I’m fairly convinced there is one digital trim element before the stack that is shared/affected by rig volume, pure boost, EQ volume etc. Once you drive to +12dB subsequent increases have no effect. Is this what others have found/is this already common knowledge? The amp, if you dare switch it in, has its own gain, and also input gain becomes active, so perhaps the AcSim needs to move to the amp block in future to make use of another gain stage? If the existing one was retained in its present state as an EQ only version as well, people could still combine with preamp profiles if they want.
I have access to an SSL VHD Pre and Alpha Channel among other bits while at home so I'll give them a crack. When the office opens to all staff again post-pandemic I can grab AWS, Duality and Origin consoles.
Wheresthedug has it sussed. You'd need a balanced line driver with a unit at both ends like this Radial SGI if you want to guarantee you don't pick up interference with long TS lines. An economic solution in my mind would be to put the Kemper in the live room, run a USB extension and tweak it from the control room remotely using Rig Manager. You could then spend the remaining cash filling those now-empty 4U of rack space with something else
Also, purely out of curiosity, what mixing console are you installing?
Do you think EQ matching well mic'd Gibson and Martin acoustic audio samples would be worth exploring?
I think I've had my turn, so it's over to someone else to have a go...
I ran some commercial acoustic recordings through match EQ in Logic to get an idea of where the main differences were to what I had. I used the more significant bits of the match EQ curve to inform my Studio EQ settings on the Kemper, but largely ended up tuning by ear. There aren't so many parametric EQ bands in Studio EQ, understandably, and I didn't want to daisy chain more than one. Many commercial acoustic sounds can also be more narrow-band than expected to make them sit in the mix so it was a bit hit-and-miss for me, so yeah you'd need some good raw recordings to use instead. I see no reason why this wouldn't work.
If the end goal is to port it all back into a Kemper rig to use live, then I say yes, it's worth exploring. If the end goal is to get the best acoustic sound for studio use in conjunction with post processing, it makes less sense to me.
Thanks for your rigs.
I tried the Single Coil one, but have the problem that the rig is extrem quiet/silent. I tried
some Equalizer to increase the volume but comparing it with all my other rigs, it‘s not usable.
Do you have any ideas?
Set your Clean Sense (mine is +10dB) and Rig Volume (mine is +8dB). I've unlocked my INPUT section so that clean sense can be different between rigs. This balances it out perfectly in my case, so I'm sure it will work for you also. You could do to +12dB on the rig volume, but that doesn't leave any digital trim (gain) for the pure boost or EQ volume, and increasing those will have no further effect. I left Rig Volume at +8dB to permit a few dB of boost for solos or chorus sections.
...Aaron's tweak seems to have gone under the radar somewhat and IMHO it's the closest so far. The fact that it "competes" with a professionally-mic'd acoustic places it in a different league from the piezo-acoustic-like sounds we've encountered so far IMHO. Kudos to Aaron!
Totally agree, AeroUSA has some really great strummed Strat sounds going on there. Can you tell us more about it, Aaron?
ckemper Carrying on a bit of our discussion on Delay Widener (I didn't want to 'derail' the acoustic thread and figure this makes sense to be here)
I'm interested in your thoughts on further development of the Delay Widener. I've looked at the settings I use on a digital live mixer to achieve this process; I retain a regular mono channel for the the centre component, with the signal duplicated into both sides of separate stereo channel, with L and R delay set at 7.5ms and 10ms respectively so that both are separate in time from the centre component but not so much that the delay is perceived, creating a faux-mid/side workflow. They can be faded in to adjust the 'width' and a high pass filter set to 150Hz with a comparatively gentle 12dB/octave slope value prevents the earlier L component skewing the stereo image left, especially with the unaffected centre component still present and upfront.
The separation of mid and side components in the Delay Widener and the ability to add a basic HPF to a 'sides' component only would be a great enhancement in my opinion, reducing the number of channels/DSP paths needed on a live desk if people wanted to achieve this. It would also simplify the process greatly, as the live engineer would not need to craft it during setup, or during the first few gigs of a tour, it would be done at source. This opens the effect up to analogue desks or smaller digital systems as well, which rarely seem to have a bank of outboard delays or other dedicated processors available for this stuff.
Too niche, or potential next steps?
ckemper Yes, too much for me/didn't result in the upfront sound I was looking for. It sounds like a short, dampened room reverb IR, so it could be very useful if there was an 'amount' control or rather, 'sides component' control. As it is, I feel it impacts on the high frequencies a little too much so that if you are in a mix you won't cut through quite so well. An A/B comparison results in the guitar sound is less upfront (which others may want, to be fair), as if - in that reverb comparison - the early reflections from the room are greater in level than the direct signal. It could well be preferable to play with like this purely solo or on headphones.
I'm also after mono compatibility for live use, so it made sense to be able to switch on/off the stereo widening effect (or just use a Natural Reverb room setting at the end of the signal chain as an alternative). The stereo widener as I've employed it is not as natural as the room impulse response method, (if that is how you've done the AcSim's stereo effect), as the delayed right channel arriving later means it perceived as louder in the left channel, but to my ears the result is a bit close to its 'mono' counterpart in terms of timbre, and I think it's a great addition to have.
Just posted my profiles on Rig Exchange. The 'EA Single Coil Acoustic Sim' is the one I've used for the Tele in the more recent video I posted. I've also done a version for those with humbuckers (you'll see it) and no coil tap that works for my Eggle at least and prsgary 's
GibsonPRS. I'll restate the important bits:
- Do not turn on the stack
- Do NOT turn on the stack
- DO NOT TURN ON THE STACK
- Check your Clean Sense and Rig Volume
You need the AcSim and Studio EQ as a bare minimum for these rigs to work. They're in blocks A and B so check those two at least are not locked when you load the profile. I've thrown in some settings I use for compression, a clean boost with delay, the stereo widener, a subtle chorus and Legacy Reverb. If it wasn't clear earlier, don't turn on the stack.
Hope these help some people out!
All the best,
Hi Burkhard. Yes, I understand the speed at which the pot is turned dictates the resolution of the value changes. I still find targeting specific frequency values in the Studio EQ quite difficult. It seems that a small acceleration of the pot from the slowest movement often results in a much greater value leap than intended i.e. the ramp for the change in resolution feels steep. Turning the pot very slowly gives good resolution (albeit with the confusing decimal value for Hz, which I’ve provided feedback on in a separate thread). Trying to speed up the sweep of a band pass filter frequency a little, hunting for a problematic component of the sound often results in more overshoot than I anticipate. It’s a tricky one, as I appreciate the range of values for frequency is especially wide, compared to say, the dB scale for a particular process. I’m comparing this to the hysteresis/behaviour of digital encoders across a range of other audio equipment that I use regularly. I’m intending this as useful feedback in case this is still being refined, is all - if it’s only me that doesn’t get on with it, then no worries.
My continuing efforts to get to a usable profile with at least the Tele. This is all now entirely in the Kemper. Thoughts welcome on whether this is better or worse than the last attempt. Sounding a bit ‘bronze strings with piezo pickup’ but I quite like it. Or does it just sound like a Tele?
Looks like this has been tweaked - much better now, thanks!
It could be just a touch slower/less-sensitive though...
e.g. when fine-tuning EQ stack, it's not easy to much by just an increment of 0.1 - often have to go back and forth a few times till I land on what I'm after - slows down workflow a bit.
I second this. I'm working with the Studio Equalizer a lot, and struggling to hone in on specific frequencies. There is a lot of overshoot as the ballistics of the knob seem too sensitive. I would be happy with more rotations to get through 'full travel'.
Serendipity I seem to have made it my mission to try and nail this thing I've been working on a profile for much of today that will hopefully be a good start-point for Teles and Strats at least, with the most important bits of the Studio EQ dialled in. It's certainly further along sound-wise than I was in the video and now entirely in the Kemper. I'll post a clip soon to see if others agree it's going in the right direction, then
sell the profile to make a fortuneshare the profile on RE.
FreeBlues have you exhausted your Clean Sense options? There is a limit to how much gain the Kemper will add with various volume controls based on Rig Level, from what I can perceive (I should measure it). For example, the Pure Boost and EQ Volume seem to have no effect above 0.0dB if Rig Volume is already maxed at +12dB. Clean Sense is the most effective place I've found usable level increase in my case. I've kept the rig volume at +8.0dB so that I can still use a Pure Boost for an actual solo boost, albeit without the full 5dB increase, which is fine in this context.
Beyond this, compression would be another option, but I'm not a massive fan of this idea.
DonPetersen Match EQ is what I'm playing with right now in Logic. It is giving surprisingly good results. Just need to work back the other way and get the same out of the Kemper Studio EQ etc. I guess a lot of what the Profiler does when it profiles is based around match EQ algorithms. Perhaps profiler version 2.0 will let you load a WAV into it and press the 'sound like this' button..!
I’m currently thinking that live use is going to need a dual mono workflow, with electric panned hard left, acoustic hard right, or vice verse. If you go to a live engineer and say, “You’re going to get both acoustic and electric on the same channels...” they’re going to be limited in what they can do for you processing-wise unless it is all rehearsed and desk snapshots can be recalled. If you’re morphing between sounds then that’s particularly tricky.
Might be overthinking it, and sound checks will naturally just become, “Okay, give me your clean sound... now your lead sound with everything in... ok and now with that extra boost you think I don’t know about... and now your acoustic profile...”
Also makes me wonder what the feedback sensitivity will be like compared to an acoustic with stage monitors. I’ll go away and do some experiments, with earplugs.
very nice demo. I wish I could get my PRS to sound anywhere close to your acoustic sounds. Even by using your settings, mine just sounds like a different clean electric. Not sure what I can do to improve on this. Any suggestions would be welcome. I think I am understanding that you're NOT using any specific profile, is this true? If you're disabling the amp and cab and turning the gain to zero I expect it wouldn't make much difference if you're using a profile at all. Correct me if I'm wrong on this! Congrats again!
Thanks very much Gary. I think that bold EQ cuts are going to be the answer. The Eggle I’m using has a coil tap - does your PRS? Using the full neck humbucker I struggled to get something convincing, but I’m sure it could be done if you put an EQ before the AS to filter out a chunk of the mids/low mids. If you want, you can drop me a dry recording of your PRS and I’ll run it through match EQ in logic or similar to see where it differs to what the Eggle is producing and have a go at it.
One thing that undid the AS for me was compressing before it. A fast attack seemed to tame the high end transients before they could get excited by the AS and form much of the timbre of the acoustic instrument and slow attack emphasised mids that made it sound more like an electric again. In the end I didn’t feel the need for any compression, but if necessary put it after and use sparingly. The sound I got is admittedly the Kemper plus some EQ after recording it into Logic. I was perfectly happy playing without this, but listening back on other speakers it needed more top and less bottom due to the settings I had chosen. In the explanation on page 8 there’s a screenshot of this EQ, which I will go back and implement with the Kemper’s Studio EQ instead. The most significant part of this is the high pass filter set to start rolling off around 110 Hz so that I could get plenty of body without flooding the low end. I did some sweeping around with band pass filters set to boost to find components that were preserving the ‘electric’ mid-focused sound, then cut them.
You are correct, I am not using a profile from somewhere else - I loaded the default Crunch profile then turned the amp and cab off as my start point.