Posts by Alfahdj

Quote from Frikeer

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.

Quote from Kaschko

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.

Quote from Kaschko

I was thinking of another cab, especially interested in 2x12 open back since I mainly play Bassman, Bluesbreaker and similar amps. But everyone in this forum (especially Chris Kemper himself) are raving about how brilliant the Kabinet is, so I very much thought it's me dialling it in the wrong way.

Its a cool cab, I dig it, but is still a 112 with all its caveats, I am a 212 guy, home, studio and stage (TT_TT if only there were gigs already...). Maybe it is just a bad synergy, I have high opinions on the kones, as I said in another post, I found the main difference is on the sound pressure and sound dispersion. Also, yes, the kone has more material on the treble side, sometimes it sounds a bit more HiFi-ish, so that might also be, but is not that big of a difference in my opinion.

Quote from Kaschko

I don't think it's about tightness and focus. It's speaker EQ. The greenback imprint makes the profile sound thin, tinny, harsh, like something digital. It's always hard to describe sound so you best try it out yourself to hear what I mean. When it comes to the cab I do think it often sounds boxy but that might be my inability to dial in the profiles.

The kabinet sounds boxy, its not the kones fault, nor your fault. How does the V30 sounds on it to your opinon? It makes me courious as I find the V30 particularly harsh (the same as real ones), so maybe we can start from there. I will try it with the marshalls on the 2020 pack, with my 212 kone cab, and will let you know. As comparison, I have a Cabinet with a waza speaker, I expect to sound similar to it.

Quote from Kaschko

Hi guys,

so, Britt's 69 Marshall with the Celestion 25w greenbacks belong to the best profiles I know. They actually are 1 of my 2 go to profiles now. It's especially about the cab - which is of course a rare one for Britt.

However, I am struggling to use it on the Kabinet. If I use the Greenback imprint it just doesn't sound right. And I also don't think there's any other imprint that fits 100%, the closest is probably the G12-100 (at least to my ears they are closer than the creambacks that some people suggested).

That's troubling me a little since the profile is only half as good as it could be if I can't use it through the Kabinet and be sure it sounds the same as what comes to FOH. I don't have that problem with other cabinets - usually the imprints are very close to what the creators profiled. But the greenback imprint just doesn't work.

Any else having issues with the greenback imprint? I'm sure Britt captured it well. Maybe his speakers were broken in and the Kemper imprint has fresh and noisy speakers? Please enlighten me.

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Cab structure has a ton to do with the sound being tight and focused, my bet it is that you are having a hard time with the 112 sounding as tight as the 412 greenbacks. A 112 will sound flubby and lack body compared to its 212 and 412 brethen. My only complain about the kabinet, its also it is MDF, I am not a fan, I always preffer plywood, it is more straightforward sounding. Maybe thats where the Kone isnt cutting it for you. It didnt for me, so I made a 212 with kones, sounds nicer.

Quote from silvioherrmann

Hello Muleblues, I'm also thinking about getting 2 kones and put them into a 2x12 cab. How is your experience with that? Which cad did you use? How is the sound difference if you compare the Kone configured to V30 with the real V30s?

I had the chance to compare creambacks, before switching to kones, the differences are there, like the kone sounding a tad bit HiFi-ish sometimes, but they are minimal in the sound department, it is more a sound pressure and sound dispersion thing, not that kone is bad in that department, it is just different.

I am talking about john´s sound, forgot to add that.

Any sligthly overdriven plexi with a strat should get you there. Check for plexis on the free rigs section, I remember the M Britt plexi from the free pack was nice, just turn down the gain and take out the effects. Its not a particularly hard sound to achieve.

Quote from xmichielx

I suggested that cables do matter (instrument and speaker cables, perhaps even the DI cable?)

All cables matter. Decent quality (as Ingolf said) short lenght should give you optimal results. Remember that while longer the cable, more suceptible to distortion and interference, also there is a loss in tension the longer the cable. Expensive cables in my honest opinion are useless in the application, and you should not worry too much about it.

And as a side note, never say that cables dont matter in a forum with audiophile guys, you would be asking for trouble. There are people that actually have thousands in gold-plated-oxigen-free-nickel-meshed-kevlar-coated cables (its legitimate adviced, not even a joke).

Quote from xmichielx

Hello,

i love my kemper kpa DI profiles that I’ve created with the kemper DI box but I was wondering how much of an influence the components in the complete profiling chain are: guitars, pickups, cables (instruments and speakers) ?

I have the feeling that I get better profiles when using better quality components such as a good les Paul with BKP pickups instead of a thinner Ibanez with BKP pickups.

Even when I’m using the Ibanez with the profile created with the Gibson.

Do others also experience this? I guess that the quality of profile is then determined by the quality of the products used in the profiling chain.

Not I play tight death/thrash metal such as hatesphere, decapitated, carcass, etc.

I also experienced that some amps profile “better” than others, for example Engl amps don’t profile very well but Peavey’s/Mesa’s do.

love to hear what others experience

Michiel

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Well, for starters, tons of amps are profiled just using a cable and a SM57, with good results, zero issues. If better cables make a difference, I dont think they do in the big scheme of things, the shorter the cable, the better for the profiling. Regarding guitars, there are people that to this day use an specific guitar for refining. I have done the process with a SG and a Strat, and got to almost the same result after refining the same amp with different guitars. I dont think it really matters too much.

Regarding how the profiles sound different with different profiles, well, they are supposed to, the same way different guitars sound different with the same amp. Sometimes the author of the profile says they used a certain guitar for certain profiles, that normally means they EQ according to that guitar for it to sound good, but it is just a reference, just how I set my Twin for my strat to not sound sharp and trebly, it doesnt mean that you cant use that for a super strat or les paul-like, you may just need to EQ further.

Quote from Dynochrome

Not usually, but I think it's cool when shredders use them because it's a bit of a challenge up high. Sykes, Rhoads, Sinister Gates all used them. I really think it has to do more with looks -like you wouldn't usually use a BC rich warlock in a bluegrass band, les pauls don't look like shredder guitars. When it comes down to it, You could use a Warlock in a country band or a Gretch with a humbucker to play Van Halen songs on and it would probably sound fine. Guitars don't know what shape they are when they make sound, they have a neck, strings, pickups etc.

Well, looks were constructed with the legacy of some guitar players decades ago. Nobody would think on shredding on a strat without EJ and EVH I think, super strats were just the result in design AND looks to what guitar players were after in a shredding situation. I have my trusty Solo II custom, it has a 12" neck and it is totally shreddeable, but then I had this ibanez prestige with the thinnest and flattest neck I ever tried, and understood the point of it, it is butter on the fingers. I prefer more meat on my hands, but I bet some guys prefer the lighting fast action of a shredding axe.

If I could have access to my dream amps, a technic that gives them maintenance, guys that bring them everywhere for me, and tons of money to spare on 412s, mics and mixing desk, ¿why would I care about the portability, authenticity and reliability of the kemper? LOL, I bet a dumble is on the reach of slash, and considering how sought after are they, maybe he has one, just for the luxury of it.

Quote from Syntek

I am not a Slash fan, but I recon his own merits. I believe that he helped to bring Gibson LP back to business, in middle of Eddie and the super strat era. He dared to be different, maybe his iconic songs and his top hat helped him more than his chops, to build his fan base.

Not all great players or virtuosos out-there inspire or create trends like Edge and Slash did, with less technical skills.

Clapton is not a virtuoso, compared to Hendrix, Page, but a master and great influence to many.

Completely agree that guitar players (or any instrument player by that way) needs not a virtuoso status/technik to actually be inspirational or relevant in the music media. Not everybody is Vai/Johnson/Plini/Malsteem level of virtuoso, and there you have guys playing humble styles making leaps in the genre. I mean, Kurt Kobain I bet inspired more guys to play guitar in the 90s than someone as Petrucci, that says something.

Small not-so-off-topic question:

¿Is someone actually gigging? like, not online concerts or local bars with safety and health measures, but actual gigging. This is still pretty sad for musicians over here.

Quote from whippinpost91850

yes it just felt loose and flubby. Maybe in a little bigger cabinet would help, but the Kab I built is the exact size of the Kemper Kabinet

Yeah, that sounds like a MDF/light plywood 112 all right, not the kones fault I think. Mine is nice and punchy in a 212, I think a tight 212 is the be all end all in terms of sound versatility.

Quote from musicmad

In my book he's got the time feel and note choice of a great guitarist

Well, on recording he sounds very nuanced, I give him that, but live, I think it is underwhelming, sometimes is like slash is trying too hard to play like slash LOL, I am also on the camp of it being good, not great. But to each their own.

Quote from JedMckenna

There are usually a bunch of backline amps and stuff at most important concerts that could be used in case the Kemper goes wrong so I never bring a backup. Besides, I know of Murphy's Law and all but in 5 years of everyday use of the Kemper, it never just "stopped working" all of a sudden. There has been a few crashes and reboots maybe, a non critical hardware issue as well but not a full stop "I suddenly can't use it anymore." So statistically, 0 occurrences in 1825 days. Do what you will with those odds but imo there are more important things to worry about before a gig. If something goes wrong with Kemper say the week before the show and it needs repair, I do have a large pedalboard (containing an Atomic Amplifier 3) that does the job just as well.

It all depends on where you are on the food chain, it all starts getting like it when you already play in middle band festivals. Most of the concerts I went, the only alternative was asking for someone to lend you their amp for the night. No backline whatsoever. I believe that things like the HX stomp will fast become the backline for many guitar players. The size and relative quality to it are genious.

Quote from Ruefus

I have a Tumnus Deluxe as well. Both on the same board and often on together. They are completely different animals.

Easiest way to look at it is the Tumnus is a Klon-style where the Euphoria is sometimes called a Dumble-style. I don't use the Euphoria for a lot of gain. The knob never really gets past 9 or 10 o'clock.

I've used the Euphoria with all types of guitars. As for amps, clean Fenders and modded Marshalls (there's a Soldano profile that's just obscenely good). The Euphoria just does 'something' I like. ¯\_(ツ)_/¯

I have heard the euphoria, it thickens the sound, gives a ton of mid body. The tumnus is more low mids body and a bit more crispy in the high end. I know by experience if I had to describe, ephoria is for carlos santana tone, thats how it felt to me.

Quote from V8guitar

I'm sure someone will say " but yes some pros still use 35mm because it has some warmth that is missing with digital", in the same way high end hifi uses valves. But regardless, this is just additional colouration that can be emulated via digital.

Same argument for recording desks and tape vs hard disk.... but technically it can be emulated. I'm at risk of sparking the whole "digital bad, analogue good" argument..ha!

What actually happens when going from digital to analog for first time in any medium, its a rediscovery, vinyl has imperfections that make it sound "warm" which we relate to "analog-ness", when in all truth, old recordings had no capability to record beyond 14 khz appropiately, and to that, add the vinyl characteristic of material on it is degradating while the needle is rolling, and changes according to temperature. All that was distortion, not "analog warmth".