Posts by Vinny Burns

    As a mere mortal, playing guitar for fun in pubs and clubs, I still find this stuff amazing...

    My band used to cover Cold Sweat so live that song and great to see Darren on keys, still can't believe he was in Thin Lizzy!

    Such a great keyboard player. He was so young and so talented when he did this Lizzy Thunder And Lightening album and the Renegade album before it. Angel Of Death is still amazing to listen to.

    Yep, Darren Wharton and you always on my radar with Dare... I like this one from the early years a lot!

    Thank you. Yes, that was our first single and video from our debut A&M album Out Of The Silence in 1988.
    Quite literally a whole life time ago. 😂

    I was only 22 when we started this album and had my 23rd birthday during the recording.
    The girl in this video went on to play Shelly in Twin Peaks.

    I know, but it still needs a power cable for the power supply. Just call me OCD 🤣

    I don’t know what the Lehle takes but I have been using a Volto to power my Shure GLX-D16 on my Kemper Stage pedal board. In fact, I have two of the Volto (they are the last green version they brought out and the second is a backup).

    While it’s powering that Shure digital receiver, I am getting about 5 to 6 hours out of the Volto.
    They are supposed to be bringing their new version of the Volto out but it’s been delayed by over a year already.

    Great little problem solvers. I only used the Volto’s as I don’t want any wall warts onstage.
    I would imagine with something that is drawing much less milliamps, you would get many more hours out of a charged up Volto.

    I agree 100%. Just trying to offer solutions until Kemper decides it is an issue and addresses it. :thumbup:

    I also like to try and offer solutions for people landing here from a Google search with similar concerns.

    Yes, I understand that.

    I have played guitar on well over 30 big label released albums since 1988.

    Worked with Mike Shipley, Larry Klein, Mike Stone, Keith Olsen. I know the workarounds. It’s not my first rodeo recording or EQ’ing an amp or getting a guitar sound in the studio or live. .

    I don’t really want a workaround in this instance . I am just trying to make Kemper aware of it.

    I don’t want to start second guessing how to get the bottom end ‘similar’ to the way the amp is already sounding. The amp already sounds great.
    I already have sounds out of the amp, cab and mic I am happy with.

    I know what I ‘can’ try with all sorts or post eq and pre eq. You are completely missing my point.

    When we mix an album, we cut low end on a song per song basis.

    This is not about that.
    It’s about the Kemper adding something that is not originally there on my own amps that I am profiling.

    Vinny isn't comparing what he is hearing in the room with the profile. He is comparing the output through the mike and DAW to the profile so is valid.

    I don't profile much myself but a few people are calling this out so it would be good to get some input from Kemper. It also feels like its a more "recent" issue so curious if something has been changed in the profiling process.

    Only Kemper can comment on that..

    Yes, spot on.
    Mic plugged into Kemper and all is monitored through my DAW from the Kemper main outputs.

    Cab is also being mic’ed in my live room next door to me while I monitor all this from my control room.
    The Kemper refine process is fine for me on all other parts of the spectrum, it’s just this added extra low end that is the problem.

    I can try and use my Focusrite 828 preamp in between the mic and Kemper and use it’s roll off filter to try and lessen what is happening with the Kemper.
    But, that doesn’t change the fact that something IS happening in that frequency area while profiling.

    I think people completely forget that the sound where the mic is placed in front of a cab, is what gets profiled. Ofcourse putting your ear where the mic is, will be harmful, but really thatis where the sound of the profile originates. It’s more bassy AND trebly, right there 4-5cm from the speaker.

    And yes, the output eqs is the blanket solution, and they fine for that. At least they’ve always done on my setup.

    The low end frequency is NOT there on the actual amp. Only on the profile. My ears backed up by a real time frequency analyser show me this.
    I already mic up the sweet spot with just the amp hiss and headphones the way I was shown by Keith Olsen back in 1991. Once the sweet spot is found and marked with a China graph pencil, it stays the same unless you change that particular speaker in that cab. This method has served me well ever since.

    I currently have 10 Marshall 4x12 1960 cabs in my live room. (I plan to sell a lot of these once my profiling session are over and just keep one of each that has a certain set of speakers in them). All my most frequently used 4x12 cabs have been marked for their sweet spots and I have been recording most of these cabs for decades with no problems.

    It’s easy to see what I am talking about if you just setup your own favourite stuff where you are happy with the low end. Put a real-time analyser in your daw. Check where your gear is actually rolling off the bottom end. This particular SLO30 is naturally rolling off steeply starting around 80hz and gone by about 60hz. Deep knob is set to zero.

    Profile your sound. Once the profile comes back, you will see that the profile has now added extra frequencies in almost a straight line that eventually roll off at 20hz.

    What is going into the Kemper to be profiled is fine.
    The problem low frequencies are being added BY the profiling process.

    Why don’t you just go to your output eqs and lower the low end. I did that right from the start.

    Because each amp I own has its own distinct roll off point. Each one has different tone stack behaviour and frequency range.

    This isn’t a case of applying a band aid ‘fix all’ situation or slapping an EQ across the outputs would even things out.
    It needs sorting at source.
    It’s currently not profiling the low end accurately. It’s adding something that doesn’t exist on my original amps.

    The refine process completely ignores the problem.

    If it gets sorted out, it’s a win situation for everyone.

    I have tried a few different amps in my studio now and the profiling is definitely adding frequencies that are not originally going into the Kemper.
    Refining ignores it.
    Been profiling my Soldano SLO30 this last two weeks. SLO into Marshall 4x12 with G1275 speakers. SM57 back to the Kemper.
    The original SLO sound going into the Kemper has a natural roll off starting at 80hz and has rolled off by about 60hz.
    The profiles seem to be drawing an almost straight line all the way down to 20hz from 80hz (once the initial peak at 80hz has settled)

    I did search the forum and noticed a long time ago, low end was added to the profiling process as people were saying it was lacking in this area. Maybe this has now been over compensated for?

    You guys are on another level and hence probably need this level of sophistication in a backup.

    For me, I've never had a failure with the KPA, so just have a sans amp as an "emergency get me through the gig" backup...

    With our band, most of the gigs are abroad so I always worry about everything getting there.

    Saying that, did one in Sweden a couple of weeks ago and with the way things are with airports and baggage handlers at the moment, I took just one Kemper stage. I took it on the plane with me though inside the green Kemper Stage gig bag.

    I would even let them run in parallel with an A/B switch before the inputs. If something happen, just switch over to the backup and keep playing

    I was talking to Bob Bradshaw about the possibility of him making me a box that would switch guitar signal and XLR’s for front of house with just one switch.
    Bob advised me to keep things exactly the way they are as by using another interface, you are then bringing a commonality into the equation that can render both systems to not work.
    He advised that an A and B rig should have nothing in common.
    Once I thought about it, I tended to agree.

    Oh yeah! sweet setup - I use the GLXD16 as well - very similar to how I will be running

    The Volto’s I use work great to power the receiver. They are used to power the GLXD only.

    You get at least 5 hours out of each one. I use one for soundcheck and one for the gig.

    It gets rid of the wall wart from onstage which isn’t easily replaced at a gig and is always vulnerable to getting crushed by flight cases and monitors being moved.

    Then, I have a 50ft backup guitar cable that is on the backup Kemper Stage that can be used with either pedalboard if there is a problem with the wireless.
    They are working on a version 4 of the Volto but not available yet and all the ones I use seem to be sold out now.
    Anyway, it’s a nice solution for the future if you maybe want to go that way.

    If it is critical to see the amp in the Rig name you need to prepare the Rigs that way and load these Rigs. Just loading a preset doesn't do that job.

    Yes, I have gathered that now.
    Not too keen on how all the tags are setup to be honest. I don’t know exactly what I would do to change it but the way they are now just don’t work for me at all.

    Also, it would be great to finally support a usb keyboard. I know there is limited use on the classic profiler but the Stage being floor based definitely needs this when profiling…….. or editing all my live tags to represent an amp change.

    You are providing good reasons why a Rig is more than just an amp. And that is why Rig Author doesn't automatically mirror the amp author. And the cab author could be different anyhow. I suggest you tag your specific Rigs with Rig Author "Vinny" and select the stack via preset or selective browse.

    That’s true. 😂

    Will investigate.

    The rigs already have all the correct author (me) etc. But, the name of the rigs are the actual current amp being used in that rig and changing the stack won’t reflect that anymore.

    So currently, a rig might be called 3+ SE Rhythm #4 or Boogie Mk3 #6 and that is what it is then tagged as in the rig tags.

    It’s just been helpful to do it this way so I know what amp and profile of that amp I am dealing with when browsing all my profiles. But also, when wanting to know what amp I have in a slot of a profile months after I have put it there.

    Thanks Burkhard. I do appreciate the help.