Posts by JedMckenna

    Part of me really likes the idea of that Tone X pedal and would like to give it a try but then again all this blatant Youtube promotion turns me right off: in the end, it's still a glorified Iridium. I also wonder how it could realistically be an improvement over my current Kemper rig... tone-wise probably not in any significant way, I also think the powerhead is a much more convenient and flexible rig for live performance. The software part of this would help my workflow when recording, but then again I'm used to do reamps just fine with the Kemper. Carry less weight maybe? Then I should just hit the gym instead. If I started a new rig from scratch I could think about it and maybe stick it nicely in my pedalboard but at this point, a new product would really need to bring something out of this world for me to justify spending the time/effort to migrate and find my sounds all over again.

    It depends of the situation but personally, I usually put a graphic EQ block post amp with a volume boost and push in the mids (inverted V) and add a bit of delay. Then I morph the base sound to that and with the proper settings, it can turn any rig into a good lead sound. I also have a separate patch for solo sound but it's not as flexible. Depending of the band and volume level of your gig, sometimes adding 2-3 dB is enough but for very big venues/band I sometimes needed over 6 dB to cut through - I usually figure this out at rehearsal when you can get a better feel for the situation.

    I use both. I hear what you're saying about RM and performance mode because in the past there used to be LOTS of bugs while editing - I actually got used to do it front the front panel so that I wouldn't lose my mind - but yesterday I made a performance for the first time in two years or so and it went super smooth so it looks like things have been sorted out in the latest versions. Hope you sort out your issue.

    What's strange to me is how do you let this problem live for 5 years and this thread go for 8 pages long? The problem isn't your 6 guitars. I'd have swiftly done a factory reset and gone to a friend or a music store with another KPA to compare side by side the sound of a factory profile so you know whether or not the problem is your hardware.

    I don't mean this personally, there just seems to be so many curious threads here on the theme "Help, my possibly defective guitar processor has been keeping me up at night for 5+ years but since I'm not sure, I need more opinions to know if I should keep putting up with my dissatisfaction or not".

    Anyway, hope you sort it out!

    I suggest opening a ticket. I had this problem 3 years in with mine, turned out one output was somewhat defective (maybe it rained on my unit during an outdoor gig or something.) I ran mono for a while but then I stopped by Kemper HQ and they fixed it mid-tour. Awesome customer support!

    The sound going out of the XLR and 1/4" mains is exactly the same as the sound going to SPDIF. Unless you have a terrible interface whose preamps color the sound a lot, you won't perceive a difference. Nowadays, even cheap interfaces are quite good. Unless you need the extra features (less latency, more inputs, need for great preamps or high quality headphone output, etc), you'd probably be fine with a low end interface. If a cheap mixer is affecting your sound quality though, keep it out of your recording chain.

    Hey Bert, I've been using your profiles almost exclusively for a while now; I can barely catch up with the awesome stuff you put out. Kemper wouldn't be the same without your amazing contribution, in fact your profiles are the reason I'm still digging the Kemper so much and I am so grateful. I recorded a few albums this year and end up using your profiles almost all the time. I just recently got into your XTC pack which I love and with the right tweaks and stompboxes, I'm using them to record on many things these days.

    However, I sometimes wished you used the matching/original cab more often; for example, the majority of higher gain profiles from the XTC pack seem to have Marshall 2x12 or 4x12 cabs and while it's great to explore this variety of tones, the cab has such a big influence on the voicing of the profile that the signature tone of the XTC amp sometimes gets lost or ends up sounding like something else - same thing with the Friedman amp for example. I often end up locking the matching cab from another profile to try to mitigate this but I'm sure the cab division algorithm from Kemper isn't perfect. I still get great tones regardless, but it is probably not as kosher as if it was profiled with the original cab in the first place and requires a bit more messing around before I find the right profile. Anyway, there is probably a good reason you do this and getting your hands on the matching cab might be difficult sometimes so it is just a thought that you can totally disregard if you disagree!

    I used to use a lot of Michael Britt profiles earlier but started to dislike how he used the same cab for every amp (at least on his earlier profiling); I could see the point for live but for recording, it really robs the signature tone from the different amps and entire packs of niche amps profiles ended up sounding almost the same.

    Btw, if you ever run out of idea of what to profile, a detailed profiling of your Soldano SLO would probably be a hit! (but I still have to get up to date with your JCM 800 and this new 5150 pack first!) Thanks again for your great work and commitment.

    Necro thread... which I missed originally. All 5 sound pretty terrible and not very realistic imo - but maybe #1 can be salvaged with a lot of messing around? That being said, I used to use Bert Acoustic pack and it's great.

    However, my practical take on acoustic now is that if it's a big stage, I feel it's easier to bring a good separate DI so that the FOH can adjust the channel independently from the electric. If it's a small gig, I use a Schlerter acoustic amp that sounds amazing and has an acoustic out. And if it's a recording, I obviously mic it naturally with proper mics. Therefore, no need for acoustic to go through the Kemper anymore.

    你好,那个情况有点儿奇怪。我建议,现保存你的profile,然后在System,第一页,你可以做一个“init global”。加油,祝你好运!


    Before begging for help here as soon as you get your Kemper, I suggest spending a few hours watching official Kemper tutorial videos and reading the manual. Also, this part of the forum is in English, discussion in other languages are in a different part of the forum. Welcome and good luck.

    what I took from that video is that all 3 options worked brilliantly and sounded so close as to make no difference in the real world. Therefore, choose one that fits your budget and workflow then learn to use it and make music instead of GASing over the next new shiny toy.

    Amen. People get obsessively worked up on these minute details every time something new comes out... reminds me how Patrick Bateman in American Psycho would get OCD about the lettering/font/color of his business cards versus the ones from his competitor (while they all look the same for anybody else looking at them). It doesn't matter as much as the internet wants you to believe and when put into perspective, this obsession is almost psychopathic. I'm restlessly busting my ass to find a thousand ways to improve the tracks, parts and tunes I'm working on, but migrating to a different system is not one of them. Mostly using cheap little combo amps these days anyway for some reason.

    People should stop looking at it like a commitment to one thing or the other, both rigs have a purpose. I was on Kemper for the last 6-7 years almost exclusively but the nature of gigs have changed since and for live I am back with two different pedalboards + tube amps rigs most of the time and I'm loving it (still using Kemper for recording though). It really depends on the requirements of the specific situation. Anyway, welcome!

    No idea but it's the first time I check out that forum... wow. Some of these trolls would benefit from getting out of their cave and have some exposure to the pro scene to see what's going on. Ignorance is bliss I guess.

    I feel that behind the advertising facade, all brands of nickel-plated strings are more or less the same (except the coated ones, which I'm not a fan of) so I kind of support Ernie ball since the saga with Microsoft a while back. I use GHS on occasion as well. Although my 335 could benefit from a step up, I kind settled on .010-46 because I do many styles and don't like to have gauges size all over the place.

    Another Logic user here. Since they ironed out most of the bugs of the previous versions, I really like this DAW a lot and after recording so much, my workflow with it, the Kemper and a couple of key plugins like Melodyne and Izotope is very efficient. When I track in studios they usually use Pro Tools and it seems to work slightly differently (for the punch-ins for example) and looks visually a bit clunky. On Logic I particularly like the way the comps and the grouping work (especially in the case of the Kemper where you can group your main tracks with your DI track and comp/edit them together), as well as the library of instruments. I used them on several demos and jingles; drummers in particular are so easy to use, take almost no CPU resources compared to separate drumming software and sound great. Apple loops are also very cool to use when creating something, just drag and drop stuff that instantly adjust to the key and tempo and you get ideas quick. I'm no fanboy and hate the business model of Macbooks and Iphones obsolescence but imo they totally knock it out of the park with software like Logic and Final Cut. Also, because they are much more widely used than Reaper and other DAWs, there are tons of youtube tutorials available whenever you are looking for a specific obscure function.

    Not using the ID-14 anymore, but about your feedback issue, I think you have to mute the monitoring in the Audient software or you'll have a feedback loop. About the gain difference issue, sorry if this sounds obvious but it's usually a matter of volume going back in. Make sure the tracks you reamp from Logic (and your DAW master volume) goes back into your interface at +/-0 Db. If you lowered the volume of the track or the master volume in your DAW, the gain will be lower. You can watch the Kemper video about reamping, it talks about this and how to compensate with "reamp sense".

    First of all, your band needs to chill before dissing your rig after the first live use as you clearly haven't totally wrapped your head around the variables yet. Nothing more annoying than getting this pressure when you are trying to figure things out, it's a complex problem they have no idea about. Although it's often the truth, you can't just say to the band "don't worry if it sounds awful on stage, I actually sound great through the PA".

    Get a recording from your PA from a rehearsal; that's what it will sound to the audience. If that's no good to you then work on your profiles and tweaking tips that many will contribute to in this thread. If it is good to you, then the problem is the monitoring. Of course you need to adjust your monitoring individually from the Mains but while I haven't tried the Kemper Kabinet yet, I've come to believe that there are certain situations with modellers (or KPA) where you just can't win monitoring-wise. In certain situations, people are used to and expecting the amp in the room sound and some "push of air" and sometimes all other monitoring solutions (short of an amp) seem inadequate. In those scenarios, you have to decide what is the most important in that specific situation (having a great sound in the room versus all the other advantages the KPA gives you). There are many types of gigs and the answer is not always cut and dry. I strongly believe there is no "one rig fits all".

    When it's a gig with no in-ear monitor, my first time with a new band where I'm being hastily judged on the tone in the rehearsal room, if there is an "old school" producer/bandleader, a very low volume gig/rehearsal, etc, I would often go with an amp + pedalboard instead. I also often do the rehearsals with the amp and use the KPA at the gigs only. Again, maybe the Kemper Kabinet or various power amps solves that (or maybe not), but straight through the monitors I'm being provided in various rehearsal rooms, etc the problem usually remain to some extent.