become completely lost in a mix. At minimum it'll get muddy and even if post-eq trickery helps, you're better of starting with a different sound.

You will never get your studio monitor sound anywhere else but there. Close? Maybe - but *never* the same. Not even if you drag the exact setup to your rehearsal room. Other instruments playing and the room itself will change it. That's just how it works.

If you listen to recorded guitar tones by themselves, very often you'll find they sound like crap by themselves but magic in a mix. Even then, it's going to depend on what 'isolated' track you're hearing. EVH sounds epic isolated - but that is not the sound Eddie heard when he played it. He was in the room with his amp getting the raw sound. What's on tape is similar....but not the same.

Let's not forget - the Kone and Kabinet should not sound like the main outs. What it gives you is the sound of an amp-in-the-room, without a microphone in the signal path.

If you want the exact sound you get out of the studio monitors, placing them in full-range mode is the closest you'll get.

Quote from Finally

Brilliant Kemper

With the company being German....I believe the correct spelling (according to Google Translate) is Brillant Kemper.

I believe he's talking about the lights on the Line6 PowerCab. Not the Profiler.

If you haven't uninstalled and reinstalled, try that.

Then I'd submit a ticket. Sounds as if something may have become corrupted.

BK refers to the black model. Originally the head was only available in white. Now you can get either.

The Kemper website shows this:

Profiler Line-Up | Kemper Amps (kemper-amps.com)

Quote from OhG

I've always gone with the old school, but trusted method of creating a separate rig for my solos. I create a lead tone that I like and then just store it in the last slot of each rig so my solos are always in the same spot. I like having them as separate rigs because I can then add different effects and parameters that may not have been in my rhythm tones. For most of my leads, I have the rig set around 3dB higher than my rhythm to give me the boost I need, but the volume may be lower on something that I don't need to be as "in the face" as others.

I am quite similar here as well. Over time, I've settled primarily on one amp (H&K TubeMeister from Guidorist), with whichever cab sounds right. Right now that's usually a Marshall 1960 412 with greenbacks for rhythm/cleans and most often a 212 with V30s for lead or "out front" sounds.

Some performances are identical except for tempo and or mix parameters. Others use the same basic starting point, but have specific tweaks to suit a certain tune.

A change in EQ is often all that's necessary to make a sound stand out. Volume alone often just adds mud.

I use AnyTune, but there are any number of apps - Song Surgeon, Transcribe! etc.

With AnyTune - you can modify the pitch in as little as .01 cent increments.

I use it for a LOT more than just that, but when something isn't quite at 440....this does the trick for me.