Posts by Dynochrome

    A proper LP will have the gain increase mimic/match what the amp would actually do. I believe its more than just a simple taper, otherwise they'd have done this ages ago.

    If that is so it would be much more complicated than just the taper/amount. The distortion type could change depending on the amp and how high it is turned up. That is the question I am seeking, whether the gain is still like the generic gain in different amounts or it actually changes the gain itself like the actual amp does, if that makes sense.

    To be more precise why I ask is people will often say you can take a high gain profile and it will sound ok turning the gain down but turning the gain up becomes "unnatural". Is that solely because it may go out of the gain range of the original amp? Or is it because the gain actually sounds different when using a Liquid Profile?

    So if I understand correctly, Speaking only of the gain control, LP adjusts the taper and the amount of gain on tap and has nothing else to do with the way the gain sounds.

    Is there a sound difference between "generic gain" and the LP gain of an amp? I realize the taper, and amount offered will change to match the actual amp, but within the same gain range, is the sound different between generic and the LP gain of an amp? In other words, lets say I have a Marshall LP and it shows the gain on 9. Generic gain would have been like 6 to match the same level. If nothing is done to the EQ, does the amp feel/sound the same between a liquidprofile and the same profile with a generic stack set at matching gain levels?

    I just wondered if I am using unaltered snapshots of an amp and don't care if the EQ or gain taper/amount is "authentic" Is there a reason to use liquid profiles?

    Say if I have a Soldano amp I've been using pre LP, is there anything I will gain by adding a LP stack of a Soldano to it if I don't know the original EQ settings?

    Personally, I don't prefer merged or direct. I like what the cabdriver does. Direct sounds too much to me like guitar rigs on a DAW that you then have to add an IR to. Something about using studio profiles give it that something extra to me. I don't have to mess with it and I just find profiles with cabs that go to the board sounding like my "real" guitar cab onstage. Things change when you go to a "real" cab and you have to find the right speaker that doesn't color so that it sounds consistent with your main outs.

    No special profiles needed for use with a cab, your ears just have to get used to a cab and the room volume.

    I'll get used to playing at a low volume in the studio then going to just a cab in the room will be odd at first, but once my ears get used to the volume, I just want to crank it up more and more, it sounds so great when that guitar speaker gets going. That's the "amp in the room" sound people try to find. It's right there.

    So, to get back to the questions, what does definition do: it could possibly adjust the amplitude envelope of higher frequencies. Higher frequencies are responsible for what we perceive as transients, which then in turn help to give clarity to a sound's attack part of the envelope.

    I want to believe. I want to believe we'll get the answer to what it does. Meanwhile, I'm putting my money on definition predominately choosing to distort the lower harmonics on lower settings and upper harmonics on higher settings while discontinuing the distorting of lower ones.

    From manual: Vintage amps distort the lower harmonics in the guitar signal which gives them their bluesy sound. Modern tube amps use a different approach, in which the higher overtones of the guitar strings are the driving force for the distorted sound.

    This is some great discussion. Now you see why I was confused about the above quote in the manual. This is from the section explaining Definition but doesn't explain what it does. and as we have witnessed in this thread, "overtones" and "harmonics" have different perceptions, but what did Kemper mean when the manual was written? Where does it say what it really does turning it up or down? Is it adjusting distortion in harmonics, overtones both or neither? I know If I wrote a manual I would just simply explain what definition does, You could likely do that in a paragraph or less.

    Not new on here but I have a new headshell that I wanted to show off and I wasn't sure where to post. I was always jealous of the rack guys that could have a back panel to spare connections on the Kemper unit (specifically the ethernet) If those fragile needle terminals went down before a show from constant unplugging, I'd be screwed big time.

    Rack units are bigger, don't sit on my desk well and I already had a toaster. I've been using a "dongle" extension to save the plug but it sticks out a bit and leaving it in in a case left it a liability and removing it made no sense because I might as well just used the cable then.

    I contacted the guy who makes cases for BA and made this case that I had sketch drawings of and he came up with final solutions. The top aluminum angle holds the female ethernet jack and top backstop. You can replace the cord for about $5.00 which is hundreds cheaper than getting the jack repaired. I'll keep a spare. the bottom is the stop for a velcro/magnet rear cover which goes inside to keep footprint small.

    The pictures look a bit out of scale because of the angle, but his craftsmanship was fantastic. All the matching fits installing the Kemper were perfect, easy and secure. Snap on front cover is grooved brilliantly conforming to keep it in place firmly with a lightweight clasp. The original handle even goes on. I received all necessary hardware and had it installed in minutes. The depth of his hardware for the feet was within .009" so it was perfect, not poking in too far or not enough. It really exceeded my expectations for a prototype.

    I agree with everything said so far. Def seems to be an EQ adjustment at the input. My guess is it rolls off the lows. And agree it could be almost a tilt eq.


    Assuming it does not do a great deal more than input EQ, you could attach the Kemper to a sound card and run Room EQ Wizard on it to see the actual EQ changes.

    I think a lot of people look at it as an EQ because of what it sounds like but I'm guessing that is a result of what it is doing.

    I'm going with the belief that definition is adjusting if high or low harmonics (overtones?) are being selectively distorted and how much.

    No. It balances clean to distorted globally (which also happens to affect how gain knob changes behave within individual rigs). I have mine locked at -6db for all guitars otherwise I need to reduce the level of each individual clean (low gain) rig by about 6db to stop them completely overpowering mid to high gain rigs.

    I believe It is only "global" because you have the input locked which locks everything there (including the noise gate which I want to be able to adjust per rig). Without the rig locked, it's rig per rig which to me, is unusable and doesn't make much sense unless you are only using one rig and vary the gain.

    I think it would be great if one could lock the clean/dist sense independently, It would make much more sense IMO. The only other thing you could do is store each and every rig which makes no sense as you could just adjust the volume then. Unless..as I wrote, you were just using one rig and manipulating the gain knob. (and some people do that.)

    Good point.

    Though in the description above I'd guess that both words should be "overtone", since I'd assume that an amp - vintage or modern - has no way of discerning whether something is an overtone or a harmonic.

    Agreed. So I still wonder what the Kemper is doing. Affecting overtones, harmonics, or both? I like knowing the technical details as it helps my understanding when adjusting. Sure I could just "use my ears" but I like to be progressive and learn new things. That's how I got to be smart 8)

    I know a lot of people think of the definition control as a way to balance the bass/treble of the amp. I have read that the Definition control can make amps more "vintage" at lower settings and "modern" at higher settings. So what exactly is it doing? The manual is a bit confusing the way it's worded.


    From manual: Vintage amps distort the lower harmonics in the guitar signal which gives them their bluesy sound. Modern tube amps use a different approach, in which the higher overtones of the guitar strings are the driving force for the distorted sound.


    By "higher overtones" does it really mean "upper harmonics"? If so this is where I wish the manual would stick with the same term just using "harmonics" and not switch to "overtones" in the same sentence"  OR Does lower settings change "harmonics", and upper settings change " higher overtones " depicted as a separate thing and not upper "harmonics"?

    See this is where I get confused as I read and try to understand things literally and exactly. I think it could be written easier to understand.


    So is it a correct guess that the definition control isn't simply a bass/treble balancer but as a control to select if lower or upper harmonics are distorted, latter of which which gives you the perception of more top end?  I'm curious to find out exactly what definition is really doing with the amp sound.