Try increasing the compression parameter in the stack. That will address both the sustain and the volume issue.
Give this a try:
Delay 1 Time 32 ms
Delay 2 Time 49 ms
Delay Balance +22.1%
Feedback 1 0%
Feedback 2 (is grayed out)
Low Cut 107.0 Hz
High Cut 3994.5 Hz
Reverse Mix 0%
all other settings at 0
Of course you should adjust to get what you want. I put this after the stack so that it can be heard in stereo (works OK in mono, but really works best in stereo). If you are using reverb also, be sure and adjust the Del+Rev Balance to taste.
Thanks ST. All that stuff is above my pay grade. I did it because I read it in the manual and saw some discussions about it here. I've used it in various situations and all has worked out well. So at this point, my thinking is, "If it ain't broke...".
I agree. Lots of diversity in high gain sounds. Check out the Bugera Lead.
I have not done this, but I saw someone recommend the Mackie SRM150. It is small and inexpensive. And there are larger speakers in the SRM series.
isn't one of the main selling arguments for the Kemper that we can use EXACTLY the sounds we use on our recordings also in a live situation?
Consider if you really want the same sound live as you do when recording. Many of the artists that used crazy amounts of gear live, like stacks of cabs/amp, or ridiculous amounts of rack mounted gear and switchers and load boxes, and slaved amps, etc., ect., used a Fender Champ, or Roland Cube to get the sounds we love on the recordings.
Yeah, I am monitoring with my Xitone MBritt at fairly close range at home. So that may be why I liked the low pass at ~ 3k. For me, playing in bands with other gtrs, keys, etc., probably much more important to tame the lows.
I realize you asked @Wheresthedug, but I thought I would offer my two pennies worth.
I have used the Kemper direct to FOH with many different PAs and engineers. I check the main out-12dB box on page one of the output menu. And every time, have gotten either a literal two thumbs up, or the equivalent, from the engineers.
I haven't played a live gig since the advent of the high cut / low cut output filter, but would suggest (if you are only playing standard tuned electric guitar through your Kemper), set the low cut 80-100 Hz and high cut 3k - 8k. I realize that is a wide range but if possible you can fine tune during the show. Most likely, the engineer will compensate at FOH and you won't have to. I have mine set to 100Hz and 3.5k, but have yet to test it though a full blown PA. If you also play acoustic guitar, steel guitar, mandolin, baritone, etc. through your Kemper, you may have to widen out that output filter.
Regarding the main output eq, I leave that flat so that if the engineer tells me I need to adjust, I can use that eq. Remember that it is global but only for the main outs.
I would definitely use the monitor eq to get what you need onstage. One thing I do fairly often if using wedges is cut lows and boost treble or presence in the monitor mix to be able to hear myself without being loud or muddying up the sound on stage.
It also sounds really wet. Crank up the reverb.
1) Your biggest issue is choice
This is a great point.
As soon as possible and maybe before you even buy, decide "how many different tones do I need?". Hopefully that number is small. Initially, concentrate on getting that/those sounds. That will give you a specific focus, because like V8guitar alluded to, there are an infinite number of options with the Kemper. And doing/focusing on those sounds will get you familiar with the unit in a more organized way than just being overwhelming with the possibilities. BUT, once you get a handle on the sounds that you know you need right now, go crazy and experiment.
V8guitar mention of
"pre" section not post
(which I think means put the distortion before the stack) made me remember to mention something that I just discovered: changing the stack eq position from post to pre makes a significant difference in tone. This is not really related to the distortion stomps, but does make a difference in tone.
It IS scary!
Always check that you have UNLOCKED everything when you are done... or you will overwrite something when you save.
I would recommend doing the above initially.
But also save the entire stomps section and entire effects section for future use.
I seem to have started something....
Well, think of it as eeexxxtteennding your birthday!
Now, somebody please buy something!
AFAIK they control the effects in the dly and rev slots only. I have to confess, I never use those knobs.
Just thought I'd mention the options to monitor yourself through IEMs or monitor through a stage wedge, if there there are already monitors provided or at the venue.
For my tastes, the distorted amp profiles always sound better than any of the distortion stomps. Try using the Pure Booster to drive the profile harder.
be sure that Rig Spillover is on
The noise gate knob is separate. The delay and reverb knobs affect delay and reverb WHEN you have those effects assigned to the DLY and REV locations.