Posts by cool21

Quote from karlic

I don't quite get this. Surely you would use a studio DI profile for this and then add an IR. One output could go FoH and the other to a guitar cabinet without IR. Am I missing something? I understood a merged profile to be a DI merged with studio profile to calculate the difference and separate the cab.

I think you are correct. The point of this discussion was to try and find out why D.I. sound + cab&mic portion of the sound does not sound EXACTLY the same as the studio profile as @lonestargtr pointed out in the video I've posted in the begining of this thread. But we're talking very small differences here and mostly things of feel rather than something drastic.

Can this change in tone be measured scientifically somehow?

Hi,

sorry. My bad. I've changed the title of this thread. I hope it's better now

Thanks

Hello,

thanks for all the answers.

It would be really interesting to see some scientific experiment (with white noise or something for example) with several d.i. boxes, cheap ones as well as boutique ones like Radial, Avalon, A-Design, Neve, Countryman, Universal Audio, Suhr, Rivera, SPL Audio and Millennia.

It would be great to see how much the d.i. box itself contribute to sound change when doimg merge profiles as well as which one does the least coloration or which of them color the sound in the most "pleasant" way (probably cannot be determined on the white noise though ).

Thanks

Hi MKB,

thank you very much for the response and have nice Christmas holidays! It would be great if you could inform us how your further Direct/Merge analysis went.

Thanks!

Hello,

maybe after more than a year something's changed since Michael Britt has posted this video, but as he answers a question about Kemper at 15:57, he seems not to be satisfied with the D.I. and the Merged profiles that much. Also he seems to be caring more about the sound he's sending to FOH than what goes through the cab on stage. Can anyone explain please why there seems to be noticable difference in tone of Studio profiles and Merged profiles? I would really like to send great miked sound FOH but also have a chance to feed my cab with signal normal amp has at it's output so it reacts exactly like an amp.

Thanks

Again the time of the question is 15:57

Thanks,

one guy in the discussion under the new Andertons video posted:

"The firmware has been updated multiple times since the last review. The Kemper is a series of DSPs and firmware - the firmware is the heart of the unit - when it changes, the unit changes, period."

Hi,

many thanks for detailed and quick answer

Now that is interesting - so Kemper can't do "everything on 10" very well??

Also how do you explain that few years ago Chappers could safely tell Kemper from an tube amp and now he could not? And the same for Captain. I mean the Anderton's video.

Hello,

it's been a quite some time from my last post. Kemper just came back to my interest after I saw the latest Andertons "blind" test and both Chappers and Captain got it both wrong - thought the amp was the Kemper and vice versa. Seems like the Kemper now has everything I may want from amp - any amp, since it is the same or better. Only one thing I may have miss would be Strymon Deco . I know I can place it in the stereo loop. But maybe there is similar or same effect inside the Kemper already. Is there? I'm planning to use powered Kemper with guitar cab on stage but sending the "Deco-ed" sound in stereo to FOH.

It seems from the mentioned video that Kemper really improved the profiling process considerably. Are there any new techniquest or steps that would assure my profiles would sound really the same or better than the amp? New refining techniques? Some amps used to be harder or even impossible to get 100% profiles (even Ampfactory used to say so) and also some effects used to be a NO-NO when it comes to profiling. Is it still true?

Thanks

Great! Thanks!!

Quote from Ingolf

Yes, it's perfectly possible.
Stereo loop in X or MOD- slot is the way to go.

Hello,

thank you for your input. So now that we are clear on that it is possible indeed - back to my original question - how can I connect both BigSky and Mobius (and switch them both on off or combine them) to Kemper? Do I need something like RJM Mini Effect Gizmo for that? Or of course G-Lab or any other brand.. Or is there any simpler way so these additional switchers won't be necessary? Btw. - both these Strymon effects have midi in and thru I/O.

Thanks

Quote from nightlight

You should not put a stereo FX pedal in the Kemper loop, since you cannot route a stereo signal back into the Kemper, unless you sum it to mono, therefore wasting its utility, i.e. a single out would suffice. Since such pedals are usually post-amp, the best results would be obtained by sending the left/right output from the Kemper to the pedals and from there to the speaker system of choice.

Any midi controller that can transmit on multiple channels should suffice for this purpose.

But cannot the "alternative input" be set and used as the second return for using stereo?

The Kemper manual on page 22-23... http://www.kemper-amps.com/api…0Profiling%20in%20English

Hello,

I'd like to use Strymon BigSky and Mobius both in Kemper's effects loop. Anyone here did such thing? Are there more possible ways? Or is the only solution to use OneControl Crocodile or anything similar (maybe rack mounted) that can send midi messages to both Kemper and Strymon effects and can manage stereo outs of both pedals? I still don't get how do I connect them so that Kemper stereo XLR's would contain the stereo sound of each effect by itself or both combined. The stereo "mixing" of both pedals has to be done in the floor/rack switching system and from there I will put two sends and put them into Kempers returns - am I correct? Just making sure before buying quite pricey pieces of gear just to find out later there was a much simpler and cheaper way

Thanks in advance

Quote from viabcroce

And this was actually my question: what are you comparing in order to determine that the profiles are not 100% accurate?

Hi,

soundwise they are spot on. The missing 2% may be like when you play two notes that are dissonant and then bend the other one you don't get the ghost notes or the speaker cry (or I don't know what's that called ) . This I don't see as a problem. Right on the contrary but if we are talking 100% accuracy here, then the feel and these very subtle tiny things has to be exact. But maybe the last 2% or so can be also "thanks" to digital conversion? That was a part of my original question.

Quote from Michael_dk

Well...

I've heard a bunch of reviews of that harmon corp video thing - and none of them good, even if they did think it raised some interesting or relevant points. The key message seems to be "misleading marketing", so I won't bother watching it.

Anyway...

If the Kemper is designed and implemented well, and they really have gleaned the proper parameters for a proper profiling to be possible, then it doesn't matter if it is digital. Digital IN ITSELF does NOT impart a particular sound by itself. While analog often does (and this is what many people feel are missing from digital - whether they truly hear/feel it, or it is placebo effect from being told they SHOULD hear a difference).

Digital can EMULATE the analog artifacts, and a lot of plugins these later years are marketed with that key selling point - bringing analogue "sound" into the digital domain. Some of them have gotten rave reviews from professional mixers and have created quite a stir.

Many many hit records have been mixed entirely on computer, so I don't worry about that. I worry about my own skill level instead.

I do think you can tell the difference between 160 kbps mp3s and the original CD - but a lot depends on your listening environment. Earphones, not so much. Though I think once you get down to 128 kbps, you can hear it on those even.

So looking at my latest itunes purchase, I see it is in 256 kbps. That tells me I don't need to worry. Basically, they're (in that video marketing thing) comparing a totally outdated bit rate with vinyl. So much for objectivity. Then why not compare crappy mp3s to an old wax roll from Edison's time, and draw the conclusion that ANALOGUE sucks?

And then they (from what I hear) kind of mix TRACK COMPRESSION - I mean, as an affect, the "compressor" - with DATA COMPRESSION - which is really out there, and has nothing to do with each other.

Now, the loudness wars I can get behind sucks. I get fatigued listening to that brickwalled stuff. My ears don't know what to focus on, nothing really stands out. It doesn't move me.

On the other hand, I have listened to crappy, crappy mp3s that moved me.

Again, to bring it back to the kemper: it's a snapshot of an analogue chain and how it reacts to an input. If the algorhithms are programmed correctly, and the DNA properly mapped, then it should not matter. Don't forget, most of the vinyl discs out there are of records THAT HAVE BEEN RECORDED AND MIXED ON DIGITAL SYSTEMS. Just keep that little fact in mind when people get too fanatic

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Thanks for great view on the topic Michael_dk!!

Quote from viabcroce

Hey cool

Have you tried to profile an amp, then listen to both the amp and the profile from the same monitors in the control room and felt like the profile was lacking something?

Trying to understand where you're coming from

Hello,

no, I don't seem to be missing anything, but some profiles are not like 100% of the thing, I'd say they are like 90-98% there. I think Kemper is awesome Just curious what other people think about the topic because I've been thinking about the digital/analog thing a lot lately and I'm trying to get as much views and opinions from the pro's as I can. That is why I asked you guys here

Hello,

seems like we have two camps here - one is saying that you can hear the "crappiness" of digital audio, the other says it's all B******T.

This is a documentary film (good to say it is made by Harman corp.) about how the artists give their best, they search for ultimate sound full of dynamics, details and clarity of every aspect of the given album and we stupid people just destroy their efforst by using cheapo earplugs that come with every iPhone and listen to their music using mp3...

https://www.youtube.com/watch?v=mDZcz-V29_M

The other camp says, that anything higher than 128kbps you can't tell from original CD, and that the first camp is just using misleading phrases and cliche that prooves nothing.

http://lifehacker.com/5921889/…at-mp3-bitrate-experiment

The first camp often reacts by saying that yes - if you compare the mp3 to CD, then the quality difference may not be so noticeable, but take that 128kbps and listen to it next to vinyl record through good speakers and voilà - it's night and day difference. [Edit - I forgot one of their arguments and that is that people now will sacrifice anything for convenience]

To complicate things even more there is third camp which to me seems not to be fighting the analog/digital war, bur rather well known "loudness war" and keeps saying that it's not the problem of the digital format but that is often associated with high compression for the most possible loudness.

What has all this to do with Kemper?

Well Kemper is digital device. But is capturing the analog sound of a tube amp (I know, it doesn't necessarily have to be, but mainly it is used for these applications). I wonder if the last few percent that are missing in each profile to be dead on accurate (I mean not like 96% but 100%) could be attributed to the digital format that Kemper is puting out?

Or maybe there is slight but noticebale compression and degradation in every digital format like the first camp says?

Or maybe it is not and the difference between original and the profile is down to other things like different room and how even the most expensive monitors are not absolutely accurate in their reproduction?

I wonder what you guys think! Is that cork sniffing and plain placebo? Or maybe excuses for artist to say their records does not sound as good as they maybe wanted (so they say it's because you listen to it using "crappy" sounding mp3) and the record became more/less a failure? Or it's true and when you're listening to your old vinyls and playing your old all-tube marshall along with it and you can definitely tell that it's milion times better and you are using Kemper for it's close enough convinient "I can take all my studio sounds on tour and 99% of the people won't recongize it's not the real deal and I don't need a truck full of gear" sound package?

Thanks

Hello,

On the powered Kemper there is only one output - 600W @ 8 Ohms or 300W @ 16 Ohms. I would like to get two DV Mark Neoclassic 112 cabs - each 8 Ohms and 150W so I could get 300W at 16 Ohm. But how do I connect them to powered Kemper? Do I need a splitter or something?

Thank you

So I guess the EQ Douzable is using are in the end a secret

Quote from Chalen

I have both the NL12 & NL212 (bought just before nursery fees really started to bite!).

Very happy with both - they do give you the feeling of playing with a proper cab whilst being incredibly light weight. I acknowledge that I'm missing a big part of the Kemper by not utililising the cab section - but I'm too happy with my setup to be bothered by those thoughts!

Hi,

thanks. And do you use them with the powered Kemper (600W@8Ohms/300@16Ohms)? How do you know where is their limit so you don't blow them up?

Thanks