Posts by semguigui
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Ah, did not know that. Thanks I will definitely try it. In the meantime, I played around a little more with ampfactory profiles and have gotten it close. Thanks again!
Hello!
I felt on this topic for the same reason you started it I guess ... how close did tou get? did you share it on rigexchange?
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Hi all !
I wondered if it was envisageable to design one or two pieces of hardware :
- one that would be plugged in the USB port of the toaster, and that would detect WIFI signal, so that the ipad app could work even with the toaster
- one that would be plugged at the input, and into which we would plug the guitar, intented to reproduce the input impedance setting only available for stage units otherwise. (the thing that makes fuzz pedals interact with the volume pot of guitars, you know)
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http://fuzzquest.blogspot.com/…z-songs-of-all-times.html gives a starting point for exploring fuzz tones
yes ! exactly what I meant ! thanks for this and for your longer experience sharing before. For some of the songs in this list, I knew it was fuzz, and I definitely felt in the same universe when I tested the kemper fuzz yesterday. I'll explore more the rest of the list.
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I never used any fuzz before, but, as everyone, I really like the kemper fuzz. Just an idea to make it even more inspiring : why not editing a complement to the "legend tribute pack" or create a new one ? What songs would have to be in the list?
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It's funny, recently I was thinking about something a bit like what you propose, and hesitated to post something....
I'm curently working hard on a song, and I found a rig that is almost the good tone, but I feel it needs some fine tuning to be better. And I was about to post something to propose the community to help me in dialing it, a sort of "collaborative tone matching thread". In my mind, with time different evolutions of my initial rig, or even other new ideas to match this particular tone would have come, and people could have voted for their favorite one(s) etc... But in fact what you propose could be a way to do it, what do you think?
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Yes, HS and KRK were the two I had in mind at the beginning, with the Eris series too.
In fact I'm surprised than in most of the answers (okay it's not large statistics...) you seem to all have <7 inch speakers. I thought people would like more the bigger ones because guitarists are used to 12" guitar speakers that moves more air etc... It's maybe because I'm more minded like someone wanting to play guitar through the monitor than like a home studio producer wanting to mix?
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Hi guys, Thank you very much for sharing your experience, sure it helps !
I will definitely give a try to these JBL305, and probably do a A/B comparison with 8" ones before I make a decision. I think that the bass behaviour is important, more than the loudness, and if good 5" monitors are actually enough, why spending more?
just to share also , I play classic blues and rock tones, I also have the Kabinet, which I kept because it's by far the best 12" speaker I've ever tried, and it has this Amp in the room feel. Even if I didn't have yet the occasion to try it loud in a rehearsal (because of lockdown), I'm sure it will make the job nicely. But in home situation (lower volumes, practicing over backing tracks), the mic'ed sound (by opposition to the Real AITR sound) is definitely the one I prefer, and the kabinet, even in full range mode, is unfortunately not as good as monitors for this task, I find. So the will to have both.
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Dear all,
I'd like to hear from experienced users some tips on the choice of studio monitors for my Kemper.
This would be for playing at home primarily, but I wonder if the loudest ones (say 8 inch) could be used for rehearsal also.
My basic questions are :
Is there a precise speaker size I should choose depending on some criteria? for instance, in the past I really LOVED the sound on a pair of KRK Rockit 8inch I had the occasion to test, but it was in a quite big room, say 50m². What if I use it more in the corner of the same room, where my desk is, and with a big bookcase (which is in fact a wall) behind me at 2.5 m? should I use smaller ones ? why?
Would you use it for rehearsals (the 8inch ones were really loud, but would it be enough?)
Is there a sort of rule with the performance/cost ratio? the KRK I tested were something like $400-500. What do we earn concretely with higher quality lines of products? is it worth given that I won't play in an acoustically optimized room like a real studio anyway?
Best
Guillaume
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Hi all,
I've notice a little bug in the beta, well reproducible on my kemper at startup :
-switch ON the profiler in browser mode, so that it recalls the last loaded profile which must have the kemper drive active. (in my case it's with the 808 mid preset)
-press-long the slot button where the KD is, to display the edition page (slot B in my case)
-turn the "type" knob to display the page with the "catergory", "type", and "preset" columns
-normally the last column ("preset") isn't well initialized (it's on a WVOW preset instead of the 808mid, so that if you attempt any preset change, the slot turns into a VWOW effect)
It seems that it's the case only at the startup until you access the menu and retreive the right settings once, then everything seems to work the correct way.
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As other have stated, it also allowed them to make it easy to sound good..... which is also a key Kemper USP (Unique Selling Point). It is just easy to make things sound good.
I was one of the guys who stated that, and for me that's what counts, I'm not good or geek enough to take any advantage of the Fractal approach.
But I can also understand the other point of view, and if I remember well, Kemper themselves say since the beginning that thanks to their tweaking options the musician can explore and discover new unexpected sounds, or something like this.With the Kemper Drive philosophy (which again is all I need and like in Kemper, the "USP" you talked about) one can't really explore out of the sweet spots, these musicians who likes this freedom may feel a bit restricted to "stereotypical" sounds. (but just stereotypical sounds can do already a lot!!!)
Maybe Kemper will please this part of the users one day by implementing individual stomp models (even though I thinks it's more the Fractal way of thinking), but for the other part of the users it was definitely a better idea to start with Kemper Drive . Thanks!
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Can anyone confirm a bug in 8.0? Using the Monitor out to a Kone and the speaker imprints aren’t working...
edit: scratch that. Seems it came back after changing rigs.Yes I had exactly this bug once. I was in browser mode, and it was one of the very first try after the installation of the OS and RM.
Actually, I can remember the the Monitor Volume in the outout page went to zero alone, because I just moved this and the sound came back. (Maybe I also tried to change Rig before, don't remember)
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On the debate about "is it better to have one complete model of each original pedal or Kemper Drive?", there's something else that could be said.
Some people like me didn't choose Fractal because tweaking was a nightmare for them, and Kemper proposed tons of immediately usable sounds, in addition to very intuitive settings that don't exist on real amps (and on their models by definition). Well, to me this Kemper drive does it again ! Ok some aspects of the logic is a bit hard to understand and I'll never be able to target a pedal type and retrieve the right numbers of the settings myself from scratch, but the presets with the right names are there anyway, and it's largely enough to make it very simple. The numbers I'll never remember, but the names Yes, then tweaking to taste from a good sweet spot is okay for me.
Another thing I was thinking is about the notion of "sweet spot" that I've never heard before and that I find very interesting. To me it means that among the say 10000 possible settings of a stomp (10^4 combination for a stomp with 4 pots from 1 to 10) only a portion of them sound "sweet", am I right? This explains mainly why tweaking is a nightmare for me... So we can see the Kemper drive as a pedal that navigates from sweet spot to sweet spot of different stomp models. And the good point of it is that among the 10000 settings now, you mainly (if not only) have sweet spots. That's at least the feeling I have when I play with it, and I like it a lot.
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OK, I got it now
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thx, yes it makes sense.
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I can't really understand this in the addendum, does someone see what it means?:
"Drive
Controls the amount of saturation. The middle position is equal to the TS808*. At maximum, Drive is a bit higher than on the TS808* and equals that of the Timmy when its little switch is in the down position."
in the middle position, it's equal to the TS808... but the TS808 at which setting? the TS808 can be set at many different drive setting right?
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Profiled the pedals? I didnt know they could do that. I wonder if that is something we would be able to do.
No it's an algorithm, not profiles...
According to the addendum, Drive is one single algorithm that can make all the simulated pedals (depending on the settings/presets you choose), except the Fulltone OCD which has its own effect type apparently.
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YES !!!!
still 6 hours before I can go back home and test it... it's gonna be long!
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'guigui'? You a programmer?
not at all... it's a nickname. -
Hi Rob,
I didn't change the dimensions that Celestion give. I just did the round cutaway in my grill cloth frame where the speaker is too close to the edge. (see photos)
In my case, by luck, I don't need to use velcro or anything because it holds very well alone. IN fact i chose to reduce by only 2mm the frame dimensions compared to the frame into which it has to be inserted, but with the added thickness of the grill cloth plus the staples, it's just enough to force against the frame, and when I add the last panel (see photo) it holds very well and i don't perceive any parasitic vibration (until now at least)
