Can you already make multiple Behringer configurations in the Behringer's graphic editor? That would the instant solution.
Are you sure you want to have many different pedalboard configurations? Wouldn't that be confusing? Isn't it simpler to always know program 11 is your Spinal Tap sound, 65 is always a deluxe reverb, program 72 is always a master volume marshall, etc?
If you were doing a live radio show, forgot you still had your recording layout loaded, and your expected gentle clean sound at the button for program Six turned out to be the Swedish Death Metal sound usually at program Nine, I think the other guys in the band might mind....
Yes- mine was loud and clean, no matter what I did. Mine had two factory stock Cerwin-Vega 12 inch speakers.
That push/pull distortion sounded pretty useless to me at the time. It didn't make it sound like a blackface or tweed twin - it just clipped the sound a little.
It also has stereo inputs on the back of it.
I had one of those amps - does your Twin have the hidden push/pull gain switch on the Master Volume knob?
Paults: why you don't just reduce the gain, adjust eq and save the Rig as "Golub Crunch Strat Plus". Different guitar=different rig, you would do the same with an amp as well...
Thanks - that's pretty much what I have been doing with Rigs since I got the Kemper last month. I've been tweaking them, one at a time. But, it occurred to me it would be preferable to find a way to already be relatively close to the sounds I've been hearing on Youtube and Soundcloud when I load a Rig.
I've been revisiting the "Kemper of the Senses" understanding thread again (Yeah, I know it isn't really called that, but I like the sound if that title). I've even re-read that section of the manual
I'll play with the Distortion Sense some more (I don't think I've tried it at less than Zero), as well as the Clean Sense. Saving some Input settings is preferable to adjusting the pickups on all my guitars. That way, they'll still sound right with my other amps, too.
Questions to those of you with higher output than vintage single coil pickups:
One "non-stock" profile that is very popular is the Marshall Golub Crunch. The soundclips for it were done with vintage-style strats. My Strat Plus and my Clapton sounded darker, with much more gain (still sounded really good, though). I lowered the pickups on my Strat Plus quite a bit, and the sound in the clip was suddenly there. Now, that guitar sounds great with the Fender amps in the stock profiles, with no editing.
Could I have adjusted the Clean and Distortion sense (Mine are still at Clean = 5, Distortion = 0), instead of the pickups? Suggested settings to try?
Have you needed to adjust Clean and Distortion Sense to get sweet open strat sounds from the Stock profiles? Or have you adjusted the gain, EQ, cabinet, etc. on each profile to get it?
What are your Clean Sense and Distortion sense settings on a clean patch, and on a distortion patch? Does this happen with stock patches?
I think I can help with the missing lists of posts:
Next to the word "Threads" in a forum with missing posts, is there a Plus (+) sign in a square?
If so, click on it, and the page will expand to show the individual thread titles on the page.
I think is "HT LEAD", on the Rig Exchange.
Every processor has some kind of "patch A to patch B" transition logic. Some mute briefly, some make a near instantaneous change. But, the only way to experience an issue with any of these methods is to be actually playing (or sustaining notes) across the change.
Is that what you are doing when you hear this?
My guess is most people don't ever need do that, especially when the sounds differ in gain amounts. So, most people would never experience an issue with a fraction of a second mute/morph.
From a musical arrangement perspective, most patch changes would happen right before the beginning of a measure/right before playing a different sounding part. If a transition is 500ms long, that would equate to one quarter note at 120bpm (uptempo dance beat). If it is closer to 250ms, it is closer to an eighth note at 120bpm.
It can't be done with a conventional multiple amp rig, either, unless the signal is split to constantly feed multiple amplifiers, and each one has a completely separate effects chain. If you do it with two "real" amps and a simple A/B switch, you'll hear a "click" in the middle of your sustaining note, the gain staging difference between clean and dirty will cause a notable volume and tone change, and, any shared reverb and delay would sustain the "click" and make other strange artifacts from "spill over" noises.
My father was red/green color blind, and had a frustrating time with the occasional horizontal traffic light. (not a joke - imagine not being to tell if the light is green or red at an unfamiliar intersection).
With the amp, though, as long as it doesn't sound bad, it isn't clipping too much. Rather than adding more colors to those LEDs (if it would require a hardware change), maybe they could pulse/get brighter/some other visual indication?
Librarian software will be available at some point - that will hopefully include Tagging via the keyboard on your computer.
A wireless keyboard directly to the Kemper would require the Kemper to be a wireless host. That would add to the expense of a new one, and would be a hardware addition to existing Kempers.
Thanks for the info on your listening gear, and perspective on your experience - no issues there
JBs and Bareknuckles may help explain what you experienced - I have several guitars with hot pickups, too, including JBs. Without adjusting the Input Section of the Kemper, my hot pickups can drive some of the stock profiles into the red, too. This can happen especially if you have the pickups physically close to the strings. Many (most? all?) of the stock profiles were done with traditional output pickups in mind. JBs have almost twice the resistance of pickups like traditional humbuckers, and approaching three times as much as vintage strat pickups.
Before I started to account for the pickup differences, any profile with "crunch" in the title was a distortion sound for me, and the clean sounds were just dark. Fortunately, the Kemper is designed to let those of us with hotter pickups (and those with quieter pickups than whoever designed a profile) to adjust the input settings of the amp. It is possible to save multiple input settings presets, and individually name them.
If you experiment with with the Clean Sense and Distortion Sense settings, you can globally tune the input of the amp to your preferred pickup style. Even after doing that, some of the individual profiles may benefit by turning the gain down a little, when using hot pickups.
Since the Kemper profiles include the microphone response curve, they won't sound exactly the same as the source amp would in the profiling room. Unless the mic EQ is part of a quintessential guitar sound, I tend to like the profiles with relatively uncolored mic effect, too. You may get better results from concentrating on the profiles that used flatter microphones, and avoid the ones colored by dynamic mics. There are also cabinet profiles that can be downloaded (or loaded from other profiles) to change the EQ flavor of a profile. The amp parameters and cabinet parameters (these are in addition to the EQ settings) can also be used fine tune sound of the profile, and to tailor the dynamic response to compliment individual playing style.
As an aside to all this - unless using the Kemper with a guitar cab is your highest priority, it seems to me like trying to set it up for your main intended purpose is the way to know if it work for you this time, or not. Like you said, you have some great sounding amps, as it is.
What is your "regular amp" point of reference? Do you use stomp boxes, multi-effects? What style(s) of music?
1) There are plenty of Youtube and Soundcloud clips to demonstrate it doesn't have the high end sheared off, or sound like a low sample rate. Direct monitoring requires studio-quality monitors or headphones. What kind of guitar/pickups, into what kind of amp profiles? A Les Paul with Super Distortion pickups will sound useless in a Fender Twin profile, just like it would into a Fender Twin. See #2 for another reason it may have sounded too dark.
2) If you are putting too much signal into the Kemper, the low mids can get out of control, because hot pickups tend to have a lot of those. This is especially noticeable with clean sounds. The manual, WIKI, and this forum both have details about setting the Input parameters for guitars with high output pickups. With the right settings, you can have the guitar wide open into the Kemper without going into the red.
3) It was originally designed for full range cabinets at volume, and sounds like a real amp does, if you are listening to a real amp in a studio control room. Some users prefer using the Monitor out, with the cab sims turned, off into a power amp/guitar cab, for more of a "guitar amp right next to me" feel.
4) Unless you are used to monitoring through Studio Monitors, real amp feel (dynamics) may require a similar volume level to a real amp. It isn't necessary to use third party sounds to get that feel, but there are thousands of great sounds (both free and for sale) in addition to the stock ones (and the three additional Kemper packs that have been added in the past several months).
The guitars sound great
Thanks! But, more importantly:
Being able to freely assign a specific parameter to pedal 1, pedal 2, etc. with each rig is a capability that the competition has.
This will be very important when the Foot Controller is released.
Otherwise, anyone who needs this capability will buy some other manufacturer's pedal that can transmit different CC messages per patch.
Repeat the first line. CHECK!
The guy has no options. CHECK!
They picked something else that sounded like the Clapton tune that they couldn't afford, to license for the jukebox scene in that movie, instead of my track.
NOW, THAT'S THE BLUES! LOL
(This is a pre-Kemper Vox Tonelab SE track - but, hey, it was short notice...)
I love this arrangement - the style perfectly compliments the era when the song was written so well:)
Well played! And, I also appreciate the irony of something this delicate being played with a Les Paul and a Marshall