Posts by Alfahdj

    There is a imprint off mode, which technically is an FRFR one, that one will reproduce the profile with the original cabinet if you use cab On. If you change to imprints, then you get the imprinted speaker, disregarding which cabinet was the profile recorded with. Experiment what works for you, if anything, the Kabinet is the most versatile guitar cabinet in the world when paired with a kemper.

    I used to use it flat when I had my PS170, used the kemper EQ for getting my tone at home, and when going to the stage, according to the scenary and acoustics I tweaked the PS170 on the course of the event, most of the time I just lowered the bass a bit and upped the mids so I can hear myself better.

    Yes, I'm very familiar with the difference in FOH vs personal stage sound and that the Kabinet is for self monitoring. 🤣

    I thought the whole point if the Kabinet was to make a profile sound / feel more like an amp in the room, which I assumed it did without using Imprints. So then is the Imprint then just for additional tone shaping for personal monitoring?

    Imprints make the cabinet sound like an amp in the room (in its case a 112) with the selected speakers, it feels more amp-in-the-room-like than your typical FRFR. Without the imprints, the cab sounds more like an FRFR, it also has an FRFR mode if you like. That is why I treat it like a cab, after I settled in 2 different imprints I like, is basically a cab more for my collection (I made a 212 setup).

    No, for four years I have been using a Fender Mustang III loaded with a Celestion G12T-100, plugging the monitor out of my Kemper into it's FX Loop return. I purchased a Kone in early May, 2021 to put in a 1 x 12 open back cabinet I was having built, the Kone arrived in three days but I just received the cabinet and a new power amp last week, so outside the 30 day return window on the Kone. I spent the better part of three days trying every conceivable combination of settings on my Kemper with the Kone to no avail, so I loaded the G12T-100 in the new cabinet for now until I purchase a replacement. It's a temporary solution working with what I have available.

    I believe something on the chain must be wrong, the kone is not particularly fizzy after any imprint is applied, so yeah, even with the G12T, I believe it is not a great solution.

    Does anyone here have experience going from using a power amp and good guitar cab to a Kemper Kabinet setup?

    For live use, I currently run my Stage into a Duncan PowerStage 170 and an Avatar Orange-style 2x12 cab with v30s. It's a great cab, and typically the kind of cab / speakers I tend to stick with when choosing profiles for recording. So "only" having the one sound of this cab is fine with me.

    I get that the Kemper Kab will allow me to use the cabinet part of a profile and also let me use imprints, so I can have more options. But if I don't really care about options and just want a good beefy v30 tone, is the Kabinet any better?

    Regarding your questions, I would treat the kemper Kabinet as another cab, not really a be all, end all. It feels really different in the room, reacts different to sound pressure, and sounds a bit different to the speakers they are trying to imitate, but in the end is really versatile and most likely you will end up using 2 or 3 imprints top and call it a day. It is not better, its different.

    I got the Kone fever and after a year bought one. I was super stoked to say the least, my hopes were very high. Put it in an open back cab this morning and spent several hours tweaking settings and.....nope, just to fizzy no matter what i tried. Just swapped it out for an old celestion out of a fender mustang for now, not ideal but I can tolerate it. The quote above is worth its weight in gold.

    Lol, so you changed a kone for a 70/80 and tought it was less "fizzy", something must have gone really wrong, as putting one of the "fizzyest" speakers on replacement doesnt sound like a solution.

    ckemper the email I have for you is dead, so please check your PM's.

    Good luck having these kind of support from any other company on the industry ;)

    I simply love how the kemper team is so close and personal in their attention to detail and care to the community. Let us know how the collaboration ends up :)

    Maybe multiple options for auto refinement.

    I wonder if I can record a playing routine to run reamped while refining and get generally good results. Maybe something along those lines. But I think the refining is so amp dependant, that it is the reason it does not exist something like it yet.

    Also I find many of the captures that are available and the models are a little stiff and sterile.

    Oh yes, and I forgot to say some posts ago, that the models themselves are not great, they are Headrush quality in my opinion. I dont know why I dont feel the same quality as the plini plug-in, that one sounds really full and musical. At least on the same ground of modeling, Helix is ahead, and Fractal waaaaay ahead of the Quad Cortex. They need to start updating as soon as possible.

    I tried this and, yes, it definitely did something positive to the feel of the profiles I use a lot. Should it be that easy, I don't know but as you say, it seems worth to play around with this parameter with (in my case) edge of break up profiles (and maybe also the dist sense with cleaner profiles??).

    actually it is genious, because of the interactions with impedance on real amps, different pickups also have a different behaviour, so a low clean sense would really take a lot of juice out of the signal path, and adding compression to the system (the natural amp compression) would turn out into a weak single note "punch" but everything would sound fine when struming. I believe dist sense is not really needed, it works more like a gain knob pre-adjustment.

    I don't know now but when the kemper came it was forbidden to discuss it on the fractal forum.

    I do remember that, moderators were pretty aggresive about people making comparisons to the kemper on the forums. We should be glad there is an open mind community in here.

    I like this topic because in general this community always trives for excelency, and even when half of the arguments here are a scratched CD on repeat, we are actually looking for indept comparisons. In the future expect me to have my hands on the QC again and do a full frequency test and transient response test, the differences should be really obvious when doing the A/B/Cing of QC/Kemper/Amp, with test signals and maybe a reamped track.

    As said before, how closer can we get? does it really matter? A couple of days ago we were reading M Britt and how he is already past conventionalism, and he is trying crazy combinations for Merged profiles. The magnus on Music is, if it sounds good, its good, the why and how is harder to explain. All power to all the QC buyers, this for sure is driving something forwards

    It's just about accuracy. Nothing to do with our wives, nothing to do with how often we do or don't make profiles, and nothing to do with time consumption.

    Just accuracy.

    And that isn't a strange concern. It's the entire point of the technology.

    I am sorry to tell you that your point is wrongly argumented. You implied that the quad cortex is more "accurate" than the kemper, and somehow it improves the more you capture the amp. I dont hear this, I already heard the quad cortex with my own ears after capturing several times, and it is more precise but not more accurate than the kemper. If you run the capture process several times in a row with the same parameters, the results are almost the same capture, san the HiFi-ish sound I get on my studio monitors with some of the amps (Specially my twin) that definitely make it not "more accurate" than the kemper. If anything, the results on the QC are more repeteable, than the kemper after refining (before refining its almost the same), but I can get more accurate results (sometime closer to the real amp, sometimes farther away, but overall close to the real deal) after refining. Refining is a bit of a craft process, you may like it or not, but it has a reason to be.

    Precise =/= Accurate

    That being said, the QC I find it is way more precise than the kemper, and pretty accurate, dont know if more than the kemper so far, because most of the captures have a very strange bump on the high frequencies. And by the nature of the process (I bet my last batches of hair it is observation of a transfer function) on the kemper, refining fills a small gap where by design should be on the model to create the profile.

    Still not buying QC, my friend has it and we both agree it needs a ton more maturity overall, maybe after a couple of years. I am more inclined to get a Stage or FM3, who knows...

    Sweetwater is one the most notorious tracking sites. Number one in my browser. They track our every move. GuitarCenter is not any better, to be fair.

    At this point, Sweetwater might know that your girlfriend/wife is pregnant before you, and let you know in advance suggesting you training guitars for childrens. LOL

    In retrospective, I played with almost no FOH for 5 or 6 years, and I always had an issue with people telling me they did not hear my solos, even when I was blasting a twin. It is pretty difficult if everybody just play directly and not through a PA. The trick is to balance all around the drums and the room/venue.

    I guess the only thing going to the PA are the voices. If that is the case, it is not your fault to sound bad in a band context, it is almost impossible to sound coherent on a totally live context, but the tricks before mentioned apply, just add to the steps first getting volume right. Drums should balance the capacity of your PA vocals, (sometimes we guitar players are the ones to tell the drummer to lower the intensity two notches so the vocalist can be heard properly, a bad and frequent discussion) and from there, you and the bass adjust levels and EQ.

    So that was pretty inconclusive…. They both sounded rough at loud volumes ☹️

    Are there any tricks you guys use to tame the ‘barkiness’ and harshness at high volumes?

    Low pass filter around the 10k (depending on the amp I go lower), sometimes pure cabinet gets you some smooth highs on the kemper (thats what the tool does for me anyway), I play bass and drums in a loop, and use an studio EQ to cut down muddiness in the sub bass area if I feel everything gets too muddy, and cut the frequency where the snare and drum plates dominate.

    Low pass filter you can leave more or less the same, pure cabinet you can assign it per profile (you dont have this on AXE but there are some high smoothing filters out there), the only hard part is the studio EQ, but once you find a problem frequency and it clicks, you will learn to find them pretty fast.

    And last recommendation, bump the mids, lower the treble, and adjust the presence. Thats the easy fast to do way to tame the barkiness in general.

    So is the general rule of thumb - the 'darker' the profile / amp (as in, sounds like a blanket is over the cab), the better it translates to a louder environment?

    I've booked 4 hours in a studio on Saturday by myself - will be cranking both units with backing tracks to try and get things set correctly.

    It can be sumed up like that, but not quite, ton of the frequency response is a combo of amp+guitar pickup, for example, and strat plus a fender amp needs a humongous mid boost when playing live to sound up-front, while a humbucker normally would cut trough the mix nicely. Live, the directivity of the sound and others instrument frequencies have a ton of effect on what is heard, and specially, what is not.

    In kemper, the most live ready profiles I have, are the M Britt ones, but thats not to say they can be heard nicely all the time after a full band goes nuts. I recommend making it a habit to fast check your EQ depending on the band, never think of the amp model/profile like a set and go package for live.

    Great thread! I've got the DT770 Pro 250 Ohms and the Sennheiser 598 (50 Ohm). I find the Sennheisers to be more forgiving when it comes to some of the high-gain profiles I have (all free, for what it's worth). They cut out some harshness that the DT770's do not and therefore sound more pleasing.

    Oh boy, the beyerdinamic trebles are a thing, if anything, beyers are some of the phones with the most revealing upper end, while senheiser are generally really laid back on the high end of the spectrum. I love both brands, but for long listening sessions, senheisers are more easygoing.

    If my Kemper goes down, I grab a beer and watch our lead player (he can take care of it). If his Marshall goes down, I hand him my guitar lead and I go grab a beer and watch. He’s the talent, I just try and free up space for him to impress.

    No delusions of grandeur here 😏

    When you amp goes down friends, dont be the man looking for the biggest most expensive amp someone can lend you, dont go running for the back up combo to the back of the truck, dont be the anoying drama guitar player, be cool, be smart, be like MnMountainbiker.

    Are the Sennheiser HD600s really loud enough just using the built in headphone amp? They are at 300 ohms, and people in this thread swear by them. But then I see people on 250 ohm DT 770s saying they don’t really get all the juice they want out of the Kemper and I think to myself “250 is 50 less than 300”. I don’t want anything crazy loud. If anything I’m pretty sensitive when it comes to headphone volume. But I don’t want to find myself lacking a db or two when I max out the Kemper, and I’m in the market for some reference headphones.

    Remember it is not all about Ohms, the sensitivity and SPL tell as much about how loud a Can can be (lol), one example are the K701, only 60 ohm, but harder to drive than many 200 Ohm Headphones because of their low sensitivity.

    Hi Wheresthedug! I'm actually aware of things you mentioned here but it's a very good summary of things I still sometimes forget. In this particular situation though I found the difference between the profile and what the speaker produces bigger than with other profiles. I feel I have taught my ears a bit to understand what the sound differences are that I should expect. But again, there are profiles sounding closer comparing headphones/Kabinet output than this one. As I often say, it feels like it's a different EQ curve. Knowing how much people talk on the internet about old Greenbacks, new Greenbacks, broken in or not, Alnico or made in China - no two speakers will sound perfectly alike.

    All that being said, I changed the way I EQ now. With Marshall-like amps I now take out bass and add some mids to get back the bottom end. Knowing this is how many Marshalls got used in the past it actually made the Greenback imprint much softer to my ears (softer meaning less fizzy). Now I find the imprint fits well with the profile, only lacking some oomph (guess that's the Kabinet).

    I'm very interested: Do you have experience with a real Plexi and Greenbacks? How does the imprint compare to your ears?

    Coming back at you, my Waza speaker sounds tame in comparison to the greenbacks, but the 212 kone with greenbacks imprints, sound like a greenback to my ears on the plexi profile from the 2020. I wish they where a bit smoother on the high end, but it sounds like a greenback 95%. Might be bad synergy. What I found is, for getting that smoothness I like, a lowpass filter works wonders, as mostly the things I dont like, come from the high end of the spectrum. And for the mids, I just use the main EQ, its sounding great to me. I forgot to record, but to be honest, I got lazy. And I still find the V30 unbereably harsh for my ears, but greenbacks with a bit tweaking are great.