Posts by Dunconia

Why can't you use 44.1k and a smaller buffer size? The lower the buffer size, the lower the latency is I've come to understand. Just like the higher sample rates, it all come down to computer power available. What would be the benefit of using a higher sample rate over a lower buffer size?

Any problems reamping via analog? I would like to record a dry signal at line level and reamp it after editing my terrible guitar playing. The digital route seems like less of a hassle but I’d like a slightly higher sample rate too.

You know, a thought did occur to me. Most of the time if you record a cab, you’re only micing one speaker. If you try two different ones it creates phase issues. Even if an IR is called a V30 cab, it could just be the V30 side of a multi speaker cab setup. If the Kemper could do stereo profiles, it might be different. Then maybe, you could put one G12T-75 in the left and a V30 in the right and wind up with my cab. Otherwise, you really just use one at a time.

In other words, you might still look at IRs already made. I’m still going to make mine though. I just wanted to raise the point about speaker combo cabs not really being much of a factor in the grand scheme.

I finished profiling all three channels of my amp with the mics set up on the V30 speaker. So far, it sounds really good. I had to profile 4 times for each channel (SM57, SE VR1, both mics, and DI). I will try merging the profiles tomorrow. I’m hoping I get good results but I’ve heard about the merging process being dependent on load box. I’m using the built in direct out from the TC50 that’s basically a resistive loadbox. I’m a little worried about it working out ok since it’s not a dedicated reactive loadbox, but I still had the cab pumping so it should be acting in a reactive way. We shall see.

Anyway if it works, I’ll give the G12T-75 side a shot and maybe the Creambacks a go. If I can verify that the merging process works correctly then I should be able to only do the whole thing on one channel and be done with it. Also, I know Michael Britt doesn’t use a bunch of different microphone configurations. I found that the Sm57 and ribbon mics sounded best together. I might just stick with the combo and reduce the workload. You can always use the built in Kemper eq to tailor it.

I’ll keep you posted and release them on the exchange when I’m finished.

I have a 1960A Marshall cab with 2 G12T-75 and 2 Mesa V30s. I've been wanting to create a couple of profiles anyway with my Mesa Triple Crown. I was planning on making it a merged profile so I could just swap the cab for different microphones or miking the V30 vs the G12T-75. I was also wanting to try swapping the G12T-75s for Creamback 65s which I have also. I'll try to get to this today and let you know.

What can I say, the Kemper is now legendary. I recently purchased a Mesa TC-50. I'm sad to say that the Kemper is taking backstage purely, because I wanted to learn on a real tube amp before I went to a Kemper type product again. I just want to spend some time in the tube world before venturing back purely into digital. I'm including the Kemper carry bag. I've listed the commercial profiles I bought and included on the 2 GB Sony flash drive that can be used for backing up the unit. I felt it also might be useful for someone if I included the profiles I made. One is a 1969 Fender Super Reverb that was purchased new by my father. It is not modded. It features a really fantastic super clean tone that I'm really proud of. The Super Reverb is kind of a one trick pony, but it does a pretty good trick. The 1969 model is a silverface model cosmetically only. Fender didn't change to the silverface circuit until later that year. Happy playing and profiling!

Michael Britt: Vintage Pack
The Amp Factory: Gilmour 1970 Hiwatt, Soldano SLO 100
Reamp Zone: Dumble ODS 50 HRM, Fuchs Blackjack 21 MkII, HK Tubemeister 5, Jet City 20, Marshall JVM 410
My Created Profiles: 1969 Fender Super Reverb (Blackface Circuit) no mods, Mesa TC-50

Quote from lonestargtr

I don't think I've programmed any morphing on any pack rigs. That's just part of the Remote functionality. There's a page somewhere (rig or system menu) that will tell you how many parameters are being morphed. If nothing is currently changing, the Remote will still move to the 2nd state light and wait for you to change something to morph.
On a side note, I also assign the "quick" button on the face of the Kemper to "morph" so that if I'm away from my Remote and editing, I can easily switch back and forth to morph settings.

Ok. I figured it was just my mind expecting to hear the change but wasn't sure if the remote would switch without there being a change present. You answered that question for me. Thanks, Mr. Britt!

Playing a M. Britt profile through a Marshall cab, I noticed that if I hold down the slot button on the remote it switches as if morphing. Does anyone know what this is doing exactly? It was hard for me to hear a big difference, but some profiles seemed to change a bit. Maybe it's my mind playing tricks or the fact that the Marshall was coloring it.

Because I can.

It's a new amp and I wanted to spend some time familiarizing myself with it, breaking in the speaker, hearing what it sounds like in the room, tweaking the sound, etc. I find that I tweak the eq or gain or something on the amp each time I play it. It's been less and less each time as I'm settling in on a tone I like. Also, the speaker tone is changing less as it's beginning to mellow out. I wanted to use it in the manner that I would after I finally profile it. Meaning, with the effects. The sound with the effects also changes how I have the amp set. I don't want 50 different profiles with 49 that I don't use because I haven't settled in on the tone I wanted when I made them. Besides that, occasionally I want to hear the amp, not the recorded sound through microphones and preamps and then studio monitors.

I'm sure the majority of people won't agree with my method here. Most people will play with profiles made by professional studio of amps they have never seen or played on. That's all well and good. Nothing wrong with that to me. I want MY amp. I also want to use the power, portability, and stereo effects of the KPA when I want to play outside of my room at practice.

I did some experiments with the 4 cable method with my Mesa Triple Crown Amp. I thought I would detail the process since I couldn't find any good instructions on this before I started.

Kemper 4 cm Step by Step with Mesa TC-50

• Guitar into Kemper guitar input
• Kemper Monitor out to Mesa fx return (Master Mono selected)
• Kemper Direct Send to Mesa guitar input (Guitar plus Processing selected)
• Mesa fx loop send to Kemper Return input

Notes:

• Pedals can be added in the Direct send path for added ridiculousness in front of amp but will be post any stomps, stack, or effects pre KPA loop location when Kemper fx loop is active.
• Setting Direct Send to Guitar Analog is like a buffered bypass when loop is off on Kemper.
• KPA Return input is only receiving signal when both loops are on.
• Mesa effects loop return is disabled when Mesa loop is off and, as a result, KPA monitor out signal is killed.
• Both loops on. Guitar signal is digitized, fed through KPA stomps, stack, and effects up to Kemper loop location, D/A conversion, sent through Mesa preamp, A/D conversion, fed through effects to end of KPA chain, D/A conversion, sent via Mon Out to Mesa power Section. Magic.
• Kemper loop off, Mesa loop on. Guitar signal is digitized (unless manually reset Direct Out to Guitar Analog), D/A conversion, sent through Mesa preamp and killed by inactive Kemper return input, original signal continues through Kemper stomps, stack, and effects unhampered to end, D/A conversion, Mesa power section. Magic. I.E. Kemper chain, Mesa Power section. Great for DI profiles but will be recolored and amplified by Mesa power tubes. Great if profiled preamp only.
• Kemper loop on, Mesa loop off. Guitar signal is digitized (unless manually reset Direct Out to Guitar Analog), fed through anything pre loop location on Kemper, D/A conversion, fed through Mesa input to speaker. Magic. No post KPA loop effects in this case.
• Both loops off. Guitar signal is digitized (unless manually reset Direct Out to Guitar Analog), D/A conversion, sent through Mesa input to speaker. Magic. This is where it would be beneficial for the Direct Out to revert to Guitar Analog. Essentially, that would mean the signal would stay pure analog.
• Volume leveling can be tricky. Adjust clean sense for guitar level input, decouple Monitor Out from Master volume knob via outputs page, adjust KPA loop volume for unity (cycle KPA loop on/off for testing) with Mesa loop off, adjust monitor out volume on output page for unity (cycle Mesa loop on/off to check). Recommend storing the entire output section as a preset when finished.
• Front of house. In case of the Mesa TC-50, you can utilize the Cab Clone output Direct to the sound engineer. Alternatively, use the line out into a Two Notes CAB or Wall of Sound iii plugin.
• Next steps...Must learn Kemper midi to Mesa to eliminate the Mesa remote. Must try to profile a pedal by itself. A Klon maybe. I would like to see how it sounds in front of the Kemper loop. I.E. A profiled pedal in front of my real amp.

Limitations and opportunities for possible patch fixes.

• Kemper sets Direct out to (guitar plus processing) once Kemper loop has been activated at least once. If you initially set Analog, you have to manually change it back.
• It would be nice to have a stack off button in the Monitor out path similar to the cab off. This would let people play their amp but send the Profile of that amp thru the mains. Because, nothing sounds more like the amp in the room sound than THE amp in THE room.

Klon!

Yes! I was just about to post that. I want it for basically the same thing in a 4 cable method setup.

+1 to the Parametric

Well, someone must be buying these things because everywhere I see says out of stock for the green one. I know Mission doesn't put cabs out as fast as they selling right now. I contacted them about Gemini 2p availability and was told that it would be a few weeks before they got more in. It sounded like they contract the manufacturing of the cabinets rather than do the manufacturing themselves. I'd like to know how the KM 212 performs vs a FRFR cab. Do any of the profiles sound weird when you leave the cab on? I just have a Crate Palomino 212 cab loaded with Seventy 80's. I'm using the Camplifier 290 to power it. Some of the profiles won't match up with the cab (either set cab on or off) and sound really strange, but they sound ok through studio monitors, ie FRFR.

Maybe an odd question, but is it possible to mic the KM-212 to record it? I would consider blending the mic/main out signal for a bigger sound. Are the speakers facing forward like a regular cab? Is it too loud for a small studio/bedroom setup?