Posts by Alfahdj

    Try super distortions, they have an organic sound with good mids for lead playing, in the bridge you can also go for EVO2, they are a tamed version of the evolutions, theses work wonders for metal tones, as they have a ton of definition and crunch sounding uper mids. Im a dimarzio guy when looking for new pickups, good quality and great definition overall.

    I disagree totally, CAB is the overall output eq curve, AMP is dynamics, response and colour of the sound. In studio you can push your limits and make an 1x12 cab sound like a 4x12 with good eq processing, but you cannot get the reaction from a breaking point fender deluxe in a mesa boogie mark IV, thats just silly.


    Also, you are comparing 2 high gain amps with very similar amp structure, maybe same tubes, who really knows?


    Will a 4x12 greeback celestions cab make your twin sound like a marshall? no it wont, thats why its always a 50/50, if you like a tight sound, you go to a 2x12, you want a big sound with more low end, you go 4x12, you want a very focused mid sound, 1x12 is where its at. The nuances between speakers give you spikes and cuts here and there, but it is in the end, an eq for the overall output.

    If you are using a mic in the studio to mic your FRFR, you are technicly double Micing your rig, lol. Headrush sounds fine for monitoring or performing, but if you want to "mic" your kemper, you need the power amp and an actual cabinet. Otherwise, record directly from the XLR outs, cause micing the FRFRs will result in a very shallow or hollow sound.

    I will give you a tip before you start gassing all over the internet for your next purchase in the seeking of great tone.


    First discover your bottleneck, if from the kemper directly to any other source you find it sounds like bliss, then, the next step will be your soundcard. Going digidal via spdif is one choice, but any interface with decent preamps will give you great results, the line out of the kemper is quiet and has enough Vrms per channel, so preamp wont colour the sound too much. Now you should try headphone outs and direct outs to any other sources, if you find your headphones lacking in comparison to direct outs to your studio monitors, then maybe are your HP, or the Headphone preamp/Amp in your interface (dont freak, many good interfaces get away with the bare minimum on the monitoring headphone department, as studios monitors are most of the time the standard), then you can resolve if the headphones are the problem, if your kemper doesnt drive them enough, turn off the separation in the kemper to compare directly with the audio interface out at the same volume and check if your HP sound different or less ballsy in the interface, if thats the problem, get yourself a Headphone amp and use the line outs in your interface to feed the preamp.


    Last suggestion, check what others use, one of the most common combos around here, are Scarlett interfaces with a DT770 pro 80 Ohm or Audiotechnicas M50s.

    Sounds cool, could you take some video

    I would rather upload audio, if I have a chance, will do during the weekend. I suggest you try it with some of the plexi models on the free profile sections and a Tween clean, tweak it at your leasure. You will have a nice sound. BTW, start dialing always definition to adjust how focused or tight you like your sound.

    Ok, so I went down the road for a great johnson tone, I got as close as I will ever get by my own. If it helps, here it is.


    I tried many twin reverbs on my library, but in the end I happened to use the Marshall 50w Plexi clean profile from the Michael Britt 2020 Pack (the amp in question supposed to be owned by Eric Johnson himself, so we can be sure it can sound at least a bit like Johnson), same for the dirty set, but the Lead sound, Same plexi from the same Pack, but the overdriven version of it (Session 8 or something). These are my settings


    // IMPORTANT NOTE // Position on the effects MATTER a lot, the EJ vintage clear sound and violin lead cannot be done putting the effects after the preamp section


    Marshall Plexi Clean / Twin Reverb Clean --- Profile


    EQ at taste


    A- (Free) (can have a fuzz to go to its other lead tone)


    B - Compressor

    Intensity 5.5

    Attack 6.4

    Mix 50%


    C - Vintage Chorus

    Rate 4.3

    Depth 2.9

    Crossover 30 Hz

    Mix 50%


    D - Single Delay

    Mix 25%

    Note Value 3/16

    Feedback 25%

    Low Cut 20 Hz

    High Cut 3800 Hz


    X (Free)


    MOD (Free)


    Delay (Free)

    Reverb at taste (I like natural reverb with a large hall like sound)


    --------------------------------------------------------------------------------------------------------


    Marshall Plexi Overdriven (High) --- Profile


    EQ reduce next parameters: -2.5(Treble) -2.5(Presence) ///// It depends on the guitar, I use both an SG and a Strat, Sg requires less Treble reduction


    A- Off (Here you put a OD of your liking, I like greenscreamer with tone 0, but it is normaly off)


    B - Compressor

    Intensity 5.5

    Attack 6.4

    Mix 50%


    C - Single Delay

    Mix 34.8%

    Note Value 3/16

    Feedback 25%

    Low Cut 20 Hz

    High Cut 1400 Hz


    D - Free


    X (Free)


    MOD (Free)


    Delay (Free)

    Reverb at taste


    ------------------------------------------------------------------------------------------------------


    Try it with the closest most convincing profiles you can find, Michael Britt profiles are great, but I bet any vintage plexi tone will get you really there. Key is, the lack of presence and treble for the lead, and for the guitar, strats sound like studio Johnson, but any guitar with a very clean sound will be great. Try it :D

    The cab, to me, is a the tonal fingerprint. The amp portion is more about the gain level and some eq balance levels, but the cab plays a large part in the overall tone. I like to save a few of my favorite rigs' cabs as presets and then use those if I encounter a rig that I don't particularly care for and swap them out. I try my handful of saved cabs and if I still don't like it, I usually take that rig out of my Kemper. I kinda like that the cab separation algorithm isn't "perfect" because even though I use a few of the same actual speaker cabs for most everything, I get very different CAB results because of the different amps being profiled. Even profiles using the same exact cab/speaker can yield varying Cab results which just gives me more options when looking for tones later.

    I have to ask, I think your switchback 212 is wonderfully balanced, but having bought the pack, I liked the cab on the OD100 a ton, ¿what are the specs? is it a 2x12? It sounds wonderful with the 69 Marshall (wonderful cleans, never expected that, then I saw it was from Eric Johnson, and it clicked, love it clean, love it overdrived, stock cab and with others), cab mix and matching gives another dimension to this.


    My other question regarding this, I am hesitant to buy your IR packs exactly for those reasons, I do not know how much will be lost from the amp taking out the cab and putting one from an IR conversion. Maybe some magic is lost there. Is it better with the kemper cab pack? I wonder how much do you consider it would be lost, I am in the search for some immaculate 4x12 greenback cab sound with fatthead and a royer mic (gives a very realistic full expectrum of what you may hear in the room in my experience).

    Just in case anyone wonder, DT 770 250 ohm version doesnt get too loud from the kemper, it needs a bit more Omph, but it is usable, it just doesnt sound its best.


    Other reference, I normally use K701, which is basically the same as k702, the sound wonderful and are driven almost properly, the sound is really similar to my studio monitors, the there is that.


    I bet DT 770, 80 ohm version are a great pair for the kemper, I just preffer more balanced phones, and the 80 ohms emphasize the bass a bit more and have more recessed mids.

    One thing I forgot to mention, DT770 are built like a freakin tank, they will last you your whole life, that is a big pro if you travel or gig with your kemper, as you always want to carry some HPhones around to tune your sound or practice.

    I use the following phones: M50 no problems whatsoever, relatively flat but pleasing to hear at, DT770 250 Ohm, flatter but with way lower volume on the output. K701, Even more flat, recessed bass, but really detailed, can be drived properly.


    Depending on the mood I use all of them, if you like the price and the sound, you cant go wrong with M50x.

    If you ask me, its all on the pickups, the custom jimmy uses, would be alnico 2 wounded (maybe custom jazz SSS picks or some texas specials) with a bit more warm, thats what you mostly hear. Yours I bet are the classic Alnico V player picks, I heard before theses were a bit harsher on the highs and a lot punchier, but to my experience, they just need some tap down presence knob or treble and you are back on track. I do recommend adjusting just the treble section a bit down, and bass a bit up. Also pretty important, if you are not convinced with the chimey sound, get down the height of the picks a bit, that tends to help a bit. Dont up them, your strat is plenty hot by strat strandards anyway.


    Last part of the equation, use your volume and tone knob, your player series have extreme definition (more than normal fender ones) so use that exceding curse/bless to your favour with the tone and volume knobs, If I am not mistaken, just a small roll down of tone knob can get you on tone nirvana.

    I’ve got Audio Technica ath-m50x‘s. They sound pretty good to me but there are many levels of quality in all equipment. Do you think these would utilise the potential of the interface?

    They are fine phones, I like them a lot more for listening than monitoring, but they got quality for the price. They arent the flattest, but still balanced enough to have a real idea of how your rig sound. Audios interfaces come and go, in the end you might buy a preamp for vocals, compressors, but to be fair, a clean and fine interface will last you years until you require something else. Good luck and enjoy.

    Looking at it, it seems like a cheap all in one solution to have amp in the room for your kemper, cost technically the same as a unexpensive FRFR, and 50watt is plenty of power for gigs. What I am not sure about is if it is worth to put a kone there, as 1x12 in a very small cab with completely open back will not give you the best sound, and also there is the power amp coloration.


    For less you can assembly your own icepower amp (125ASX2 in btl mode is more than enough for most things, the 250ASX2 is overkill as is the power amp in the kemper), buy a kone, and make yourself a cab. Lot of work but I bet it will be a worthy investment of time, and almost the same money for a Poweramp of 225W at 8ohm, and a kemper ready cab. I am doing just that, and I considered buying the katana, until I saw that I am getting more power, a more neutral power section, and all for less money than a Katana Mkii 100w if I decide to get my hands dirty.


    In any case, It would be lovely to hear some samples on the katana. Maybe I am making a mistake and a katana is enough.

    Ok, points to consider:


    * Custom shop guitar means it can have anything on it, the pickups are hot, so that would mean not your typical custom shop Pups, wook on the fretboard we dont know, bridge and so on...


    * Says no EQ or external effects, but they still do mastering for publishing the video, which might have an effect on how you end up hearing the result.


    *Everybody sells warm bread, I am pretty sure the guitar was hand picked for the amp. No the other way around.


    *EQ is your friend, and if you dont have that output, you can always use an screamer with Tone control on 0 to boost the hotness of your Pups and see how your strat overdrives the profile.


    Most likely your strat doesnt sound as you expect it to sound, even between american standards you can hear some noticeable differences. Play with a 8 bands eq in the post effects and boost it, set your clean sense, and then check how close you can get.

    @ CarloLf: That might be true. But i mainly play music with a certain degree of distortion/saturation. So that's my reality as a guitar player.

    I do love my KPA, though ;) I hope my post above is not interpreted as a KPA bashing.

    I dont know how distortion heavy is your rig, but I believe most people have not tried 10 different amps with the same cabinets, they end up sounding like you describe, clean or distorted. Most of us have 3 or 4 amps, and maybe 2 or 3 cabinets, so we never get to compare, but if you try 10 amps with the same cabinet, you will get the same feeling of "sameness" as with the Kemper.


    I see it as this, the amp is like a great piece of ham or a sausage, there are a ton of variety, but normally is eaten with a bread, if you use the same kind of bread, it will tast like the same kind of sandwich. Bread is an important part of the sandwich, so it will definitely affect the overall flavour, but it will imprint that same nutty dryness on any meat you put on it.

    Ok, now to your issue, what you hear sounds like a damaged input transistor or opamp, I know that from working with audio far too much, it seems your processing line is damaged somehow, The problem is electric, with a simple ground problem, it would be only a 60Hz hum or some craclick while playing, but your crackling comes from the noise floor.


    Open a ticket as soon as possible, send the audios to kemper support through mail. Sorry to bear bad news :/ to be honest, there has been more issues with the stage than ever were with the other units, I believe some of the design compromises to encapsulate all the components in a tight space is responsible for most of the problems. But who knows...