Posts by doomfred

Sure thing.

I use my Kemper hooked up to a guitar cabinet. I mainly use mines, for which I have made IR Impulses last time I was in the studio, using high end microphones which were carefully positioned.

So each time I will play live, I will use the lock section to make the cabinet I am using match with its corresponding impulse response. I can also use this feature to turn off every cabinet too, as I did recently using the Kemper in stereo (used the direct out to send one monitor side to a transparent PA)

Well, I did also this kind of blind comparaison while starting tracking guitars for my last album. There were 3 guitars on my shortlist, all by Reverend : Sensei RA FM witch railhammer chisels, Sensei 290 with P90s, and a Billy Corgan signature model with Railhammer humcutters BC signature. All three played in the same signal chain and recorded by myself. Then I sent the tracks labelled A, B, C and the sound ingenieer that would have to mix the album for him to pick the guitar that would have to layer the rythm part, and the one for solo parts. He picked up the Sensei P90 for "the 70s black-sabbathish feel", and the BC1 for "these intense slash-like tones".

Interesting comparison for the last one isn't it, as it is made of Korina, has a all maple neck and pickups meant to be beefed up P90s ?

Ho, and we haven't discussed the impact of a guitar shape in tone. Guys like Joe Naylor, who conceives Reverend guitars, has been saying that, for instance in the case of the Bob Balch signature and the Billy Corgan Signature, strategicly put a hole in certin places of a guitar body makes it prone to have an accentuated midrange. That thinner wings in the body tends to resonate more freely and has an effect on sustain too.

I think I should take the time to film and post some videos here of my Reverend guitars, as I own the same model in 4 variations for instance, despite being made from the same woods they absolutly all have their own character.

long and heated discussion, but what we lack of here is a scientific protocol. What affects tone, how, and such is after all measurable, and every parameter should be studied one by one. I think it would be long but worthy process, in fact i'm wondering if someone ever did this ?

in case you are interested you can preorder it on our bandcamp since yesterday

It will be released on april 12th, on double CD, double tape or digital release. the easiest is to order it on our bandcamp ( http://funeralium.bandcamp.com ) ; the CD is released by Weird truth (http://www.weirdtruth.jp ) and the tape by Caligari ( http://www.caligarirecords.com )

We're atm negociating with another label for a DLP vinyle release

Well, I profiled my gear afterwards (got my Kemper a couple of months after the mix was done), and refined them so as I can get this sound again in my Kemper.

And I will also profile the amps and the cab/microphone combination used on my next recordings so as to reuse them.

Quote from Robrecht

Funny, those are precisely the two bands the other band members mentioned after I recorded the vocals. It wasn't an intentional influence, although I did do a TON cover a while ago...

And there's also this quite "tongue in cheek" title that is strongly reminiscent of TON's typical dark humour (Life is Killing me, etc)

This is a full song from my band Funeralium next opus, out this april.
http://funeralium.net

For those curious to know how we got the sounds, i didn't own my kemper when we recorded this, what you hear is a Marshall Vintage Modern 2466 with a bit of klon centaur clone on one side, Reverend Sensei 290 for the rythem parts; on the other side, it is a Matamp and a "rotten sound" krank disotortus maximus clone. Celestion Cream Alnico & Creamback H75 speakers, microphones are a R121 and a josephson e22. All leads are a reverend BC1 plugged in a Catalinbread DLS and a Torpedo Studio.

there's a bit of Type o Negative feel here amongst other things (Moonspell also maybe ?)

I also use the lock button to dial the proper cab IR corresponding to the one I use with my kemper powered profiler on all my profiles.

Well said Axeslash !

From my personal experience:
1. The guitar is meant to sit in the medium frequencies. While it's nice and fancy when you are alone to get a bassy, and mid scooped sound, it just doesn't work in the band context. So... keep that in mind when voicing your guitar tone

2. You just wont be able to rely on the FOH guy at everyshow, especially in small places. Learn how to sound good without the help of the PA, IE use a cab that you can use as your personal monitor or even as the main source of your sound when playing in small places. And of course, your direct sound should sound good too (find a way to profile your sound through your regular speaker that you can send to the PA, if you can)

3. that also implies... at some rehearsals, find the time to test/check the sound of the whole band (record it if possible). a FOH engineer, as good as he/she can be, cannot transform a bad sound... Garbage in, garbage out, so make your sound the best possible before hitting the stage, and learn how to get the best sound in any places you will play.

How much time do you refine ?

1. Is every noise gate making the Kemper confused ?

2. Profiling at lower gain setting, and refining with higher gain, wold that work ?

Thanks. I also noticed that using batteries in the stomp box or good quality 9V power helps it reduce noise with pedals.

After 3 months using my KPA, I'm absolutly happy with it's ability to capture my own amps tones.

The only concern I have, is that sometimes I will use some noisy gear, ie a Boss HM2 for instance, and the KPA will throw an error message while i'm trying to profile it.

As I've read, it is also not possible to use a noise reductor, such as a Decimator, to clean up the sound.

Are there tricks that will help me profile these sounds anyway ?

Thanks in advance

Thank you !

Just shared some direct profiles from my new Splawn Quick Rod (such an impressive amp !) and did a Black Sabbath rig, more or less close to the paranoid era (use p90s and all mahogany guitar with it), using a Catalinbread Sabbra Cadabra. It is a bit more overdriven than on the record, but I like it that way. You may adjust to taste. If you need a cabinet, use Celestion g12h heritage as iommi does, it helps a lot getting the sound.

Quote from waraba

bienvenue ! je te conseille un excellent cameron dispo sur la partie gratos du forum, vraiment excellent et typique 90's.

Sinon il y des packs metal gratos chez sinmix, choptones, reampzone et un pack Lasse lamert sur le site principal Kemper.

N'oublie pas de partager tes propres profils si tu peux.

Ciao

Renaud.

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C'est chose faite pour mes premiers essais. 3 profils directs pour chacune de mes têtes Jet City JCA 100 et JCA 22 moddées (caps orange drop aux valeurs slo 100, mid sweep, depth, clean/crunch mod), ma peavey classic 50, mon marshall vintage modern et une tête HJ&K d'un pote

Hello, I have uploaded direct amp profiles from my two modded Jet City amps, a JCA 100 and a JCA 22. As you may know, they are amps designed by mike soldano using the hot rod circuit.. but mine were modded by a friend, "Le Suedois". He mainly replaced the capacitors with Orange Drops at the SLO100 value. Also added depth and semi-param mid eq. the transformers were chosen by mike soldano himself on this series. I'd say the amp now nails the SLO100 sound, but sounds looser (it does't have these mercury high end transformers).

Give it a try, maybe you can tweak the parameters so has to get closer to the real things... registered under my user name Doomfred on rig exchange.