It gives sound very digital
shocking news - the PROFILER is a digital device, so what does that even mean?
It gives sound very digital
shocking news - the PROFILER is a digital device, so what does that even mean?
I don't know if this topic has been discussed before but are there more different kinds of reverb available for the profiler than the standard ones?
the standard ones?
Echo Reverb
The Echo Reverb is a delay combined with a reverb. In other words: a Natural Reverb with a feedback control added to its predelay to create rhythmic repetitions of the reverb tail. So, instead of using a straight delay type for a rhythmic enhancement, use the Echo Reverb for diffuse and soft echo reflections, when you find a regular delay is sounding too concrete or direct for your needs.
Cirrus Reverb
The Cirrus Reverb starts where the Natural Reverb ends. Its specialty is long, ethereal reverb tails with exceptionally slow reverb onsets. For that reason, the Cirrus Reverb does not feature a predelay. The modulation pattern is also different to the Natural Reverb: it does not build up by time but stays consistent instead.
Formant Reverb
This adds formant filters to the Cirrus Reverb to give the reverb tail more color, and a very distinctive, choir-like sound. The main purpose of the Formant Reverb, however, is not to create a realistic choir sound, but to give it a certain character, making it sound more like a synthesizer or Mellotron. The formants also help the reverb cut through the mix, even at moderate volume levels.
Ionosphere Reverb
The Ionosphere Reverb is based on the Cirrus Reverb and Formant Reverb. Featuring the finest pitch and shimmer reverbs, it builds on the concept and takes into brand new territory. Two crystal pitch shifters are embedded into the reverb, allowing you to create effects more akin to orchestral strings and synth-like sounds. In contrast to regular shimmer reverbs, the Ionosphere Reverb comprises an advanced signal structure that allows for pitch buildup settings independent of the reverb time setting. This allows you to create gentle buildups, or even steady pitch shifts, with long reverb times that don’t build up.
I’m not familiar with this pack but have looked at the link you posted. The pedals mention in the info are Boost, Overdrive and EQ. Based on this and the way the info list is presented, I am fairly confident that these were used in front of the amp and are baked into the profiles themselves.
I agree. The info on the website shows you the pedals that where used to create these PROFILEs - they are now a part of the PROFILEs, and not effects in the rig.
I deleted posts that didn't meet the required expectations of this forum.
please be nice
using less gain than you think would be needed is a way to good tone.
otherwise, phrasing nuances, transients etc. get lost in the distortion.
lots of gain gives you the illusion to sound more even and in control, but this is often just covering up unwanted variations caused by the picking hand.
I really, really like the AMPLIFIER 'Compression' parameter to even things out without choking the life out of it.
using this lets you dial back the gain
Cool Thank you , but doesnt help create the effect I'm after . For now the single delay is the closest !
are you going for a comb filter / karplus strong kinda sound? cause that's where I was going with the Quad Delay and super short delay times
only option here is math : use the quad delay, use the quad delay, set 100ms fot delay 1 and 2% for the second delay, set the level of delay 1to zero
nice thinking!
however, Delay Time is set for Delay 4 - therefore you'll need to turn down Delay 4 Volume to zero.
if you set the delay 'To Tempo', 1/32nd and set the Rig Tempo to max (256bpm), you'll have a 29ms delay - does that help?
(FWIW on the Rack/Stage etc. hardware, the delaytime can be dialed in as low as 1ms using the front panel)
menu item Help -> Check for Software Updates
A few members on here told me to just quickly switch to the next profile down the list. That seems to work very well and get you out of ear boredom.
my experience is quite the opposite.
by quickly changing amp PROFILEs, you also change the cab portion (speaker, mic(s), position(s), mix), which is something that can't really be done with traditional amps ans can lead to severe ear fatigue.
I recommend giving each PROFILE some time, adjust your pickup selection, picking style and see where this takes you.
the Kemper Factory Content 11.0 Rig Pack in Rig Manager will give you a broad view of selected PROFILEs by numerous producers.
play through these in case you haven't already
here, you'll find many unique PROFILEs: Old and Forgotten amp profiles
install pickups you like and that do what you want them to do - here's a very flexible layout for a Strat I've used for years of playing live and recording:
bridge: SD Hot Rails
middle: GFS Gold Foil
neck: Fender '57/'62 single coil
expand you playing techniques to be able to do tight metal chugging, jazz comping and sycopated funk rhythms as well as fingerpicking (Knopfler).
this will have much more impact on your tone than just choosing another amp (PROFILE),
a great PROFILE will even be able to cover more than one sounds described above.
try the Green Scream - (very) low Gain, Volume boost as needed (-> results in more amp gain) and Tone set to your taste (usually around noon)
add bass with the Tonestack
there is usually one (!) tone someone is looking for first and foremost.
often, it is a crunchy Marshall, for others a AC30 with a nice, dynamic drive that you can control with your pick.
Some will look for a 'boutique' clean/crunch tone or for a Rectifier/5150 no-nonsense distortion.
my point being - figure out what you are looking for, then hunt for matching PROFILEs of this amp in the Rig Exchange.
Play it for a while, just guitar and PROFILE.
Once you have this, expand your tonal vocabulary as needed.
Be aware of 'similar' tones from other amps - if you're looking for Vox style breakup, also try the Mesa Transatlantic for example.
Try the free 3Monkeys Orangutan PROFILEs, they're great and lots of fun.
Many gems are to be found in the Rig Exchange, but you need to know what you are looking for first.
what makes a Magnatone tremolo different from one of the released tremolo types?
glancing at the website, the Tube Bias Tremolo should be a good match
davidr1959
please change the title to standard (non CAPS-LOCK) formatting, or this thread will be removed.
thanks
Hi all, there are times when I wish I could get just a bit more chime from my profiles (tonejunkie, mbritte). They sound great, but there's a certain high end chime that just isn't quite there. Any suggestions? Simple as turning up the presence? Are there any controls in the cabinet block I should try? Thanks!
As the PROFILER is extremely faithful to the input signal, make sure your strings are still up to the task.
Monitor at a reasonable volume (not too quiet) since the human hearing isn‘t linear at all.
Increase Definition.
Reduce Bass, sometimes taking away the opposite of what seems to be missing is the solution -> not enough top end? use less bass
It has 2x tubes (Mesa ones !!!)
that's just the label
shouldn't the compressor make the volume difference between wah on/off smaller rather than bigger?
it is a common misconception that compression 'makes soft notes louder and loud notes softer'
A compressor with any attack time will let the high level transient through, then react to the crossing of it's threshold value and lower the level of the decaying note, thereby emphasizing the attack, resulting in the classic Funk or Country 'pop' at the beginning of a note.
One of the first uses of compression was on drum tracks where it was used for the same effect, to give a snare more 'snap' while reducing the ringing, making it more focussed.
The best way to make a guitar signal more even is saturation/breakup/distortion whatever you want to call it, since it operates without having an attack time.
please keep this thread on topic (see title) - open a new thread or continue another exsting thread if you wish to discuss other content that the original topic.