I love the new update, with the option to see only the bass profiles. But as someone who plays pretty much equally as much guitar and bass through the kemper, the option to see no Bass profiles would help a lot. It also seems like a very minor thing to implement.
Anyone who feels the same as me?
Valhalla room is really good, but Vintageverb is in a different league for guitar. I use it a lot, both for messing about and mixing. And the default preset (concert hall), with just the highpass turned up a bit almost always sound great. I do have a problem using it for lead vox, but for everything else, it's great if not the best.
Valhalla shimmer is also great. My friend bought it a while ago and we stood three guys in front of the monitors for surely 30 minutes just messing about with it. Very cool plugin.
Honestly, I don't understand it either. I tried fiddling with delay settings yesterday and was expecting feedback to be the number repeats, but once you cross 100%, it literally becomes like actual feedback - maybe it's even more feature-rich than a normal delay's number of repeats knob.
Anyone able to help answer Controll's questions?
That is how delay feedback usually works. Feedback means that you send some of the output from the delay back into the input again. At 0% you send nothing, at 50% you send it at half the volume, and at 100% you send the output directly into the input again. This does increase the lenght of time before the delay dies out, but its not working in a "number of repeats" fashion. As you cross the 100% line, it begins to feedback in way that feedback occurs in a live show setting. A loop.
i am working on the particle preset. - the problem is my non-understanding of the delay reverb mix parameter in the reverb section. - so i thought -100% will effect the dry signal only, 0% will effect dry and wet signal of the delay in the same way (like an stompbox usually does) and +100% will effect the delay repeats only?
but this don't act like described, especially for an particle setting. - always i turn the delay on, the effect differs from only using the reverb, so i could not get the steady particle reverb wether i have delay on or off ...
can anyone explain this parameter for me? (i have it at 0% (12o clock) - and i thought it would behave like a normal reverb stomp on my fx board.) - mix parameter for the reverb only affects the dry/wet mix, but the delay destroys the sound of the reverb module. (adds length and mud to the reverb. - more than wanted. and more than the delay was set to.) - it simply changes the response of the reverb. - yes i know, delay adds repeats and with this repeats more reverb, but i acts in an other way than my stomp effects do...
When you have the delay-rev mix knob all the way to the left, at -100%, you will only apply reverb to your dry guitar sound, not the delay repeats. When you have it at 100%, all the way to the right, you will apply no reverb to your dry guitar sound, only to the delay repeats. All the positions in between are simply blending volume of those two extremes.
Opeth album Damnation has a nice airy mix to it. Nothing but clean guitars though.
I really love that album. The sounds are so very Wilson. (The damnation album together with Harvest and Dirge for November from blackwater park was what turned me on to Opeth)
But when it comes to the guitars, i don't think the acoustics are stellar. They work in context, but when i focus my listening on them they don't sound great.
The electrics are really good though.
I have two records that i think is a good answer. Very different kinds of records.
The first is Steven Wilson - The Raven That Refused To Sing. It is not a "guitar record", but so much care have been taken to make the sounds, and that includes the guitars. It really showcases the diversity of the instrument. From the solo in Drive Home that is played with a sustainer, to the nashville tuned acoustics. And i really love that round tone he gets in the intro to drive home for example.
And finally, the guitars are played by Guthrie Govan. Listen to the whole song, but in case you don't feel like it, just take a peek at the solo from 5.00.
https://www.youtube.com/watch?v=ycYewhiaVBk
The second is Paramore - Brand new eyes. The guitars are loud and huge. But at the same time smooth. I love it. It has really fine acoustic guitars too.
FIrst of all, it's all different for everyone and yaddayadda.
For my stratocaster with the bridge pickup (american standard with dimarzio super distortion near the bridge), Lasse Lammerts Big Rock is fantastic for leads. It has just enough distortion to give it sustain and make it "lead-y", but still retain the definition. It has a less gain then you would dial up on an amp in the room. But in a fat mix, i think it's wonderful.
Here is a little sound clip from a song i'm working on, where i have used big rock (iirc, without changin any parameter, with my bridge pup). It's almost completely unmixed, so it doesn't sound as good as it can.
https://soundcloud.com/jesperb…/ll-big-rock-solo/s-uwLpw
Display Moreexample uploaded https://soundcloud.com/kemperp…acking-01-2-green-screams
"two examples of stacking distortion stomps
example 1 - lower dist stomps:
1a just the breaking up amp profile
1b + the first GS stomp
1c + the second GS stomp
example 2 - more distortion from the stomps
gain-wise the example is in reverse:
2a the breaking up amp profile with two GS stomps
2b just one GS stomp
2c just the breaking up amp profile"
That does sound really good.
It's not really stacking boxes that I have a problem with. It's stacking boxes with way too much distortion that doesn't sound the way I want.
I'll try to bump this once, see if there any interest.
I tried CKs suggestion for making the sound. Perhaps I'm doing something wrong, either way, i couldn't make the sound happen.
I recorded a bit of myself playing with Lamberts Schmatz, max gain, no amp definition, wah on, volume up a bit, Neck pup. Then for shit and giggles, i put in three stompboxes with more volume and drive. The last part is just the amp, for reference.
https://soundcloud.com/jesperb…mp-dist-solo-test/s-zcgRv
Notice how crazy long sustain there is. Which usually is a pretty good thing. For this, it's not. After having way too much gain, and even when adding more distortion, it still sounds like a guitar. When i take a note, i hear that note clearly. And even when the note fades away, with real stompboxes i usually get a dramatic attack of ambient noise coming up from behind the note that is fading away. With this it's a more slow and gradual transition from note to background noise.
The thing that appeals to me about the multiple OD/dists sound as in the Wilson song, is the way the distortion fucks up the notes. After no more than 3-4 seconds I lose the note. Play two notes at the same time and it turns into a mess. That is far from what i get when i try with the stompboxes in the KPA (clearly demonstrated in the clip :))
Deny is spot on about the cascading gains. The "blossoming" effect has always been a huge draw for me towards the Boogie Mark sound.
AFAIK, the reason cascaded distortions don't work in the KPA is due to the whole clean/dist sense feature, which very often ends up as a complication. Many signal chains struggle to get things to work like their real life counter-parts. Some profiles behave differently in this regard than others.
I would START by messing with Clean Sense and seeing if it helps.
From what i understand, both sense parameters controls only distortion and volume. (Dist sense being a global distortion control, and clean sense being volume control for the clean part of the sound).
I don't see how that would be a complication for cascading gain stages.
Thanks for more interesting suggestions.
I will be able to test them tomorrow or the day after that. Will post my results.
I regret to say that i still don't own a pedal i could use as a wah. Don't really know what i'll do about that.
Thanks for all the ideas. I'll try them all next week when i'm not so busy.
The reason guitarists use a dozen stomp boxes in front of their amp is because they can't have 10 different amps on stage.
Use a different Profile for your lead tones instead of using the same rhythm Profile with 5 OD/Distortion/Fuzz boxes in front of it.
I am not a stompbox kind of guy. I go through all my profiles (i almost always remove the stompboxes+effects if they were there from the start) until i find the sound i want.
If you listen to the solo in the link, you'll hear that it is a sound that you don't get out of only a tube amp. You need stompboxes, and more than one.
Try some Pink Floyd/David Gilmour rigs from the Rig Exchange. This sound is similar to his approach with fuzz/modulation/delay.
Here's how he ended up with those intervallic shifts in the solo:
"And often I get wacky effects by chopping solos, making almost random cuts, and then shuffling the pieces. I love to experiment — those weird effects, for me, are what computer-based recording is all about. You can do those things using tape but it would take weeks!”
Thanks, i'll try that.
For that specific solo, he has said that he put several/a lot of distortion pedals in a row to get the sound.
Or do you mean the glitchy type thing at 2.36?
When you use a clean amplifier/profile, and then put multiple distortion/overdrive boxes in front of the amp, turn them up, and play lead.
I have tried it on the kemper, with 1 to 4 stompboxes, lots of different combinations, but i never really got that sound where the tone is sort of falling apart.
My friend brought over his stompboxes for a completely different reason, but i patched them through the loop and there the sound was. I turned on 3 dist/od pedals at random, without touching any controls, and i had the sound immediately.
The sound i'm after is the sound in the solo that starts 2.22 in this song:
https://www.youtube.com/watch?v=EcQkgbI2qFk
Am i doing something clearly wrong, have you achieved this sound, should i just give up, any suggestions?
Display MoreSo many posts and no clear solution or explaination?
The manual states that the direct out is the (only) send even for the stereo loop.
Any time a loop becomes active, the direct out will switch from its selected output source to the correct loop send signal.
The monitor output does not do that. If you set it to MOD output it will output the signal of the MOD effect.
If you establish an effects loop in the X or MOD slot, the monitor output will tap the output of the effects loop, not the input. This will create a feedback loop.
You could have tried to set the output source to 'stack' for avoiding that, but it's not a perfect solution either.
Anyway, I cannot see a sense in putting capi preamps into the effects loop. Why don't you connect them to the Profilers main outputs?
Thanks for taking the time. The way it works is logical and is what i would have believed, if not for 01000100s post, in combination with a memory of me trying to do this when it almost worked.
As i wrote in my last post, i got it sorted out, that i can't do the things i tried to.
The reason for wanting them in the fx loop, is because i wanted to be able to process audio, sending from and to the computer via spdif. I have a too crappy interface to do it the "right" way for now. If i go out of the Kempers main outputs, i have to use the interfaces line inputs, which colors the signal in an unpleasant way. And i don't feel like upgrading to a mid level interface for this, since i want to wait until i can get really high quality gear.
I didn't really want to bump this thread, but i felt it warranted an explanation.
What are the conclusion, if you feel like sharing?
Well, basically, the output from the kemper into the loop is always mono. What the post i refered to earlier from 01000100 was trying to say, I still haven't figured out.
Because this makes it impossible to do what i was trying to do, i stopped asking there. I don't know where i created a feedback loop or where it went wrong in some other way.
I contacted support, and it seems this whole ordeal was an exercise in futility.
Thanks for the help anyways.
If you have both parts of the stereo signal from both paths but everything is displaced by one side, it's a matter of level (much higher by that side)
Yes, but that is not the problem.
That part from my last post is not what my problem is now (and displacement was not the problem then either). I now get no signal at all through the monitor output. I described it more in detail in my previous (especially the thread start) posts.
Try things this way. Connect the Kemper direct out to the input of the preamp. Connect output of preamp to return of Kemper. You won't need the second preamp and the stereo signal output from the main outs/SPDIF will be coloured by the preamp.
If you absolutely must use both preamps, the only option is to run from left/right mains of the Kemper into each preamp and then route the effected signal into your DAW.
That won't work. I will be sending a mono signal from the direct out, through a mono preamp. That'll not be stereo.
Heres a qoute from mod 01000100:
"thanks to the new assignable output sources you can also add stereo modulation in 'X' slot,
set 'Monitor Output' to 'Mod left' and 'Direct Output' to 'Mod right',
insert the stereo loop in the 'Mod' slot and bingo - stereo modulation and a stereo fx loop for you delays and reverbs."
That is what i'm trying to do, and i have done it before. And it didn't work perfectly then either, although better. The stereo signal was "split". I had nothing left in the middle, everything was moved to the sides of the stereo spectrum. But i did get signal through both paths.
I don't see why you would think i broke the loop. I have one signal:
send->preamp-> return
and one signal:
monitor out->preamp-> alternate return.
Try the send. Tell me what you hear.
I have tried the send, multiple times. Through the send i hear the signal i am sending from the computer, although a little coloured by the preamps (like planned).
