Personally I had the opposite impression. š
But maybe it depends on the cabinet and the speakers used.
I did my tests using 1x12 speakers with Kemper Kone and with the excellent and underrated Celestion F12-X200. Studio profiles, no imprints.
Posts by archverb
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I simply think that different levels of approach to KPA are possible.
The simplest of which requires no more effort than an amp with some pedal effects.
Kemper's fault is to continue to increase the potential of a digital product 13 years after its release on the market. To me, who have happily paired it with various top amps for 12 years, it seems like a miracle.
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I don't think there is any relation to compression. Except that a high gain sound is naturally more compressed than a clean sound.
Above, although perhaps poorly, I still tried to describe the function.
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Hi archverb. Thanks for the reply. What youāve said clarifies the moving knob issue but, as I said in my original post, setting the clean compensation knob to any value has no compensation effect. So when I reduce the amp gain the level out of my rig gets quieter and quieter. This remains the same irrespective of the clean comp setting. Cheers. Jon.
Hi Jon
This is because the profile you tested was originally low gain.
You could try setting clean compensation to 10 and using a original high gain profile.
Compensation occurs only by lowering the Gain of a starting high gain profile
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Clean compensation
adjusts how much, as the gain is reduced, a volume compensation occurs, which ensures that the volume is not reduced together with the gain. With a value of 10 the volume always remains the same, with a value of 0 it becomes much lower.
No knob will move, because what changes is the relationship between volume and gain as the latter varies and not the volume of the amp section or rig
The beauty is the ability to adjust it for each rig.
In fact, certain amplifiers, particularly single-channel ones without master vol. they increase and reduce the volume greatly as the gain varies, so if we want the profiles of these amps to behave like the originals, the compensation must be reduced.
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I'm having trouble understanding what you mean, but with Rig Manager desktop, between presets, copy and paste and the lock function, there's nothing you can't do...
at least for the big brothers
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It was a general discussion and in that case I wouldn't want to find 20 liquid profiles for each channel or switch.
The same goes for varying cabs
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My guess is:
- They want to give you the most bang for your buck. You paid, you should get the exact profile you want.
- They may all sound similar at low volumes. But may be different at very high volumes...
This is correct in general, but not in the particular case of liquid profiles.
If we still have to try and select between 20 rigs of a certain amp, to find the right one, the liquid profiles lose their meaning.
Then, due to how the profiler processes the data, a liquid profile generated by hign gain settings will contain a lot of "information", so we will also obtain excellent low gain sounds; but the opposite is not true.
A liquid profile generated by Low gain settings does not always allow you to obtain good sounds by increasing the gain.
So this last type of liquid profile is not that much liquid...
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I don't understand why in the liquid profile packs of some manufacturers there are so many liquid profile versions of the same amplifier. If done well, unless you use different cabinets, one or at most two should be enough...
What's the point of putting so many versions (among other things, it's not good to obtain liquid profiles from low gain profiles) with some minimal differences in eq settings;
Wouldn't it be better to add a nice direct liquid profile?
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What is clean compensation ?
I'll say it in my own words...
Adjusts how much, as the gain is reduced, a volume compensation occurs, which ensures that the volume is not reduced together with the gain. With a value of 10 the volume always remains the same, with a value of 0 it becomes much lower.
For example, it is an indispensable function with the liquid profiles of many amplifiers. Without which there could be no correspondence with the original amps
Fantastic!!! Congratulations to the Kemper Team
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Hi
I find the Vintage Sound Project Rig Pack really good and usable, so I was wondering if there were other Carsten Litfin profiles on sale somewhere.
I searched on the internet, but I didn't find anything.
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Hm not the worst idea ever. Could also be hard to make useful though.
Can we stop the "use your ears" argument please? We all do that but sometimes it's nice to be able to sort by gain, and perhaps by tonal profile.
Tonal profile?
Compared to what?
We are not talking about variations on a certain profile.
But to visually evaluate hundreds of profiles based on the level, we don't know measured based on what, of four frequencies???
It wouldn't be possible even if we passed a single white noise into the KPA, instead of a complex guitar sound.
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Maybe it's because I'm old, š but I don't understand this now widespread refusal to use your ears.
And anyway, what would be the reference zero of such an equalization?
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Maybe I didn't understand your necessities well, but if you paste an ir in the cabins slot you will have all this
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I don't know if this helps, but something like this happened to me after an OS upgrade with my Boss Fc6 switcher disconnected, which I had previously associated with the looper functions. I only solved it with a total reset of the Profiler.
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So... there are at least two of us
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Certainly. The important thing is that "that specific cabinet" is present in the chain, even during the creation of the direct profile.
After that, using the best IR, dynamic IR, latest generation simulations of "that specific cabinet", which didn't even exist a few years ago, I will obtain excellent results, often better than the original studio profile . Especially when this was made with equipment andrecording environments that were not at the highest levels.
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you are looking for Merged Profiles
I have certainly considered merged profiles. If they were done in a genuine way they would respond to what was said above; therefore each merged profile should have a "direct component" referring exclusively to a specific cab/speakers. Generally, many of those in circulation instead use a "direct component" that is good for all seasons...
Ignoring precisely those interactions between power amplifier and speaker that I mentioned.
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I tried the free pack. Very good!
The profiles are the way I like them, without overlapping effects, which mask the true sound.
It all seems to be based on substance, so I think the packs can represent the profiled amplifiers very well.
I'm old, so let me give you some advice.
Given that there is a lot of competition out there, perhaps too much, and it is also very complicated to switch to artfully done recordings with more than one microphone; perhaps you could concentrate on direct profiles of the type that I have indicated in this thread, where unfortunately you, being producers, cannot intervene.
Your "clean and honest" way of conceiving profiles would make you very suitable for the purpose
Anyway, good luck with your new business!
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When, 12 years ago, I purchased the KPA the direct profiles were designed exclusively for live use with a guitar cabinet.
Today, with the level reached by IRs, with the advent of the brand new dynamic IRs, with the spread of hardware IR loaders of all types and sizes, with various increasingly credible cabinet simulators, direct profiles could have their revenge,also in studies and recordings.
E.g. Personally, using both the York Audio impulses and a UAFX OX Stomp, instead of the cabs present in the various profiles, I almost always obtain much superior results.
And that was just the premise...
So I wonder why in the packs on sale, for each amp studio profile with a certain setting and a certain cabinet, the corresponding direct profile done properly is not given.
That is, complete with counter-reaction and mutual interaction between the power amplifier and the speakers of THAT CERTAIN CABINET with THAT SETTING.
So not a direct profile obtained through any load box, thrown there among dozens of studio profiles.
As all profile producers know, to achieve this it would be enough to insert a DI Box suitable for the purpose, at least such as a BSS AR-133, into the speaker cable (kept as short as possible).
So that every time a studio profile is finished, the output of the BSS is sent to the KPA return instead of that of the mic preamps. In 2/3 minutes each profile would have its direct version, on which specific IR or cab simulations could be added.
Why not do it?
And it would be great for liquid profiles too!!!