+1 on everything already said here.
And yes, facing around 1500 different factory rigs, is huge. To narrow down your search, keep in mind you can sort them by gain in Rig Manager. Then you can get a quick test with every rig built with same gain (say: clean, middle crunch, heavy, or whatever), in a few minutes. IMOE, a much informative experiment.
In case you intend to connect the Stage monitor output to a mixer XLR input, pay attention to any 48V present on that input. Could be davastating!
The rock-solid solution would be a transformer isolation box (as jaeger 28 suggested).
In case I would, perhaps a very good single crunch rig would do.
For exemple: a single amp, no fx, set in a single performance with different gains. Could be labelled with adhesive tape and marker : #1 “very light crunch“, #2 “light crunch“, #3 “crunch“, #4 “deep crunch“, #5 “very deep crunch“.
Sorry to be off-topic, but I would be very reluctant about jammers stepping on my Profiler-stage. Exactly as I would be about jammers playing my guitar and mandolin.
Just in case you're in need for more confusion:
- semi-distant miking Oktava MK220 cardio setting
- close miking Shure KSM9 cardio setting
(own voice proofed only, baryton type).
The main attraction of this over other expression pedals for me is the use of magnetic pots rather than traditional physical pots which inevitably wear out.
And you can set it to be 10k or 50k, which is fine.
Some hardware synths require 10k while others require 50k.
Anyone had good or bad experience with this expensive one?
BTW, my Kemper Stage Swanflight case is not the standard one, but built on order.
As small as possible: no rubber feet, no extra space (for I always carry another case for jacks, iem and accessories).
On tour, my Kemper Stage travels within a Swanflight case.
IMOE very reliable.
For less weight and durability, you'll chose the "flightpannel" option.
Not that cheap, but IMHO, worth every cent.
I have had many Swanflight cases, and still very pleased with them.
The people at Swanflight make optional designs drawings in seconds, and provide good advices and informations.
I just wanna connect a mic that needs phantom power through the rear alternative input, so I can record it in my DAW.
Ok, Akototh.
AFAIK, few chances you get good results without a real dedicated mic preamp.
But experimenting is still fun, and, for sure, experimenting is learning.
I don't get exactly what you wanna do.
But AFAIK, most of phantom power devices are designed for connecting to balanced inputs (XLR or TRS). Not unbalanced ones (TS).
Angeljohng, your question may disappear if you switch to using the same iem on stage and in studio.
But, on stage, you will *feel* some sub-bass and low-mid from the PA, added to your own iem sound (depending on the mix and the PA level).
This may produce a noticeable difference in your perceptions.
That's why, when I'm doing critical tweakings in my Kemper stage, I sometimes set a fat big ambiant guitar sound in my studio. So I get some sort of *stage proof listening* with my iem.
My prefered ones are WestoneAudio AMpro30.
These are semi-opened ones : ambient noises and music are heard -12dB. I will not say they are perfect, but they help me much in playing, and most of all, singing right.
I also own some Shure 535, which are certainly much wider frequency range, but they don't help me singing right, and of course they are closed type.
BTW the AMpro30 are presently discontinued.
IMHO, extended bass frequency range and bass prominent devices are to be avoided when it comes to IEM.
You will always hear and feel low frequencies thru your head and chest from any high level PA. So some sort of little weakness in deep bass is a good thing for feeling right with IEM on stage. As usual YMMV.
Jus sayin', my buddy playing sax and bass clarinet is totally happy with his Shure 215.
[...]Some bands simply have too much of a boost on lead tones[...]
... and when the lead part is ending, they don't like going back to previous level.
In case you need a buffer, my own experience with TC Electronic BonaFide is very good.
No colour added. No noise added.
IMO, reasonable priced for what you get.
Kudos to Kemper for this new box.
You nailed it again!
My two cents:
- perfect Kemper stage backup is... a second stage.
BTW, in case of a total wrek with my beloved Kemper stage, I can borrow a real tube amp and I still know what to do with it.
- IMHO, anyone who can afford the PLAYER unit AND is mad about stompboxes, has already some sort of stomp-switcher device in his (her) pedalboard. AFAICT, the very few I know do.
Maybe not the concern you're dealing with, but:
Connecting my macbook to my Kemper stage thru usb, did bring a significant hum on main outputs.
Inserting a "Keterex USB-150 Full Speed Isolator“ on the usb line solved the case.
Not that cheap, but this thing saved my gigs many times in different situations.
Thanks very much, RosboneMako.
I'll try to go that way.
Thanks very much Lightbox.
This will help me in tweaking amps.
I do use my ears, but i'm still in doubt about some Kemper features.
In case you have time and wish to go further, I'd very much like to see studio equaliser curves for :
- high cut
- low cut
- steep low on/off
- steep high on/off
Regards
dAn
