Posts by SeanChristopher

    Hi Ajs6593 , The high cut recommendation from GearJocke is a good one, and that can definitely get rid of high end fizz. There's a High Cut in the Output menu if you select the Output soft button. That way you can save yourself an effects block for other stuff;) I typically set mine anywhere between 8k-10k depending on how much high end fizz or high end unpleasantness I'm hearing.


    Another thing I'd highly recommend looking into, is the PureCabinet settings in your KPA. PureCabinet is a feature that's purpose is to smooth out any high end fizz caused by mic phasing and stuff like that. But it tends to change the high end a lot with high gain profiles and can in my experience, either make fizz more prominent and move the fizz to more obvious frequency ranges, or get rid off the fizz and smooth out the high end. It can have very different effects on each profile especially when working with high gain. It's definitely worth turning it off overall and then experimenting with it to see if having it either off or on at various settings can help solve your problem.


    PureCab is set to 3 or 3.5 automatically on the KPA and is located in two places, the Output menu and in the Cab menu. The PureCab setting in the Output menu is a global setting, and the one in the Cab section menu is a "per profile" setting. There's also a PureCabinet soft button to turn it on and off globally in the Output menu, and unless it's turned off globally by using the soft button to disengage it, then even at 0 PureCab is still on. I just turn it off globally in the Output Menu, and set it per profile in the Cab menu. Having PureCab off globally allows you to set it individually per rig. I'd recommend experimenting with it on and off and see if it helps with any of the fizz.


    Hope this helps!:)

    Hey malcomowenflood , Check out the Headrush backpack. It's basically the same as the Helix bag with another pocket, bigger overall pockets and more space, but the same general size. Its like the Kemper Stage bag but with a bigger main compartment, bigger front pocket, and an extra front pocket.


    Super padded and fits my Kemper Stage, 2 expression pedals in the main pocket, fits all my 5 instrument cables and 4 xlr cables along with a bunch of other stuff in the big front pocket, and the top front pocket holds a few pedals, power cables, strings, etc (and there's a mesh lining in the front bottom picket that holds other random stuff I can fit pretty much all I need for a gig in there, besides my guitars lol. And it's pretty affordable compared to the Kemper bag and Gator bags. Definitely worth at least looking into! :)


    I had the gator bag first and it wasn't padded enough and wasn't sturdy enough to me. And it was a tight fit for all my stuff for a gig. I can fit all I need in the Headrush backpack, and there's still space for some more stuff if I need it. I'd highly recommend it ^^

    Hi Tom Sawyer, I think Chris Duncan and V8guitar had some great answers and great insight.


    Regarding your question about profiles and their flexibility, you can approach working with profiles a few different ways. Some users cycle through profiles until they find one they don't need to tweak at all and prefer to not mess with the EQ. And that method works well for a lot of users. Others tweak the EQ and Amp section. The Kemper has a really powerful and musical EQ and you can honestly tweak profiles to sound completely different, the EQ is really versatile. Others (like myself) approach profiles as being capable of being used as building blocks just like an Amp Model and IR in a Modeler, and you can mix and match Amp sections with IRs and Cab sections from other Profiles. You can truly create your own tone and build your own rig using profiles others have created by tweaking profiles and experimenting with different Cab sections and IRs.


    The Kemper has limitless opportunities. And the beauty of it is that there are a bunch of different approaches, so you can find the one that works best for you:)


    I'm sure you'll love your Kemper ^^ and any help you might need along the way, is always just a post away on the Kemper Forum ;)


    Hope this helps, and welcome to the Kemper Community!

    Why don't you like pure cab? Maybe I'm missing something. I've tested, and tested it, recorded and use IEM's live, I think it sounds great FOH.

    hi jon9max I know this question wasn't directed at me but, I think some of this info might help :)I'm not sure about Ibot39 but, I personally prefer PureCabinet off with high gain profiles and most mid gain profiles. Ibot39 makes a great suggestion regarding that. On lower gain and overdriven profiles I don't mind it because it doesn't affect the sound so much. But I find that to my ears, PureCab alters some of the overall sound of the profile and and can sometimes change the high end in an undesirable way when used on a high gain Profile. PureCab is supposed to basically dial out any phase cancellation or comb filtering issues that the mic setup of the Cab section has from when being Profiled. High gain Profiles tend to get more noticeably affected by these things when mic'ing and it can cause the high end fizz sometimes and other things like that. And the PureCab parameter is supposed to combat that and smooth it out.


    To my ears, if a Profile has a lot of "fizz" or any sonic effects from the mic'ing, then PureCab changes the fundamental tone too much, even at .1 lol. But if a Profile doesn't have much "fizz" or anything like that, then PureCab doesn't change the tone so drastically and that's when I don't mind it at lower settings(between .5-3). I just like don't like the fundamental tone to be changed too much. And PureCab just happens to be more noticeable on high gain Profiles haha 8o


    An important things to note is that PureCab has 2 locations in the KPA. One in the Output Menu, and one in the Cabinet Men (this one has a soft button to turn PureCab on/off, and a knob to set the value of the global setting). The one in the Output Menu is global so, unless any Profiles have a higher value set in the Cab Menu, then the value in the Output Menu will take priority in the KPA. So if PureCab is on globally in the Output Menu, then it'll be on even if you set it to 0 in the Cab Menu. You should be able to tell if it's on because in the Cab menu it'll show under the Cabinet name if there's any Global PureCab setting active. So unless it's turned off in the Output Menu, it's always on basically. I personally turn it off globally in the Output Menu and set it individually for each profile in the Cab menu:)

    So I just got my stage profiler and I played around with the default amp profile and the chords sound great but when I hit single notes they seem to be thin sounding and heavy on the pick attack (reminiscent to me of Mesa Boogie amps that I don’t like for that very reason). Changing the “pick” setting doesn’t solve the issue for me. I profiled my amp and have the same issue.

    Try adjusting the values for "Power Sagging", "Tube Shape", and "Definition" in the Amp menu. Push the Amp button and go

    through the pages of parameters to find them. All of those parameters are super important to familiarize yourself with :)



    "Power Sagging" controls the bloom of the notes just like sagging from a Power Amp would cause. 0 is no Sag or bloom and higher values increase it.


    "Tube Shape" controls shaping the distortion characteristics of the tubes. Around 3 is going to sound like preamp tube distortion, and higher up around 9 is going sound more like power amp distortion.


    "Definition" controls the characteristic fingerprint of the amp. So it basically controls where the harmonic content of the amp sits. Lower values will sound like a vintage amp since the harmonics for a vintage amp are usually lower harmonics. And higher values will sound like a modern amp since modern amps have more pronounced harmonics higher up than Vintage amps. And higher values are supposed to also work for expensive boutique amps, because a lot of boutique amps supposedly have a lot of harmonics in the high up frequencies.


    The Kemper manual has a lot of really great and easy to absorb info in it. I'd highly recommend checking out the info about working with different types of Profiles, how to use them, and working with guitar cabs and power amps. And also, all of the sections regarding the different sections and menus in the KPA. It really helps ease your workflow and entire process if you're familiar with the UI, and especially the parameters in the Amp menu. When I'm dialing in a profile, I usually end up tweaking parameters in the Amp menu first. So I'd say at least read up about those ^^


    If you get familiar with the Amp Menu, Input Menu, Rig Menu, and Output Menu, you'll be unstoppable when dialing in your tones!;)


    I hope this helps :)

    Do we know for certain, that the amp part of DI and merged profiles are 100% the same? What really happens, when the merge button is used? Can we be sure the amp part is 100% unaffected?

    Great question! This depends on the DI and Studio Profiles used to create the Merged Profile. The DI Profile needs to be the exact same as the Studio Profile, but without the Cab in the Profile. If the DI Profile is done after the Studio profile, and done with the same settings, the Merged Profile's amp section should be the exact same as in the DI profile and the Studio Profile.


    Of course, this is all in theory and the outcome comes down to the way the process is executed. When you press the "Merge Cabinet" button, Kemper compares the DI profile to the Studio profile that the Cab section was taken from, and subtracts the DI profile from the Studio Profile to get an accurate assessment of where the Amp section ends and Cab begins. Otherwise, CabDriver is just guessing where the Amp ends and Cab begins. So "Merging" a Studio Profile's Cab section from a different profile set or something, can change the amp section (in certain situations).


    And of course, you can always test these things for yourself, as I try to do when I'm curious about something such as this :)You can go through the process of correctly making a Merged Profile, and before saving, you can turn the Profile's Cab section off and run the Kemper into a real Cab, and then toggle "Merge Cabinet" on and off while keeping the profiles cab section turned off to see if the Amp section changes when being "Merged". This is how I have tested this out with various Profile sets (its important to use Studio and DI Profiles made in the same session or equal to each other for accuracy) and I found the outcome varies and really depends on the DI and Studio Profiles, and whether or not they were close enough to the same to begin with. That's why for the most accurate results, it's recommended to use a DI and Studio Profile made with the same Amp settings or from the same session Profiling session.

    Another question. I know for sure, some commercial profilers sell "Merged" profiles, that in reality are only direct profiles with copied cabs from earlier profiling sessions (or the same cab copied to different DI). If this cabs are maybe just copied from studio profiles, cab driver is still active on this rigs. Is the amp part affected too in this case (cab driver guessing again)?

    In the situation you're talking about, it depends on whether or not the Cab from a different Studio Profile from a previous session has been "Merged" or not with the DI Profile (whether or not "Merge Cabinet" was pressed). It's possible to just use Cab section from a Studio profile with a DI profile and not merged the cabinet. If the Cab section isn't "merged" then the algorithm that compares the Studio and DI Profile to find the Amp and Cab seperation isn't engaged. And if it isn't engaged, then the Amp section of the profile should remain unchanged.


    Without engaging "Merge Cabinet", it's just like layering a cab section after the DI Profile and it won't change the Amp section. But once you "merge" the cab section, that's when the Amp section can be affected by the "Merge Cabinet" function depending on the DI and Studio Profiles used to make the Merged Profile. If done correctly (by using equal DI and Studio Profile), the Amp section of the Profile should be the same as before. But like I said before, In practice there are a lot of variables and the outcomes vary quite a bit.


    I've actually experimented a lot with "merging" cabs and making Merged Profiles out of various combos of DI Profiles and Cabs from Studio Profiles that I've saved as Presets. Sometimes using "Merge Cabinet" with Profiles from different sources can yield really good results depending on your preferences. I actually posted a thread about it a while back called - "Revelation for Merge Cabinet" or something like that. It explains some of the results I've gotten when experimenting to give some insight for people wondering more about the "merge cabinet" function.


    But regardless, you can test all of these things yourself to find out the effects of making Merged Profiles using different methods and that should at least give you some perspective on the questions you asked, as well as helping you form your preferences as far as using different types of Profiles for different situations. :) It can't hurt to try some of this stuff for yourself ;) It definitely helped me get a better understanding of using the "Merge Cabinet" button and helped me gain a better understanding of the different types of Profiles and making Merged Profiles^^ And if anything, it'll at least give you the opportunity to find the answers to your questions first-hand, so you don't have to just take my word for it :)


    All the info given in this reply is based on research, experiences, and info from other Kemper users. But I'm not always right and there's probably info I'm missing, or info I'm not getting 100% right lol. But I'm sharing in hopes that some of it might help answer some of your questions, or encourage you to try these things to find out first-hand and get answers that you can be confident about;)

    Very interesting..

    Its a very interesting situation indeed, my friend :) After watching the video, it drove me to do a comparison of my own. And that's what actually finally made me come to the conclusion that I prefer DI and Merged Profiles through a real cab. It was an eye openening comparison ^^


    In direct comparison to DI and Merged Profiles, the Studio Profiles sounded more boomy and muffled. I even tried through a solid state power section to try non tube power section and it was the same.


    I guess that makes sense though. DI and Merged Profiles are more for the purpose of running into a power amp and cab, than Studio Profiles are. And with DI and Merged Profiles, there's no CabDriver algorithm guessing where to split the amp and cab, so you get a more accurate amp section with no coloration from the cab.


    Both can get good results though:)

    I guess it comes down to preference and experimentation ^^

    Yes, the key here in the video is the KSR power section…


    I too thought that there was possibly a factor in the video that was affecting the outcome aside from the different types of profiles being used. It drove me to do a comparison of my own using a studio profile w cab off and the equivalent DI profile and tried running into a cab to see if the results were really that different :) I tried running through my Mesa Road King power section, and then my Orange Micro Dark solid state power section to see results not influenced by a tube power section. The results were always the same regardless of power section used.


    The results weren't night and day different but, the Studio profile had a noticeable amount more low end and sounded more "bloated"(not sure how else to describe it lol. It was definitely noticeable in direct comparison to the DI Profile, that the Studio Profile w/cab off still had some EQ from the cab in the amp section. Because it slightly had that effect that happens when you leave the cab section of the profile on when running into a real cab, and it causes the sound to be way too thick and muddy and sounds like a blanket is tossed on the cab, but to a more mild extent than when leaving the cab section on.


    I tried this comparison with a few different Studio and their equal DI or Merged Profiles. Pretty much all had the same type of outcome. The DI or Merged Profiles always sounded less muddy and less boomy.


    I'm not saying it can't sound good. Because it totally can. But, DI and Merged profiles were made to be used when using a real cab for a more accurate amp section with no cab section coloration. So it makes sense that DI and Merged Profiles would produce the most accurate results :)

    You can do both. Assuming you have access to a rehearsal room and a PA system, start by getting some rigs together with virtual cabs that are similar to your real cab. Next, tweak your tone to sound good on the PA. Once you're close, start A/B'ing the PA with your real cab, and use the monitor EQ or power amp EQ to fine tune the sound coming out of your cab. Doesn't have to be perfect, but you're aiming for a sound you're happy with out of both. The real cab is used just for you on stage to have that real amp feel, and the FOH gets the virtual cab signal. Everyone wins. I played several shows with this setup when I had a Helix (and bands still played live😭).

    I totally agree. That's the best type of setup for real cab feel and FOH gets a more consistent tone than mic'ing up that real cab. I think one of the best features of the Kemper is the ability to go FOH and have a real cab for stage sound.


    I was talking about was someone utilizing that instead of just using a real cab and mic'ing it up. I was commenting on the aspect of utilizing the ability to go FOH. I probably should have said that for more context haha. My bad, I should have elaborated on the setup I was referring to for the backline. My post was more focused on the FOH aspect and people trying to mic' up a real cab instead of just going FOH. The FRFR aspect is up to the user and I could go either way lol:)


    The insight given in the post I was replying to seemed to be quite enlightening as far as pointing out the fact that what the audience hears is extremely important. I think people should consider that when putting together their setup, whether that be FRFR and FOH, or FOH and real cab, or real cab mic'd up. That's all I was saying my friend :)

    But I actually agree with you as well. Using a real cab and still going FOH is the best of both worlds.

    Hi dacop1313! Another Kemper user actually recently made a video about this exact scenario and there's sound samples using both situations. You get to hear the difference with a mic'd up cab when using a DI profile vs a Studio profile with the cab turned off.


    Both DI and Studio profile with cab off can sound good through a cab depending on the situation but, the DI Profile won't have any coloration from any cab section and will be the most accurate representation of an amp. Studio profiles w/ cab turned off through a real cab can get pretty good results but in direct comparison to a DI or Merged Profile of the same Studio profile being used through a cab, the DI or Merged profiles typically sound less boomy and woofy. I think it might be because DI or Merged profiles don't have the factor of having any of the cab section in the amp section due to CabDriver not having to guess where to split the amp and cab. But I'm not entirely sure, that's just my guess lol^^


    I personally always just turned off the cab section in studio profiles and didn't think much of any difference until A/Bing them after seeing the video. Now I typically will use DI profiles through a power amp and speaker.


    Of course, if you get good results doing it another way, then do what sounds good to you :) But if you're wondering which kind of of profiles will most likely work the best with a setup involving a real cab, then DI and Merged profiles are going to be your nest bet for accuracy. DI and Merged profiles were made to be used for the exact situation you described ;)


    Here's the video for anyone wanting to check it out:)

    This is some really great insight V8guitar ! :)


    Focusing on the tones that the audience hears, ensures the audience gets the best representation of your sound. I think that aspect is really important as well, and it's another thing the Kemper excels at and it makes a lot of sense to utilize that. Kemper allows for consistency that wasn't easily attainable before. So, why not take advantage of one of the Kemper's strengths?


    And pointing out that both backline and FOH both get focused on, but FOH gets your primary focus, was a great way to explain the importance of both while still emphasizing FOH to ensure getting the best sound for your audience :)


    Cos you're right, I love the amp in the room sound as much as every other guitarist. But I can agree that the sound that the audience hears is the most important when playing live. Your backline can sound great but if that doesn't carry to FOH and the audience, and FOH sounds bad, then what the audience hears is going to be sh*t and that can/will ruin the percieved performance.


    V8guitar has shined a light on some important concepts to consider:)

    I use it with my studio monitors most of the time but i also ordered three headphones: Superlux 668, 681 and an Audio Technica ATH50x. The Superlux sound pretty decent, regarding the low price! I like the punch and loudness of the ATH 50x but they appear a little muddy with driven sounds. The Superlux have more clarity but sound a lot thinner than the ATH. It would be great, if i could find a pair of headphones that provide the great sound, coming out of my monitors!


    Can anyone recommend some good headphones with the rock n roll of the ATH but a little more transparency?

    I'd highly recommend the Audio-Technica ATH-M40x headphones if you're looking for something less muddy. They're even a little bit cheaper so you'll save like $50. But don't let that $50 cheaper price tag fool you, they're great headphones and sound great for monitoring the Kemper. I've tried both the ATH-M40x and ATH-M50x headphones and the ATH-M40x's have less bass and less low end rumble. They're much more flat and have a more even frequency response.


    You can actually even find reviews online with people making remarks about how much more flat the M40x's are. The M50x's seem more hyped in certain areas of the frequency spectrum (bass and low end especially) and they're great for listening to music, but not as great for reference headphones. (I confirmed this because when researching a new pair of headphones, I find their frequency response charts online) There are definitely more options as far as more flat reference-capable headphones but, the M40x's are cheaper than the M50x's and honestly sound great. The stereo image is surprisingly wide. They have a lot of punch without being muddy or boomy. They have a super clear midrange and crisp high end that isn't harsh and present low end that's detailed but not overpowering. And most importantly, they're not as hyped in certain areas of the frequency spectrum so they're not deceiving when you're dialing in tones lol. (or at least, not as deceiving as other headphones can be lol :D). I've had mine for a long time now and I prefer them to my Sennheiser HD280 Pro's, and my Beyerdynamic DT770's. I actually sold both a while back because I never use them after getting a pair of ATH-M40x's. I'm honestly surprised they're cheaper than the M50x's considering how much more clear they are for monitoring and how much more effective they are when used as reference headphones. I'd highly recommend them :)

    Hope this helps!

    I play a lot of different genres but mainly play modern metal. I use a Headrush FRFR 112 for rehearsals and it's great. I I've heard a bunch of different opinions on it, but for me personally it's been great. I have profiles that I've dialed in for when using it and that approach gets me really good results. Unfortunately, no FRFRs are completely neutral and flat. All it takes is a little dialing in depending on what the speaker calls for, and you'll be golden :)


    I hear good things about the smaller Headrush 108 but I haven't tested it out personally. And I also hear good things about the Yamaha DXR10 but when I tried it out it seemed a little less powerful and cutting than the Headrush 112 but the Headrush also is a bigger speaker so I'm sure that was a factor. And I didn't spend much time with the Yamaha DXR10 so, I'm sure if I dialed in a profile just for the DXR10, it might have sounded more similar to the Headrush 112. Honestly, it's possible to get great sounding results with most speakers or FRFRs as long as you make some adjustments and adapt to whatever the situation needs.


    You can probably get good results with just about any FRFR if you dial in your tones to work with it. If you're looking for something to use at rehearsals and for jamming with a band (or with a drummer with an acoustic kit) I'd recommend trying to get a decent size FRFR and at LEAST get a FRFR with an 8inch or even better a 12 inch speaker. You're going to want to be able to keep up volume-wise. And my buddy has a Headrush 108 and when we jam it considerably lacks punch and cut compared to the Headrush 112 I have.


    If you're just practicing at home, I'd honestly recommend just using the cash for some powered studio monitors instead. You'll get more use out of studio monitors at home and you'll save some cash because if you're recording at home, you're going to need good studio monitors eventually anyways.


    You can find either a great pair of 5-6inch studio monitors, or a good 10-12 inch FRFR for around $300.

    For "attack," are you referring to the Pick parameter? I just went looking for a control labeled "Attack" and didn't find anything. 😆

    Yeah lol! Thanks for catching that, my friend!

    That's definitely something I wanna correct so I don't confuse anyone (especially new users looking for some help). Thanks for keeping me on my toes! ^^ I'll go edit that right now hahaha :)


    That's what I get for being up at late and posting at like 4am :D

    Frankly, I don't think metal players make up a lot of Kemper users, like, say, Fractal. Which makes sense to me because where I think Kemper really kills the competition is in clean and edge-of-breakup tones.


    Thanks for the kind words! For this song, I quad tracked with the Diezel panned hard left and 75% left, and the Recto panned hard right and 75% right.

    Yeah, there aren't as many Metal players that are very active on the Kemper forum compared to the rest of the genre rainbow lol. But, I see a lot of Metal players using Kempers so, it puzzles me man! Lol :D

    And I know there's a good handful of Metal Profile Makers out there making killer metal profiles too. I guess a lot of the metal players that use Kemper are more active on other forums or something. Who knows what's really up lol maybe it's just a slow week for the forum or something haha :D


    But on a more awesome note! :

    One amp per side with the quad tracks filling out the stereo spread like that sounds epic! I really dig the ambient tones in the track too. Sounds sick man:)

    BERNARDIJ Another important thing to note, that I had left out of my post, was explaining the Definition parameter in the Amp Menu, and elaborating on the importance of the Definition parameter. It's a really powerful parameter and it basically sets where the harmonic content of the profile sits. When an amp is profiled, the Definition gets set to match where the harmonic content of the amp sits and that is an integral part of an amps sonic fingerprint.


    When you take a high gain amp or profile that's set almost to full saturation, and then Boost it into full on tight saturation, the harmonic content that's focused on in your tone shifts up a little bit. So the Definition parameter can help get that harmonic content in your tone, exactly where you want it. But also keep in mind, where the harmonic content sits for an amp is an important part of its sonic fingerprint. So for me personally, I typically will only adjust definition if it's set really low, so I won't need such an extreme Boost to get it where I want it. I don't often adjust Definition past 1-2 more higher than it was originally set, to maintain the general harmonic content of the amp used for the profile.


    Also, Clarity is a really powerful parameter and can add some clarity when needed. It does it by scooping out mids, and pushes some clean signal into the mid frequencies while maintaining the distortion across all frequencies. It can help add some Clarity when used at mild settings for high gain situations. So I'd advise using low levels of Clarity for modern metal tones unless you're going for the scooped mids sound.


    But, knowing what these controls are doing can help you get to whatever tone you're after, with much less work and much less trial and error. I hope this info can help you out!


    Edit: Also, the "Pick" parameter in the Amp menu can help add a lot of that transient attack without too much compression. Idk how they do it exactly but, I really like bumping it up to 1 or 2 if I'm wanting a really percussive tone. That's a really handy parameter to get familiar with as well! Especially for aggressive and tight metal tones with a lot of attack ;)lol

    joshriggs aside from you and a few others posting, I'm surprised more people don't have opinions regarding this stuff! I always thought boosting high gain with an OD, and using low Drive and high Level was kind of a standard in modern metal. And then a recent conversation with a friend that's from a different musical background(this is a friend I jam with and he isn't a part of the forum unfortunately), led me to question whether or not it's actually commonly done.


    Their opinion included the thinking that using higher Drive than Level would tighten up high gain more than higher Level than Drive. And that there's not a reason to use more Level instead of Drive.


    Since my experience is the opposite, it sparked my interest in getting more opinions and perspectives from others to gain a better understanding of tightening up and properly boosting high gain tones. I know tone is subjective so I figured hearing people's opinions and experiences and thoughts might give me some insight into how differently high Level and high Drive truly affect the signal.


    It's just surprising and kind of a bummer that so few people posted in the thread. Of course, I'm glad you and a few others posted and it's nice to have another brother in Metal chiming in:) But I was hoping for some involvement from more of the metal and high gain using-Kemper Community. It makes me wonder... Should I post this in the Public section instead or something ? Lol :D Ahh I'm just venting my disappointment lol :D:DBut you don't let me down, my friend. And I appreciate your input!


    On another note, Congrats on getting your solo stuff out joshriggs! That's awesome and I'm definitely gonna be checking that out today :) Did you double track with one profile on each side? Or did you quad track and layer both on each side? Or were the different profiles used for different parts in the track? I'll bet a Diezel profile and Mesa profile sound beastly in a mix together!