Kemper Profiler MK 2

[metropolis_4]

To distinguish from pub players and collectors.
Some of the collectors I work with are the most critical. It totally depends on your perspective. All the digital solutions are easily good enough for commercial use.

I guess I never understood why it’s important to make the distinction and try to stuff everyone into boxes.

But maybe it’s because of perspective, as you say. None of the people I work with fit into the categories of “touring musician”, pub player, or collector

 

[Sascha Franck]

One of the greatest prog rock guitar solos ever recorded, by one of the greatest guitarists ever, on one of the greatest ever prog musician's album. All but Guthrie wearing headphones.

Hah - I once noodled over a backing of that (for a noodling-fun based FB group). Didn't wear headphones either. If that isn't enough proof, I don't know what is.

Fwiw, I think I was blasting the backing over my little rehearsal PA with the MKIV behind me (recorded the speaker out with a DI box, then used an IR on playback). Huge fun recording that way (unfortunately I couldn't keep renting that space as the owner wanted it back).
Still have that video, but I possibly shouldn't post it as the last person on earth I'd want to compete with would be Govan (let alone there's no competing with him possible).

Whatever. As far as monitoring goes, you use what feels best. Sometimes it's sitting next to the amp /w headphones to get some feedback, sometimes its monitors and no HPs, sometimes it's HPs in the "control room" (or whatever one calls it in case it's a mere home studio).

 

[metropolis_4]

There's nothing that puts a Kemper stage clearly above an FM3/9, Helix, or QC, they will all do the job in a live context.

Depends on your needs and the live context. There are certain things that, for me, still put the QC far below the others you listed as a viable live performance tool option.

I could easily play any gig with a Fractal, Kemper, or Helix, but I would be worried about having to use a QC for some gigs.

 

[dws2384]

Depends on your needs and the live context. There are certain things that, for me, still put the QC far below the others you listed as a viable live performance tool option.

I could easily play any gig with a Fractal, Kemper, or Helix, but I would be worried about having to use a QC for some gigs.

Which is why in the second part of my post, which you didn't quote, I said different workflows work for different people and everyone's opinion will be different.

 

[Eagle]

I guess I never understood why it’s important to make the distinction and try to stuff everyone into boxes.

But maybe it’s because of perspective, as you say. None of the people I work with fit into the categories of “touring musician”, pub player, or collector

I work mostly with these people and it’s my job to understand their perspectives and try and help. They generally do want different things ime. Some guys want the absolute best and others are only interested in workflow and good enough within the framework of the job. Some of the “ pub “ players I know are phenomenal musicians that work incredibly hard but want simple small and light. One of my collectors has gone through the process of trying to build exactly the same rigs as his influences even buying amps and switching systems from them. Fortunately he lives away from neighbours and has a large music room. It’s definitely not one unit for everyone or one method. I know what I like and why because I have personal experience with all the rest.

 

[ian_dissonance]

There is so much negativity on this particular forum over Kemper's relative lack of accuracy between NAM and Tonex that the casual reader may easily overlook the fact that Kemper the best live solution on the market.

For you.

 

[fiftyshadesofslay]

One of the greatest prog rock guitar solos ever recorded, by one of the greatest guitarists ever, on one of the greatest ever prog musician's album. All but Guthrie wearing headphones.

That’s because the other players are in the LIVE ROOM. As I’ve already said, and as Guthrie is clearly doing here, if you’re in the control room you’re most likely to use the studio monitors if you’re playing something like a guitar where bleed isn’t an issue.

Yes it’s not a one size fits all, but that’s the standard way it’s done.

 

[LP59]

They probably patented “profiling” and detailed their specific approach to the process. You can’t zoom out and claim all cloning approaches. New approaches mean no stepping on toes to their patent.

Not really much else they could do unless they constantly predicted how other approaches could be done, and swoop in with new patent after patent before someone else did it.

FYI, Kemper's patent has expired anyway.

 

[Jarick]

Got a little bonus from work so decided to keep the Player and upgrade to Level 2 & 3.

You can't be a hoarder if you sell and return stuff.

 

[Sascha Franck]

You can't be a hoarder if you sell and return stuff.

Maybe that should be the slogan of this forum?

 

[Orvillain]

One of the greatest prog rock guitar solos ever recorded, by one of the greatest guitarists ever, on one of the greatest ever prog musician's album. All but Guthrie wearing headphones.

An engineers job is to make the artist comfortable. If the artist doesn't like headphones, then the engineer finds a way to make it work.

Too many people here with no studio experience.

 

[MirrorProfiles]

Ok, now for a SLO100.

1st one sounds thicker, and a bit gainier. 2nd one has less low mids and more nasal upper mids

 

[DrewJD82]

Probably to mentally lock in. Can’t speak for anyone else but I’ll always track the tightest and cleanest when I’m using headphones. I basically only use headphones for tracking these days. General playing and everything else over monitors.

I’ll only track bass with headphones and if I’m doing anything syncopated with the drums on a guitar, I’ll put headphones on. I need the immediacy of the drums/click in my ear. I’d love to be able to just crank up the monitors and go for it, but if I want super tight accuracy it requires headphones.

 

[metropolis_4]

Which is why in the second part of my post, which you didn't quote, I said different workflows work for different people and everyone's opinion will be different.

I was just replying to the part you said objectively

 

[DrewJD82]

Ok, now for a SLO100.

Listening on an iPad but I’m going with A being the Kemper.

 

[Sascha Franck]

Ok, now for a SLO100.

I'd say the first one is the amp. But that's a pretty uneducated guess (mids in the second one might be somewhat less "open").

 

[Chocol8]

A broader patent target would have been much better.

And easily invalidated. They patented the tech that they had, not a generic idea which would have failed to hold up. The newer capture tech is very different from what Kemper did and wasn't practical if even possible when the Kemper was developed.

 

[paisleywookiee]

That’s because the other players are in the LIVE ROOM. As I’ve already said, and as Guthrie is clearly doing here, if you’re in the control room you’re most likely to use the studio monitors if you’re playing something like a guitar where bleed isn’t an issue.

Yes it’s not a one size fits all, but that’s the standard way it’s done.

There is no “standard way”. That’s the point.

An engineers job is to make the artist comfortable. If the artist doesn't like headphones, then the engineer finds a way to make it work.

Too many people here with no studio experience.

Yup.

 

[quadgear]

Perhaps this thread should go to the rants section ... and allow for a less rantful discussion to emerge when there is more info?

 

[Jarick]

Perhaps this thread should go to the rants section ... and allow for a less rantful discussion to emerge when there is more info?

Mods tried to curate the discussion previously and nobody was happy. It's actually pretty decent now compared to a week or two back!