on the astage you need to use Send 1 into Fractal and Fractal out into Return 1 on the Stage. Download the Main Manual from the Kemper Website and there is a whole section that explains the process fully.
Posts by Wheresthedug
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In my mind the difference is simple and clear.
A modeller tries to recreate the piece of equipment that makes the sound. The AxeFX, Helix etc try to model the signal path of the real amps. This in turn means that the model should behave like the real thing when turning knobs, flicking switches etc etc. It is modelling the hardware which restls in a recreation of the sound. It is very processor intensive as a result.
A profiler catures a snapshot of a SOUND. It doesn't try to replicate the signal path of the original hardware but merely capture the actual sound. As a result knobs switches etc don't respond like the real amp as the profiler doesn't possess the information to know how these controls work on the real device. The benefit is that it needs massively less processing power to achieve the same or better results soundwise. The trade off is that it can't be treated like the real amp for editing tones.
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OFSnap I totally agree with you. In fact one of my regular feature requests is that ability to control everything in RM from keyboard shortcuts instead of mouse clicks (like most DAWs). I would love the ability to create user customised shortcuts rather than just a series of predefined key commands. Holding a pick and working a mouse at the same time is a lot less user friendly that key commands.
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they should be the same.
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Again, if this is the case, then how is it that it only happens when plugged into the Kemper and not when plugged into any other processor, amp, mixer, etc/? It's not intermittent. I'm sitting here going back and forth right now. Plugged into the amp, everything is great. Plugged into my computer interface, great. Back to the amp, great. Into the Kemper, gated and distorted (unless I turn the volume down). Back to the amp, great....
OK, at least that test does confirm it isn’t an intermittent connection fault. You need to raise a support ticket with Kemper to find out what is going on in your case.
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Or you can just have a row of chicken roasters, or clothes dryers for that “warm, dry tone”
when I saw Hayseed Dixie live they had a all of Budweiser fridges ?
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I use the Boss FV-500 H (I guess the guys above mean this). There's also a Boss FV 500 L and this one is very similar to the 500 H but this is a low impedance pedal, making it ideal for instruments with active pu.
My 500H is working better than a Dunlop Cry Baby: no use of an adapter. Only a stereo cable in input exp. and in the profiler in Pedal input and off you go.... (of course after choosing wah in fx section..)
I think mine is actually the FV500 L but it doesn’t make any difference when using it as an expression pedal. The impedance only matters if using it as a traditional volume pedal. I image the L would be a good choice for using as a volume pedal in the FX Loop of a traditional amp too.
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I have three pedals - EP1, FV500 and a cheap plastic Zoom expression pedal. The Zoom cost me £11 but works as well as anything. If you don't need bullet proof build you can pretty much use anything.
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In short, no the KPA will not perform the way you described. Personally I think that is a good thing but not everyone agrees.
The KPA captures a snapshot of the amp (usually including a speaker and microphone and sometimes with pedals though much less frequently) at a specific set of settings. You can tweak this snapshot but it is more like editing in photoshop than actually changing the physical object photographed.On the other hand, modellers like AxeFX and Helix (plus plugins) aim to recreate the actual signal path of the base amp. In this instance you can control all of the individual parameters of the base amp and they should respond exactly like the real amp would. However, the reality is only as good as the programmer’s ability/technology/ear/etc. I previously used GR5 and have tried the Neural Plugins and don’t feel any of them get nearly as close to the real amp sound and feel as the KPA does.
The Kemper method of taking a snapshot tends to provide the most natural sound and feel to my ears. As most amps tend to have a very limited sweetspot of useable settings I prefer the Kemper approach and don’t miss the ability to pretend I actually have the real amp in front of me when tweaking virtual knobs.
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Something else to consider:
While the Mission Engineering EP-1 is very nice for wah effects as is mechanically mimics a Cry Baby, I prefer a Dunlop DVP3 for volume control as it offers a wider mechanical range. So, it's not necessarily a "one model fits all" situation.
That is exactly my findings too. i use the EP-1 for wah and an FV500 for everything else.
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it's possible that a FR bridge show stronger pitch fluctuations when picking. depends on the setup I guess.
Mine are in contact with the body (no upwards movement possible) and have quite a bit of spring tension.all the more reason to tune to the attack rather than sustain of the note as the bridge movement will happen every time ypu strike the strings anyway.
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2. The monitor output shouldn't be affected though. That doesn't sound right.
while that is true in theory I think I remember Burkhard saying that the way cab driver works it is impossible to fully disable it so there is always an effect on the monitor output. I think it is because cab driver only estimates what portion of the sound is amp and what portion is speaker but I could be wrong.
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ST there is also the issue of sponsorship/endorsement with some bigger acts. Although some of them have the endorsement gear visibible with a Kemper/Axe/Helix hidden off stage ?
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Yes you can.
You profile an amp using XLR from mic to XLR Return Input on Kemper. You only use a TS cable from Kemper Direct Output to the Input jack of the amp you are profiling. Like so...
External Content youtu.beContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.that doesn’t work for the Stage as the space constraints of the pedal board size meant they replaced the XLR with a TRS socket.
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I personally do use it for intonation and I think it works just fine, but the common feeling by our fellow netizens is that it is best to use a good strobe tuner for that application....I don't get it, nor am I an expert, but I do know enough about human nature to appreciate that it's difficult to change folks minds on certain things, tuners for intonation being one
i use the Kemper tuner in Strobe mode all the time and can’t imagine going back to a bubble style.
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something i found too- as a guitarist, you don’t need the ultra highs and lows if the primary sound in your iem mix is your guitar. If anything, it’s nice having less bottom end “polluting” your iem when there can often be enough ambient LF on stage.
That’s what I found too. I like the Shure SE425 for that reason. They are really clear and detailed in the mids where the guitar sits which makes it easy to hear myself in the mix
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good list and I would welcome many of those features.
#5 is currently possible. Right click on the parameter and you should see two options - reset to default values or reset to saved values.
#6 is an absolute no-brainer that really needs to be added ASAP -
I have used these several times at a gig where they are provided by the venue. They sound almost good if you get memory foam cushions for them. With the stock rubber ones, I could not get enough lows and mids for the guitar to sound right.
Has anyone directly compared the 215s to the KZ? I only play a few IEM gigs per year, but, I am interested in the KZ if they sound remarkably better.
I haven’t tried the KZ but have SE215 and SE425. I struggled with the bottom end on both with regular generic inserts. However, I had a pair of Snugs custom molded covers made and it totally transformed them in mich the same way as I am sure Bryan experienced when switching to the 64 Audios.
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for preamp saturation style effects, eithre try the 'Grit' parameter in the delays, or put the delay before the STACK (Eddie did it)
I know both of those options but I’m thinking more of a simple pre amp type control within the effect rather than tie up an extra effect where people want to use the saturation effect but with delays/flanging after the stack. As you know some people used to use the Echoplex turned off just for the pre amp. I’m only thinking aloud on this one as it’s not something I really need but I think I can see where the OP is coming from.
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great to hear you’re all set now.
