pretty sure its intended behaviour
Posts by Wheresthedug
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looks fine. Any speaker cable will do really.
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then they’ll sound great with your Blues Jnr profile too ?
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Thanks guys.. Im getting more familiar now with all this.. I'm a old school guitar player.. Guitar to pedals and to tube amp... so all this is new to me
Pedals?
You use pedals?
Them thar new fangled things on the floor?
Call yourself old skool! Them's modern day sorcery I tell ya
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Burkhard surely you are aware that the answer to every question is "we need more morph groups to control delay/rev mix in real time". It's like the number 42 in the Hitch Hikers Guide to the Galaxy. The answer is correct the questions is wrong
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I dont understand, the mic is pointed at a live signal from the amp to the cabinet. I would assume it is picking up that signal from the mic'ed cabinet no? Lets face it...the Kemper is great but it does not profile/copy 100% of the same exact tone coming from the amp and cab. I understand mic choice and placement has allot to do with it though.
The mic is facing the speaker which is being driven by the amp that your guitar signal is going through. When you refine the profile the KPA compared the signal from the reference amp and the profiled rig and analyses the differences. If you feed a Rush track through the mic during profiling it has nothing to compare against. Yes, it would hear the Rush track but it wouldn't have your playing to compare against. In fact if it did pickup anuthing it would give totally weird results as it would be seeing your input notes and attack and comparing this to totally different notes and playing dynamics so the KPA would basically see the two as so different it would just go WTF and probably explode
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addition morph groups would be fantastic to allow a pedal to be permanently allocated to Delay/Rev mix.
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So doesn't matter how good I get a guitar tone in my house with an FRFR speaker when I go to a gig it will sound different through the PA?
Yes, it will always sound “different” at the gig because of the different room acoustics (it will actually sound different at soundcheck when the room is empty compared to when the audience fill the place), the PA, sound engineer, rest of band etc. However, that doesn’t mean honing your sound is pointless.
An album will sound different on every playback system, because of the room/car/headphones/speakers/listening position/etc..........and none of these will sound exactly like it did in the studio when mixing. A good mix is one that translates well to as many different situations as possible.The same is true of your Kemper rigs.
If you have a good basic tone it will translate well to multiple environments and situations. It will sound “different “ in each one but should still sound good. In order to get a good sound that translates well you want to be able to hear as much detail as possible. Good studio monitors or FRFR in a good sounding room at fairly loud volume is usually the best starting point. But remember, you are not trying to get the guitar to sound exactly the way it will sound through a PA but rather a sound that will translate well to many different PAs.
At least that’s my view. Others may disagree. -
The mic that is was originally pointing at the tube amp/cabinet when profiling was done.
that’s not how refining works.
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As Don said. The TS OD circuit includes quite a bit of clean signal which doesn’t sound great hitting a totally clean amp. The classic TS tone is usually achieved by running the OD into an amp that is already breaking up or at least on the edge of breakup.
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That sounds strange. I haven’t personally noticed anything like this. A clip would be helpful.
As it only happens in certain rigs I would start troubleshooting one of those by turning off everything except the Stack Section. If it is still there then I would go through each parameter to try and isolate what is causing it.
Some ideas that spring to mind include,
Noise Gate in the input section might be higher in those rigs and is getting confused with the lower input of a rolled back volume.
Definition,Pick or Clarity set very high
I’m just thinking out loud at this stage but might be worth starting there. -
As Roeffel said, its a mater of personal taste.
I played for 30 years with a Mesa head a a pair of 112 cabs. I loved the sound and feel of the thump and trouser flapping air movements but I could never get the guitar to sit right in the onstage mix where I could hear myself without drowning out everything else. Then I got the KPA. I bought powered because I thought I would end up using a real guitar cab. I did a few gigs that way and it was OK. Then I went full in ears and it was a revelation. All of a sudden I could hear everything properly. The only down side is that the singer sometimes likes to hear a real cab on stage so I was running the mesa 112 so low that I couldn’t hear it over the IEM but it kept the singer happy. I now have a Kone as well but haven’t had a chance to gig with it due to COVID but it sounds amazing at home so far. -
So, I don’t want to adjust the input section. I want a humbucker equipped guitar to be hotter than a single coil guitar.
I agree with nearly ever you said. I personally rarely touch the input settings either but I can understand why it may be necessary to do so with the Kemper even though you wouldn’t do it with a “real” amp.
the difference is that the Kemper has a built in automtic level match for clean and dirty sounds. I believe CK said this was a by product of the way the KPA was designed to get maximum performance from signal to noise ratio. Therefore, hitting the front end with a hotter or cooler signal can adversely affect the balance between clean and dirty rigs (or simply riding the volume control as you would on something like a Plexi). The Clean Sense and Distortion Sense can be used to compensate for this and allow the KPA to perform like the real amp would. -
Running Bug Sur on an old iMac with no issues.
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If I spent as much time practicing as I do playing I would make John Petrucci look like the Ramones.
now that’s something I would pay to see, Dream Theatre do the Ramones ?
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if you just want precise control of a simple delayed signal you can use Dual Delay. Set one side to 0ms and the other to Xms as required.
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Now I have to figure out how to go from clean to dirty using one rig without having to click the foot controller thru rigs during a take. I remember reading the Parallel Path setting for the stomps section can increase/decrease gain with maybe my exp pedal. Any other way to do that? Go from clean to crunch/dirty smoothly without clicking a distortion stomp on?
as others have said, using the guitar volume or morph for gain work very well. The guitar volume option works exactly like it would on a real amp with those settings. However, if you want to be able to doit without reaching for the guitar’s volume knob during a take you can use a volume pedal placed before the Stack. You can even set thos with a minimum value greater than 0 so that heel position corresponds to your clean sound rather than silence.
On a separate note, you seem to have a fixation with Parallel Path ? While it has some uses I don’t think it is the most appropriate solution for some of the situations you have described so far. Try just using the Direct Mix in the stack section (manual P147) to add that clean attack instead of creating a separate parallel path. -
I can't see any point for parallel compression for guitar.
I am not a huge compression fan but the only compressor I ever managed to get on with was my Cali 76 and the thing than made it usable for me was the parallel compression feature.
it would be a good thing to add a mix parameter into the comp stomp !
It's a;ready there on page 2 of the edit menu.
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Can't an unpowered Kemper send a main out signal with cab unlinked from the volume control to the board and Monitor out controlled by volume knob to powered speaker or amp/cab? I don't understand any disadvantages besides having to lug a power amp or heavier powered speaker around.
I think Guy is saying that with an unpowered KPA you may need to adjust volume from the external power amp or powered monitor which may ot be situated in as convenient a spot. Adjusting the volume knob on the KPA itself may send a sub optimal level to the input of the next stage and either clip the inout or have poor signal to noise.
