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- 7,751
Their software engineering and QA is very woeful.
I miss my Kemper
- Thread starter TJontheRoad
- Start date
Jarick
Rock Star
- Messages
- 3,988
Yeah I'm downloading that now to try it out. I dig the concept, curious how it works. But bummed it's locked to 44.1k, I think I have projects that are in 48k that wouldn't work.
Jarick
Rock Star
- Messages
- 3,988
I definitely had a lot of issues and lockups with the Kemper hooked up via USB last time around. This time I plan to find my favorite profiles, move them to the device, and try to not keep it connected all the time.
madmarcus1960
Roadie
- Messages
- 195
Luckily I leave the USB hooked up all the time, without any issues hardware compatibility from PC to PC or MAC is such a disparity.
Jarick, MBritt 2 new packs are Smooth 6 pack and Crunchy 6 Pack are excellent.
Jarick, MBritt 2 new packs are Smooth 6 pack and Crunchy 6 Pack are excellent.
Jarick
Rock Star
- Messages
- 3,988
I'm trying not to buy those but probably will
What amps are in them? His website is jacked up and I can't see the descriptions anymore. I liked his old profiles a lot, tried some of the newer ones where he was trying to make them "less bright" but they're kind of shrill.
madmarcus1960
Roadie
- Messages
- 195
From his site:
Crunchy 6 pack
5150 Icon – 15 Studio Profiles of the latest in the EV amp line, the Icon. Leaning more toward its Mississippi cousin, this amp is a joy to play. The built-in reverb (although not able to profile) makes this amp super fun to plug into at home along with its ability to get over-the-top overdrive at any volume level. This might be my favorite of the line and it’s the most affordable. These profiles include a super clean and loads of varying rhythm and lead rigs. “A” rigs indicate a slightly different ribbon mic.
BlankPlex – 14 Studio Profiles of a boutique, dream plexi. This one has all of the same DNA as my real 68 but with a little more modern sounding tone to my ears. It might have a bit more gain on tap than the real thing, which just makes it all the more fun to play. I tried to capture everything from clean to lead tones.
Bog XTC 3534 – 29 Studio Profiles of the newest in the xtc family. This slightly lower wattage amp captures the feel and tone of its bigger brother but without the monstrous (sometimes too much) bottom and stiffness (although the switch on front can add stiffness if you want). This amp was truly surprising to me for its tone and variety of sounds with it’s 3 channels and multitude of switches. I’m pretty happy to say that these profiles are some of my new faves and this amp may even be a keeper.
Freed Man SS – 17 Studio Profiles of this sparkle red-tolex beast of an amp. This is another plexi based amp but with tons of mods and switches and knobs. This particular unit had some mods to make the clean channel more usable, along with its normal assortment of plexi and brown eyed tones. The overdrive in this amp is super smooth and I’ve been using it for some of my big rock solos on tour as of late. Very fun profiles to play! Mars SP20 – 11 Studio Profiles of the plexi version of their lower wattage studio series. While I’m not a huge fan of either channel independently, I got some very usable tones from them jumpered. It does have the dna of its late 60’s relatives but the lower wattage makes it more akin to the 20w mars lead and bass heads. I goosed it on some of the profiles with some pedals to pick up where the amp leaves off, as its gain range is pretty limited but the tone is pure mars.
So-dano 30 – 12 Studio Profiles of the crunchy younger brother to the od100. The 30w version has much of the same tone in a smaller (and more usable) package. These amps have their own tonal fingerprint that has a big low end and smooth top end but with tons of gain on tap. Just a little tweaking on these and you should be in tonal heaven."
Crunchy 6 pack
5150 Icon – 15 Studio Profiles of the latest in the EV amp line, the Icon. Leaning more toward its Mississippi cousin, this amp is a joy to play. The built-in reverb (although not able to profile) makes this amp super fun to plug into at home along with its ability to get over-the-top overdrive at any volume level. This might be my favorite of the line and it’s the most affordable. These profiles include a super clean and loads of varying rhythm and lead rigs. “A” rigs indicate a slightly different ribbon mic.
BlankPlex – 14 Studio Profiles of a boutique, dream plexi. This one has all of the same DNA as my real 68 but with a little more modern sounding tone to my ears. It might have a bit more gain on tap than the real thing, which just makes it all the more fun to play. I tried to capture everything from clean to lead tones.
Bog XTC 3534 – 29 Studio Profiles of the newest in the xtc family. This slightly lower wattage amp captures the feel and tone of its bigger brother but without the monstrous (sometimes too much) bottom and stiffness (although the switch on front can add stiffness if you want). This amp was truly surprising to me for its tone and variety of sounds with it’s 3 channels and multitude of switches. I’m pretty happy to say that these profiles are some of my new faves and this amp may even be a keeper.
Freed Man SS – 17 Studio Profiles of this sparkle red-tolex beast of an amp. This is another plexi based amp but with tons of mods and switches and knobs. This particular unit had some mods to make the clean channel more usable, along with its normal assortment of plexi and brown eyed tones. The overdrive in this amp is super smooth and I’ve been using it for some of my big rock solos on tour as of late. Very fun profiles to play! Mars SP20 – 11 Studio Profiles of the plexi version of their lower wattage studio series. While I’m not a huge fan of either channel independently, I got some very usable tones from them jumpered. It does have the dna of its late 60’s relatives but the lower wattage makes it more akin to the 20w mars lead and bass heads. I goosed it on some of the profiles with some pedals to pick up where the amp leaves off, as its gain range is pretty limited but the tone is pure mars.
So-dano 30 – 12 Studio Profiles of the crunchy younger brother to the od100. The 30w version has much of the same tone in a smaller (and more usable) package. These amps have their own tonal fingerprint that has a big low end and smooth top end but with tons of gain on tap. Just a little tweaking on these and you should be in tonal heaven."
madmarcus1960
Roadie
- Messages
- 195
From his site:
Smooth 6 Pack
63 BMaster – 21 studio profiles of a 1963 Band Master. There is a reason people like John Mayer and the Rig Doctor sing the praises of these amps or use them onstage. They have the clarity the blackface amps are known for and have a smooth top end and are super warm but the smaller transformers have a sweetness to them compared to the more powerful Bassman amps. Some of these profiles have been a staple of my live rigs for the past year or so. The amp takes pedals great and is just a great clean pedal platform amp that isn’t sterile or without character.
65 TwinVerb – 6 studio profiles of a ’65 Twin Reverb amp. This particular specimen looked spotless and totally straight. The only things done to it were some new caps to replace old, leaky ones. I have to admit to being fairly “anti-Twin” for many years but the two amps in this pack may have changed my mind a bit.
69 ProVerb – 4 studio profiles of a 1969 silverface drip-edge Pro Reverb amp. This is like a half-wattage Twin or a beefed up Deluxe, depending on how you look at it. The 69 shares most of the same specs as the blackface amps but there may be a few slight changes toward the more 70’s silverface designs, which had increased headroom and more negative feedback.
79 TwinVerb – Fun story, my buddy Chris and I were at Gruhn Guitars in Nashville checking out a vintage strat his buddy just purchased. We were plugging into different amps in their amp room/closet and this beast of a 79 Twin was in there so we thought, “why not?” After a few minutes, we were both looking at each other saying, “this is really good, right?” After another 30 minutes I was carrying the 80+ pound beast out to my truck. Luckily, the profiles came out as good or better than it sounds in the room, which is already good. The late 70’s silverface amps, especially the ones with master volumes get a bad rap but they still kick the crap out of many of the new amps on the market. There are 18 studio profiles of this amp in the Smooth Pack.
Big River – 11 studio profiles of this Nashville-built boutique amp loosely based off a tweed amp design. It has all of the midrange growl and pleasingly low-fi sound of a vintage tube amp but without the constant need for repair.
MeBo MKiii – 29 studio profiles of this green-striped Boogie beast from the 90’s. The simul-class circuit of this MKIII amp is unique and I find the coolest thing about this amp is the edge of breakup tones. The cleans tones are stellar to begin with but as it starts saturating, it maintains clarity. The midrange is always preset and not too scooped. Its natural tube compression is very pleasing to play and these are quickly making their way into my live show performances as we speak.
Smooth 6 Pack
63 BMaster – 21 studio profiles of a 1963 Band Master. There is a reason people like John Mayer and the Rig Doctor sing the praises of these amps or use them onstage. They have the clarity the blackface amps are known for and have a smooth top end and are super warm but the smaller transformers have a sweetness to them compared to the more powerful Bassman amps. Some of these profiles have been a staple of my live rigs for the past year or so. The amp takes pedals great and is just a great clean pedal platform amp that isn’t sterile or without character.
65 TwinVerb – 6 studio profiles of a ’65 Twin Reverb amp. This particular specimen looked spotless and totally straight. The only things done to it were some new caps to replace old, leaky ones. I have to admit to being fairly “anti-Twin” for many years but the two amps in this pack may have changed my mind a bit.
69 ProVerb – 4 studio profiles of a 1969 silverface drip-edge Pro Reverb amp. This is like a half-wattage Twin or a beefed up Deluxe, depending on how you look at it. The 69 shares most of the same specs as the blackface amps but there may be a few slight changes toward the more 70’s silverface designs, which had increased headroom and more negative feedback.
79 TwinVerb – Fun story, my buddy Chris and I were at Gruhn Guitars in Nashville checking out a vintage strat his buddy just purchased. We were plugging into different amps in their amp room/closet and this beast of a 79 Twin was in there so we thought, “why not?” After a few minutes, we were both looking at each other saying, “this is really good, right?” After another 30 minutes I was carrying the 80+ pound beast out to my truck. Luckily, the profiles came out as good or better than it sounds in the room, which is already good. The late 70’s silverface amps, especially the ones with master volumes get a bad rap but they still kick the crap out of many of the new amps on the market. There are 18 studio profiles of this amp in the Smooth Pack.
Big River – 11 studio profiles of this Nashville-built boutique amp loosely based off a tweed amp design. It has all of the midrange growl and pleasingly low-fi sound of a vintage tube amp but without the constant need for repair.
MeBo MKiii – 29 studio profiles of this green-striped Boogie beast from the 90’s. The simul-class circuit of this MKIII amp is unique and I find the coolest thing about this amp is the edge of breakup tones. The cleans tones are stellar to begin with but as it starts saturating, it maintains clarity. The midrange is always preset and not too scooped. Its natural tube compression is very pleasing to play and these are quickly making their way into my live show performances as we speak.
madmarcus1960
Roadie
- Messages
- 195
I feel this is some of his better work
Jarick
Rock Star
- Messages
- 3,988
Did a quick test and it works well! Apparently my current project is 44.1k so it is compatible. I like that you can DI on one track and Mod Mono on another.
ispunk
Groupie
- Messages
- 92
I asked about the 44.1 limitation on the Kemper forum and Christoph replied with the following:
Hi! Thanks four your question.
Modern DAWs such as Apple Logic work seamlessly with different sample rates, independent of the project sample rate. That means:
- recording with automatic sample rate conversion, when the audio interface SR does not match the project SR
- playback reverse the same way
- offline-rendering the master mix to any target sample rate and bit width etc.
Having to match the SR of the audio interface to the project is not necessary here.
CK
Jarick
Rock Star
- Messages
- 3,988
Some more early thoughts...
I haven't dug through 100's of profiles but I'm mostly sticking to the MBritt stuff I had before. Sounds great playing through headphones or monitors alone. I've not spent a lot of time messing with effects, but the reverbs and delays sound pretty good for general usage. I spot checked a few of them against HX Stomp and the chorus, delay, reverb etc. are pretty good. The stomps aren't quite as good, HX Stomp works better, and real pedals are good as well.
I recorded some tracks for a song idea over the weekend using the Axe FX 3 and Kemper, and already had dry tracks set up with NDSP. The Kemper tracks are noticeably darker and fatter than the others, and the first ones I picked were completely lost in the mix. That was a bit odd because I dialed in the Axe 3 tones the same way (sound good on their own) and they stood out in the mix nicely.
I found different profiles and boosted the mids/treble a bit, and now the Kemper is sounding good, although still pretty big sounding in the lows. It seems this was an issue others ran into, where MBritt stuff sounds good solo or live at high volumes, but not as much for studio tracks in a mix. So I may try some of the other profile makers who have tones that sound brighter or thinner on their own.
After I installed the beta for 9.0, I did several tracks with the USB Audio feature, which worked really well. There's two output tracks and you can pick what you want to record. So you can do stereo outputs like normal, or DI dry signal and mono, or what I did was DI / mod mono which is the profile without post amp effects. That way you can monitor with time based effects but record basically a regular amp and then add wet effects in the mix.
Also briefly tested audio playback which seemed to work fine, and you can control the input level so you can do direct monitoring with no latency and record signal at the same time. That means you can record without an audio interface which is really cool. It's not as portable as the HX Stomp by any means, but you could just use a laptop and Kemper head or Stage to do guitar tracking pretty easily.
Still need to run it through a power amp/cab, and still need to tinker with more effects stuff, but it's a good change of pace unit for me right now.
I haven't dug through 100's of profiles but I'm mostly sticking to the MBritt stuff I had before. Sounds great playing through headphones or monitors alone. I've not spent a lot of time messing with effects, but the reverbs and delays sound pretty good for general usage. I spot checked a few of them against HX Stomp and the chorus, delay, reverb etc. are pretty good. The stomps aren't quite as good, HX Stomp works better, and real pedals are good as well.
I recorded some tracks for a song idea over the weekend using the Axe FX 3 and Kemper, and already had dry tracks set up with NDSP. The Kemper tracks are noticeably darker and fatter than the others, and the first ones I picked were completely lost in the mix. That was a bit odd because I dialed in the Axe 3 tones the same way (sound good on their own) and they stood out in the mix nicely.
I found different profiles and boosted the mids/treble a bit, and now the Kemper is sounding good, although still pretty big sounding in the lows. It seems this was an issue others ran into, where MBritt stuff sounds good solo or live at high volumes, but not as much for studio tracks in a mix. So I may try some of the other profile makers who have tones that sound brighter or thinner on their own.
After I installed the beta for 9.0, I did several tracks with the USB Audio feature, which worked really well. There's two output tracks and you can pick what you want to record. So you can do stereo outputs like normal, or DI dry signal and mono, or what I did was DI / mod mono which is the profile without post amp effects. That way you can monitor with time based effects but record basically a regular amp and then add wet effects in the mix.
Also briefly tested audio playback which seemed to work fine, and you can control the input level so you can do direct monitoring with no latency and record signal at the same time. That means you can record without an audio interface which is really cool. It's not as portable as the HX Stomp by any means, but you could just use a laptop and Kemper head or Stage to do guitar tracking pretty easily.
Still need to run it through a power amp/cab, and still need to tinker with more effects stuff, but it's a good change of pace unit for me right now.
Jarick
Rock Star
- Messages
- 3,988
Thoughts on running Kemper through the Katana Artist:
I don't like it much. I've tried some studio and direct profiles, and honestly neither float my boat. For studio profiles, keeping the cab on of course makes them sound really bad as there's dual cam simulations. Disabling the cab is better, but does require some high/low cuts or EQ. Direct profiles are not bad, but also require some EQ.
I actually preferred just running the Katana by itself to be honest. There was less fuss to get a good tone, and surprisingly it cleaned up just as well with the guitar volume control. There didn't seem to be any real benefit to using the Kemper.
Surprisingly, it's a completely different experience with the Blackstar HT-5 through the same cab/speaker. It sounds so, so much better. The highs and lows sit in a much better place. This is with all profiles, from older MBritt studio profiles with the cab disabled to newer Tone Junkie direct profiles. The direct profiles did sound a bit thin and bright compared to the regular studio profiles. Even some Top Jimi ones I had, there was little difference between similar studio and merged profiles, and they all sounded pretty dang good.
So using the Kemper into a tube power amp and cabinet felt a lot like playing through a traditional tube amp with all kinds of profiles, where using it into the Katana sounded kind of nasty. Much like the Axe FX 3 into either device.
If I could just get my studio monitors to sound as good as the big cabinet, I'd be in business.
I don't like it much. I've tried some studio and direct profiles, and honestly neither float my boat. For studio profiles, keeping the cab on of course makes them sound really bad as there's dual cam simulations. Disabling the cab is better, but does require some high/low cuts or EQ. Direct profiles are not bad, but also require some EQ.
I actually preferred just running the Katana by itself to be honest. There was less fuss to get a good tone, and surprisingly it cleaned up just as well with the guitar volume control. There didn't seem to be any real benefit to using the Kemper.
Surprisingly, it's a completely different experience with the Blackstar HT-5 through the same cab/speaker. It sounds so, so much better. The highs and lows sit in a much better place. This is with all profiles, from older MBritt studio profiles with the cab disabled to newer Tone Junkie direct profiles. The direct profiles did sound a bit thin and bright compared to the regular studio profiles. Even some Top Jimi ones I had, there was little difference between similar studio and merged profiles, and they all sounded pretty dang good.
So using the Kemper into a tube power amp and cabinet felt a lot like playing through a traditional tube amp with all kinds of profiles, where using it into the Katana sounded kind of nasty. Much like the Axe FX 3 into either device.
If I could just get my studio monitors to sound as good as the big cabinet, I'd be in business.
JiveTurkey
Goatlord
- Messages
- 18,735
Recurring theme in flipping between options trying to optimize toanz (from someone who is perpetually "there"):
Katana
Catalyst
Blackstar HT-5
Note the pattern.
Break the pattern.
Katana
Catalyst
Blackstar HT-5
Note the pattern.
Break the pattern.
Jarick
Rock Star
- Messages
- 3,988
Recurring theme in flipping between options trying to optimize toanz (from someone who is perpetually "there"):
Katana
Catalyst
Blackstar HT-5
Note the pattern.
Break the pattern.
Does it help I grabbed a new pair of studio monitors this afternoon?
Jarick
Rock Star
- Messages
- 3,988
Honestly at this point I’m just in the “screw it let’s try a bunch of things” phase.
The Katana artist is a pretty solid amp, but the power amp doesn’t work nearly as good as I hoped. The Cat 60 was okay, but definitely a cheap amp.
The Blackstar is surprisingly awesome as a power amp! It’s cheaper than most power amps too. And it sounds good with high gain as an amp! Clean is kinda boring though.
I tried to upgrade my monitors last year to Genelecs but guitar doesn’t sound good through them. So I found some cheap 6.5” jbls to test some big monitors. They sound way different but I only have a few minutes on them.
TL/DR I think 95% of it comes down to features, workflow, and monitoring. Especially the sound. I bet you could take a “crap” modeler and run it through a really nice tube amp rig and it would sound great. Or a really nice set of full range speakers in a good room. Or a great PA system in a good venue.
The Katana artist is a pretty solid amp, but the power amp doesn’t work nearly as good as I hoped. The Cat 60 was okay, but definitely a cheap amp.
The Blackstar is surprisingly awesome as a power amp! It’s cheaper than most power amps too. And it sounds good with high gain as an amp! Clean is kinda boring though.
I tried to upgrade my monitors last year to Genelecs but guitar doesn’t sound good through them. So I found some cheap 6.5” jbls to test some big monitors. They sound way different but I only have a few minutes on them.
TL/DR I think 95% of it comes down to features, workflow, and monitoring. Especially the sound. I bet you could take a “crap” modeler and run it through a really nice tube amp rig and it would sound great. Or a really nice set of full range speakers in a good room. Or a great PA system in a good venue.
madmarcus1960
Roadie
- Messages
- 195
JBL LS series works well with modelers. I had 305s and 308s. I moved to Yamaha HS-8 and like those better. My Axe 3 goes through those.
Jarick
Rock Star
- Messages
- 3,988
I had the 305's for many years and sold them a couple weeks ago. I upgraded to Genelec 8010's last year, then exchanged for 8020's, and don't really love them. Found these 306's for $230 used and wanted to see if going the complete opposite direction (big ass monitors) would be better. Seems like maybe that's the case!
The 306's sound kind of warm and relaxed and have extended low end. The Genelecs on the other hand are small and very forward and present sounding. They aren't harsh, but they aren't forgiving at all. Analytical, not fun.
Need more time on them, but the 306's, which are four times the size (if not more) than the 8020's, are big sounding and more forgiving. They do seem a little closer to the vibe of a real guitar speaker, which is what I was trying to capture. They are also pretty laid back in the mids, so not sure they are the best monitors ever.
Also it's weird (and kind of fun) to hear sub bass for the first time in years.
madmarcus1960
Roadie
- Messages
- 195
IMHO, it's the imperfections of the JBLs as great mix monitors , that make them great for driving modelers. Mine have always been with the tweeters at ear level. Their near field-ness isn't quite as tight as a better monitor.
Genelecs are a killer product, maybe too good for that application.
I have sets of the 1st gen 305s and 308s packed away, I guess I should sell them at some point.
Genelecs are a killer product, maybe too good for that application.
I have sets of the 1st gen 305s and 308s packed away, I guess I should sell them at some point.
Jarick
Rock Star
- Messages
- 3,988
I could see that.
With the 305's, they were pretty uninspiring for modeler use, I think because the treble is a little more forward and the mids were kind of scooped. So it always sounded like playing guitar through a hi-fi speaker which wasn't at all a good thing.
Here you can see with measurements from ASR, there's a dip in the mids from 200 to 800 Hz (hey that's where all the musical notes are), then a lift in the treble from 1k on up.
On the flip side, the 306 to me sounded quite warm in comparison, but there is detail. I think it's mostly due to a dip in the upper midrange right at the crossover point, which is a common complaint, and it makes them lose some clarity and detail. But that's also where harshness can be an issue for guitars. Still, they are really flat from like 60 Hz all the way past 10k, flatter than the 305's for sure:
That really bears out what you found as well, that they are good for modelers because they are pretty flat but laid back in trouble spots. So you just want to turn them up a little more.
I find that the more revealing and forward the monitor (or headphones), the more potential issues you have trying to find the right IR. And that sent me into a spiral for years looking for the right IR or modeler. But I think it's much more an issue with the monitoring, which I should have damn known.
Here's the Genelec 8020's:
Seems like for very close monitoring they are going to have a little more treble, but with some distance it's better. And there's little low end too, in a perfect room I think they would do fine especially with a subwoofer, but I am definitely finding there's a lack of lows below 120 Hz. Where the 306's even in a crap room are playing fairly low and they sound nice and punchy.
This is super long winded and off topic, but this is another really interesting experiment for me. I always assumed that unless you have a good room and it's properly treated, you may as well just use smaller flatter speakers. But I'm definitely hearing that large speakers are much better at least for playing guitar.
