I usually find that if my in ears mix of the whole band is right, then the volume boost for lead is also good. When I first got the Kemper, I was always working with the FoH engineer to balance my volumes across profiles. He would record from his position with a phone to see how it sounded for me in the room.
Some bands simply have too much of a boost on lead tones, but another solution would be to put a limiter on the feed from your Kemper to the in ears mixer. We use Pro Tools to create our mix for both rehearsal and live shows, so that is easily done if needed.
[...]Some bands simply have too much of a boost on lead tones[...]
... and when the lead part is ending, they don't like going back to previous level.
If the boost is too loud in the IEM then it’s probably also too lid on the band mix out front. I would try and solve the problem at source rather than treat the symptoms.
Wheresthedug That absolutely is NOT my experience. It’s a different experience being close to your sound via inears, than that of being on a noisy stage. And it’s a personal thing as well.
The larger the band, the less loud your rhythm guitar is likely to be, the more boost you need in the PA. But i find that i always need only a very slight boost (or sometimes none actually) in my ears, no matter what is needed in the PA.
And if you are a musician the way i am, you are playing with a trio (less boost needed) one night, and the next it might be a seven man band (more boost needed).
Too much of a boost in ears and my rhythm drowns, while my leads float on top. And why would i be on stage having uncomfortable levels in my ear (both rhythm and lead) in a compromise between PA and my monitoring, thus none of the levels are quite there? There is a solution to this problem, and i’ve pointed Peter in that direction. I have a friend who builds specialised midi gadgets, and if Peter uses a midicontroller, he can have one built.
The grey hardware gizmo controls all lead boosts in my inears independent of the boost that goes to the PA, which is controlled by the gizmo to the left of it. (You will have to view the whole picture to see it).
There is another interesting midi hack gizmo in the back of the rack. One that remembers the last state of the delay slot, and resends that state with every program change, so that delay on/off is independent of what might be programmed into a patch. I always want independent delay on off in my setup while not having to be stuck with one delay setting (which is what lock would do), so i had to hack the system to get it.
Good levels for everyone, no compromises. And while i may now come across as a big headed arrogant idiot; one of the reasons i can play as many gigs as i do, and be in high demand as a substitute guitarist, apart from playing a somewhat fine guitar, is that i have perfect levels for each gigs. More boost where needed, less when needed. And as i said, what is needed in the room is mostly never the same as in my ears.
Burkhard DonPetersen Can i get a medal for the most hacked kemper? 
