Posts by Noisenet

    So I woke up around 1PM today (got home near 5a.m. from a gig 5 hours away from home, us old farts need sleep LOL), a little later than I wanted, brewed some coffee and commenced to a day of profiling fun. Because of my setup here, profiling involves a good bit of 'pre' work. Both of my 4x12s reside in my bedroom, across the hall is our 'attic', which is really a 40'x20' room with 13.5" ceiling that's used largely for storage. The room is nearly completely full and it's unfinished, meaning the walls and ceiling are nothing but R-13 fiberglass insulation. Between that and being full of stuff, it's a super dead room. Perfect for slapping a mic or two on a 4x12 for some profiling goodness.


    I have two old Marshall 4x12 cabs - one is from 1979 and currently has WGS Veteran 30's and HM75's in an X pattern. I've used this cab extensively for recording and it sounds great for really heavy rock stuff. The other is from 1982 and has its original G12-65s in it. The 1979 also came with G12-65s - three are in a box, the 4th is in my Fender 68 Custom Deluxe Reverb and sounds like it was made to be there!


    So I lugged the 1979 into the attic first, ran the requisite cabling, re-routed the cabling from my JBL studio monitors from my Apogee Ensemble Thunderbolt interface to run straight to my Kemper. I did this because I don't have any kind of line mixer and if I keep the speakers connected to the Apogee, also running an output to the KPA, I cannot listen to both the reference amp and the Kemper amp through the monitors because of a feedback loop. It's a pain in the butt, but I wanted to profile with both a Unidyne III SM57 and a U5 MD421, I don't have a line mixer of any type, so this is the only option.


    So after setting everything up I commenced to playing, adjusting mic positions, playing, adjusting.....etc. I was profiling my Voodoo Amps modified Marshall JMP-1 preamp, running into my Marshall 9200 power amp, with 5881s. I used to use this rig with my current band and still have the settings I used, as well as some I used on a recording project, of which I really dig the guitar tones I got.


    So I ran profiles of the rhythm guitar tones from both banks of settings. When I got to the lead tones, though, the KPA didn't like what I had in the JMP-1. They're really super high gain, I'd profile them, then during the refining stage, something happened and they just began to sound like total butt. Kinda like a wah cocked somewhere in the middle, although there was no wah in the chain. After a few attempts I gave up. I was really more interested in profiling this setup through the 4x12 with the G12-65s anyhow, so I moved on.


    Once getting everything set up with the second cab, and the mics best positioned, everything went smooth. I ended up backing off considerably on the gain for both the rhythm and lead tones, the Kemper grabbed everything really well!


    Once I finished a thought hit me - when using this rig live I always used a Sennheiser e906 mic, that signal chain is what I used for a long time and gave me the best overdrive tone I've had in the last several years. So I tossed my 906 on a stand, positioned it, checked it, repositioned it, and ran profiles of the same presets using the 906.


    After getting that all done, wrapping up all my cables, re-patching my monitors how they're supposed to be, etc, I took a little ear break, grabbed a bite, then came back.


    Lo and behold, the profiles I took with my 906 are the ones that are gonna stick, I think. The ones with the 57/421 combo sound killer but for the live sound I'm accustomed to, the 906 based profiles are just working better. I think these profiles have a more focused mid-push that I need, and have always had, for punching through the mix. The '57/421 combination sounds a bit more 'metal' than I need for this band. Don't get me wrong, I'm a rivethead at my core but I also know what I need in order to keep this paycheck flowing LMAO!!!!!


    Our soundguy is used to running my EQ flat, with just a tiny low end rolloff. He's had to work a bit to get my driven tones to have some balls these last few weeks, so he's been complaining LOL!!! See what happens when ya spoil a soundguy? LOL!!!!!!


    I'm doing a one-off with another band this coming weekend, opening for Styx in Charlotte, NC. Thusly I have had a bundle of their material to learn, so I went over it all (with the help of a few Bud Lights - don't hate, it's what I like LOL) using the new profiles. Immediately it's obvious to me how much better these tones cut through, how much more prominent the low mids are, like the tone I've had the last several years and am used to.


    So I think these might be the keepers....FINALLY!!!!! If I get to this weeks gigs and they're still lacking, I'll throw in the towel and look a bit deeper into some of the M Britt packs I've bought. BTW - I bought his JCM800 pack last week - one of the Silver Jubilee profiles from that pack is damn near dead on for a Slash type tone. We cover Sweet Child, so that works great for me.


    Also, Mr. Britt's '69 Plexi pack, taken from a '69 50 watt Plexi, has some really damn near dead on Scorpions toneage going on. Thinking of trying to talk the band boss into some Scorps so I can throw these tones out there LOL!!!!!!!!


    So I'm several weeks in and still loving my Kemper - a whole lot more than my neighbors are at this point LMAO!!!!!!!

    Here's an update on my experience with the KPA:


    First off, I use, basically 5 or 6 sounds. The majority of my gig is played between 4 settings - Clean, heavy crunch rhythm, heavy overdrive lead and slightly broken up, SRV-ish. Number five is fairly clean, good for chicken picking stuff for a couple country songs we play. Other than that, if we do Van Halen stuff I have Top Jimis profiles and I have a Slash sound I made from a Michael Britt profile from a Silver Jubilee earlier this week.


    Anyhow - the first couple weeks, the sound that was giving me the most trouble was my clean sound. After the first weekend (I don't recall what I used for sounds) I profiled my Fender 68 Custom Deluxe Reverb. I originally tried Michael Britt's Grab & Go pack, in which he has profiles of this exact amp, but I have my own particular settings, and I've swapped out the speaker in mine to a Celestion G12-65 from 1979, so that amp has its own sound.


    Anyhow, if you've read some of my other posts you'll remember I was having problems getting the onboard compressor stomp to give me what my MXR Dynacomp gives me when going into the Deluxe. A couple weeks ago I finally gave in and ordered a power supply for this pedalboard so I could have my comp and my wah, which I also couldn't get right using the Kemper's on board options. Ironically, while I was waiting on the power supply I got the Stack block comp sounding REALLY close to my MXR. Nonetheless, when the PS arrived I thre a Dynacomp out there.

    My clean sound now is damn near pristine - I'm getting a lot of comments on it, especially from my bandmates. So I'm thrilled with that.

    Now I'm having my biggest problems with my heavy rock crunch and lead sounds. Both are using a profile I made of my modified Marshall DSL100. My soundman has been telling me that he's missing the warmth and balls my tones have always had but all the gigs we've been doing we've been kind of rushed so I couldn't get out there and listen for myself. This evening I was finally able to do that and I can hear exactly what he's talking about. He's definitely not wrong. The problem, though, isn't with the Kemper, it's with my profile. It's definitely lacking down around 300-500hz. I could dial that in with the EQ but I don't have a slot open after the amp in the rhythm crunch sound so instead I'm going to re-profile that amp with a different speaker cab, as well as profile my Modded Marshall JMP-1/9200 rig. The tones I used to get out of that before switching to the Fender a few years ago were otherworldly - I've also recorded that rig a good bit, with the mic combination I'm going to use, and in those recordings, when mixed I didn't need to EQ the guitar at all, it just sat right there in the mix perfectly and sounded gargantuan - so I have no doubt I'm going to get killer results. I should have done that from the get go.

    My SRV-ish tone uses a profile I took of the Deluxe with a Lovepedal Super Six w/Stevie Mod in front - using a Sennheiser 906. It's a really great sounding profile. I think when I redo the Marshall stuff, I'm going to run thre 906, in addition to my 421 and Unidyne III Sm57, then either blend it in or profile that separately, for more options. Then if these turn out ok I'll also profile my '86 Laney AOR100, my '65 Fender Bassman and my $400 Bugera Plexi Clone (that sounds amazing). I have one day, Sunday, to do all this so hopefully I can get the right tones dialed in.

    So anyhow, that's where I'm at currently with my KPA. Since the vast majority of the stuff we play uses clean and only slightly overdriven tones, I'm really happy with the sound so far. Once I get these other profiles done (which I now know exactly what I need) I'll be that much happier.

    Wednesday night a friend of mine, a fellow guitarist on this circuit, dropped in and caught the last song of the set - Turn Up The Radio from Autograph, which is a pretty rockin guitar sound and solo. After the song we were done. He came up & said, simply, 'That's it - Monday I'm buying one'...meaning the Kemper. And that was with the flawed sound. Can't imagine how he'd respond if I had the tone I'm going to have after I reprofile....

    Well, if you have a proper (digital) desk with stereo aux busses (like even the Behringer x32) you will have stereo guitar into your in-ears, even when your in-ears are coming straight from the desk.


    Our 5 piece band has it's in-ear transmitters in the x32's rack, that's 10 cables less. And, should anyone want to thinker with the monitor mix (which isn't really necessary once soundchecked properly), they can always use their iPhone app...

    We use an M32 for FOH and a separate M32 for monitors so the capability is definitely there. Not sure, then, why I dhaven’t don’t do it that way. At this point it’s no issue though, I run a sub snake for my and the KB players mic lines, run a cable to one of the returns for my mix and I’m done. I’m about to head to a gig, I’ll take a look and see why I didn’t do it the other way...

    I agree about the compressor. The built in one gives a lot away compared to a Bogner Lyndhurst (for example). That and the distortion stomps are not at the level of the pedals they emulate, but they're close.


    I just run a tiny pedalboard. I also use Buzz Feiten tuning, so I need a separate tuner as well anyway.

    I have my remote mounted to a Pedaltrain board so it can be in a road case as our gear tends to spend a lot of time in a big bumpy equipment truck. It was nothing to just slap on the wah and Dynacomp. Amazing how a little $79 pedal can be such an integral part of a rig LOL.

    Actually I did try those settings, downloaded the zip file. I tried each of them, with my wah running in line so I could easily A-B them. None of the settings gave me quite the sound of the Crybaby Classic I've become accustomed to, so in the end I gave in and put one of those on the board with the Remote. Since I'd also been missing my Dynacomp (which I did finally get the Stack compressor about 98% of the way to) I also popped that on there as well. It's not too combersome having those couple pedals out on the board, and doing so it makes sense to also have my wireless receiver (old X2 Digital wireless stompbox type - the company eventually acquired by Line 6 and became the basis for their wireless stuff) on the board - prior to that I affixed it to the side of the rack containing the KPA. Works well.

    I do it this way because otherwise I wouldn't have the option of hearing my guitar in stereo. It's something I've wanted for a long time & now that I've finally got it, I love it. We use the same monitor console on every gig we play so the monitor mix is basically set it and forget it. I have a sub snake (with 4 returns) on my side of the stage for both me and the keyboard player so it's no problem to run my stereo lines, monitor return and vocal mic to that. Got it all dialed in last night at the gig, sounded really great!

    'K, so I pulled my IEMs out of the rack and brought it upstairs where my KPA is (that rack when full is freaking heavy LOL, don't care to lug it up here) to test the difference.

    Wow, what a difference! First, I didn't realize it but Space wasn't being added to the monitor (and direct) outs I had running to my IEMs - so I assumed I was hearing it but that it didn't amount to much.

    Duh.

    So that was one difference. Also, just the overall tone of the thing sounds better coming out of the Headphone out, then going into my IEMs. I'm thankful that I had a TRS --> 2x1/4" cable laying around because I doubt I would have purchased one to test this - I would have really missed out. I don't know why but imaging sounds cleaner, effects sound more rubust, the amps sound like amps (like they do through my studio monitors) whereas before, through the IEMs, clean and semi cleans sounded good but dirty sounds were pretty bad.

    I've yet to test this with the full monitor mix but I'm gigging tomorrow night so I'll know soon enough.

    Now that I've done this I don't wanna go back to the old way, so I gotta go see if I can find another one of these cables to I can carry a spare LOL!!

    Hi All,

    I currently run a line from the monitor console (with no guitar) into my KPA, mix that level with my guitar using the Aux In Level control, then send the output in stereo to my in ear transmitter via the Monitor and Line outs on the rear of my Kemper Power Rack.

    I sometimes see others discussing running the output, instead, from the headphone out on the front of the unit, into the IEM transmitter.

    Is one better than the other or are they the same? My KPOA is mounted in an 8-space shock mount rack with no empty slots (KPA, Furman power unit, IEM and a 3 space rack drawer) so a permanent connection to the headphone out would be kinda tough to pull off.

    Any advice?

    It's pretty stellar that you have a sound guy with that level of attention to detail!


    You're also a great example of how you make the switch. So many players think they can restructure their entire world and expect nothing to change. You have to work through it and tweak along the way until you get there. Congrats and I'm glad you're enjoying the new rig.

    For quite a few years, I've had friends, employers and co-workers try to get me to make the switch to in ear monitors.

    I've done a lot of studio work where I mic a speaker, get a killer tone to record then thrown on the cans, hit record and blaze away. Without exception, I have ALWAYS hated playing while monitoring using headphones. I just don't like the sound.

    So I knew that doing it live would be about as painful. Throwing a mic on my live rig, piping it through my in ears with little to no tweaking of the monitor signal - yeah. No.

    When I finally hit my breaking point last month (referenced in my last post) I knew simply going in ear wasn't going to be the answer - I'd hate it even more than I hated the little to no audibility of my guitar on stage as it was. The only solution was something like a Fractal or Kemper. So I did a LOT of research & learned that while the other solutions might be more flexible as far as FX, routing, etc, for overall realism of amp tone (my main concern) the KPA would be the ticket. Didn't hurt that Fractal only sells direct but with the Kemper I could use my Sweetwater card LOL!!!! So the Kemper won out.

    I've played guitar for my living since the late 80's so I know full well that making a change like this - this isn't just another amp, it's an entirely new (to me) paradigm - is going to take time. But I can honestly say every phase (every week of using it) has improved drastically. Here's an example: I've been asked to do a one off gig with a band I used to go see when I was a teenager (I'm 49 so that was some time ago LOL) opening for Styx. I'm one of those guys sho shares every Todd Sucherman video I see, so naturally I'm eager to do this gig. Anyhow, the last couple days Ive been going over their material, songs on iTunes, the Mac and my KPA running through my interface into my JBL studio monitors. Several times both today and yesterday I was struck by how well my guitar sound through the Kemper was sitting with the mix. Using profiles that I, a total newb, made myself of a couple of my tube rigs (a Fender '68 Custom Deluxe Reverb and a custom modified Marshall DSL100). To me, it's astonishing, really.

    And this is just one of the many 'horry sheet' moments I've had in my relatively brief time with my Kemper.


    I have the powered rack unit. I put it in an 8-space shock mounted rack along with a Furman PL-Plus DMC power unit, my Sennheiser in ears and a rack drawer. I'm already thinking of grabbing the toaster version so I have one here at the house for programming/practice, etc because lugging that big ass rack upstairs to my place is damn near impossible for one guy LOL, but I don't wanna be without it here at home. Talk about your first world problems LMAO!!!!

    Regarding my sound guy, he's a real asset - one of a dying breed, a soundman (at the local level) who actually works and cares as much as we do about the sound. When something's missing, he knows it, often before we do LOL!!! As long as I've been with this band, he's run my channel with zero EQ (save for a touch of roll off sub 100hz), whether it be my DSL100 rig, the TSL (also modded) that I used to have, my modded JMP-1 rig or my Fender Deluxe rig - he knows my sound and has been instrumental in helping me get the KPA dialed in.

    At this point, I think it's pretty safe to say that I've surpassed the quality of the tone of all the previous rigs. For over a decade now I've been playing amps modified by one of the top amp guys in the U.S. (except the Fender - that is stock except for the 1979 Celestion G12-65 speaker), my custom mod for the DSL/TSL100s is now one of the most requested mods he does - what I'm getting at is I've been spoiled by really really great tone now for a long time. For the Kemper to match (and sometimes even exceed) that is remarkable!

    LMAO - yeah, I certainly did. One too many "the guitars are too loud" when I knew I was barely audible and I was done. I play for a living so saying screw it really isn't an option. Next best thing? Remove all traces of my sound from the stage, save for a wedge on the other side for our bass player, who hates in ears.

    Since I wrote the previous post I've been playing around a bit with my Kemper, notably with the sound in question. Through my studio monitors (fairly flat response) it sounds really really god, at least to my tastes. I've got a fairly good tone ear (or so I'm told) so I trust what I'm hearing is indicative of good tone coming from FOH. Our soundguy is top notch & I've learned to trust him. He likes the tone. Funny story - last weekend, we were discussing the sound on the first set break of the night, he said 'it sounds great man. If anything, I know this sounds stupid but I might be hearing the pick hitting the strings more than I should'. I kinda laughed, motioned for him to come over and look, and showed him the pick parameter. Dialed it back, it was exactly what he was asking for.


    Just another case of Kemper FTW!!!!!!

    This thing is truly remarkable. When I bought this, I charged it to my Sweetwater card with the idea that in a few weeks I'd grab the Axe III in a few weeks on another card and kinda compare.

    Yeah, I'm not gonna do that. I paid off the Kemper, I'm happy where I am. I might buy a used Helix LT to keep in the truck as a backup so I can stay in the (relatively) high quality direct realm in case of emergency, but I've definitely made the right choice!

    Another weekend of gigging with my KPA in the books. This week I added a power supply unit to the pedalboard onto which the Kemper Remote is attached. I swapped out the Mission EP-1 for my trusty Dunlop Crybaby Classic wah and also added a MXR Dynacomp.


    During the time I was waiting for the power supply to arrive I experimented some more with the compressor in the Stack block and ended up getting it sounding and feeling REALLY close to the Dynacomp but once the PS arrived, I mounted it and added the Dynacomp - just that tiny difference in feel and sound actually made a world of difference for playing on my gigs.

    I also experimented with trying to match the sound of my Crybaby Classic with the built in wah but after a couple hours of changing settings I ended up just going with the wah pedal. Again, made a world of difference on my gigs this weekend.

    As I've mentioned previously, when I switched to my Kemper I also switched to in ear monitoring. For the most part, I'm LOVING what I'm hearing. Clean tones sound really great in my ears, especially when I kick in the chorus effect (I'm monitoring my guitar in stereo). Semi dirty tones, such as a Fender 68 Custom Deluxe Reverb amp with a Love Pedal Super Six on it (think SRV type dirt) sounds great as well, however, I'm still not happy with high gain type settings in my ears. Currently I'm using a profile I created of my custom modified Marshall DSL100. At one point during soundcheck I took the in ears out and listened through my bass player's wedge and was damn near astounded at how great it sounded - full, balanced and smooth - gargantuan even LOL! But through the ears it sounded pretty gnarly. That said, I almost NEVER like how my guitar sounds in headphones either. I have a set of Beyer Dynamic DT770 cans, they're killer headphones but for me, playing through them is kinda meh. What I record usually sounds fantastic once recorded, tone is definitely there. I'm just super used to that amp in the room thing. So I'm chalking it up to having to get used to it in my ears. At the moment, it's pretty uninspiring though LOL! This week I plan to experiment some with Pure Cab and Space to see what I can do there but I think I'm just gonna have to get used to it. My IEM system is a new Sennheiser G4 system, my buds are Westone AM30 Pro.That's fairly good stuff so I don't think it's those pieces.

    That said, if anyone has any tips on getting my high gain sounds from my Kemper to sound more natural in my IEMs I'm definitely listening and appreciative!

    You can use the master volume knob to adjust the level on the fly. Simply create two presets with different volume link assignments. The stage one should have main outputs unlinked from the master volume knob and the studio one should have the link activated for any output that you want to use for recording and monitoring.

    I do have my output presets setup this way. The problem is that when I've adjusted the level going into my interface (which runs from the main outs to my audio interface) at home, when I switch back to my gigging output preset, the main out level is still set to wherever it was at home, even though I've switched to a different output preset.

    It's not a big deal to go in and change it but remembering to do so every time I've had the KPA at home, before I start blasting out some hard chords at full output level right into my bandmates' in ear monitors, or FOH (since the gain levels on my channels on both the FOH and Monitor consoles is set for my -18db output signal) is the challenge LOL!!!!!

    You can use the Duna Comp with the KPa without running cables out to the front of stage. Put the Dyna Comp in the KPA FX Loop. You can the. Pit the Loop in any Stomp or FX slot you like on a rig by rig basis and turn it on/off using a button on the remote or any other midi pedal just like all the other stomp/fx slots. That was you on need a couple of patch cables and the dynacomp can sit on top of the KPA or anywhere else that is convenient.

    Ya know, I had thought about doing this but my monitor signal is routed through my KPA to my in ears. In other ways, my return is occupied by the run from our monitor console sans guitar, which I blend with the rest of the monitor mix to my ears in the KPA. I do this so I can have my guitar in stereo in my ears as I don't have the option of running a stereo run from the monitor console. The upside is glorious stereo guitar tone, the downside is I can't use a loop for anything :-(

    If the Kemper is placed top in the rack, there is usually a little space to allow some ventilation. Mine has 2cm.


    Surely a tube amp would be a lot worse in this situation, as they run way hotter than the Kemper.

    That is a really good point, one I hadn't thought of. I've been using hot tube amps on these gigs for years and years with little to no problem...

    Disconnect the Main Outputs from the Master Vol knob and keep the Main Out level at -18 dB.

    Soundguys love me since I do this.

    My Master Volume knob only affects my personal Monitor (and Headphone) volume.

    I do the exact same thing - but at home I'd like to be able to use the Master knob to adjust my output level to my interface - especially when auditioning new sounds as some are really hot & heed to be turne down. Supposed I could do that with the rib volume knob but I don't wanna use that control when on any of my performances or rigs.

    Just make sure there's a free 1U space above and below the KPA in the rack in this instance, I reckon, and keep it out of the sun / shaded.


    The manual specifies 50->95ºF as the environmental-operating range with up to 95% non-condensing humidity, so you're covered in-theory.


    I've always been impressed by the low operating temperature of the KPA rack; can't speak for the toaster as I haven't run one.

    Ruh Roh. I don't have the option to clear a space beneath and above the KPA. I have it in an 8 space shockmount rack. The Furman, In Ear system and rack drawer eat up the other 5 spaces.

    When I use my KPA live I have to keep my Master Output set to -18db. Not sure why but whatever, it's not a problem. When I play it at home or rehearsal then I set the output level accordingly, but for gigs, always -18db. i have a preset saved for gigging but have to remember to set it back to -18db LOL! My soundman isn't too happy with me when I forget, which I've already done a couple times :-o