Posts by sambrox

I'm between Kempers these days, but I've been experimenting with body resonance IRs for use with my Lowden acoustic with piezo. There's no preamp controls in the guitar, so it sounds awfully vanilla DI'ed, but I found a free IR of a Gibson L1 that I've been using with an IR loader in my Mod Dwarf. It works great! Gets rid of that awful plastic transient sound, so I'm sure a Kemper Profile with something similar will be even better.

Quote from BayouTexan

Happy to see Burkhard with a sense of humor for a change.

Burkhard is always succinct and to the point. My kind of support mod

The black one is new

Sounds like the Stomp has more mids and the Kemper more presence in the first patch and the Vox grit.

Lone star patch is much closer, however. Marshall is too. The chorus Rig sounds more lush than the Stomp equivalent.

Edit : I didn’t hear them all, but they’d be close enough for me as a back up. Well done

Quote from V8guitar

Really nice Sam...you have a few Charvel's don't you?

That would’ve been my third. Still waiting on UPS to come pick it up, then it has to be assessed as to whether it was their fault as the shipping company, or Thomann’s fault as the supplier

I can unfortunately see this dragging on a while

The thing is, the Amp1 just sounds great with minimal tweaking. The AmpX is the same tech, just with a programmable preamp section instead of the standard 4 you get with the Amp1, and with popular stomp box type effects built in. For me, it’s perfect for small or fly gigs (though I can attest to the Amp1 being super loud and sounding huge through a 4x12, too).

Rick Graham signature Charvel.

Came with a ding in the body, so it’s going back!

Amp X isn’t a modeller.

I had the original Amp1 and really liked it, but the gap in the switching was a deal breaker. Thomas Blug fixed it for the Mercury Edition, whilst improving the tone and the reverb. I bought one. It’s great. I also got the Blubox, with Thomas’ IR tech, so I can go from the powered output into the Blubox and direct into my DAW or FOH.

People who only play modellers will get a shock when playing through truly analogue gear; the instantaneous response and attack is visceral. That’s what I love about the Amp1.

It has a nano tube in the poweramp, so no need for poweramp modelling. All it was missing was FX, which is why I have it paired on a board with a Fractal FM3, an HX Stomp or a collection of my ever-expanding pedal collection.

Modellers are convenient and lots of fun, but sometimes I get bored of them without knowing why, and when I come back to playing through a real amp (yes, Amp1 is a real amp) I realise why.

I’m really looking forward to the Amp X and have done ever since it was announced as a proof-of-concept. Good times.

ps I still love my Kemper Stage and Powered Kabinet, so no worries there

Quote from RosboneMako

No, I think it literally alters the IR/CAB and locks in the tone (Freq Resp of the pickups). You will also see the AMP DEF being different. Same guitar same profile will sound different if different pickups are used.

What you play during the REFINE also tweaks the CAB. I am still trying to figure out what works best for me.

So if I were to make a clean Fender profile I would use the neck pickup. Doing high gain stuff, the bridge and a humbucker. Super high gain I would use a metal pickup like an EMG 85.

But I agree with your statement, that the profiler may adjust the sound to the guitar afterwards. M.Britt always has some small tweaks like a compressor or echo.

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Kemper have consistently and persistently stated that the guitar used for profiling does not affect the resulting profile whatsoever. It only affects how you dial in the amp for that specific guitar and sound before the profiling process starts.

I think a big part of them not offering the plugins is also licensing. I’m sure that each individual Archetype plug-in has its own licensing deal with the artist in question, most likely exclusive to the plug-in format and not hardware. That would be a huge can of worms to work out individually with each artist after the fact, especially considering that they probably all have other exclusive deals with hardware producers that would cause conflicts.

musicmad I remember reading somewhere on here back in the days of the old cab converter tool that IRs were shortened to fractions of a second once run through the software.

I believe the IRs are truncated (shortened) significantly when imported into the Profiler. This could theoretically cause the bass roll off that you’re experiencing, if there is no compensation during the conversion.

Quote from RosboneMako

The OP said that profiles generically had too much high and low EQ. I have also read about EQing profiles at volume.

I am curious if people here have had issue with EQing at volume. When a speaker is getting pushed to its limit the highs and lows will fall away. Probably due to the non linear region of the magnetic fields at the ends of travel. Where a professional PA will be designed to be handle the power and stay linear throughout that power curve.

So I wonder if it is better to EQ at a much lower volume where things sound best and trust that the PA used will be flat and linear?

The Fletcher/Munson phenomenon will rear its head before you start to push speakers to their limits.

I met Dom some years back when he was in town on tour with Sugababes. My mate Steve Barney was playing drums for them. Dom’s a lad!

I bought the UA pedal too, for when I use my amp and pedalboard. It's a great unit. I've been searching for a decent spring in pedal format for years, and I've been through Catalinbread Topanga (returned it, though it was nice), Strymon Flint (nice, but not enough boing/drip, kept it mainly for the tremolo), Anasounds Element with a spring tank used in the Fender reverbs screwed to the bottom of the board (noise floor way too high) plus demoed many others in my local pedal pusher's store that weren't worth me taking home (Carl Martin Headroom, Source Audio True Spring, Wampler Faux Spring, J Rockett Boing, Subdecay Spring Theory, Mad Professor Silver Spring). The UA has something that definitely feels more authentic than any of the other digital offerings, though I can dial the Kemper Spring in to be totally happy with it at a gig

Quote from axegod8185

Yessir vjelen I did exactly what the manual said as you sent and still not doing it.

Watch the video I linked to. It will hold your hand through the whole process

Well played, Mats.

It’s funny, I’d never heard of K-Line until I stumbled across John Cordy on YouTube (he’s also done some vids for Tonejunkie). Now I really want one!

Scored this 2003 Ibanez Universe UV777P on Thursday. It needs some love and care, as the frets are corroded, the neck needs lightly sanding and oiling and all the screws and trem blades are rusty, but I unblocked the trem, slapped some new strings on it and got it to stay in tune (ish) long enough to fumble my way through For the love of God. I’ve wanted a 7-string since P&W came out in 1990, so it was about time!

Quote from jackk100

I bought a powered Kabinet, tried it at a band rehearsal with a real drummer, playing rock/punk style music and with its volume knob up all the way it wasn't really loud enough for him to hear behind his kit, nor really for me to hear well in the loud room. I'm quite confused about this, since I have two 100 watt amps (each with 2x12's), neither of which I can turn past 3 before they're too loud at rehearsal, but the powered Kabinet is 200 watts and maxed at 10 it was not loud enough.

Am I missing something? How can I get the max volume from the powered Kabinet with my unpowered toaster?

Thanks in advance!

2x12s will always sound louder than 1x12s, due to there being two speakers, twice the amount of air moving and double the dispersion.