I had a real one and it was excellent for bass.
I still use one in the studio for clean sounds.
Posts by Vinny Burns
-
-
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.
-
Would be great to have a DBX 160 with gain reduction meter.
-
Yeah that would have made sense. I did put a panel in with a neutrik ethercon after my port failed ( to be fair after 8 years) so sort of sorted it.
Yes I'd love those profiles and we need a beer!
BTW do those profiles also include your playing talent or is that extra?
Yes, will sort that beer out soon mate as well as the profiles. 😊🎸😊
-
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.
-
I recently bought a Seymour Duncan Powerstage 200 for my Kemper Stage at festivals. Running that straight into the supplied 4x12 backline. The Powerstage is only mono in and 2 speaker outs. I just set the monitor out on the Kemper to Master Mono. All works fine.
-
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?
-
For me (and it is just my personal choice), it becomes a non starter as soon as I see it powered by a power adaptor instead of an IEC mains connector.
-
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.
-
Sounds very good, Vinny Reminds me a bit of "Mr. Mister" .......
Cheers !
Thanks. This song and the rest of our first album album was mixed and engineered by Mike Shipley who also mixed the Kyrie single and I think he might have also mixed that Welcome To The Real World album too.
-
Yep, Darren Wharton and you always on my radar with Dare... I like this one from the early years a lot!
External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.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
External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.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.
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.
-
Display More
This was also one of the things I do when profiling. I forgot to mention it in my post above.
I may run:
Kemper --> EQ --> Amp --> Mic --> EQ --> KemperI tend to do a lot of experimenting and will have combinations of pre/post or no EQ profiles. Then I tweak them later (after I make 10 or so). I do not have a great amp that I am trying to match. Just garbage amps I am manipulating to sound decent and tweak later in the Kemper.
Since I do not own a decent 4x12 cab, I started using the POST EQ to try and get better tone from the cab. And then I am usually focused more on the mids/highs and do not recall the low reactions to the profile. But I tend to cut at least 3 dB at 80 Hz on the POST EQ almost always. I do this partially just for the IRs created as much as the profiles.
LONG SHOT
Another option might be to boost the bass when doing the REFINE process? Maybe the Kemper will de-emphasize the bass? I cant recall if I have ever done that or not.
VERY LONG SHOT
I recently started running Room EQ Wizard on my cabs to get good IRs of them. And the first thing I noticed is how badly the speakers interfere with each other. This makes me seriously doubt anyone could even get a decent tone with more than one speaker in the vicinity of a mic. If I do not block the sound from the unused speaker it will create phase cancellations all over the place.
I mention this because maybe it has some effect on the profiling process? On the plots I have done, its usually suck outs higher up in frequency. So probably not. I would have to do math to calc the freqs affected by speaker edges being like 4-6" away from each other etc.
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.
-
Display More
Interesting topic.
Often when making profiles, I put an EQ pedal before the actual amplifier to reduce the lows going into the amp.
Once the profiles are in the Kemper, I do two things:
- Use a Graphic EQ as 1st stomp (before Noise Gate) to reduce lows and boost mids.
- Set the AMP EQ to pre and use a Studio EQ after the amp.
DUMB GUY OBSERVATIONS
I am currently working on a VST Distortion (I am a noob) and have a High Pass filter before the distortion stages. I often have to set the cutoff frequency as high as 250-300 Hz. No actual data for anyone here to learn from this, I was just amazed how much I had to cut the lows before the gain stages to not be flubby.
I recently added a compressor before gain and this requires even more low end removal before the gain stages.
I added Bass/Treble filters after the gain stages and this seems to bring back the lows (that I just tried to remove) more than I expected. Which reinforces the idea to use the Kemper EQ before the amp. This will remove any effects they are introducing into the sound. The Studio or Graphic EQs will give you more control over the tone. And give you High/Low cuts. The Kemper Bass control is probably similar to mine and could be adding the flub back in.
Filters do not immediately stop frequencies, they have slopes that always let some cut freqs thru. And that is probably why I am seeing these numbers. I probably have selected the wrong types of filters and roll-off slopes also.
Just anecdotal observations. I expected to roll off at maybe 80-100 Hz to get rid of flub. I was way off.
What is going into the Kemper to be profiled is fine.
The problem low frequencies are being added BY the profiling process.
so sort of sorted it.
Reminds me a bit of "Mr. Mister" .......
