Posts by BillAllen

Great. Thanks!

I play guitar and windsynth. In small venues, I use the aux and return inputs for my synth (in large ones I always run it through the house PA). What I want is that it should be FRFR, but there's no real indication that I can find that that is the case. The Global Imprint input doesn't allow for setting it to FRFR from what I could tell. I'm very happy with the electric guitar sound. I've tried both using the Global Imprint which I've got set to the Celestion Greenback and the profile setting and both are pleasing. For acoustic guitar, I've set my profiles to explicitly use FRFR, but I'm not sure what to do about the synth.

I've got a powerhead that I use with a 16 ohm 1x12 Celestion cabinet for the past 4 years. On Saturday, at a gig, I set up as usual, but had no sound through the cab. Since I normally run the main out through the PA, it wasn't a disaster, but the cab is my main stage monitor.

Back at home, trying it out, it does put out an audible signal, but it's really low and it seems to waver some. I plugged another amp into the cabinet and it's working so it isn't the cab. I've gone through all the settings and everything looks normal.

Is there anything anybody can think of that I should try before calling support?

Nevermind. I found it and kind of feel like an idiot. For anybody who didn't know. The setting is in the Output section called (wait for it) Power Amp/Volume. I just tried it out and it works like a charm.

As is probably obvious, I've got a powered head. I found myself playing in a recording session in which I needed the volume from the amp to be low, but still audible for the other players and myself as monitor, but the volume from the mains to remain high to go to the board. I found I could change the amp volume on a per rig basis which worked well, but given that I was using quite a few rigs in the session that was a pain. What I wanted to do was have a global setting for the amp to be lower, but I haven't been able to find it. Is it possible?

To follow up, the first preamp rig I tried, the Downfall Studio Neve, sounds so fantastic that I haven't tried any of the others. I played clean and it sounds like my sax should. Then I played around with delays, reverbs, chorus, rotating speakers, phasers, etc. and the results were really nice.

The problem with saxophone, as opposed to electric guitar, is that when I play, I can't really hear what is going through the amp. Even as opposed to acoustic guitar where you can isolate with good sealed headphones, with sax, the sound is going directly through your skull to your ears which overwhelms what comes through the headphones. So, to test, I pipe the output of the Kemper into my computer and record using Logic and listen to the results. It's a pain since it isn't real time, but it does work.

To make a long story short, after several hours of playing around, I'm pretty convince this is the way to go. I've got to figure out how to make the stage cable management work, but I think it's doable. What I'm thinking is to buy a small mixer into which I'll run my guitar, sax and flute, then from the mixer into the return input xlr of the Kemper. Does that make sense?

Thanks deadman. That's a big help. I tried the Downfall Studio preamp rigs and the preliminary results are really good.

Thanks. I'll take a look at mic preamp rigs. I hadn't really thought of that.

There's another thread about using the Kemper for Harmonica which is interesting, but I think with Sax there's a different dynamic since harmonica players use the amp to give coloration to the sound, while sax players want as clean an amp sound as possible to be able to generate tone from the horn itself.

I double (actually triple counting flute and this discussion would be relevant for that as well) on sax and guitar. I've been using the Kemper for guitar for the past year and it's been a revelation. Like most of us, I love tube amps, but - at least in my case - hauling around a decent tube amp has become more and more difficult with age.

That said, one of the other things I love about the Kemper is all the awesome effects that are at your fingertips. I'm lusting for some of those effects to be available for my tenor and soprano saxophones. So, my two part question is, is anybody else doing this? And, whether or not, is this something that I should even think about doing? I'd never think of playing my sax through a real tube amp - too much coloration, but I can imagine a rig that is so clean that sax would sound great through it. I haven't found it yet, but I'm throwing the question up to see if anybody can give an informed opinion.

Quote from Hoki Toki

Yes , Close to the edge

Down by a river

Hi, this is for a friend (really, mine works fine with my iMac). He has a new Kemper lunchbox and a recent generation Macbook Pro, so only USB C ports. He has tried connecting from the USB C to the USB B port on the kemper with an adapter, but it isn't connecting. He's going to bring his Kemper to my place and see if it works with my computer - the iMac has USB A and that works fine to my Kemper's USB B port.

Does anybody have any insight into what might be going on?

I'm going for a morphing effect with rotating speakers such that it morphs from slow rotate to fast rotate. What I hoped to do was add a rotating speaker effect, then morph the speed, but looking at the parameters that can be controlled I don't see speed as one of them. I'm confused by this since I added a preset called Rotate Slow and another called Rotate Fast (I'm not in front of the Kemper - those names are paraphrased), but when I look at the parameters of the two I don't see any difference. I did set up the effect I'm looking for by assigning both of those to the same footswitch on the remote and morphing their mixes so the slow one is silent when the fast is at 100% and vice versa. The problem is that this takes two effect slots and is considerably more fussy to set up for other rigs. Am I missing something obvious?

Just to mention, when I said "sold" that's becoming literal. I've already sold off half my pedalboard. The rest is on the block along with my main amp. I'm keeping a small tube amp and a Timmy for a backup.

Quote from virtualernie

I purchased a Husky 16" wide mouth tool bag at Home Depot for $29. My toaster kpa fits just about perfectly.

I bought a slightly larger Husky with wheels. It's big enough to hold the toaster kpa with some extra padding, the profile remote and all the cables I need. The wheels are particularly nice for places that aren't optimized for performers convenience.

Quote from Zappledan

Welcome to the forum! Do you have Monitor Cab Off selected in the Output section? That's normally the best option when running through a guitar cab.

As a followup. I did set Monitor Cab Off and it appears to have solved my problem. Thanks to all of you for your welcomes and suggestions.

I have to admit, I'm amazed at the Profiler's ability to separate the effects of the cab from that of the amp - at least to the extent that my ears can discern a significant difference.

Quote from Zappledan

Welcome to the forum! Do you have Monitor Cab Off selected in the Output section? That's normally the best option when running through a guitar cab.

I'll give that a shot.

I'm a two week owner of the powerhead and remote. I played a 3 hour gig on Saturday with the powerhead using my cab for monitor, going through the console for the audience. Incredible amp! I put together two performance slots, one with a collection of Marshall and Fender profiles from the factory collection, the other from M.Britt's Vox profiles. Both sounded great. I can't wait to spend more time finding more profiles. The really staggering thing to me is how long and how many amps and pedals I've gone through and never gotten results like I did with just a few hours of working with the powerhead. Like somebody else on this forum said, the sound in my head was there for the taking.

I have a question (maybe this isn't the right forum for that, but I'm new here). I tried my hand a building profiles yesterday. I'm profiling my old workhorse - a late '90s Fender Prosonic. When I played with my results, I was blown away by how great they sounded through headphones, but when I played them through my cab - not so much. They sound OK, but they don't sound like the Prosonic through the same cab. My technique was just getting the profile of the cab using a mic. Since the results sound fine through headphones, but not in cab I'm guessing the problem is a double cab effect, i.e. the profile is made through the cab, then it's going through it again. Further, I assume the only way to fix this is to get the direct amp sound using a DI box and mixing it with the original cab profile. My question is am I on the right track with my thinking or is there something else I should be doing or looking for?