Posts by karlic

Quote from tommyguitar

I use pitch shift for +1 and -1 for live gigs instead of having three guitars. Works fine as anything. It is not possible to be perfect. I just don’t use the Transpose inside the rig (as opposed to slot A) because it doesn’t show on the remote. I almost got fired from a major label gig for starting a song in the wrong key (Transpose was set in the rig menu but not visible on remote)

Also use it live to transpose -1 or -2. It is not perfect, but you get used to the latency surprising quickly and it works. Record the result and you will see it is tracking very well unless you start using odd distorted chords.

Quote from billabong17

Title says it all

There was quite an improvement a year or so ago in the latency, but this kind of effect will always have some delay in processing. I would be all in favour if it is possible though.

I often wish we could make more use of the SPDIF connection. Creating a second fx loop for a TC Mimiq in my case would be brilliant.

Quote from DamianGreda

The idea of "multi layer profiles" is not new here or in the audio world (NEBULA example: https://www.acustica-audio.com/store/t/nebula).

Some years ago I was asking about the same thing

But I like this idea . I'm afraid this would require a whole new level of DSP algorithm to interpolate between profiled states.

It all sounds a bit overly complicated to me and borders on modelling instead of profiling. The Kemper captures a single setup well and then you play that. You can switch to a different rig that gets the next sound and many commercial profile packs cover the whole range of an amp anyway.

This would most likely have to be a whole new product and a different approach with a lot more DSP, as you suggested.

I have HS8s and Genelec S30s and there is a marked difference for playing the Kemper on its own. The Genelecs have a more pronounced mid range that suits guitar. On the Yamaha's there is a treble attenuation of 3db (not sure about the HS7) which you could experiment with, as they are quite bright in certain rooms.

Check out some mixes from bands you like and see what their guitars sound like between the two sets on monitors too. Even profile demos of guitar in isolation.

The best way would be to have any updates going through Rig Manager and the backup could be written to a folder in the application. I don't tend to leave a USB drive in my Kemper.

I used to leave my studio gear on to avoid wear until we had a fire. Fortunately it was during a tea break, but I came back in to see a mixing desk PSU going up in flames.

Soundcraft were good and replaced the unit, but with electronics being made so cheaply these days, I have never trusted a whole studio of gear again.

Quote from Wheresthedug

It's funny but I often think something similar. Many of the people who complain that digital technology will never be able to compete with "real tube amps" are metal players. When I listen to most modern metal the sounds are so multi layered and processed that they don't actually sound like valve amps anyway. Many end up using so much gain that they need to use Tube Screamers and EQs in front of the amp to tighten the bottom end because valve amps themselves aren't tight enough. If ever there was a genre that was custom made for digital processing it's modern metal and yet metal players are among the most resistant to digital amps

That's not a criticism of metal player or their tones just an observation about the strange conflict between the desire for a certain sound but a refusal to use the technology best suited to producing it. Seems weird to me but I'm an old fart so what would I know

I have to say that many of the metal players I come from not contact with change their minds after a quick play of the Kemper. Just check out the artist list on the Kemper page.

Live sound is massively improved without mic’d up Cabs picking up loads of drum spill and the front of house guys love it.

One important thing the Kemper taught me is that many amps sound very similar with pretty much the same tube components. Of course this is mainly from my experience of high gain sounds, so maybe low drive is more critical. As V8 implied, one day to the next can change the sound or perception of it too.

While profiling everything that comes into the studio to be able to reproduce album tones, it became obvious that the speaker has much bigger influence on the tone than the amp. On one album I managed to make the 6506 and Powerball 1 sound pretty much identical with a Mesa cab.

The way the music industry has moved in recent years can be quite brutal for musicians and manufacturers financially. It can be hard to adapt to the changing scene for some and I know many friends who are full time and still don't accept the internet ruining their income.

Sometimes it is good to just let someone have their moment to complain and feel better.

I'm sure there used to be a reasonable rig on the exchange with sitar effects.

Sorry to hear you started with so many struggles kingsxman. I can't believe the PSM300 doesn't have XLR inputs at that price. I guess you could invest in some XLR to jack leads.

If there is one thing I have learnt with any wireless system, it is you are playing a risky game with rechargeable batteries (if that was the case). You never know when they are wearing and I get really cheap yellow Ikea AAs that last 8 hours in my Sennheiser EW300. They go in children's toys to run the last juice out afterwards, or use at rehearsal.

Also getting a mix from the board in mono is very difficult to work with compared to a stereo sound. In your situation I would get a cheap line mixer to take your Kemper in with a stereo mix and that would deal with the XLR/jack problem too. Alternatively use the aux ins on the Kemper to create your mix.

Glad you got it sorted out, as the 425s are nice:-)

I found this out too Alan and ended up opting for ACS Evoke customs with built in headphones. They have to make molds from your impressions if they are not already on their system, so no point in getting your own done.

Sleeves are always a bit of a compromise anyway and I found the basic ACS is only £50 more than Snugs including impressions. Then I found a code for 20% off too:-) It was an easy decision and they are great so far.

Real world usage would in the context of a mix and they would be hard to tell apart anyway.

Quote from MementoMori

If a particular effect has been demonstrated many times and this is a rare exception, I don't think it would logically destroy any preconceptions. My guess is ColdFrixon made this comparison because he heard to "opposite" effect happen and figured correctly that he'd probably fool some of us.

This doesn't make much sense to me. If the KPA is supposed to emulate the source, in this case an Axe-FX III, are we suggesting it imposes its own "realism" to profiles?

My preconception was that the Axe is always smoothed out with a mid bump and the Kemper is a bit more lively at the top end. The point for me was that it is really down to the profile or patch and you can get what you want from either.

I am glad to say that I had guessed the wrong way, as this destroys my pre-conceptions of what Kemper does.

Whenever I have tried to profile something without a real speaker involved, it has always been less accurate. That might explain the eq being needed.

I always feel the Axe has a slightly softer top end in comparison tests, so Kemper 1, but it is hard to tell and you wouldn't know in a mix.

I should point out that my rack is unpowered, so maybe that is why it doesn't seem to run hot.

The first thing I did was remove the feet in 2015 so I could rack mount. Sometimes it is part of a 12u case and for flying it goes into a 3u Roto Rack to carry on. There has never been an issue.