Posts by Dynochrome

Quote from Burkhard

The LED of ther TAP button always sticks to TAP Tempo.

If you had two delays, would they both be affected by tapping? I know you can set rigs and performances to have a tempo, but if you had two delays, can you set one to be affected but not the other? Same with having a delay & flanger etc. Wondering if the tap tempo can be different than delay tempo which might explain why many people say the light doesn't go with the delay time. For instance if the tap tempo for a performance is 120 and I put a delay in a slot and set it to 100 will it stay there or divert to 120?

If the speaker is not powered you will need power so yes the red speaker out and speaker cable. Since it is flat response you will likely want to keep the speaker simulator on globally. You should really read the manual somewhat as there are several settings that work within a rig and some that work globally that if set incorrectly may produce less than stellar results. There are some places the manual is less than perfect but people will help you here normally. The designer will even help frequently. How often do you see that with a product?

Ditch the pre compressor, Check your profile quality, try a bit of clean boost pre amplifier when you solo & make sure you're frets aren't buzzing at all when you bend. Personally, I never add the pre boost on distortion profiles unless I am really wanting it touch sensitive like doing tap harmonics or harmonic dive bombs. Pretty much the same as when I would use an OD in front of a Marshall to really get it cookin.

One of the first things that blew me away by the Kemper was how well it sustained and went into nice feedback when coaxed. I've always been amazed how it responds very dynamically yet has tons of sustain even on clean profiles. I love sustain too and couldn't be happier with the Kemper in that regard. I rarely need a compressor, the way the profiles are presented, never made me feel like they needed one. If I want a clean boost for a clean lead, I'll go for the pure booster that drives the front and gives it gobs of sustain while keeping the sound the same. Since It's before the amp, it pushes the amp into compression the perfect amount automatically. The one knob squeezer/booster!

Most of the time I am having trouble keeping a note going it's usually either my finger's fault or the guitar is fretting out there a teeny bit. If you usually play with your guitar volume on, sometimes you'll overlook some fretting out that will kill sustain. If I notice sustain is not happening, I'll go quiet and play, usually I'll hear the problem right away. I prefer low action when allowed and things can go from low to fretting out real fast with weather changes. Even the smallest amount can roast your sustain.

Recording tonight (studio) using one of my top 10 fav cabs and profiles using pro level microphones and Neve preamp, I could not better the direct tone I was getting direct from the Kemper. I was A/B ing the sound, adjusting the mic, and got them to sound similar, but not better on "tape". I went through this before, I guess I just have to concede that Kemper direct IS better and get my cabs figured out for live. (sigh) Why do I even have mics? Insanity has been defined as doing the same thing over and over and expecting different results. It's just that sometimes me+room+ live cab is just so great, My goal is to make that what the board is getting for live shows.

Quote from Voxman64

I totally get this. I almost went down the rabbit hole of switching all my cabs to recreate the 1x12 friedman cab I use live. But I have since resisted because better is the enemy of good.

So you just mic your cab then?

I fully understand the advantages of going direct and it sounds amazing and clear, but my favorite sounds I can produce to my ear with my KPA is through a guitar cab. It gives me the "amp in the room sound". I know some might think it a sin to mic a kemper but sometimes it's the path of least resistance to get the sound you like and are hearing to the board. As I have wrote, my biggest struggle has always been to get the sound direct to be as close to what my cab sounds like to my ears. To do this, I accept that it would be preferred to pick a cab that gets me there and use it for everything but I have not found that one cab yet as I get mixed results using a cab from say, MB on a Top Jimi profile or something. I realize with cab driver it shouldn't matter but (and maybe it's in my mind) some of the "baked in" tone seems to change for the worse when I mix and match cabs and use my live cab.

This being said, and I know there are those out there, how many of you just use the KPA like any other amp and miking it like you would anything else. (not direct)The advantage being you know whats going through the mic and you have a monitor right there that's producing that sound. New/oldschool

Quote from Ruefus

Note Burkhard did not say the light blinks with the delay. Just that the Remote an Profiler lights are in sync.

Good one. I didn't catch that.

At first I was put off that the tempo and the lights didn't sync. (Devices I've had for over 30 years did). But then I understood that Kemper wasn't this huge corporation, and was making something new, and whatever made the delay sync with the light wasn't focused on. With all of the leaps the device took with sound and feel, I felt (and feel) petty bitching about the tap tempo sync. As amazing as the unit sounds, And the way it's changed my life, it's a compromise I don't mind. As I wrote, I don't use it anyway, but I know that many do. Sure I'd like to have it function, but when I realized my device wasn't faulty, and seeing how many people had the same issue, I relaxed.

One thing I noticed was that when I get into tuner mode the bottom row of lights flash left to right, almost like a strobe readout. Wouldn't it be awesome to have the bottom row of lights in "sync" with the strobe tuner 3 coming on when in tune? I know it would take a complete revision to get there but when see my lights flashing while tuning I always think I see it trying to do that and thought it would be a good idea. But I'm totally happy with the 3 lights, I use them all the time. It was just a dream.

I've never heard of anyone that had their tap light actually be in sync with the tap. I'm pretty sure I've read countless posts on here about that. (do a search) Not that I care because I don't use tap, but I'm pretty sure it doesn't sync with the delay. My tap button gets used to morph.

When I searched I read many posts like this speaking of themselves and what they have read as well:

"Another odd issue that others on the forum have already noted is that the button flashing is not in time with tap tempo - since it's not in sync with anything, not sure why the flashing is even necessary - I'd suggest that if Kemper can't fix it due to a hardware issue that they just turn it off in the software, since it's more distracting to have an off-time flash".

Note: the light can be turned off but I do not recall anyone saying theirs was in sync with the tempo. I remember discussing this a bunch with members. Maybe I'm wrong?

Quote from 1Towneley

Very fair comment & appreciated ?

Obvious question... Any recommendations for speakers? I'm firmly an amateur in case you didn't guess...

I could recommend many but the prices go from $150.00 a pair to over $1000.00 each. Google & research. There are so many. I've always liked the Yamahas but have Tannoy. If you don't want to use an external mixer and still have "comfort" FX for vocalists but record dry, the Steinberg UR series have a monitor mixer that I need. The new MOTU stuff sounds great but without external mixer, had too many compromises for monitoring. I demand to be able to record something "wet", record it dry and play it back at the same volume as when I pressed record without touching my mix sliders on the DAW.

Quote from sambrox

Kemper just sounds more analogue than the Fractal and Line6 gear.

I think the Kemper has a lot of musical "feel" that makes me want to use it more than the "real thing". For the sake of curiosity, when I think of 80's Shred tone the LAST person I think of Is Vai. I've always thought his tone was mediocre at best. Could you name 3 Vai songs where you thought his tone was to strive for? Maybe I need to take another listen.

Quote from andyrukus

I am not talking about the sound. I have no problem with that. On the contrary, I love the sound of the Kemper.

SO what's so bad about the UI? I agree rig manager could be improved, but it's not horrible. And using the Kemper is pretty simple once you learn it.

Quote from andyrukus

But the Kemper UI (Stage, iPad app and MacOS RigManager) leaves much to be desired. The user experience - at least to me - is outdated and incomplete. Just my two cents.

The sound of a 1974 Marshall or VOX AC30 is still not "outdated" IMO. I have those exact sounds stored in my Kemper. I don't need a UI to get that tone, just the right profile. I'm more interested in sound than looks. And ease of getting there.

Quote from SASouth

There are some really great profiles out there, but having to wade through all of the crap to get to them is a bit tiring.

I agree. IMO 90% of the stuff is not great especially on rig exchange. It took me a bit, but I now have a handful of amps that nothing I have tried can beat. Making your own from an amp you love is the way to go or research before you buy and get some quality pro stuff. I can't see how my sound could be improved now after finding the profiles I'm happy with. I don't care about the interface, only sound because it was easy to achieve and save- Done.

Quote from Awesome_Elvis

WE, wanna see a Kemper 2, whatever that's going to be, even if they don't really want to this or that.

I understand there are always going to be those that aren't happy with what many have and are happy with, and have to have the "new thing" all of the time. They wouldn't be happy with a Kemper 2 for long either. For me, "snapshots" are fine. Previously when I used Line 6.rack units etc. I was basically using snapshots anyway. And now my "snapshots" sound and feel exactly like the amp profiled so at this point I can't see much room for improvement. With the right profiles, very little tweeking needs done to get sounds that will rival or beat all of the best sounds I grew up with listening to. There really is a finite amount of guitar sounds available in the world and all the amps in the world. Using profiles that suit, usually just a but of eqing is needed to get the sounds I'm looking for without compromise.

Quote from BayouTexan

It's close to the Nazareth - Love Hurts tone. Naz guitarist used a univibe. A member here created a univibe preset but I forgot who. I think you can get close using a chorus effect with rotary or vibrato preset, and a bit of flanger effect. Not sure what amp Naz or Radio used.

I read that Naz used a univibe for love hurts as well. When I played that song I just used a phase90 that did a really good job for me. I had univibe sounds at my disposal but I felt like the phase 90 was getting there so close that I never messed with them. Something about those univibes rubs me the wrong way the way the swoosh comes around and "grinds". I love the way they sound on many recordings, I just don't favor playing through them.

Quote from BayouTexan

which goes into a chorus pedal right before the amp

Another one that likes modulations before the amp

Quote from SASouth

I like my Kemper, but it really does not match the flexibility and sound quality of my Axe-Fx III.

Just wondering since the Kemper can sound exactly like what it profiles, (so good top producers and engineers can't tell the difference including Michael Wagner) How can anything sound better than exactly like the original device it's profiled to sound like? In about 99% of blind tests I've witnessed most people couldn't tell the Kemper from the amp it profiled and in fact most of the time chose the Kemper as being "better" than the original amp sound profiled I'm guessing because of the musical way it packages everything.

Adding a big predelay to reverb can give kind of a slapback echo+reverb type of effect too. I've done that before when I didn't have a delay to work with. You can almost make a reverb into a pseudo delay that way.

Quote from whippinpost91850

I saw that, thought maybe he had other effects in the stomp slots, so wondered what order in relationship to the other effects

My stomp signal chain normally is Wah, flanger, phaser, boost/tubescreamer. Anywhere pre amp will be ok. If I turn on the phase it's normally by itself.

Quote from BayouTexan

I like the Kemper phaser in the effects slot so it does not sound as wishy-washy as in the stomp section. I will try your settings today and see how it sounds.

I favor the first album because that's the sound I remember blowing everyone away.

I think we have spoken about our different opinions about this before. IMO modulations are way too pronounced post amp. I only use post amp modulations if I needed something dramatic and pronounced like "unchained" flange. Guessing Eddie plugged his guitar into his flanger then phaser (thus pre amp) but I have seen diagrams where the flange and phase input come from the direct box (post amp). Regardless to my ears, his effects sound pre amp and more "part of" the sound. IMO post amp modulations aren't as blended and "baked in". Maybe this is what you mean by "wishy-washy", but phasers sound to "zippery" to me post amp. Try my settings in a stomp, and in FX , add a light slap delay 1-1/2 repeats around 340 (I think I'll check) with some reverb and tell me what you think. The delay will make the reverb more pronounced so you can use less of it.