Posts by Vinny Burns

    Reading all the posts with interest.

    I don’t think I would personally have a use for it as it stands.

    No IEC mains socket pretty much ruled it out for me straight away for using it anywhere near a stage.

    Also, the 4 FX slots while great having the reverb and delay slots post amp still… well again, the pre stack slot effects are no good for things like chorus or pitch effects (for me).

    I really do not like the sound of a chorus in front of a high gain amp. Although, I do use a tiny tiny fraction of flange before the amp block. That flange is only on about 17% mix if I recall correctly.

    Then, after the amp slot, I use a micro pitch shift and a chorus before delay and reverb.

    I already have two stage units (one a backup) for gigs and a toaster and remote in my studio so I guess this Player isn’t for me.

    On the positive side, to use it as a tool to carry all my amp profiles to a studio in a tiny box is pretty cool.

    I have been wanting the concept of a player version of the Kemper for ages. Especially for using at other peoples studios and fly gigs.

    In my mind though, it was a smaller unit than the stage but still with an with IEC socket that enabled you to use the full rigs and not stripped down ones.

    I would have been very interested if it didn’t have the external power supply and had more effects slots. Especially post amp modulation effects that could be used before the delay and reverb. Few other things too from reading the specs. Pitch block etc.

    Anyway, good luck to everyone at Kemper with the new Player and I hope you sell a ton of them.

    Been using my Fulltone TERC Tri Stereo chorus on a session in my studio recently. Really needs that.

    CK did tell me there is a chorus in there that does the Tri Stereo but when I tried it, it’s nothing like.

    Anything that could default to the ‘Preset’ setting on the actual Tri Stereo with no messing around would be fantastic.

    We also need independent control of pitch and delay on each side of the micro pitch shift in the Kemper.

    Its why I went with the power rack to avoid the additional need for a power amp and just plug straight into any cab, but its great there are so many options...Im tempted with a stage because of the form factor...

    Yes, the form factor of the Stage is brilliant.

    I weighed up the Power Rack Kemper myself but I just didn’t like the look of that flimsy Ethernet out. It’s always an accident waiting to happen.

    Then, the workaround with a back rack panel and injector brought a wall wart power supply into the equation.

    Wish they would just put a Neitrik ethercon on the back of the rack version.

    Still need to send you the SLO profiles Guy.

    As was mentioned, an amp of the exact same model can sound different.

    I have two Marshall 50w non master Lead amps from 1978 (model 1987). They are only 3 serial numbers apart.

    One aggressive and the other more polite. Even after being serviced by Marshall, they retain these differences.

    Probably just something to do with what was in the ‘parts bin’ at Marshall the day they were made.

    My 68 small box 50w Plexi (also model 1987) sounds nothing like the two heads above. Even more aggressive with more gain.

    So, I think people can still look around for the Liquid Profiles that suit their particular needs.

    As also mentioned, mic’s and cabs make a huge difference. Yes, you can have a DI profile but you have to take into account the difference each cab and mic will add to the sound. Especially taking into consideration finding the ‘sweet spot’ of the speaker before profiling. Something most IR makers don’t seem to do.

    Yes, they take and offer a lot of IR’s but this just seems to be a case of them moving the mic across the cab at different points without actually listening to find the ‘sweet spots’.

    The initial sweet spot is dead easy to find. Just get some headphones, route the mic through the headphones and sweep the mic across the speaker. Up, down, left and right. No guitar used, just the hiss of the amp through the speaker listening on headphones.

    Do this until you find the most intense and loudest hiss. Mark it with a chinagraph pencil and move on to the next speakers and do the same. It will be in a slightly different spot on each speaker but so easy to hear.

    After doing this, the sweet spot will always be under where you have marked each speaker unless you change one out.

    Don’t use tape to mark it. Do a test with taping the spot and compare with using the chinagraph pencil. The ‘taped’ marker will sound duller.

    All the above, I tend to use an SM57 (sometimes paired with an AKG 451).

    For lead sounds, go for a more throaty sound when sweeping the cab with the mic. It’s almost the opposite of what you have just done above when you were looking for the most intense hiss.

    This one is more difficult to describe as sounds often are.

    I normally use an AKG 414 for lead sounds.

    So, cabs and mic’s make a huge difference.

    Have fun and ‘get sweeping’.

    I've never heard of a tune-o-matic collapsing. Is that a thing? Must have taken some heavy hits.

    The Nashville on my 79 Les Paul Standard is collapsing. You just need to put something known to be completely flat like a FretFriend on the base to see it .
    Had to have the Nashville bridge on one of my 78 Les Paul’s done a couple of years ago too.

    Bluetooth generally has far too much latency for ‘real time’ playing.
    You don’t notice it if it’s just streaming music. However, if you then want to play along with that music through the Kemper in real-time, that is where the latency becomes a big problem.

    Maybe try a wireless ‘in ear’ system instead?

    As a mere mortal, playing guitar for fun in pubs and clubs, I still find this stuff amazing...

    My band used to cover Cold Sweat so live that song and great to see Darren on keys, still can't believe he was in Thin Lizzy!

    Such a great keyboard player. He was so young and so talented when he did this Lizzy Thunder And Lightening album and the Renegade album before it. Angel Of Death is still amazing to listen to.

    Yep, Darren Wharton and you always on my radar with Dare... I like this one from the early years a lot!

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    Thank you. Yes, that was our first single and video from our debut A&M album Out Of The Silence in 1988.
    Quite literally a whole life time ago. 😂

    I was only 22 when we started this album and had my 23rd birthday during the recording.
    The girl in this video went on to play Shelly in Twin Peaks.

    Is it 40 years ago already? Wow, time flies. Still so fresh and striking what Lynott & the gang deliver here. One of my alltime favorites since then 8)

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    My bands singer is playing keyboards in this video.

    I know, but it still needs a power cable for the power supply. Just call me OCD 🤣

    I don’t know what the Lehle takes but I have been using a Volto to power my Shure GLX-D16 on my Kemper Stage pedal board. In fact, I have two of the Volto (they are the last green version they brought out and the second is a backup).

    While it’s powering that Shure digital receiver, I am getting about 5 to 6 hours out of the Volto.
    They are supposed to be bringing their new version of the Volto out but it’s been delayed by over a year already.

    Great little problem solvers. I only used the Volto’s as I don’t want any wall warts onstage.
    I would imagine with something that is drawing much less milliamps, you would get many more hours out of a charged up Volto.

    I agree 100%. Just trying to offer solutions until Kemper decides it is an issue and addresses it. :thumbup:

    I also like to try and offer solutions for people landing here from a Google search with similar concerns.

    Yes, I understand that.

    I have played guitar on well over 30 big label released albums since 1988.

    Worked with Mike Shipley, Larry Klein, Mike Stone, Keith Olsen. I know the workarounds. It’s not my first rodeo recording or EQ’ing an amp or getting a guitar sound in the studio or live. .

    I don’t really want a workaround in this instance . I am just trying to make Kemper aware of it.

    I don’t want to start second guessing how to get the bottom end ‘similar’ to the way the amp is already sounding. The amp already sounds great.
    I already have sounds out of the amp, cab and mic I am happy with.

    I know what I ‘can’ try with all sorts or post eq and pre eq. You are completely missing my point.

    When we mix an album, we cut low end on a song per song basis.

    This is not about that.
    It’s about the Kemper adding something that is not originally there on my own amps that I am profiling.

    Vinny isn't comparing what he is hearing in the room with the profile. He is comparing the output through the mike and DAW to the profile so is valid.

    I don't profile much myself but a few people are calling this out so it would be good to get some input from Kemper. It also feels like its a more "recent" issue so curious if something has been changed in the profiling process.

    Only Kemper can comment on that..

    Yes, spot on.
    Mic plugged into Kemper and all is monitored through my DAW from the Kemper main outputs.

    Cab is also being mic’ed in my live room next door to me while I monitor all this from my control room.
    The Kemper refine process is fine for me on all other parts of the spectrum, it’s just this added extra low end that is the problem.

    I can try and use my Focusrite 828 preamp in between the mic and Kemper and use it’s roll off filter to try and lessen what is happening with the Kemper.
    But, that doesn’t change the fact that something IS happening in that frequency area while profiling.

    I think people completely forget that the sound where the mic is placed in front of a cab, is what gets profiled. Ofcourse putting your ear where the mic is, will be harmful, but really thatis where the sound of the profile originates. It’s more bassy AND trebly, right there 4-5cm from the speaker.

    And yes, the output eqs is the blanket solution, and they fine for that. At least they’ve always done on my setup.

    The low end frequency is NOT there on the actual amp. Only on the profile. My ears backed up by a real time frequency analyser show me this.
    I already mic up the sweet spot with just the amp hiss and headphones the way I was shown by Keith Olsen back in 1991. Once the sweet spot is found and marked with a China graph pencil, it stays the same unless you change that particular speaker in that cab. This method has served me well ever since.

    I currently have 10 Marshall 4x12 1960 cabs in my live room. (I plan to sell a lot of these once my profiling session are over and just keep one of each that has a certain set of speakers in them). All my most frequently used 4x12 cabs have been marked for their sweet spots and I have been recording most of these cabs for decades with no problems.

    It’s easy to see what I am talking about if you just setup your own favourite stuff where you are happy with the low end. Put a real-time analyser in your daw. Check where your gear is actually rolling off the bottom end. This particular SLO30 is naturally rolling off steeply starting around 80hz and gone by about 60hz. Deep knob is set to zero.

    Profile your sound. Once the profile comes back, you will see that the profile has now added extra frequencies in almost a straight line that eventually roll off at 20hz.