Posts by Dynochrome

Quote from bbgie1223

Kudos to Top Jimi. Best Marshall Profile I've ever heard.

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I have to say this 74 pack is my favorite now I did like the MB ones at first, and went back to these '74s. They seem to be smoother grained and have a bit of that hollow sound I always associate with old Marshalls I love. Slightly boxy, chunky, non strident top end but still aggressive.

My list of favorites in order of preference:(subject to change )

TJ '74 pack (Brown sound pack is great too but like Boston tones seem to be best primarily for their intended purpose)

MB 78 that is in the Crank N go

MB 1979 that came with the Kemper.

To my ears, none of the "free" ones compare with the above that I've tried, and I've tried maybe 25

I had 3 Top Jimi packs that I "put away" after I got them finding stuff that I thought was much better. When I went back to them (Now that I know a bit more about adjusting things and watching this video again) I put them back in top rotation. I think I was trying the merged ones and now the Studio ones that I seem to prefer for some reason even through a cab. I'm not the only one that thinks the studio profiles are often better. Now I am puzzled why I spurned them in the first place, because I've been playing them and A/B ing them daily against other Marshalls with good results. My ears must have shifted.... If I find something I like better I'll switch, but these are pretty hard to beat.

I just read my post and realized how spoiled the Kemper has made me. "Oh if I must take an extra step and turn the power amp off with a soft button" lol. I used to have a 4' rack and tube amps that took a LOT more to shut down, and didn't sound any better than a powered profiler smaller than a shopping basket. When I hear the faint "tick", I smile knowing my rig is ON and ready to rock!

Agreed, whatever gets you there!

Quote from slateboy

I can live with this in the same way that i understand everybody has their own way of understanding things and often we adjust our own language to communicate with others who we know understand differently, a bit like using a local dialect.

That's why it's called music theory. There's no rules. The theory speculates and documents what is known to sound a particular way. When I learned theory, I was most shocked at the revelation that it wasn't rules, but observations.

Quote from Toneman

Thanks for the replies. My remote went back in the closet, at least for now. I have some rigs I just tend to stay on all the time. I found the remote a bit clunky to use but I'm not much of a menu-diver, it's like pulling teeth for me for some reason.

Wow. I can't imagine that in my world. The first time a Kemper blew me away, the artist was using the remote. He was paying 1% attention to it and I thought, being that easy to navigate, I MUST have one now that I know I must also have a Kemper. I have had Ground controls, Bradshaw units,Control 2's, Midi buddys, ADA and many more and by far, The remote is the most powerful and easy to navigate in the world. If there was better, I'd have one, but there's not. Any flaws that it might have are easily overlooked when you see the power you have at your feet with such a small footboard. Pull it back out of the closet and spend a little time with it. It's a blast to use! looper too! Of course you could just play your Kemper like one of my old 800's as a single channel amp , but the advantages of learning and utilizing a the remote will be worth it. No matter what style or how you use the Kemper, you have one of the best implemented pedalboards, don't make it live in the closet!

Is the BE-OD really necessary? Kemper drives don't work for you? Personally I haven't ever felt the need to use an external anything with my profiler and I've dialed up some absolutely killer gain tones gated and noise free.. Live, I would hate to use a pedal in front as that would mean running 40' of cable back and forth or using a GCX & pedal drawer which I used to use to keep cable runs short. There are lots of Friedman profiles out there too that aren't just a pedal simulator of a BE-od but a real BE-od. I guess if the end result makes you happy it's all good, I just can't imagine ever needing a pedal with a Kemper.

Not sure if this helps but I use RM to quickly "rough through" say, the contents of a new profile pack. I mark favorites then quickly assemble groups of them in performances based on gain in groups of 5. I may have 5 "Mars", 5 "crunch", 5 Freid etc and that lets me kinda see how they all work together switching between them usually using a favorite locked reverb or something to keep things relevant.

An alternative is to do what ST wrote and use the bank buttons set to single rig and browse with the category filtered to your liking (favorites, by artist etc.) Sometimes I'll do that, just check a bunch of favorites and filter and sample them that way. If I don't like it I uncheck the favorite.

Mine pops too, but not sure if it does through the XLRs or just (most likely) the power amp, even with the volume at zero. I guess if it really bugged me, I'd switch the power amp off before shutting down. I don't recall it popping when switching the power amp on after booting.

I usually spurn stereo guitar (especially live, I just don't see the point as I want everyone to hear the same thing) But for some reason when I record the Kemper it just sounds better when using master stereo outs vs master mono. Even if I pan the FX straight up as I do, it seems bigger. It may be in my head but I haven't really picked it apart and A/B'd them. It's easy to record stereo so I do.

Quote from ckemper

And to second what has been said:

The pedal settings were designed to do exactly what you need.

Set up your Rig individually as you intend, concerning the Wah effects and Volume Pedal settings.

Afterwards, you can opt for a combination of Wah and Volume (Wah>Volume), cancle this link with one click and defeat the Volume Pedal funktion.

At a different point in time you could connect a separate and dedicated Volume Pedal side by side with your Wah Pedal (and even Pitch or Morph Pedal.

All without touching your Rigs.

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Great. As I had wrote, For some reason I didn't realize that the soft buttons were global (even though they were in system settings which I believe are all global, duh) That confused me for a bit, I believe to understand the methods to get what I want. Thanks!

Quote from CarloLf

Hi Dynochrome ,
goto to RigExchange, search for "Marshall DSL 100" from Alex Schmidt(I like it more than bought Friedman profiles). There I got my preferred profile. I do not know exactly which one of the three. I gave it a "3rd Power Switchblack 212" cab (from M.Britt?) and a compressor with these settings:

- intensity 5.5

- attack 6.4

- squash 1.0

Have you tried the '78 from Britt's crank n go? I better not like the DSL 100 better, I just settled on the 78 for my main rock rig! Thanks.

Quote from CarloLf

yes, always try an EQ if you are unsatisfied. Or, put a Compressor as the first effect. I don't know why, but often found it makes the sound more expressive and gives more room to it. As always, this is subjective to what one thinks is a good sound.

Do you have a preferred setting you can share so I can try what you are hearing? (for the comp)

Quote from CarloLf

yes, true in my experiences. But not the other way around. I found using mid gain profiles and turning the gain down makes a good clean, little crunchy sounds. But it depends what your tastes are.

I mostly agree. I think you can go up a blip or two (sometimes 3) and be fine but not as far as you can reduce gain and retain the character.

Quote from Kaschko

Because of #13

Just put your Fender Deluxe 2 in one slot and the Fender Deluxe 5 in another. Or often you could dial back the gain on the Deluxe 5 and get super close to the 2 , and that's morphable.

Quote from Tomulator

I'm currently using basically ONE performance for over 90% of what my band does. That performance consists entirely of MBritt Friedman BE50 rigs.

1) BE50 Cln 4 (I use the morph to get an edgy breakup tone via morphing in the Green Scream OD)

2) BE50 BE 5T (morph in a vol, delay, and also a gain boost via Green Scream mix)

3) BE50 BE 5T w/ higher gain setting on amp (same morph setup as #2)

4) Freed 50 B 6K (morph a vol boost, rev and delay boost)

5) BE50 BE 8R (lead tone...already has vol boost). Morph a variation of the base tone for added cut.

Amazingly, this, along with the acoustic simulator on slot 1 really covers all my needs. I've purchased packs from other "heavy hitter" profilers but, MBritt's Crank N Go really is all I need. The amazing thing about his profiles is, they sound even better at stage volume! I run my Kemper Stage main outs (stereo) into a Line 6 Powercab 212+ for my onstage personal monitor, and then run just a mono XLR out from the Powercab to FOH...easy peasy!

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I made a performance copying yours here. Very Very nice except after a while I disfavored the sound of the rigs with pedals baked if being driven by a Kemper drive pedal. But it's one of my top 5 performances for sure. Thanks for the idea. I noticed the promo video showed these as well. Have you tried the "heels"? I think that one goes under the radar and normally I wouldn't look twice at that brand but that rig (I think the 5)sounds great. My current favorite is the two Marshalls in there! I have found them hard to beat out of all the ones I have tried from several top profilers. I actually had a 78 JMP that was great but not as versatile.

I'd probably tell beginners that may be struggling with getting rock sounds to get this pack. If it doesn't sound good, there's something wrong with your setup!

For now it's Match JJ for mild crunch using a mid boost EQ I copied and tamed down from that famous AC20 profile(which is great too) then the two marshalls in 2&3 then the heels #4 and a ENGL I found on RE for metal #5. All channels are set up to boost to a compatible lead sound using tap control as morph. ( If I start adding phase, delay etc., I like the selection button to go right back to the base sound with one push) For songs I need a really clean or acoustic sound for, I'll use another performance.

Quote from Kaschko

That's what I tried to express with #5. It's better to know a handful of profiles really well than using a lot of different ones.

My biggest problem is deciding which handful to "stick with". I normally only edit a profile slightly. Anymore than that, I'll just pick something else that is closer to what I am looking for as there are so many choices.

Quote from Kaschko

That's what I tried to express with #5. It's better to know a handful of profiles really well than using a lot of different ones. It goes a bit against what we know from real amps that are often more limited to the one thing they do really well. It's important to learn that the Kemper can sound like the real amp but behaves differently in praxis as it offers far more options (but also has limitations that real amps don't have, see #14).

14 "Adding gain to your favorite clean profile rarely turns it into a great crunchy or distorted profile"

I don't know why you would want to, just dial another rig in. Same as if you take most any tube amp's clean channel and crank it, few will make a great saturated distorted amp sound. It isn't what it was there for anyway so I don't expect the Kemper to be different. Need a clean tone? Browser knob. Need a ripping Marshall? Same. Cookie monster metal? Load an ENGL rig or something. But that being said I have used a Kemper drive pedal in front of a clean amp in the Kemper and got a great sound messing around.

Quote from Kaschko

Hi!

Unfortunately that's not my experience at all. Sometimes I have a good run with a profiler and like a few profiles in a row and then suddenly the next five profiles sound like complete garbage. Their EQ is so different that I'm not even sure how they can all have sounded good to the person selling them. Maybe my guitars (or ears) are just weird but to me buying sets or collections of profiles has always been a bit of a lottery game.

I spent about $100.00 on profiles to learn I should have just bought one of the packs and used the rest from Rig packs in RM. I was always looking for greener grass. I realized I could easily match the sound of the very best amps I've ever had with 6 or so lightly tweeked profiles and be just as happy as I was with those amps. Using the same cab that works for you helps but is not mandatory. When you spend nearly $4,000 on a freed you don't get a fraction of the sounds that come stock with the Kemper. Those are great amps but the Kemper can match the recorded sound so close the owners can't tell the difference.

Quote from Kaschko

Let me expand on my SPDIF statement: I am sure that a professional sound engineer or someone with a high end interface can manage to get the same sound out of a cable/main out situation as when using SPDIF. But as a beginner I found it impossible. My recordings never sounded like what I heard when I connected my studio headphones to the Kemper directly.

This issue sent me on a journey through two internet forums where I got completely opposite advice (balanced / unbalanced, XLR / instrument cable, -12db or definitely NOT -12db etc.). I ended up buying different cables which didn't bring me the wanted effect. It was a waste of money.

I was using a Focusrite Scarlett, I'm sure there are better devices but most beginners will have what I had since they are extremely common and quite good for their money.

Once I purchased a bigger version of the Scarlett that had SPDIF input suddenly all of my problems disappeared. The signal sounded pure, no additional gain added by my interface front input. I didn't have to worry about finding unity gain at all anymore. And the best thing: I could just switch between profiles and always had the volume perfectly adjusted to go ahead and record. Before that I had to adjust gain all the time when switching profiles, hoping I would find the perfect amount for the cleanest recording.

If you're a beginner like me, I say it again: use SPDIF and live happy.

(In case you care to read my annoying forum journey: Kemper Forum / Best way to connect Kemper to Macbook?, The Gear Page / Best way to connect Kemper to Macbook?)

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Right, it's not really a MUST to use SPDIF, it's more of a MUST to have a good signal chain & monitors. If you notice that much difference between using digital and analog outs, I would guess something is deficient. Especially if headphones sound good but through speakers bad. And unless your cables were really bad, or you're running a real long length I doubt ears could tell them apart either. I have expensive Mogami cables and $4.95 cheepo XLR cables and both "sound" the same. Some people get money in their head and believe because something costs more it sounds better. (I will say something about quality connectors being worth it) Blindfolded most fail at those tests because the differences are so slight perhaps because of impedance, a tiny bit of EQ would shift the sound way more. I'd be careful of the "internet forums" advice outside of this one. There are a lot of people on here that really know their Kemper. There are people from the mfg that take the time to post here more often than I've seen with about any other product of this magnitude.

Quote from Kaschko

Recording with SPDIF is a MUST. Investing in an interface with SPDIF input is totally worth it.

For now I'll just chime in to the first thing that triggered me. If I could I'd bet you $100.00 that in a blind test you wouldn't think the Sony Phillips digital interface sounded SO much better that it was a MUST. In fact that $100.00 would be to bet you couldn't tell the difference between that and going from Kemper main out to quality A/D converter. I'd challenge ANY ear. It perhaps may in some way sound slightly different but not necessarily better. Nothing that knowledgeable eqing couldn't match to the point of ridiculous nit picking. Many of the 8th Degree in tone Kemper black belts never use SPDIF but could at will. Why do you think they don't? A: because it really doesn't make that much if any difference if you have the right signal chain.