Oh yeah. They are truly something special.
Are these on rig exchange or rig manager? I never heard of them.
Posts by Dynochrome
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Before I got a Kemper I saw big name touring pros using the head remote combo. When I saw what they could do and how easily it could do it I knew then and there that the remote wasn't an option, but a must (for me anyway) I spent over 30 years programming complicated midi things And I didn't want to have to mess around with all of that if I didn't have to. The remote is just plug and play with cool options.
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Amp volume can be to level out different rigs. (see manual description) I have my tap tempo button set for morph so that every rig in the performance can be used as a boosted lead that raises rig volume. Hitting the same button again doesn't morph that way but puts everything back into the state it was. That way if I add a phaser, a chorus and a delay to the sound I don't have to tap dance on three buttons to get it back the way it was. When you sing lead and play lead guitar there is just no time for that monkey business.
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For compact size, instant compatibility and all the extra features it contains without programming, "The" Remote is a must IMO. I've seen them occasionally pop up for around $300.
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A common mistake with new Kemper users is to run a profile with cabinet engaged into a amp/cabinet then it causes confusion as to why it sounds so stuffy. With the cabinet off it should be OK to run into your effects return although that is going to color the sound differently than it was intended.
I believe it best to reproduce the Kemper as clearly and uncolored as possible. For me that means a powerful flat solid state amplifier and a high wattage speaker that doesn't add a lot of character.
I think you'll find one of the most surprising things about using the Kemper is how much speakers and different cabinets will alter the sound both direct and using external cabs. I've spent a lot of time trying to get my direct sound very close to the sound I hear coming out of my guitar cabinet.
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See If the thread was closed, we'd be missing out on all of this great humor.
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There is a small learning curve to getting it the way you want it. I started out using it just like I would any amp head through a speaker cabinet then moved on from there.
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Since you are dealing with a mic and latency, there will be massive phase issues.
Yes I will agree doing this isn't necessary it's just fun to mess around with. Sometimes latency can create phasing issues and sometimes it can make things sound in a way that almost no other effect can create. You can really get some wild effects and tones by sweeping a loud single repeat delay from .5 millisecond on up. (comb filtering?) If I'm not mistaken, mic phasing and latency is what created the "money for nothing" tone, But I'm not going for anything like that.
When I hear lead tones like Queen "Somebody to love" I hear the kind of fatness and slightly hollow sound that I can get putting ultra short delays (or latency) into the sound. For sure it can wreck things but it can also make them very unique and give them a great room sound.
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Wondering how many of you have ever experimented with mixing Kemper (inc. cab) with a "real" mic'd cabinet out ? The first time I tried this I pulled the microphone back as to make up for the latency with the Kemper and it turned out good, but I thought the Kemper sounded just as good without the live mic so I've never really messed with that much in the studio.
Tonight I tried it using an I5 real close to my Lynchback speaker so that it had negotiable "room sound" and mixing it with the Kemper head sounded absolutely amazing. There was just the right amount of latency between the two tracks that made it super big! If you haven't ever tried that, I'd suggest doing it once and then playing with the faders, you'll be amazed by the variation of tones that you can get! I ended up using mostly Kemper with about 70% "real" speaker on the track.
If I had to choose between the two, I'd pick the Kemper over the live mic, but the sum of the two was greater than either of the individuals. I'm sure many of us know that mixing amps and latency can create some very interesting sounds, and this is a real easy quick way to play with this. The amount of variation you can get with this is fantastic for recording. Although the amp stays the same, changing the speaker output and time makes it sound like a completely different rig being recorded also!
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Please please just a little longer!
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Ruefus Please don't change what I wrote when you quote me. I wrote "encourage a fresh start" and not "force a fresh start".
I understood he was just being a smartie. But in all honesty, that IS forcing a fresh start.
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Help me to understand why moderators feel the need to quickly close threads considered done. Sure, I understand that there is probably nothing more to say about the exact topic but if people want to chat about things, don't you think it would be best to just let people say what they want to say and let it run itself out? Isn't it better to have any/some forum activity than to cancel forum activity because it's not considered relevant to the OP's topic? I'm not necessarily a well versed forum guy (this is the only one I have anything to do with), and exactly adhere to all the rules, so I'm just asking this question. I would just think it would be best to let threads play themselves out?
I propose this as a hopefully legitimate question.
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For me the letters are way to big. I would be happier with a layout that increases the size of the assigned fx. That would be layout B without the performance name.
Well, add it to feature requests and beg for a few years like we have for D
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And so the request for Layout E begins
Exactly what I thought.
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I'm always afraid to do beta releases I'll have to wait for the full version. I hope it doesn't take as long as the last gap between them.
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Can anybody suggest any accurate Dirty Shirley rigs? I don't want to have to dig through all of the ones on rig exchange I'm looking for something at the more professional level.
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YES!!! THANK YOU!!!! Now I only have performance master volume left to wish for!
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Sorry I went OT again. I'll try to be better.
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Never forget the most important thing: no listener care about the guitar sound. Either they like the song or not.
You must include the musician's stage presence. 99 times out of 100 the average audience will be more entertained by somebody that has great stage presence playing through a gorilla 10 Watt amp then somebody that's staring at their feet with a camo hat and Hawaiian shirt through a $10,000 rig.
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My suggestion is.....none of them.
I don't feel the KPA needs IR's, I went down that path and didn't find they enhanced the profiles and it was better just to find a good studio profile.
This. If you play hard rock or metal I guarantee there is something in rig manager rig packs that will work for you without dicking around with IR and the sort. I recall years ago with the Kemper many people were using IR thinking that they could produce superior results. IMO it's just more fiddling,using the unit do what's not necessary or needed to do to get results.
Last week I pulled up a profile from one of the more metal profilers on RM and recorded it, I was amazed at the end result and how close it came to sound exactly like guitar tones produced on recent metal albums. There is no need for an expensive studio,IR, re-amping or extensive processing it was just done ready to go on an album track. There was no void in the tones it was just waiting for somebody to play the guitar.
