Legal Notice 1 Direm KEMPER PROFILER Main Manual 7.
Legal Notice 2 Legal Notice This manual, as well as the software and hardware described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. The content of this manual is furnished for informational use only, is subject to change without notice and should not be construed as a commitment by Kemper GmbH. Kemper GmbH assumes no responsibility or liability for any errors or inaccuracies that may appear in this book.
Table of Contents 3 Table of Contents About this Main Manual 19 Rigs and Signal Chain 20 Effect Modules 21 Effect Presets 22 Effect Select Screen 22 Clear Effect 23 Autoload 23 Load Defaults 24 Load Type 24 Auto Type 24 Stack Section 25 Front Panel Controls Head, PowerHead, Rack, and PowerRack 26 Chicken Head Knob (1) 27 INPUT Button (2) 27 INPUT LED (2) 29 Module and Section Buttons (3) 29 OUTPUT/MASTER Button (4) 29 OUTPUT LED (4) 30 NOISE GATE Knob (5) 30 Direct Con
Table of Contents 4 MASTER VOLUME Knob (7) 31 TAP Button (8) 32 SYSTEM Button (9) 32 RIG Button (10) 32 QUICK Button (11) 33 TYPE Knob (12) 33 BROWSE Knob (13) 33 Soft Buttons and Soft Knobs (14) 34 ON/OFF Button (15) 34 LOCK Button (16) 34 COPY and PASTE Buttons (17) 35 STORE Button (18) 35 UNDO and REDO Buttons (19) 36 EXIT Button (20) 36 Buttons (21) 36 RIG Navigation Cross (22) 37 HEADPHONE Output (23) 37 GAIN Knob (24) 37 RIG VOLUME Knob (25) 37 Front INPUT
Table of Contents 5 MAIN OUTPUT (1) 40 MONITOR OUTPUT (2) 40 DIRECT OUTPUT/SEND (3) 41 RETURN and ALTERNATIVE INPUT (4) 41 POWER (5) 42 USB (6) 42 NETWORK (7) 42 SWITCH/PEDAL (8) 42 MIDI (9) 43 S/PDIF INPUT and OUTPUT (10) 43 SPEAKER OUTPUT (11) 43 Kensington® Lock Connector (12) 43 Front Panel Controls Stage 44 On/Off Button (1) 45 Mode Select Buttons (2) 45 INPUT Button (3) 45 INPUT LED (3) 47 Module and Section Buttons (4) 47 OUTPUT/MASTER Button (5) 48 OUTPUT LED (
Table of Contents 6 PEDALS Button (8) 50 RIG Button (9) 50 TYPE Knob (10) 50 BROWSE Knob (11) 51 Soft Buttons and Soft Knobs (12) 51 MORPH Button (13) 51 LOCK Button (14) 52 EDIT Button (15) 52 COPY and PASTE Buttons (N/A) 53 STORE Button (16) 53 Button (17) 54 Buttons (18) 54 GAIN Knob (19) 54 Up/Down Buttons (20) 55 Rig Buttons 1-5 (21) 55 TAP Button (22) 55 TUNER Button (23) 56 Effect Buttons I-IIII (24) 56 Looper (25) 56 Back Panel Overview Stage 58 INPUT
Table of Contents 7 SEND 1+2 (3) 59 MAIN OUTPUT (4) 59 MONITOR OUTPUT (5) 60 HEADPHONE Output (6) 60 S/PDIF INPUT and OUTPUT (7) 61 SWITCH/PEDAL (8) 61 MIDI (9) 61 USB (10) 62 Kensington® Lock Connector (11) 62 POWER (12) 62 Basic Setups 63 Using the Tuner 65 Rig Settings 67 Tagging 67 Favorites 69 Rig Spillover Off 69 Snapshots 69 Panorama 70 Transpose 70 DLY+REV Routing 70 Rig Volume 70 Tempo 72
Table of Contents 8 Tap Tempo 73 Beat Scanner 74 MIDI Clock 74 Volume Pedal 74 Parallel Path 75 Morph 77 Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 78 Separating Amps and Cabinets: CabDriver 78 Browsing Amps or Cabinets 79 Direct PROFILEs 80 Direct Amp PROFILEs 83 Cabinet Impulse Responses 84 Merging Studio PROFILEs and Direct Amp PROFILEs 84 Running a Guitar Speaker Cabinet from a Power Amplifier, “Monitor Cab Off” 87 The Built-in Power Ampl
Table of Contents 9 MONITOR OUTPUT 106 Output Equalizers 107 Space 107 Auxiliary Input 108 Constant Latency 110 Instrument Input and Reamping 111 Input Source Select 111 Reamping 113 Alternative Procedure for Input Leveling Expression Pedals and Foot Switches 118 119 Pedal Controllers 119 Expression Pedal Recommendation 121 Connecting Pedals to PROFILER Remote or PROFILER Stage 122 Four Pedals: Luxury 123 Three Pedals: Comfortable 124 Two Pedals: Mainstream 125 One Pedal: Pu
Table of Contents 10 Morphing 132 Monitor Volume Pedal (MIDI Control Change #73) 136 Stack Section 137 Amplifier 137 EQ 141 Cabinet 142 Effects 143 Wah Effects (Orange) 146 Wah Parameters 148 Distortion (Red) 151 Booster (Red) 153 Shaper (Red) 154 Bit Shaper 155 Recti Shaper 155 Equalizer (Yellow) 156 Graphic Equalizer 156 Studio Equalizer 156 Metal Equalizer 157 Stereo Widener 157
Table of Contents 11 Compressor (Cyan) 158 Noise Gate (Cyan) 160 Noise Gate 2:1 160 Noise Gate 4:1 160 Chorus (Blue) 161 Vintage Chorus 161 Hyper Chorus 162 Air Chorus 163 Micro Pitch 164 Vibrato 165 Rotary Speaker 165 Tremolo / Auto Panner 168 Phaser and Flanger (Purple) 169 Phaser 169 Vibe Phaser 171 Flanger 171 Phaser Oneway & Flanger Oneway 171 Pitch Shifter (White) 172 Transpose 173 Pedal Pitch 174 Pedal Vinyl Stop 175
Table of Contents 12 Chromatic Pitch 175 Harmonic Pitch 177 Analog Octaver 181 Delay (Green) 183 Single Delay 191 Dual Delay 192 Two Tap Delay 193 Serial Two Tap Delay 194 Rhythm Delay 195 Quad Delay 197 Legacy Delay 198 Pitch Shifter Delay (Light Green) 199 Chromatic Type 199 Harmonic Type 199 Loop Pitch Type 199 Crystal Type 200 Crystal Delay 200 Loop Pitch Delay 201 Frequency Shifter Delay 202 Dual Chromatic Delay & Dual Harmonic Delay 203 Dual Crystal Delay 204
Table of Contents 13 Melody Delay 206 Quad Chromatic Delay & Quad Harmonic Delay 207 Reverb (Green) 208 Spring Reverb 208 Natural Reverb 210 Easy Reverb 215 Echo Reverb 215 Cirrus Reverb 216 Formant Reverb 217 Ionosphere Reverb 218 DLY and REV Modules 219 Space 223 Legacy Reverb 223 Effect Loop (Pink) 224 System Settings 228 LCD / HW Setup / Brightness / User Interface 228 User Interface 2 230 Audio Setup 231 Pedal Links 232 Pedal 1-6 232 Remote Settings 232 MIDI P
Table of Contents 14 Date and Time 233 Device Information 234 Bass Players: Special Hints and Features 235 Performance Mode 237 Setting up Performances 237 Loading Performances 239 Foot Control 239 PROFILER Remote 240 Up/Down Buttons (1) 241 Rig Buttons 1-5 (2) 241 TAP Button (3) 241 TUNER Button (4) 242 Effect Buttons I-IIII (5) 242 Assigning an Effect Module 242 Unassigning an Effect Module 243 Assigning a Second Effect Module 243 More Assignments 244 Toggling Effects 2
Table of Contents 15 Locking Effect Buttons LOOPER Button (6) 245 246 Workflow 249 Advanced Looper Functions 251 Connecting Expression Pedals and External Switches 252 Remote Settings 252 Cabling 253 MIDI 255 Continuous Controllers 256 Effect Switches 257 Rig Change in Performance Mode 259 Rig Change in Browser Mode 262 MIDI Global Channel 263 MIDI Clock 263 Transmitting MIDI Commands to Two External Devices in Performance Mode 263 Transmitting Pedal Controllers for Morphing, Wa
Table of Contents 16 Erase Non-Favorites 268 Rig Manager 268 Updates, Backups and Sharing Sounds 269 Operating System Updates 269 Creating Backups 271 Restoring Backups 271 Importing Rigs, Performances, and Presets 272 Export of Rigs and Presets 272 PROFILING an Amp General Considerations 274 274 PROFILING with Effects in the Recording Chain 275 Monitoring While Taking PROFILEs 275 Considerations Regarding Noise and Hum 276 Other Considerations 276 Making Connections 277 Connect
Table of Contents 17 How to PROFILE an Amp without a Cabinet (Direct Amp PROFILEs) 286 How to Create Merged PROFILEs 289 PROFILING a Rotary Speaker Cabinet 291 Under the Hood 292 Trouble Shooting 293 Customer Support 295 KEMPER PROFILER Specifications 297
Table of Contents 18 Main Manual
About this Main Manual 19 About this Main Manual Welcome to the KEMPER PROFILERTM Main Manual. We assume that you have already read the Quick Start manual, which came with the product. This Main Manual starts with a description of Rigs and their signal chain followed by all front panel controls and connections on the back panel.
Rigs and Signal Chain 20 Rigs and Signal Chain A Rig and its signal chain A complete signal chain comprising amplifier, guitar cabinet and potentially multiple effects is called a “Rig”. The signal chain of any Rig begins at the Guitar Input, passes through four effects modules, the stack section, and then followed by another four effects modules. From there, the signal is sent to the outputs.
Rigs and Signal Chain 21 Any edits of a Rig are indicated by an “E” on the right side of the home pages in Browser and Performance Mode and are temporary until you store the Rig. If you changed a parameter setting, but want to return to the previous value, you can use the UNDO button on the left side of the display. It will always revert your most recent action. The REDO button will revert the action of the UNDO button – this is a great way to compare two settings.
Rigs and Signal Chain 22 If you intend to use a modulation effect in your Rig, we recommend placing it in the MOD module, as both the PROFILER Head and PROFILER PowerHeadTM provide two additional knobs for controlling the Rate and Intensity parameters. All PROFILER variants offer these same parameters within their delay, reverb and modulation effects.
Rigs and Signal Chain 23 boundaries of the previously selected type — once you reach the end of the relevant presets, you will find the entire preset collection at your fingertips. Use the soft button “<- Category/-> Type” to toggle the function of the TYPE knob. If “<- Category” is selected, you can scroll the list in the left-hand column by category. Jumping through the effect categories like this, rather than by type, will allow you to navigate very quickly through a large collection of effect presets.
Rigs and Signal Chain 24 Load Defaults While working with the Effect Select Screen, you may have noticed the headings used to separate presets associated with one effect type from those associated with the type above. Those headings are not user presets — instead, they contain a default or neutral setting of the respective effect type. If, for example, you load the heading Graphic Equalizer from the right column, all its frequency bands will be flat at the beginning.
Rigs and Signal Chain 25 Stack Section In the middle of this signal flow, you will find the stack section with the buttons for AMPLIFIER and CABINET. The stack section represents the raw, virtual guitar amplifier and cabinet, as defined by the PROFILETM. All the powerful possibilities to further fine-tune Profiles are explained in a dedicated chapter about the stack section. In the stack section, you can freely combine amps and cabinets. Hold their respective buttons to bring them into focus.
Front Panel Controls Head, PowerHead, Rack, and PowerRack 26 Front Panel Controls Head, PowerHead, Rack, and PowerRack PROFILER Head and PowerHead PROFILER Rack and PowerRack
Front Panel Controls Head, PowerHead, Rack, and PowerRack 27 Chicken Head Knob (1) Use the chicken head knob to switch the PROFILER on and off. You can select one of the following modes: Tuner Mode Browser Mode Performance Mode PROFILER Mode Open the tuner to fine-tune your instrument. Please find details in the chapter Using the Tuner. Here you can browse through your Rig pool stored in the PROFILER. Here you can organize your sounds for live performances.
Front Panel Controls Head, PowerHead, Rack, and PowerRack 28 Clean Sens Different types of guitars produce different output levels depending on their pickups and string gauge: for example, humbucker pickups generate higher voltages compared to single coils, and active guitars generate even hotter signal levels.
Front Panel Controls Head, PowerHead, Rack, and PowerRack 29 INPUT LED (2) The LED reflects the level of the input signal. Its base color can be changed from green to blue with the option Signal LEDs Blue in System Settings. Module and Section Buttons (3) These buttons are associated with the modules and section of the signal chain as described in the chapter Rigs and Signal Chain before. A short press will switch the associated module or section on and off. Press longer to open the associated menu.
Front Panel Controls Head, PowerHead, Rack, and PowerRack 30 All the settings in the Output Section are global (or “locked”) and will therefore not be saved with the Rig. However, as with all other modules, you can save the settings for the Output Section as presets. This allows you to create output presets with adjustments tailored to specific venues, studios or rehearsal rooms.
Front Panel Controls Head, PowerHead, Rack, and PowerRack 31 For metal sounds, we recommend adding one of the special noise gate effects, which are explained in the Noise Gate chapter. With the chicken head knob set to PROFILER Mode, the Noise Gate will also work with the connected amplifier, but without influencing the resulting PROFILE. ✓A tutorial video about the Input Noise Gate can be found on: www.kemper-amps.
Front Panel Controls Head, PowerHead, Rack, and PowerRack 32 Master Volume maintains the relative volume settings of all outputs linked to it. For example, if MONITOR OUTPUT Volume is set relatively low and Main Output Volume relatively high, and both are linked to Master Volume, you might need to crank up Master Volume quite a bit before the MONITOR OUTPUT will send a signal. In an extreme case, one output could still be dead even with Master Volume at maximum.
Front Panel Controls Head, PowerHead, Rack, and PowerRack 33 QUICK Button (11) This button can be configured to assume different functions, according to your preference. By default, the QUICK button returns to the most recently accessed module or section edit page. You can find more details of what functions are available in the Quick Functions chapter. TYPE Knob (12) When an effect module is in focus, the TYPE knob will select between different types of effect algorithms.
Front Panel Controls Head, PowerHead, Rack, and PowerRack 34 effect types sound with the same settings; browsing effect presets with the BROWSE knob will load all the parameter settings, as well as the respective effect type. Soft Buttons and Soft Knobs (14) There are four soft buttons above the display and four soft knobs below. They assume different functions depending on the menu and page currently in focus.
Front Panel Controls Head, PowerHead, Rack, and PowerRack 35 To get an overview of the lock status of all modules, press and hold LOCK - all locked modules will be lit, while those that are unlocked will remain unlit. ✓The lock function works independently between Performance Mode and Browser Mode. So, you could, for example, lock your Input Section in Browser Mode while keeping it unlocked in Performance Mode (which happens to be the default setting).
Front Panel Controls Head, PowerHead, Rack, and PowerRack 36 Pressing Store in Browser Mode will offer you three different options via the soft buttons: “Replace” will overwrite the currently selected Rig with the new version while keeping the original name, “Store as” will save the Rig under a new name and won't delete the original Rig. “Rename” will allow you to change the name of the current Rig.
Front Panel Controls Head, PowerHead, Rack, and PowerRack 37 RIG Navigation Cross (22) Use this to navigate through the Rigs. Left and right buttons will switch sequentially, while the up and down buttons will change in larger steps. A newly selected Rig is instantly recalled. HEADPHONE Output (23) Plug in your ¼ inch stereo headphones jack. GAIN Knob (24) The GAIN knob controls the amount of distortion and covers an extremely wide range from ultra-clean to totally distorted.
Front Panel Controls Head, PowerHead, Rack, and PowerRack 38 Front INPUT (26) This is the default input to plug in your instrument cable. USB (27) Use the USB type A port to connect USB memory sticks for backups and operating system updates. Please consult the chapter Updates, Backups and Sharing Sounds for details. Head and PowerHead users find this port on the rear side.
Back Panel Overview Head, PowerHead, Rack, and PowerRack 39 Back Panel Overview Head, PowerHead, Rack, and PowerRack PROFILER PowerHead PROFILER PowerRack
Back Panel Overview Head, PowerHead, Rack, and PowerRack 40 MAIN OUTPUT (1) These are your main stereo outputs. Use these outputs to connect to a mixing desk in a recording studio, or to the front-of-house mixer in a live situation. These outputs deliver the entire Rig: Amp, Cabinet, and all Effects. You have a choice of XLR (balanced) or quarter-inch TS-jacks (unbalanced). The XLR outputs are protected against 48V phantom power fed by a mixing desk.
Back Panel Overview Head, PowerHead, Rack, and PowerRack 41 DIRECT OUTPUT/SEND (3) This carries the direct output signal in glorious mono. The main purpose for this output is to feed signals into the reference amp during PROFILINGTM. This is not its only purpose, however: you can also use the DIRECT OUTPUT/SEND in combination with the RETURN input to create an effects loop. In this case, the DIRECT OUTPUT/SEND becomes a mono send.
Back Panel Overview Head, PowerHead, Rack, and PowerRack 42 POWER (5) Connect this to your wall outlet using the supplied power cable. The internal, universal power supply accepts 100V 240V AC via the usual IEC inlet. USB (6) Use the USB type A port to connect USB memory sticks for backups and operating system updates. Rack and PowerRack users can find this port on the front panel. See chapter Updates, Backups and Sharing Sounds for details.
Back Panel Overview Head, PowerHead, Rack, and PowerRack 43 MIDI (9) Use these ports to connect the PROFILER to MIDI equipment. You can send MIDI program changes to the MIDI INPUT to switch between Rigs, and MIDI control changes to switch and control effects. If you send MIDI clock to the PROFILER, it will instantly sync its tempo, so that any tempo-dependent effects, like delay or tremolo, will adapt their timing accordingly. Details about MIDI can be found in a dedicated chapter MIDI.
Front Panel Controls Stage 44 Front Panel Controls Stage PROFILER Stage
Front Panel Controls Stage 45 On/Off Button (1) Use the On/Off Button to switch the PROFILER Stage on and off. Mode Select Buttons (2) You can select one of the following modes: Browser Mode Performance Mode PROFILER Mode Here you can browse through your Rig pool stored in the PROFILER. Here you can organize your sounds for live performances. A chapter of this manual is dedicated to Performance Mode. Hold both buttons to enter PROFILER Mode and create your own PROFILEs.
Front Panel Controls Stage 46 Clean Sens Different types of guitars produce different output levels depending on their pickups and string gauge: for example, humbucker pickups generate higher voltages compared to single coils, and active guitars generate even hotter signal levels. If you feel that clean sounds are either very loud or very soft compared to distorted sounds, you can adjust Clean Sens to a level where clean sounds have the same perceived loudness as distorted sounds.
Front Panel Controls Stage 47 your guitar. When set to the appropriate position, you will notice that noise and hum are eliminated, even when the strings are still sounding. There is no need for an additional release control as found in classic noise gate. Like “Clean Sense”, the Noise Gate setting is part of the Input Section and is stored with the Rig. It is also stored as part of any input preset. When the Input Section is locked, the noise gate is locked as well.
Front Panel Controls Stage 48 associated menu. Once inside a menu use the PAGE buttons to scroll through pages of parameters. To open the stack section, press AMPLIFIER and CABINET buttons simultaneously. OUTPUT/MASTER Button (5) This button brings the settings of the Output Section into focus.
Front Panel Controls Stage 49 OUTPUT LED (5) The PROFILER performs soft clipping and is very forgiving in terms of amplitude clipping, so here is no need to panic if the OUTPUT LED flashes red occasionally. Typically, you might experience this with clean sounds. In such cases you could either decrease Rig Volume or another Volume in the Rig e. g. Amplifier Volume, or perhaps consider enhancing your clean Rig with a Compressor effect.
Front Panel Controls Stage 50 SYSTEM Button (7) This button opens System Settings which contain multiple pages of global parameters. Global settings are not stored by Rig, so they remain unchanged when you load different Rigs or Performances. PEDALS Button (8) This button opens Pedal Settings with pages related to the global configuration of expression pedals and switches. RIG Button (9) The RIG button opens Rig Settings with contain multiple pages of settings that are stored and recalled with each Rig.
Front Panel Controls Stage 51 BROWSE Knob (11) Use this knob in Browser Mode and Performance Mode to quickly browse the list of Rigs within your current View. Turn the BROWSE knob to display a list of available Rigs — further turns will select one of the listed Rigs. Load the selected Rig by pushing the BROWSE knob or delete it with the soft button labeled “Delete”. When a module or section is in focus, use this knob to browse and load the corresponding presets.
Front Panel Controls Stage 52 LOCK Button (14) Use the lock function to prevent a section or a module from being changed when you switch Rigs. To lock or unlock individual modules, press their respective buttons while holding the LOCK button. Essentially, you can think of a locked module as being "global". Locked modules and sections are indicated by a small lock icon on the home screen.
Front Panel Controls Stage 53 COPY and PASTE Buttons (N/A) In case you miss the COPY and PASTE buttons that you know from the other PROFILER variants, there is good news: The PROFILER Stage offers a clipboard, too! You can copy and paste any module (A-D, Amplifier, Cabinet, X-REV) as well as the entire stack section. When a module is in focus, hold its button again for two seconds to open the copy/paste screen.
Front Panel Controls Stage 54 Pressing Store in Browser Mode will offer you three different options via the soft buttons: “Replace” will overwrite the currently selected Rig with the new version while keeping the original name, “Store as” will save the Rig under a new name and won't delete the original Rig. “Rename” will allow you to change the name of the current Rig.
Front Panel Controls Stage 55 The "Gain" parameter always compensates for loss in level, no matter how much you reduce it by. You can turn the gain value to zero for every Amp PROFILE, and the result will be a totally undistorted and uncompressed sound that has the same perceived loudness as the fully distorted version. Up/Down Buttons (20) In Performance Mode, use these buttons to navigate through your Performances. A short tap will step up or down to the next Performance.
Front Panel Controls Stage 56 tempo. Holding this button while you play to activate the marvelous Beat Scanner, which calculates the tempo according to the rhythm and pattern of your playing. You can read more about this function in the Tempo chapter. TUNER Button (23) Use this to activate Tuner Mode, instead of moving a volume pedal into heel position. If the option "Mute Signal" is activated, your guitar will be muted while you tune it.
Front Panel Controls Stage 57 ✓The functionality of all the foot buttons of the Stage is identical to those of the PROFILER Remote. A detailed description can be found in chapter PROFILER Remote.
Back Panel Overview Stage 58 Back Panel Overview Stage PROFILER Stage INPUT (1) This is the input to plug in your instrument cable. RETURN 1-4 (2) Four balanced RETURN TRS inputs are available. RETURN 1 plays a key role during PROFILINGTM, as explained in the chapter titled Taking a PROFILE.
Back Panel Overview Stage 59 RETURN inputs can also be used in combination with SEND outputs to loop in external mono or stereo equipment. Details can be found in the Effect Loops chapter. RETURN 1 and 2 can also be used as auxiliary inputs. You could, for instance, use this feature to mix in music from your mp3-player and play along. In this case you will need a special cable with 3.5 mm stereo jack on one side and two ¼ inch mono jacks on the other side.
Back Panel Overview Stage 60 MONITOR OUTPUT (5) Use these outputs to connect the PROFILER to a powered stage monitor for mono, or two powered stage monitors for stereo. These outputs have their own level control and ground lift in the menu of the Output Section. You can also connect this output to a power amp and regular guitar cabinets.
Back Panel Overview Stage 61 S/PDIF INPUT and OUTPUT (7) This is a digital input and output that can be used to connect the PROFILER to other S/PDIF compatible devices, such as certain computers and audio interfaces. Details related to connection and configuration can be found in the chapter Reamping. SWITCH/PEDAL (8) You can connect expression pedals and momentary switches to control several functions.
Back Panel Overview Stage 62 USB (10) Use the USB type A port to connect USB memory sticks for backups and operating system updates. Rack and PowerRack users can find this port on the front panel. See chapter Updates, Backups and Sharing Sounds for details. The type B port is used to connect to the KEMPER Rig Manager™ application on your PC or Mac. Kensington® Lock Connector (11) Here, you can connect a Kensington® lock to protect your PROFILER against theft.
Basic Setups 63 Basic Setups First, let's illustrate a couple of basic environments the PROFILER can be used in. More specialized setups will be covered later, in the context of the specific features they require. This typical home setup includes MP3-player and monitoring via headphones or entertainment-system. The Aux In feature is available on: • RETURN 1 and 2 of PROFILER Stage • RETURN and ALTERNATIVE IN of all other PROFILER variants ✓Aux In requires a special cable with 3.
Basic Setups 64 This studio setup shows the PROFILER connected to a DAW with studio monitors attached.
Using the Tuner 65 Using the Tuner The three tuner LEDs above the chicken head knob of PROFILER Head and Rack. or close to the TUNER button of PROFILER Stage and Remote are always active, so you can monitor your tuning while you play. Even when you're not in tuning mode, the LEDs give you general information as to whether your guitar is in tune or not. If a guitar string is far out of tune, only the outer LEDs will be on. As your string gets closer to the correct tuning, the middle LED becomes brighter.
Using the Tuner 66 There are multiple ways to engage the Tuner Mode: • turn the chicken head knob of PROFILER Head and Rack to the TUNER position, • press the TUNER button of the PROFILER Stage and Remote, • use an external analog switch, e. g. the PROFILER Switch, connected to one of the PEDAL inputs of the PROFILER or the Remote, • use MIDI Control Change #31, • or put the Volume Pedal in heel position, which equates to MIDI control change #7 value 0, if the option “Tuner@Volume 0” is activated.
Rig Settings 67 Rig Settings The RIG button is used to access all Rig-related parameters that are not covered by the knobs on the front panel. These parameters are spread across several pages - use the buttons to navigate between them. Tagging “Rig Tags” enters a list of tags. Since hundreds of Rigs can be stored in the browse pool, and with numerous ways to organize them, it is crucial to tag your Rigs with meaningful information. Some tags are linked to the Rig, e.g. “Rig Author”.
Rig Settings 68 Use the “Rig Tags” soft button in Rig Settings, or “Amp Tags” and “Cabinet Tags” in amplifier and cabinet modules, to access the list of associated tags. Use the “Scroll” soft knob to select a tag that you would like to fill or modify. The “Edit” soft button opens the Tag Edit screen with the following controls: ABC Use the "ABC" soft knob to switch between upper- and lower-case characters. The PAGE Buttons control the position of the cursor.
Rig Settings 69 Favorites By setting this flag, the current Rig will be designated as one of your favorites. Read more about Views and Favorite Rigs in the chapter Getting Organized. Rig Spillover Off If this option is selected, the effects placed in the DLY and REV modules will not generate spillover, should you switch to another Rig or Slot. This means their delay and reverb tails will be cut as soon as the Rig is changed, rather than decaying.
Rig Settings 70 Panorama This parameter allows you to move the signal within the stereo field. The “Panorama” parameter affects the HEADPHONE output plus "Master…" Output Sources of all other stereo outputs. Panorama can also be controlled via MIDI. Transpose This is the same “digital capo” effect also available as Transpose effect type. Using it here in Rig Settings means you don’t have to tie up an effect module.
Rig Settings 71 The PROFILER is designed so that every PROFILE, distortion or compression will produce approximately the same loudness, thereby avoiding any extreme volume drops or peaks when you browse through the Rigs. All the factory Rigs come with Rig Volume set to the center position, which is the unity or default volume.
Rig Settings 72 Tempo The “Tempo Enable” soft button enables or disables the tempo for a Rig. When tempo is disabled, all tempo-related values in the PROFILER revert to the default tempo of 120 bpm and the values are displayed in milliseconds and Hertz. An additional soft button labelled “Use Perf. Tempo” is available in Performance Mode that allows you to set a unique tempo for your current Performance. With the “Lock Tempo” soft button you can even lock the tempo globally.
Rig Settings 73 notes, eight notes, etc.). You can also choose dotted and triplet positions between those. All other values are marked with a simple “_” due to space restrictions. However, even those values have a certain time division. This distribution is repeated with every doubling of the Modulation Rate. If you want to disable “Tempo”, press the soft button labeled “Tempo Enable” in Rig Settings.
Rig Settings 74 Beat Scanner The Beat Scanner is a nice alternative to the TAP button; instead of tapping, just keep the TAP button, or foot switch pressed to activate it. Now, continue playing guitar. The Beat Scanner algorithm listens to the rhythm of your playing and will detect the bpm in a few seconds. You don’t need to play a special beat - any riff should suffice, as long as it is played with a degree of accuracy.
Rig Settings 75 Parallel Path This feature was designed for bass players, but you are free to use it with any other instrument. The PROFILER offers a wide variety of PROFILEs for bass players, as well as numerous effects and distortions that can be used in combination with a bass. Distortion or overdrive introduced by amps or pedals can result in the bass guitar losing some of its fundamental frequencies, as well as some dynamic range.
Rig Settings 76 The Rig Settings provide a parallel signal path, which feeds directly to the Output Section, bypassing both the stack section and the effect modules X, MOD, DLY, and REV. When “Parallel Path” is activated, module A and B become exclusive to the parallel path, allowing you to add compression and EQ, for example. modules C and D remain within the regular signal path, along with the Stack and subsequent effect modules. This routing is visualized by the signal chain on the home screen.
Rig Settings 77 ✓To learn more about the “Clean Sens” parameter, refer to the respective paragraph or to the tutorial about the Input Section available at: www.kemper-amps.com/video ✓A tutorial video dedicated to Parallel Path can also be found at: www.kemper-amps.com/video Morph The functions on this page will be explained in the Morphing chapter below.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 78 Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets Feel free to skip this chapter, if you do not intend to play through physical guitar speaker cabinets, create PROFILEs yourself, swap PROFILEs of cabinets, or import impulse responses.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 79 Browsing Amps or Cabinets • There are two sources from which to select amplifiers, cabinets or the complete stack. With the respective module or section in focus, turn the BROWSE knob by one click – soft buttons will now allow you to select between "Presets" or "From Rigs". The "From Rigs" method will insert the element in focus, e.g.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 80 Direct PROFILEs In addition to the regular Studio PROFILEs, which include the guitar amp, guitar cabinet and microphone, we also have Direct PROFILEs. Here are some examples: • A Direct Amp PROFILE, tapped at the power amp speaker output, using the PROFILER DI box or another appropriate DI box. A PROFILE such as this represents the whole amp, excluding the guitar cabinet and microphone.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 81 Capturing a Direct Amplifier PROFILE; on PROFILER Stage connect to SEND 1 and RETURN 1 • A PROFILE of an acoustic-guitar amp, or an acoustic-amp simulator. This allows you to play an acoustic guitar with piezo pickups, and sound like it was captured by a microphone instead. • A PROFILE tapped at the direct output of a bass amp.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 82 Using a guitar amplifier and cabinet for monitoring Direct Preamp PROFILEs Direct PROFILEs imply that the sound is uncolored by either a guitar cabinet or microphone. They do not provide the characteristic high-frequency damping that a guitar speaker normally applies, which means that listening through fullrange speakers with high gain, or other distortion, will result in a harsh sound.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 83 DI boxes are only suitable for line level signals and cannot be used. If the DI box provides speaker simulation, or attenuation, these features need to be inactive. Some DI boxes don't allow complete deactivation. Direct Amp PROFILEs Direct Amp PROFILEs consist of the pre-amp and power amp of the reference amp and have the distinct benefit of making a solid-state power amp sound like a tube power amp.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 84 Cabinet Impulse Responses Cabinet presets are also commercially available from third party companies in the shape of so-called “impulse responses” (IR). These can be converted into a proprietary format using the KEMPER Cab Maker™ software, available for Mac and PC. The resulting files can then be imported to the PROFILER by using a USB memory stick.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 85 Here's the full procedure for all PROFILER variants other than Stage: • Select the Studio PROFILE in Browser Mode. • Hold the CABINET button for at least one second until it’s in focus. • Press COPY on the front panel. • Press EXIT and select the respective Direct Amp PROFILE. • Hold the CABINET button for at least one second to bring it into focus. • Press PASTE.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 86 Direct Amp PROFILE, ready to be fed into a physical guitar cabinet. The original Direct Amp and Studio PROFILEs are now fully contained in the Merged PROFILE, so feel free to delete them now, if you like. A positive side-effect is that the Cabinet of the Merged PROFILE has become an “authentic” guitar cabinet, comparable to one based on an imported impulse response.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 87 Running a Guitar Speaker Cabinet from a Power Amplifier, “Monitor Cab Off” For the perfect on-stage setup, the PROFILER allows you to run a guitar cabinet through a power amp, and - at the same time - send a complete studio sound (amplifier plus cabinet and microphone) from the MAIN OUTPUT to the front-of-house mixing desk.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 88 PowerHead with guitar cabinet You can also drive guitar cabinets in stereo via an external solid-state power amp. The PROFILER Stage offers a stereo MONITOR OUTPUT for this purpose. For all other PROFILER variants, you need to activate “Monitor Stereo” and pair MONITOR OUTPUT and DIRECT OUTPUT to become one pair of stereo outputs. All settings of the MONITOR OUTPUT like “Monitor Cab.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 89 Stereo setup with external power amp and guitar cabinets A little more explanation might be in order. There is an important difference between tube power amps and solidstate power amps, insofar as solid-state amps try to obtain a linear frequency-response, tube power amps often create an “artistic”, non-linear frequency-response. Solid-state amps offer a low output-impedance that dampens the resonances of the speaker.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 90 captured in the PROFILE. In regular Studio PROFILEs, the interaction is simulated. Only a solid-state amp can play back your PROFILE in an authentic way, and imprint the original impedance behavior to your speaker, without adding additional, unpredictable interactions and the colorations of another tube power amp.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 91 The internal power amp is mono and delivers 600 watts at 8 ohms; however, the wattage will be lowered to 300 watts when used at 16 ohms. The power amplifier provides sufficient headroom to avoid clipping, even with dynamic clean sounds. Very loud signals and transients will then be compressed by a nice, organic-sounding soft-clipping circuit.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 92 The Sound of Guitar Cabinets versus Mic'ed Speakers This chapter is dedicated to guitar players who usually listen to their amps through a guitar cabinet and are not familiar with the studio sound of a guitar cabinet captured by a microphone. The guitar speaker is different from most other speaker types, as it is only capable of transmitting a limited frequency response.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 93 accompanied by a drummer and bass player. Full-range speakers don’t tend to have a membrane area as large as the four speakers of a 4x12 cabinet - as a result, they do not move as much air, and the low-end frequency response is not exaggerated.
Working with Amplifier PROFILEs, Cabinet PROFILEs, Power Amps and Guitar Cabinets 94 PURE CABINET As mentioned in the previous chapter, mic'ed guitar cabinets often have an unpleasant, “phasey” sound in the highend frequencies – something you don’t get if you listen to a guitar cabinet directly, without a microphone. PURE CABINET™ will gently polish the sound of the virtual (mic'ed) guitar cabinet to bring it closer the sound of the direct guitar cabinet.
Output Section 95 Output Section In the Output Section, you can find all settings that control the physical audio outputs of the PROFILER. These settings are spread across several pages – use the buttons to move between them. You can set individual volumes and route different signals individually to several outputs. The settings of the entire Output Section can be stored as an output preset, in the same way you have already learned with the effects.
Output Section 96 ✓Linking or unlinking a volume never causes volume jumps. So, it’s safe to change the link settings even live on stage. ✓Output Volume and Output Volume Link are also available for the S/PDIF OUTPUT. ✓The S/PDIF Clock can be selected on the same page as S/PDIF Volume. The PROFILER can generate a clock of 44.1, 48, 88.2, or 96 kHz. Your audio interface and DAW will be clocked at the selected rate and your DAW project should be set accordingly.
Output Section 97 Output Sources Within the Output Section you can modify the routing to the physical outputs, or in other words, select the signal sources for the outputs. If you feel that every output delivers the signal that you need, then feel free to skip this chapter. The factory settings for the signal sources cover most of the regular applications. Each output can tap different points in the signal flow. Here is a description of signal sources, which can be tapped.
Output Section 98 Mod Stereo This stereo signal is tapped directly behind the MOD module and contains the whole signal, but without delay and reverb. only available for stereo outputs Mod Mono Mod Left Delivers a mono mix of the “Mod Stereo” signal. Delivers only one side of the stereo signal of “Mod Stereo”. This will sound like “Mod Mono” but often less dense, depending what stereo effects are used.
Output Section 99 The following settings are only available for the S/PDIF OUTPUT. These allow you to simultaneously record the pure instrument signal for reamping purposes (as described in “Git Studio”) and a mono amplifier signal on your digital audio workstation. The pure instrument signal appears on the left side of the digital S/PDIF signal, the amp signal on the right.
Output Section 100 • You can exploit this when PROFILING amplifiers: When you set the Output Source of DIRECT OUTPUT or SEND 1 to “Off”, you can mute the reference amplifier by simply switching from PROFILER Mode to Browser Mode. Back in PROFILER Mode, your reference amp will play again. • For all PROFILER models, except Stage, the reference amp can also be muted while you stay in PROFILER Mode.
Output Section 101 called the wet/dry/wet setup.
Output Section 102 • If you don’t need the MONITOR OUTPUT on stage, you can expand the wet/dry/wet setup to a four-cable wet/dry/dry/wet setup. Activate “Monitor Stereo” and MONITOR and DIRECT OUTPUT are combined to form a new stereo sum. Then select the Output Source “Mod Stereo” for the MONITOR OUTPUT, which contains everything apart from the effects in the DLY and REV modules.
Output Section 103 ✓Users of the PROFILER Stage can establish wet/dry/dry/wet leveraging both SEND outputs and still have their MONITOR OUPUT free for other purposes! • Please ensure that the virtual guitar cabinet is not switched off (“Monitor Cab Off” not engaged). • If you want to control the volume of this setup, then link all participating volumes to the MASTER VOLUME knob with the “Link” soft buttons described above (“Output Volume Link”).
Output Section 104 One or two active full range speakers
Output Section 105 One or two passive full range speakers via external power amp ✓Users of the PROFILER Stage equally set Monitor Output Source to “Master Stereo” and use the stereo MONITOR OUTPUT for this purpose.
Output Section 106 MAIN OUTPUT Use the MAIN OUTPUT to connect to a mixing desk in a recording studio, or to the front-of-house mixer in a live situation. You have a choice of XLR (balanced) or quarter-inch TS-jacks (unbalanced). Main Out -12 dB Whenever the device (e.g.
Output Section 107 If you want to establish stereo monitoring with any of the other PROFILER variants, you select the option “Monitor Stereo”, MONITOR OUTPUT and DIRECT OUTPUT become one logical pair of stereo outputs. Functions like Monitor Output Source, Monitor Output Volume, Monitor Volume Pedal, Monitor Output Link, Monitor Cab. Off, Monitor Output EQ and, Aux In > Monitor will be automatically applied to both. Output Equalizers Both, MAIN OUTPUT and MONITOR OUTPUT have dedicated 4-band equalizers.
Output Section 108 recording. By selecting the option “Space>HeadphOnly”, you can select whether it is applied to the HEADPHONE output only, or to the MAIN OUTPUT as well. You can also apply the Space effect to individual Rigs, rather than activating it globally in the Output Section. In this case, simply use the TYPE knob to select it in either the X or MOD effect. The Space effect is also very useful for improving the sound of in-ear monitors on stage.
Output Section 109 ✓To prevent unwanted hum and noise, please remember to turn down the Auxiliary Input Mix when you are not using it. The Aux In function can also be used to feed in a band monitor mix from a mixing desk, mix it locally with your guitar signal and, monitor the sum for example via in-ear monitors connected to the HEADPHONE output.
Output Section 110 If you intend to just feed a mono signal in, activate “Aux >Mono”. The signal will now be merged into both sides of all stereo outputs. ✓A tutorial video about the Auxiliary Input function can be found on: www.kemper-amps.com/video Constant Latency Normally, latency is optimized dynamically be as low as possible. However, in some specific configurations e. g.
Instrument Input and Reamping 111 Instrument Input and Reamping Input Source Select You have the choice of four different physical inputs: INPUT, ALTERNATIVE INPUT (except PROFILER Stage), RETURN and S/PDIF INPUT. Unlike the other parameters of the Input Section, the Input Source is set globally, rather than by Rig. It will therefore not be saved in an input preset. All four inputs have different applications, with two being dedicated to reamping purposes.
Instrument Input and Reamping 112 ✓Neither RETURN and S/PDIF INPUT will respond to the settings of “Clean Sens”. They have their dedicated control “Reamp Sens”, as described in the chapter Reamping. ✓A tutorial video explaining Input Source, as well as how to adjust of Clean Sens and Distortion Sens appropriately, can be found at: www.kemper-amps.
Instrument Input and Reamping 113 Reamping Reamping involves recording the unprocessed instrument signal, often while recording the amp signal at the same time; the idea being that you can process this signal again, but with different amp settings, or even using a completely different amp. A special DI-box (direct injection) is usually required to convert the high impedance guitar signal into an appropriate, studio-level signal for recording.
Instrument Input and Reamping 114 To use S/PDIF for reamping, the following must be considered: • Your audio interface must be set as a clock slave to S/PDIF, since the PROFILER itself is not able to act as slave of an incoming S/PDIF clock. • The PROFILER can generate a clock of 44.1, 48, 88.2, or 96 kHz. Your audio interface and DAW will be clocked at the selected rate and your DAW project should also be set accordingly. PROFILER Head, PowerHead, Rack, and Power Rack need to be master of the clock.
Instrument Input and Reamping 115 The level adjustments described in the following section are performed in the same way for both analog and digital connections. There are four steps required to perform recording and reamping of your pure guitar signal: Step one: DI output connections To convert your instrument signal into a studio signal: enter the Output Section and find the Output Source page.
Instrument Input and Reamping 116 floor of the recording will be significantly amplified. The INPUT LED provides a further gauge for correct leveling: the LED should flash yellow when you hit the strings hard - try to avoid deep orange or red color. Now, record the pure guitar. You can still monitor the processed (amped) guitar sound via the MAIN OUTPUT, which will be unaffected by a possible latency of your recording device (digital audio workstation).
Instrument Input and Reamping 117 Play your guitar through the armed track or play back a previously recorded track. Watch the INPUT LED while you adjust the output volume on the recording device. The LED should turn to yellow when the strings are struck hard, but no further. This is all you need to do, so long as the Rig you are reamping has no distorting amp or effect in the signal flow.
Instrument Input and Reamping 118 Alternative Procedure for Input Leveling The original "Clean Sens" leveling from step two, and the final leveling of "Reamp Sens" have a kind of opposite relationship that can be used for easier and safer leveling, under two conditions: • The Rig in question is a distorting one. • You have memorized the original “Clean Sens” setting used to record the pure instrument. First, set "Reamp Sens" to the opposite value of the original "Clean Sens" setting (e.g. 2.
Expression Pedals and Foot Switches 119 Expression Pedals and Foot Switches Both PROFILER and PROFILER Remote allow you to connect multiple, independent expression pedals, mono switches or dual switches for different purposes. Each of the PEDAL inputs on the PROFILER Stage (four inputs), all other PROFILER variants (two inputs) and PROFILER Remote (four inputs) can hold one expression pedal, one mono switch or one dual switch.
Expression Pedals and Foot Switches 120 Wah Pedal (MIDI control change #1) Besides the classic wah wah, the PROFILER offers numerous other effects that can be controlled by the Wah Pedal, such as Wah Vowel Filter or Wah Pedal Booster. These are all referred to as “wah” effects and are shown in orange. Again, the assignment of the wah controller to an expression pedal is global.
Expression Pedals and Foot Switches 121 Expression Pedal Recommendation An expression pedal works just like any analog wah or volume pedal but is made for digital devices. It only needs one cable with a stereo jack (TRS jack). In principle, all kinds and makes of expression pedals can be used with the PROFILER, although many users prefer the following two models: Dunlop® DVP 3 is a hybrid that includes analog volume as well as expression functionality.
Expression Pedals and Foot Switches 122 Connecting Pedals to PROFILER Remote or PROFILER Stage Both PROFILER Remote and PROFILER Stage feature four inputs for the direct connection of expression pedals or switches. For the Remote, these can be configured in System Settings on the “Pedal 3-6” pages. For PROFILER Stage, these can be configured in the Pedals Settings on the “Pedal 1-4” pages, which can be opened with its PEDALS button.
Expression Pedals and Foot Switches 123 Four Pedals: Luxury Four dedicated pedals connected to PROFILER Remote; for PROFILER Stage use PEDAL 1-4 plugs If you stick to these default assignments, you just need to plug in the TRS-cable, press “Calibrate” and perform a full swell on the pedal to calibrate it. You can see the changing swell value of the pedal in the display, directly under the soft button.
Expression Pedals and Foot Switches 124 Three Pedals: Comfortable Two dedicated pedals for volume and Morphing plus one shared pedal for wah and pedal pitch effects; for PROFILER Stage us PEDAL 1-3 jacks Please follow the instructions under Four Pedals: Luxury to connect and calibrate your Volume, Morph and Wah Pedals.
Expression Pedals and Foot Switches 125 Two Pedals: Mainstream One dedicated pedal for volume and the Morph Pedal to be shared for wah and pedal pitch effects; for PROFILER Stage use PEDAL 1+2 jacks Please follow the above instructions to connect and calibrate your Volume and Morph Pedals. You have neither a dedicated Wah nor dedicated Pitch Pedal. Then, go to the "Pedal Links". Now, your Morph Pedal is the master for Morphing, wah and pedal pitch effects, and controls them all simultaneously.
Expression Pedals and Foot Switches 126 There is another possible setup with two pedals: you could decide to control Morphing via the Rig Buttons 1-5 of your Remote or Stage and skip the Morph Pedal controller altogether. In this case, you would end up with a dedicated volume pedal, plus a wah pedal reassigned to pedal pitch effects. The wah pedal would be set up with “WahPedal >Pitch”, like in the example Three Pedals: Comfortable above.
Expression Pedals and Foot Switches 127 the example Four Pedals: Luxury. Then select “WahPedal >Volume” and “WahPedal >Pitch” on the Pedal Links page in System Settings. ✓If “WahPedal >Volume” is selected, those two functions are mutually exclusive. As soon as a wah effect is active, the Wah Pedal controls this wah effect, while volume stays flat. As soon as there is no wah effect in the current Rig, or the wah effect is switched off, the Wah Pedal controls volume.
Expression Pedals and Foot Switches 128 Connecting a PROFILER Switch Connect the KEMPER PROFILER Switch using a TRS cable to one of the PEDAL inputs and select the “PROFILER Switch” mode on the corresponding "Pedal" page in “Pedal Settings” of your PROFILER Stage or “System Settings” of any other PROFILER variant. Assign your preferred switching functions to the A and B switches. Then hold “Calibrate” and trigger each switch once. Release “Calibrate”.
Expression Pedals and Foot Switches 129 Connecting Pedals and Switches to PROFILER Head, PowerHead, Rack or PowerRack Connecting pedals and switches to PROFILER directly PROFILER Head, PowerHead, Rack and PowerRack feature two jacks for the direct connection of expression pedals or switches, which can be configured in System Settings on the “Pedal 1-2” pages.
Expression Pedals and Foot Switches 130 ✓If “WahPedal >Volume” is selected, those two functions are mutually exclusive. As soon as a wah effect is active, the Wah Pedal controls this Wah effect, while volume stays flat. As soon as there is no wah effect in the current Rig, or the wah effect is switched off, the Wah Pedal controls volume. Then, plug the TRS-cable of the dual switch into the PEDAL 2 input. If this is a KEMPER PROFILER Switch, please follow the instructions at Connecting a PROFILER Switch.
Expression Pedals and Foot Switches 131 Volume Pedal Function In difference to the Wah and Pitch Pedal functions, the Volume Pedal function does not have its own effect type, as this would allocate an effect module every time you wanted to use the pedal. Instead, you will find two parameters for the Volume Pedal in Rig Settings. Volume Pedal Location Selects the location of the Volume Pedal in the signal flow: Off Input Directly before the A module Pre Stack Right after the D module.
Expression Pedals and Foot Switches 132 attenuation pedal into a booster pedal. Now, the heel stays at standard volume, and the toe-swell will give you a volume or gain boost. The maximum boost, at the top position of “Volume Pedal Range”, is +24 dB. The settings for the Volume Pedal are stored per Rig. However, if you have a favorite setting that you want to use in general, press “Lock Volume Pedal” to protect your settings from Rig changes.
Expression Pedals and Foot Switches 133 First, let’s look at how to set up Morphing with PROFILER Remote or Stage: If you load a Rig not yet prepared for Morphing – either in Browser Mode or Performance Mode - the lower LED of the Rig Button 1-5 on PROFILER Remote or Stage will light up as usual. This state represents the “Base Sound” of the Rig. If you press this Rig Button again, you will see that the upper LED of this knob lights up, while the lower LED is dimmed.
Expression Pedals and Foot Switches 134 expression pedal at any speed, and even rest at intermediate levels. The Rise and Fall Time parameters are only relevant to the Rig Buttons 1-5 of Remote or Stage or external switches, not the Morph Pedal. Morph Pedal can also be controlled via MIDI on control change #11. A button is not even required to operate Morphing - you could use an expression pedal exclusively if you like. The functionality of the Morph Button is also available via MIDI control change #36.
Expression Pedals and Foot Switches 135 • Morphed values of parameters can be set above or below their base value, to create either positive or negative progressions. • You can erase Morphing of any parameter by turning the morphed value back to the base value. • A safer way to erase a Morphing is to first activate the Base Sound, and then sweep the base value of any parameter past the morphed value.
Expression Pedals and Foot Switches 136 • soft button to simulate a button-triggered Morphing (this function can also be assigned to the QUICK button; the PROFILER Stage even has its dedicated MORPH button) • the parameters “Rise Time” and “Fall Time”, which are applied if Morphing is triggered via Remote’s or Stage’s Rig Buttons 1-5 or another button • “Momentary” option to select whether Morph Buttons are latched (default) or momentary • soft buttons to clear Morphing either for the whole Rig or s
Stack Section 137 Stack Section The stack section is the heart of the PROFILER. It represents the raw virtual guitar amplifier and guitar cabinet as defined by the PROFILE. Every PROFILE is represented by the three modules that make up the stack section. Amplifier The AMPLIFIER button calls up a list of parameters that allow you to change the character of the Amplifier PROFILE in numerous ways using the soft knobs.
Stack Section 138 distortion has a sparkling quality to it and preserves every nuance of the strings and pickups. Together with the characteristics of the actual speaker, the individual distortion behavior creates the fingerprint that identifies the amplifier. Power Sagging “Power Sagging” models the interaction between the guitar signal and the distortion stage. Increase the amount of “Power Sagging” to emphasize the velocity and energy of crunch sounds.
Stack Section 139 As the dynamic range of an analog tube amp is limited by the laws of physics, power sagging can only go to a certain level before the breakdown of supply voltage destroys the beauty of the distortion characteristics. The PROFILER allows for a much wider dynamic range, while preserving the character of the tubes at the same time. Turning down the volume knob on the guitar results in a very natural, clean sound with full dynamics and lots of energy.
Stack Section 140 Clarity “Clarity” changes the sound of the distortion in a new and unique way. Turning the “Clarity” soft knob to the right will bring the clean character of the sound into focus without lowering the amount of distortion. The distortion itself will become less forward in the mid frequencies and sound far more transparent. Tube Shape “Tube Shape” controls the distortion characteristics of the tubes, ranging from very soft to very hard.
Stack Section 141 Volume This parameter can be used to balance volume gaps between different PROFILEs. The Rig named “Crunch”, which is default in all Slots in Performance Mode, could be used as a volume reference. EQ The EQ (equalizer, often called “tone stack”) is an integral part of the stack section. It features four controls for the different frequency bands: “Bass”, “Middle”, “Treble” and “Presence”. These controls are always present in Browse and Performance Mode.
Stack Section 142 Cabinet The CABINET button brings the cabinet module into focus. You can freely combine guitar cabinets and guitar amps from different PROFILEs to create new stacks. The cabinet has four parameters to tweak its character in an artificial way: High Shift, Low Shift Both parameters influence the characteristic formants of a Cabinet PROFILE, thereby simulating a change in size.
Effects 143 Effects The four modules named A, B, C and D, placed in the signal flow before the stack, are the ideal place for stomp box type effects - like distortion, for instance. These modules are mono, because the amplifier will only accept a mono signal. By contrast, the four modules X, MOD, DLY and REV work in stereo, if desired.
Effects 144 Press and hold any effect module button to bring it into focus. If the effect module is active the display will change its color to match the effect. The soft buttons and soft knobs will display the parameters available to edit. Use the buttons to navigate the pages of available parameters. There are two ways to choose a new effect: either turn the BROWSE knob to select a new effect preset, or turn the TYPE knob, to change the basic algorithm of the module.
Effects 145 Stereo The “Stereo” parameter is only available in the effect modules placed after the stack. It controls the stereo intensity of these effects. With modulation effects this is done by offsetting the LFO modulation phases of the left and right channels. For other effect types, such as filters, frequencies are shifted in opposite directions for the left and right channels.
Wah Effects (Orange) 146 Wah Effects (Orange) The wah effects are a versatile collection of different effects that can all be controlled by an expression pedal set up as Wah Pedal. Alternatively, you can switch to “Pedal Mode” option “Touch”, and control the effect using your picking strength. Wah Wah This is the classic wah pedal effect. By modifying the “Peak” parameter you can achieve different wah characteristics.
Wah Effects (Orange) 147 Wah Rate Reducer This effect reduces the sampling rate of the audio signal passing through. The sampling frequency is controlled with the “Manual” parameter. Lowering the sample rate results in a raspy, scratchy quality as well as aliasing. Use the “Peak” parameter to continuously control the quality of the sample rate interpolation, which will alter the harmonic content drastically. Wah Ring Modulator Here, the signal is modulated by a sine oscillator.
Wah Effects (Orange) 148 Wah Formant Shifter The Wah Formant Shifter shifts the harmonic content of the sound. However, in contrast to the Wah Frequency Shifter, it preserves the dependencies of the harmonics, as well as the fundamental frequency. As a result, you can play single lines in a regular fashion, while the formant shifting affects the character of your instrument. When “Manual” is positioned to the center, no formant shifting is applied.
Wah Effects (Orange) 149 Pedal Range This parameter determines the maximum impact of the pedal, as an offset to the value selected for the “Manual” parameter. Negative values of “Pedal Range” will reverse the swell direction of the pedal or touch effect, so the effect will go down when you push the pedal forward. Peak Range Determines to what extent the position of the pedal influences the peak intensity.
Wah Effects (Orange) 150 Touch This mode resembles the classic touch wah behavior, where the depth of modulation is controlled by the picking strength and is available for all wah effects. As with the regular wah pedal, the “Range” parameter controls the intensity of the touch effect. When “Touch” is engaged, three more parameters are added to the effect, that you can access by pressing the right PAGE button: Touch Attack Touch Release Touch Boost Controls the speed of reaction to the guitar attack.
Distortion (Red) 151 Distortion (Red) The PROFILER offers a variety of distortion stomps modeled on vintage guitar distortion pedals. Every one of these classic pedals is famous for its distinctive character and has been exploited by some of the greatest guitar heroes of all time. We have carefully modeled the distortion curves and tonal characteristics of these legendary effects, including the original tone controls.
Distortion (Red) 152 Name Description Green Scream The sound of this one just screams “tubes” - a very special kind of overdrive which results in a wonderful, smoky tone. Good for achieving a subtle distortion effect whilst still retaining headroom for dynamics. Plus DS A more extreme distortion. One DS The “orange” one. A very harsh distortion, popular with the grunge movement. Muffin A big distortion effect famous for its fuzzy character.
Booster (Red) 153 Booster (Red) Treble Booster A classic sound-shaping stomp pedal that does not feature a built-in distortion. Instead, the Treble Booster is made to shape the high frequencies of your guitar so that they improve the distortion as well as making it more transparent, especially when being used with old amplifier models that were not originally designed for distortion. Use the “Tone” control to shape your sound.
Shaper (Red) 154 Shaper (Red) Type Linear Recti Shaper This is the characteristic curve of the Recti Shaper. Regular distortion This is the characteristic curve of the regular distortion. Soft Shaper This is the characteristic curve of the Soft Shaper. Hard Shaper This is the characteristic curve of the Hard Shaper. Wave Shaper This is the characteristic curve of the Wave Shaper.
Shaper (Red) 155 Bit Shaper The Bit Shaper continuously reduces the bit depth of a signal, with higher “Drive” settings resulting in fewer available bits. The effect can be described as introducing a fizzy distortion, with a choking of the signal at high settings. The signal can even break off completely at the most extreme settings. “Peak” controls the shape of the digital steps, which affects the high-end content of the signal. Recti Shaper The Recti Shaper is based on an electrical rectifier circuit.
Equalizer (Yellow) 156 Equalizer (Yellow) This group of effects offers you a nice selection of high-quality equalizers. They can be placed either before or after the stack section, as each configuration has a different impact on the sound. The “Mix” parameter is common to all the equalizers and controls the impact of all the EQ bands combined. Graphic Equalizer, Studio Equalizer, and Metal Equalizer offer “Low Cut” and “High Cut” in addition to their other controls.
Equalizer (Yellow) 157 Metal Equalizer This can be thought of as the little brother of the Studio Equalizer. It’s a 3-band, half-parametric EQ, inspired by the equalizer of the Boss® Metal-Zone stomp (you can find a model of this among the Distortions). The Metal Equalizer is perfect for creating the mid-scoop that characterizes the typical metal sound, but since it is also a regular equalizer, it is also suitable for many other sounds and genres.
Compressor (Cyan) 158 Compressor (Cyan) A compressor for guitar is mostly used for clean sounds, as the strings of the guitar decay quickly. On distorted sounds, the distortion itself adds compression as a side-effect; this means the compressor could even be a nuisance, as additional compression will kill the dynamics and touch-sensitivity of the distortion.
Compressor (Cyan) 159 Squash This gives you control over the dynamic behavior of the compression. At the center position the compressor will work as you expect. When you turn “Squash” towards zero, the compressor will emphasize the first phase of the strings’ decay, resulting in less squash. When you turn it more to the right, the first phase of the strings´ decay gets squashed, and the volume sags.
Noise Gate (Cyan) 160 Noise Gate (Cyan) In addition to the noise gate in the Input Section, there are two additional noise gates available as effects, developed specifically with the hi-gain player in mind. Whereas the noise gate in the Input Section is designed to preserve the guitar’s dynamics exactly, the Noise-Gate effects behave like classic downward expanders. Downward expanders attenuate a signal once it has fallen below a certain threshold and are often used to tighten complex metal-riffing.
Chorus (Blue) 161 Chorus (Blue) Vintage Chorus The Vintage Chorus is an emulation of the 70’s chorus technology based on bucket brigades, which can be considered a predecessor of today’s digital sampling technology. The Vintage Chorus not only covers the exact sound of the famous Chorus EnsembleTM but also many other models of that era which were based on the same basic circuitry. You may notice the somewhat dull sound of the effect signal; this is due to the limited sample-rate of the bucket brigade.
Chorus (Blue) 162 Depth Use the “Depth” parameter to adjust the intensity of the chorus modulation. ✓Tip: for the original Chorus Ensemble TM sound leave the “Depth” parameter at exact middle position and use the “Rate” parameter to create your favorite sound - the original devices did not have a depth control. Crossover Each of the chorus algorithms feature the “Crossover” parameter.
Chorus (Blue) 163 Amount If the full sound becomes too complex, you have the option to continuously reduce the amount of delay lines. You can smoothly fade the numbers of delay lines from one to three on each stereo side. So yes, even 1.5 choruses are possible: this simply means one chorus is at full volume, the other is at half. Crossover Increase the value of the “Crossover” parameter to prevent the chorus effect from modulating the lower frequencies of the input signal.
Chorus (Blue) 164 Crossover The “Crossover” parameter enables you to position the bass and middle frequencies of your signal to a stable mono position between your speakers, while the highs still float around. Micro Pitch Micro Pitch is a detune effect, based on pitch shifter technology. The result sounds more stable than a classic chorus, because it avoids the cyclic modulation effect of a low frequency oscillator (LFO).
Chorus (Blue) 165 Vibrato The Vibrato effect modulates the pitch of the sound using a sine modulation. Rate Use the “Rate” parameter to adjust the speed of the modulation. Depth Use the “Depth” parameter to adjust the intensity of the modulation. Crossover Use the “Crossover” parameter to blend out the vibrato effect for the lower frequencies of the signal. This will result in an old-school modulation effect, quite like a scanner vibrato of a Hammond™ organ.
Chorus (Blue) 166 Interestingly, you can take a PROFILE of your own rotary cabinet. If you get the chance to have a real rotary speaker in your studio, as long as you can connect line or guitar signals, you can take a PROFILE of it. Please refer to the chapter Taking a PROFILE for further instructions. Of course, the PROFILER already comes with a Rig “CK Rotary Speaker” which includes a PROFILE of a Leslie® 147 captured with Shure® SM 57.
Chorus (Blue) 167 Mix Use the “Mix” parameter to adjust the balance between the input signal and the output of the Rotary Speaker effect. For an authentic sound, this is best left at “100%”, but it can be very useful if you want to achieve sounds that are less conventional.
Chorus (Blue) 168 Tremolo / Auto Panner The Tremolo modulates the level of the signal in a periodic manner. Rate Use the “Rate” soft knob to adjust the speed of Tremolo modulation; this parameter is almost continuously variable, but stays in sync to the actual tempo of the Rig. The tempo can be dialed in manually or tapped on the TAP button. When “Tempo” is engaged, the rate will be displayed in musical values. Please refer to the Tempo chapter for more information about the tempo sources and settings.
Phaser and Flanger (Purple) 169 Phaser and Flanger (Purple) Phaser The Phaser is a huge filter bank comprising up to 12 filter stages for each stereo side. ✓There is a similar phaser in the group of Wah Effects that can be controlled by the Wah Pedal. Rate Use the “Rate” soft knob to adjust the speed of Phaser modulation; this parameter is almost continuously variable but stays in sync to the actual tempo of the Rig. The tempo can be dialed in manually or tapped on the TAP button.
Phaser and Flanger (Purple) 170 Feedback Intensifies the Phaser effect as peaks get higher and notches get lower. Peak Spread You cannot find this parameter in any vintage phaser, because it would have been too expensive to realize in the analog domain. With “Peak Spread” you can control the spread and width of the phaser’s peaks and notches in the frequency domain over a wide range. At a narrow setting (more to the left), you can hear the peaks being focused to a narrow field.
Phaser and Flanger (Purple) 171 Vibe Phaser The Vibe Phaser is inspired by the famous UnivibeTM effect. The UnivibeTM is basically a phaser, but with an asymmetrical modulation curve that stays up for quite a while, then bounces down very quickly; apart from that, it is identical to the regular phaser. For the most authentic results, set the number of Phaser Stages to “4”. Flanger The Flanger effect shares the same heritage as the Phaser, and the resulting sound is somewhat related, too.
Pitch Shifter (White) 172 Pitch Shifter (White) A pitch shifter is an array of alternating delays that first cuts the signal into slices, and then plays them back at a different speed. Any pitch shifter will always introduce a little latency to the signal, simply down to the fact that it uses delays. This latency will become most noticeable when you play chords, since long slices are needed for chords to sound natural.
Pitch Shifter (White) 173 ✓Check out the tutorial video demo of Formant Shift available at: www.kemper-amps.com/video Pure Tuning When you press “Pure Tuning”, intervals produced by the pitch shifter will be slightly detuned from the standard tempered scale to create a so-called “natural” or “pure” tuning. This will avoid harmonic beating, especially when distorted afterwards. Read more at the end of this chapter on Background of Pure Tuning.
Pitch Shifter (White) 174 Pedal Pitch With the Pedal Pitch effect, you can use an expression pedal for the famous Whammy TM effect, using the KEMPER advanced pitch shifting technology. Set “Heel Pitch” and “Toe Pitch” as the start and end points for your pedal sweep. You might want to keep “Heel Pitch” at the zero setting to ensure your instrument is in the original key when the pedal is in the zero position. You can also use the Pedal Pitch to create harmonies for advanced soloing.
Pitch Shifter (White) 175 Pedal Vinyl Stop Pedal Vinyl Stop is a variation of the Pedal Pitch effect. While Pedal Pitch can create a “dive bomb” effect down to three octaves, Pedal Vinyl Stop will turn the pitch of your instrument down to exactly zero, by swelling up the Pitch Pedal; much like you would stop a vinyl record with your hand. No sound will be heard until you swell the Pitch Pedal down again, making your instrument sound as though the motor has turned back on again.
Pitch Shifter (White) 176 Detune Similar to the “Detune” in the Micro Pitch effect, this parameter creates a beating between the voices and the direct signal. It will work best if at least two of the three signals run at the same pitch. For example: first, set both voices to “+12” to create a 12-string guitar effect, then detune the voices to get a lusher sound. Alternatively, try setting one voice to “-12” and the other to “+12”, to create an organ effect.
Pitch Shifter (White) 177 formants are fully compensated, and the timbre of the pitch-shifted voices will be like the original tone. It will sound as though you are hitting the same string on the same instruments, just on a different fret. When you move the “Formant Shift” soft knob from the middle position more to the right, the formants will be shifted upwards, to give the pitch-shifted voices a pronounced timbre and character of your choice.
Pitch Shifter (White) 178 Voice Balance Use this to balance the two harmony voices. Turn it to either extreme to isolate a voice. Mix Use this to determine the balance between the detuned voices and the direct signal. Stereo The “Stereo” parameter controls the stereo spread of the original signal and the two pitch-shifter voices in an intelligent, but obvious manner.
Pitch Shifter (White) 179 formants move down for higher-pitched voices, and up for lower-pitched voices. At the extreme left position, the formants are fully compensated, and the timbre of the pitch-shifted voices will be like the original tone. It will sound as though you are hitting the same string on the same instruments, just on a different fret.
Pitch Shifter (White) 180 Background of Pure Tuning Instruments with frets or keys are tuned to the “tempered” scale used in western music for the last few centuries. The benefit of tempered tuning is that it allows you to play in any key you like; however, the result is a bit of a compromise, since intervals sound better when tuned according to the natural harmonic scale. Fretless instruments like violins - or even the human voice - can produce arbitrary pitches.
Pitch Shifter (White) 181 ✓Check out the tutorial video demo of Pure Tuning available at: www.kemper-amps.com/video Analog Octaver Originally intended for bass players, the Analog Octaver is a classic effect that can sound great with any instrument. It works by creating two additional signals: one at an octave below the input pitch, and another at two octaves below. Rather than use pitch shifter technology, it uses an analog detection circuit to manipulate and filter the input signal.
Pitch Shifter (White) 182 Low Cut While the octaver can be very pleasant with higher notes, it can soon turn to a deep growl at lower registers. This is because it can produce frequencies well below 20 Hz. “Low Cut” is an additional parameter that is not found in the original effect; it helps to balance the intensity of the octaver signal relative to the played pitch. At zero position (fully left), “Low Cut” has no effect.
Delay (Green) 183 Delay (Green) Without doubt, the delay effect types are some of the most advanced and comprehensive effects collections in the PROFILER. However, the approach we have taken might be a bit different from what you've seen before. You will not find a dedicated reverse delay, tape delay or ducking delay, as we realized there is no sense in splitting such crucial features into separate delay types. Instead, we have equipped every single delay type with most of these features.
Delay (Green) 184 Despite all the flexibility of the new delays, there are good reasons to choose the DLY module for the delay effect: • delay sound (as well as the reverb tail) won’t be cut off when you switch Rigs (“spillover”) if placed in the DLY module • delay sound (as well as the reverb) will be directed to separate outputs if Output Source is set to "Del/Rev Wet" in the Output Section • DELAY FEEDBACK and MIX knobs are exclusively linked to the DLY module.
Delay (Green) 185 Low Cut & High Cut These two controls determine changes to the frequency response of progressive delay repeats. When Low Cut is set to minimum, and High Cut to maximum, then the delay will not undergo any sound degradation. As you reduce High Cut from its maximum position, the high frequencies will attenuate with every delay repetition, creating a warm, lush sound.
Delay (Green) 186 Delay Time & Delay Ratio If “To Tempo” is not engaged, then Delay Time controls the absolute delay time in milliseconds. The maximum delay time is 2000 ms. As you dial through the delay times, you will notice the change in pitch, typical of tape-speed changes in a tape delay. In several delay types, you will also find a setting for “Delay Ratio”. This soft knob sets the time (in percentage) of the respective delay taps relative to the sole Delay Time found in this delay type.
Delay (Green) 187 ✓Delay Feedback can be controlled with the dedicated knob in the upper half of the panel, so long as the effect is placed in the DLY module. Above the “Feedback” soft knob you will find the “Freeze” soft button and, on several delay types, an “Infinity” soft button. Both buttons are so-called "Action & Freeze" functions. These can be assigned to the Effect Buttons of the PROFILER Remote for performance applications.
Delay (Green) 188 ✓Both the “Freeze” and “Infinity” soft buttons can also be assigned to a foot switch that you plug into one of the PEDAL inputs of your PROFILER or Remote. Cross Feedback A small number of delay types - namely the Dual Delay and the Quad Delay - feature a "Cross Feedback" control. Increasing the value beyond zero causes each delay to not only feed its output signal back to its own input, but also to the other participating delay lines.
Delay (Green) 189 Stereo This is like the bipolar Stereo parameter included in many effects of the PROFILER. In the delays, this parameter controls the stereo spread of all delay taps. However, it introduces a novel "super-stereo" effect that lets the delay reflections appear well outside the regular stereo image. This effect works best if you are well positioned in the correct stereo triangle of your speakers. To get the most prominent effect, set the delay taps to different delay times.
Delay (Green) 190 Stereo Modulation Induces a delay time modulation to create a lush and chorus-like sound. The delay taps are modulated in different phases to produce a wide stereo image like the Air Chorus, even when the delay times are set to equal values. ✓If you want to create a delay modulation, without creating a stereo effect, use the Flutter parameters instead. Flutter Intensity & Flutter Rate These parameters control the typical wow & flutter effect of a tape delay.
Delay (Green) 191 Single Delay The Single Delay consists of one delay line, with one delay time setting only. This makes the Single Delay ideally suited to the mono effect modules in front of the amp. However, you can still place it after the amp and achieve a decent stereo effect by increasing the Stereo parameter. This stereo effect is created by phase shifts but is fully mono compatible. This means the effect disappears naturally, without side effects, when the signal is mixed down to mono at playback.
Delay (Green) 192 Dual Delay The Dual Delay features two fully independent delays - one for each stereo side - with independent feedback controls. Both feedbacks can be sync'ed with the “Feedback Sync” soft button, so that both are controlled by the Feedback 1 control only.
Delay (Green) 193 Two Tap Delay The Two Tap Delay is based on a single delay, but with two signal taps for the left and right sides. This allows for dedicated ping-pong delay patterns, that are quite different to those of the Dual Delay, for example. Two Tap Delay When the “To Tempo” soft button is activated, you can set the delay time of the left and right delay taps individually, in musical values.
Delay (Green) 194 Serial Two Tap Delay The Serial Two Tap Delay is a Two Tap Delay with an additional delay placed in front. This additional delay features separate "Mix Serial" and "Feedback Serial" controls, as well as a third delay time setting. The delay time appears as “Note Val. Serial”, when To Tempo is activated, or as "Delay Ratio Serial" (as a percentage of Delay 1 Time), when To Tempo is deactivated.
Delay (Green) 195 Rhythm Delay The Rhythm Delay is quite a beast. It allows you to arrange up to four delay taps to create a rhythmic sequence. Each delay tap can be set individually by time, volume and panorama position. The sound degradation from the high pass and low pass filters increases from tap to tap, giving the delay a natural flavor, even within a pattern.
Delay (Green) 196 When you set Feedback to above zero, the whole delay pattern is repeated. The repetition time (and thus pattern length) is defined by the time of the fourth delay tap (Delay 4). For that reason, the fourth delay tap is always the first tap of the next repetition. When “To Tempo” is activated, the time of each tap is adjusted independently in multiples of 16th notes.
Delay (Green) 197 Quad Delay The Quad Delay features four delay lines in parallel. The parameter set looks like the Rhythm Delay, but the structure is completely different. The four delays share a common Feedback control, as well as a common Cross Feedback. When Cross Feedback is set to zero, all four delays will feedback individually. When Cross Feedback is set to 100%, each delay will feed its signal back to all four delays at the same time, creating a diffuse and reverberant effect.
Delay (Green) 198 Legacy Delay The Legacy Delay is based on the first delay algorithm made for the PROFILER. The main purpose is to maintain full backward compatibility to Rigs that have been created before the advent of PROFILER operating system 5.0. The architecture of the Legacy Delay is like that of the Two Tap Delay.
Pitch Shifter Delay (Light Green) 199 Pitch Shifter Delay (Light Green) The Pitch Shifter Delays are powerful combinations of the delay types with one of four different pitch shifter types: Chromatic Type The chromatic pitch shifter is positioned at the delay input and can be played polyphonically (chords). The pitch is set in semitones. Please learn more in the chapter Chromatic Pitch.
Pitch Shifter Delay (Light Green) 200 Crystal Type Crystal is a reverse delay, in which the pitch is altered by playing back the delayed signal faster or slower. The Crystal is placed in the feedback loop of the delay, creating a pitch helix with every repetition. Setting the pitch to either one octave (+12) or a fifth (+7) will yield the most interesting results. In combination with other delay features such as Smear, Input Swell and Flutter, you can build very ethereal delay or reverb effects.
Pitch Shifter Delay (Light Green) 201 Loop Pitch Delay The Loop Pitch Delay is based on the Two Tap Delay as well, with a Chromatic Pitch shifter in the feedback loop.
Pitch Shifter Delay (Light Green) 202 Frequency Shifter Delay The Frequency Shifter Delay uses a frequency shifter effect in the feedback loop, instead of a regular pitch shifter. This creates a disharmonious pitch helix. A true lo-fi effect.
Pitch Shifter Delay (Light Green) 203 Dual Chromatic Delay & Dual Harmonic Delay The Dual Chromatic and Harmonic Delays feature the Dual Delay with two pitch-shifters at the input of each delay channel. This allows for creating two pitch-shifted voices that can be delayed, with feedback tweaked to your liking. If you want to go for a single pitch-shifted delay, then set Pitch parameters to identical values.
Pitch Shifter Delay (Light Green) 204 Dual Crystal Delay The Dual Crystal Delay is based on the Dual Delay, with two Crystals positioned in each delay’s feedback loop. This allows for two different pitches, while each of their signals can be cross-fed by the “Cross Feedback” control.
Pitch Shifter Delay (Light Green) 205 Dual Loop Pitch Delay The Dual Loop Pitch Delay works like the Dual Crystal Delay, but with two Chromatic Pitch shifters in the feedback loops. The results are comparable to the Crystal, but more concrete.
Pitch Shifter Delay (Light Green) 206 Melody Delay The Melody Delay is a Rhythm Delay combined with four pitch-shifters that turn the rhythm into a melody. Each note that you play will create an arpeggio of up to four delayed and pitched notes. You will achieve the best results by only playing single notes and letting the Melody Delay play the rest. The Formant Shift option in the pitch shifters allows the Melody Delay to create very natural-sounding arpeggios.
Pitch Shifter Delay (Light Green) 207 Quad Chromatic Delay & Quad Harmonic Delay The Quad Chromatic/Harmonic Delays can be considered as a double version of the Dual Chromatic/Harmonic Delays. These feature four pitch-shifters, one on each input of the four delays. This allows for pitched reverberated sounds.
Reverb (Green) 208 Reverb (Green) The PROFILER offers a selection of studio-quality reverb algorithms. Spring Reverb The Spring Reverb is inspired by the most sought-after spring reverb for guitarists: the Fender® Reverb Tank from 1963. There are two prominent characteristics that define this legendary reverb sound: one is the lack of low frequencies, due to a steep lowcut filter used in the original design.
Reverb (Green) 209 Dripstone Controls the intensity of the “Dripstone” sound. Distortion (Dwell) The Fender® Reverb Tank, as well as combo amps, utilize a tube amplifier stage to drive a transducer into the spring tank. This tube stage is easily overdriven as it has to create a reasonable signal level, and it creates a distortion that adds some grit to the reverb sound. This distortion can be controlled independently by the “Distortion” parameter.
Reverb (Green) 210 High Cut High Cut is a static filter that gradually smoothens the high frequency content of the reverb, when turned more to the left. While not implemented in combo amps, this control was available as a “Tone” control on the original Fender® Reverb Tank. Spectral Balance The Spring Reverb is originally processed by a strong lowcut filter.
Reverb (Green) 211 The Decay Time is analogous to the Feedback parameter of a delay. It is measured in seconds (s) and reflects the time the reverb has decayed by 60 dB, which is well below the hearing threshold. Freeze "Freeze" is an Action & Freeze function, which turns the reverb into an endless pad by instantly increasing the room size to infinity. The input of the reverb is cut, so no further signal is added to the reverb, allowing you to play along to the pad.
Reverb (Green) 212 increase the Predelay. This will let the room sound bigger than it is, while the reverb tail separates from the dry instrument like a regular delay to create an airy effect. For a more natural room impression, set the Predelay between zero and a few ms for small rooms and ambiences, and 60 ms or more for large rooms. To Tempo If you like the idea of the delayed reverb, then there is more to explore here.
Reverb (Green) 213 High Cut High Cut is a static 1-pole filter that gradually smooths the high frequency content of the reverb, the further it is turned to the left. High Decay Simulates the high-frequency degradation over time in natural rooms and halls. The further it is turned to the left, the more high frequency content is lost over time. While the impact of High Decay increases with time in the late reverb reflections, High Cut affects all phases of the reverberation including the onset.
Reverb (Green) 214 Mid Frequency Offsets the filter frequencies of Low Decay, High Decay and High Cut. Consequently, it also controls the pitch of the resonance frequency created by large settings of Low Decay and High Decay.
Reverb (Green) 215 Easy Reverb The Easy Reverb is based on the Natural Reverb. In contrast to the latter, the number of parameters is reduced to a minimum, to make the workflow easy and straightforward. Decay Time In the Easy Reverb, the Decay Time also controls the hidden parameters Room Size and Predelay time. This is done in a smart way, automatically creating a natural room sound to match the chosen Decay Time.
Reverb (Green) 216 There are two alternative ways to create an echo reverb in the PROFILER: • Many Delay Types feature a “Smear” parameter that adds a little reverberation to the delay repeats. While the smearing is much shorter than it is in the Echo Reverb, it builds up with every repetition. • A combination of a delay in the DLY module and a reverb in the REV module, controlled by the “DLY+REV Routing” parameter, gives you the same approach, but allows deep editing of the delay propagation and more.
Reverb (Green) 217 Formant Reverb This adds formant filters to the Cirrus Reverb to give the reverb tail more color, and a very distinctive, choir-like sound. The main purpose of the Formant Reverb, however, is not to create a realistic choir sound, but to give it a certain character, making it sound more like a synthesizer or Mellotron. The formants also help the reverb cut through the mix, even at moderate volume levels.
Reverb (Green) 218 Ionosphere Reverb The Ionosphere Reverb is based on the Cirrus Reverb and Formant Reverb. Featuring the finest pitch and shimmer reverbs, it builds on the concept and takes into brand new territory. Two crystal pitch shifters are embedded into the reverb, allowing you to create effects more akin to orchestral strings and synth-like sounds.
Reverb (Green) 219 •Brass In addition to the string-like effect of the crystal pitch shifters, the “Brass” parameter allows you to bring some nonlinearities to the reverb structure, giving it a brasher sound, more like that of a brass section. ✓Example setup: For a reverb that plays exclusively one octave higher than the input signal without building up, set Pitch Mix all to the right, both Pitches to +12, and Pitch Buildup to zero.
Reverb (Green) 220 DLY+REV Routing (in Rig Settings) “DLY+REV Routing” is another feature exclusive to the DLY and REV modules. It’s a unique parameter, available in Rig Settings, that allows continuous control over the routing of the effects located in the DLY and REV modules. For the following description, let‘s assume that you have placed a delay in the DLY module and a reverb in the REV module.
Reverb (Green) 221 When you turn “DLY+REV Routing” more to the left, you will notice that the delay reflections will vanish from the reverb - at fully left position, only the dry portion of the delay gets reverberated. Now, the delay and reverb are working in a parallel configuration. You will hear delay reflections and a reverb tail, but the delay signal doesn’t feed the reverb.
Reverb (Green) 222 As you turn “DLY+REV Routing” more to the right, the opposite happens: the delay reflections keep their reverb tail, but the dry signal loses its reverberation and becomes completely dry. This will emphasize your instrument, as the reverb will not appear until after the first delay reflection.
Reverb (Green) 223 When you turn “DLY+REV Routing” to the left, the chorused signal will vanish from the delay — at fully left position, only the pre-chorus signal is reverberated. As you turn “DLY+REV Routing” more to the right, the impact of the chorus shifts further to the delay signal — at fully right position, you end up with an unmodulated, dry signal plus a chorused delay.
Effect Loop (Pink) 224 Effect Loop (Pink) To connect external gear, the PROFILER offers a hardware effects loop, represented by the DIRECT OUTPUT/SEND and the RETURN on the back side. These are the same jacks that you use for PROFILING. ✓The PROFILER Stage even offers two SEND outputs and four RETURN inputs, which allows the use of two independent effect loops. You can apply a hardware effect loop in any of the effect modules.
Effect Loop (Pink) 225 If Loop Stereo is used in one of the mono effect modules A, B, C, or D, the left and right return signals will be mixed together. The "Mix: Pre/Post" option is available in both Loop Mono and Loop Stereo modes and determines whether the Mix control affects the signal on the SEND (“Pre”) or the RETURN and ALTERNATIVE INPUT (“Post”). Since this makes no difference in most situations, we recommend leaving the button at the "Post" position, to guarantee the lowest noise floor.
Effect Loop (Pink) 226 External gear can be looped in at instrument as well as line level. The following two graphics illustrate the various possibilities to loop in external gear: Looping in a stomp box or pedal ✓For PROFILER Stage use SEND 2 and RETURN 3 (lower loop) or SEND 1 and RETURN 1 (upper loop).
Effect Loop (Pink) 227 Looping in an effect ✓For PROFILER Stage use SEND 2 and RETURN 3+4 (lower loop) or SEND 1 and RETURN 1+2 (upper loop). ✓A tutorial video explaining these effect loops can be found at: www.kemper-amps.
System Settings 228 System Settings Press the SYSTEM button to access the global settings pages. Use the buttons to navigate through the various pages. Global settings do not change when you switch to another Rig. ✓Users of the PROFILER Stage can access pages related to pedal and external switch configurations via the PEDALS button. LCD / HW Setup / Brightness / User Interface On the LCD / HW Setup page you can control the settings for the display and adjust the “Line Frequency” parameter.
System Settings 229 Contrast Brightness The soft knob “Contrast” lets you set the contrast of the display. Adjust this setting if you find the display hard to read under certain circumstances. The soft knob “Brightness” controls the brightness of the display. White Balance The soft knob “White Balance” adjusts the white balance of the display. Line Frequency The soft knob “Line Frequency” lets you choose between a line frequency of 50 or 60 Hz.
System Settings 230 Rig Button Morph This option determines, if subsequent hits of the Rig Buttons 1-5 of Remote or Stage initiate Morphing or reload the current Rig/Slot in its stored state. This option is also applied if MIDI control changes # 50-54 are received subsequently. Signal LEDs Blue This option allows you to switch the color of the INPUT and OUTPUT LEDs from white to blue. LCD Color Here you can select the base color of the PROFILER display.
System Settings 231 Buttons” sub-page. Use the three soft knobs on this page to change the assignments according to your needs. The option “Switch Up&Down” allows you to switch the functions of the Up/Down Buttons. Audio Setup This page includes the following parameters: Rig Change Crossfade Time (Rig X-Fade Time) Most digital audio devices create an unpleasant gap in the audio signal when a preset is changed.
System Settings 232 Pedal Links Users of the PROFILER Stage can access the following pages via the PEDALS button. On this page, you can link pedal controllers as well as use soft knobs to simulate pedal behavior. For detailed explanation please refer to chapter Expression Pedals and Foot Switches. Pedal 1-6 On the first two pages, you can configure the kind of pedals or switches you want to directly connect to the inputs PEDAL 1 and 2 of the PROFILER and assign functions to these.
System Settings 233 MIDI Program Change Assignments and Settings On the next System Settings page, you can assign up to 128 MIDI program change numbers to Rigs in your browse pool. Sending these program change numbers in Browser Mode from any MIDI controller will load the assigned Rigs. To do so, first select the Rig you want to assign a program change number to and then press the SYSTEM button.
System Settings 234 Device Information On this page as well as on page “Details” the operating system version of the PROFILER is displayed. “OS Build Date” is the date this version was released and “DSP Date” is the date the DSP version was released. On “Details” you find the serial number of your PROFILER.
Bass Players: Special Hints and Features 235 Bass Players: Special Hints and Features The PROFILER can be used very effectively with bass guitar. Most of its features apply to bass in the exact same way as they do for other guitars. This chapter summarizes the special features and hints that are specific to bass players. To focus on bass Rigs only, please select the View “Just Bass”, either by using TYPE, or with soft button “Views” on the home screen.
Bass Players: Special Hints and Features 236 going to mix the DIRECT OUTPUT/SEND 1 with the MAIN OUTPUT, select “Git+Processing” or “Git Studio” as the Output Source for the DIRECT OUTPUT/SEND 1 in the Output Section to avoid different latencies between processed and unprocessed signals. Do not use "Git Analog" in this case. The PROFILER features many stomp and studio effects that are suitable for bass, with some having been specifically tailored for bass players.
Performance Mode 237 Performance Mode Turn the chicken head knob into the PERFORM position or hold the PERFORM button of the PROFILER Stage for a moment. Performance Mode is a powerful tool that allows to organize Rigs in “Performances” that can be accessed independently from your browse pool. A total of 125 Performances are available, each of which can hold up to five Rigs in logical locations called "Slots".
Performance Mode 238 it is in Browser Mode. Rigs modified in Performance Mode can be stored into the browse pool using the soft button labeled “Export Rig to Pool” on the “Store Performance” page. On the same “Store Performance” page, you can also choose to store the current Performance to another destination, for example store Performance 4 also as Performance 17. The soft button “Edit” opens another menu where you can rearrange or rename Slots within the selected Performance.
Performance Mode 239 ✓As soon as you load another Slot from your foot controller, or foot buttons of the PROFILER Remote or Stage, any former modifications within that Performance are interpreted as temporary tweaks during a live performance and will be discarded immediately. If, for example, you had activated a booster in module B, or increased Delay Mix via pedal, any such changes will be lost if you switch Slots remotely.
PROFILER Remote 240 PROFILER Remote The PROFILER Remote™ is the perfect remote controller for your PROFILER. You can think of it as a complementary control panel, fully integrated with the PROFILER hardware and software. This integration includes the power supply, a display to reflect important information about the current mode and any edits you make, and automatic maintenance during operating system upgrades.
PROFILER Remote 241 Up/Down Buttons (1) In Performance Mode, use these buttons to navigate through your Performances. A short tap will step up or down to the next Performance. Holding will initiate scrolling. Depending on the status of the parameter "Performance Load" in the System Settings, the PROFILER will either load Slot 1 or the current Slot of the selected Performance immediately, or wait (“Pending”) until you hit one of the five Rig Buttons.
PROFILER Remote 242 calculates the tempo according to the rhythm and pattern of your playing. You can read more about this function in the Tempo chapter. TUNER Button (4) Use this to activate Tuner Mode, instead of moving a volume pedal into heel position. If the option "Mute Signal" is activated, your guitar will be muted while you tune it.
PROFILER Remote 243 It also works the other way around: press and hold the module button on the PROFILER first, then step on the desired Effect Button afterwards. The upper left LED of the Effect Button should now reflect the category color of the effect you assigned e. g. orange for a wah effect. Now, you can activate or bypass the selected effect module by stepping on the button on your PROFILER Remote. The lower left white LED indicates the on/off status of this effect module.
PROFILER Remote 244 More Assignments Even more effect modules can be assigned to the same Effect Button this way. However, the LEDs will only show the first two assignments. Toggling Effects The Effect Buttons toggle the on/off states of each of their assigned effect modules independently, depending on their current state. So, not only can you activate (or bypass) multiple effects simultaneously - you can also activate some effect modules while bypassing others.
PROFILER Remote 245 Keeping Oversight To help you maintain an overview, a list of your current assignments will be displayed on the Remote Effect Buttons page in Rig Settings. You can also immediately clear assignments on this page. Action & Freeze Besides toggling the status of effect modules, each of the Effect Buttons can also be used to trigger so-called "Action & Freeze" functions like “Rotary Speaker (slow/fast)”, “Delay Feedback Infinity”, or the Freeze function of most delay and reverb effects.
PROFILER Remote 246 different icons – one indicates an effect module that is only locked on the PROFILER, while the other indicates that the Effect Button on the Remote is also locked. LOOPER Button (6) The Looper is a device for recording up to 60 seconds of stereo audio. It allows for an unlimited number of overdubs. That means you can layer unlimited recordings on top of each other.
PROFILER Remote 247 Here's a brief description of all Looper Buttons: LOOPER Activates the Looper and toggles the functions of following six buttons between “normal” and “Looper”.
PROFILER Remote 248 Looper Location Output The Looper is placed right after the last effect - the REV module. It records the fully processed stereo signal. When you change Rigs during the playback of the loop, the playback sound will not change! This allows you to play along, or even overdub, with an unlimited number of different Rigs.
PROFILER Remote 249 Workflow An example of how you would normally work with the Looper: Button used LOOPER Task performed Activate the Looper mode for the six Looper Buttons, by pressing the LOOPER button on the PROFILER Remote. The LOOPER LED lights up. When you press Looper again, the six buttons will revert to their primary function for selecting Rigs. Activating the Looper Mode does not necessarily mean activating the Looper itself.
PROFILER Remote 250 Press this button to cancel the last overdub. To redo the last overdub, press Undo again. The undo and redo of an overdub can even be done during playback. However, if you have canceled an overdub, and recorded a new overdub after that, the old overdub recording cannot be recovered. If you have accidently erased a loop by pressing Stop three times, then Undo will recover it. When the playback is stopped, you can trigger the loop by this button like a sampler.
PROFILER Remote 251 Advanced Looper Functions The Looper offers several expanded functionalities. All these functions are accessible by holding the respective Looper Button, rather than just pressing it shortly. As before, we will explain the advanced functions by following the buttons on the Remote: Holding There are three different situations where holding this button can make sense.
PROFILER Remote 252 Connecting Expression Pedals and External Switches The PROFILER Remote offers four TRS-inputs named PEDAL 3-6 to connect expression pedals. If you should happen to require more switches, you can connect mono and dual switches to these sockets, too. The technical requirements are the same as when connecting expression pedals, or switches, directly to the PEDAL 1 and 2 inputs on the rear side of the PROFILER.
PROFILER Remote 253 Cabling The PROFILER and PROFILER Remote communicate with each other via an ethernet cable. The cable included in the PROFILER Remote package with its Neutrik® etherCON® cable connector carrier has been carefully selected and is perfectly suited for this purpose. If you decide to use any 3rd party cable, please make sure it meets our quality standards. The diameter of the wire is the critical factor.
PROFILER Remote 254 A PoE switch will even let you connect multiple Remotes to one PROFILER. Cabling with PoE switch and multiple Remotes PROFILER and Remotes should be connected to those ethernet sockets that provide PoE power. Supported are IEEE standard 802.3af-2003 as well as 802.3at-2009 mode A.
MIDI 255 MIDI The PROFILER connects easily to any universal MIDI controller device. Simply connect your MIDI controller to the MIDI IN socket of the PROFILER. Some MIDI controllers support the KEMPER bi-directional MIDI protocol, which requires a second MIDI cable from the MIDI OUT of the PROFILER to the MIDI IN of the MIDI controller. One- and bi-directional MIDI connections There are several kinds of MIDI messages that can be processed, which are outlined in the following sections.
MIDI 256 Continuous Controllers The following MIDI control change numbers can be continuously controlled from a MIDI pedal or sequencer. You will also find the four pedal nodes here for the Morph, Wah, Volume, and Pitch Pedal. The value range is 0-127. Some foot controllers allow you to limit this range by setting a minimum and maximum value.
MIDI 257 Effect Switches MIDI control change numbers can be used to switch effects on or off. The switch for the Tuner Mode works in a similar way. Non-zero values (1-127) trigger “on”, while zero triggers “off”. Some other switches feature a dedicated hold function, when they are held down: • The TAP button triggers the Beat Scanner when held. • The Performance up/down switches (described further below) start scrolling the Performances when held.
MIDI 258 #27 DLY module on/off (with spillover) #28 REV module on/off (without spillover) #29 REV module on/off (with spillover) #30 Tap (values 1-127 activate Beat Scanner, value 0 deactivates Beat Scanner, any value triggers tempo) #31 Tuner Mode select (signal muted, if “Mute Signal” is flagged in Tuner Mode) #33 Rotary Speaker Speed (any value toggles between slow and fast) #34 Delay Infinity in all delay effects (any value toggles between on and off) #35 Freeze in all delay and reverb e
MIDI 259 Rig Change in Performance Mode Performance Mode offers 125 Performances, each with five Slots, allowing to store up to 625 Rigs independently from your browse pool. A typical application for a Performance would be to organize all the sounds you need for a song in one place. All Slots in Performance Mode have fixed MIDI assignments. To accommodate for varying remote controller capabilities there are two methods available to address and load a Rig in any Slot.
MIDI 260 #51 Loads Slot 2 of present Performance and in Browser Mode Rig 2 of current bank. #52 Loads Slot 3 of present Performance and in Browser Mode Rig 3 of current bank. #53 Loads Slot 4 of present Performance and in Browser Mode Rig 4 of current bank. #54 Loads Slot 5 of present Performance and in Browser Mode Rig 5 of current bank. The second method is to send MIDI program changes from your remote controller.
MIDI 261 … Rig in Performance 2, Slot 5 loaded by bank select LSB #32: 0 program change 9 Rig in Performance 26, Slot 3 loaded by bank select LSB #32: 0 program change 127 Rig in Performance 26, Slot 4 loaded by bank select LSB #32: 1 program change Rig in Performance 52, Slot 1 loaded by bank select LSB #32: 1 program change 127 Rig in Performance 52, Slot 2 loaded by bank select LSB #32: 2 program change bank select LSB #32: 4 program change 112 … 0 … 0 … Rig in Performance 125, Slot
MIDI 262 While program changes are required to initiate the Rig load, bank select MSB and LSB are redundant. You don’t need to send bank select MSB because Performance Mode always assumes value “0”. Bank select LSB is not required if you navigate within the same MIDI bank.
MIDI 263 MIDI Global Channel By default, the PROFILER receives MIDI commands on all sixteen MIDI channels (“Omni”). However, if you want to control multiple devices independently, you can set a specific channel in System Settings on the “MIDI Settings” page. Now, the PROFILER will only receive messages on that channel. MIDI Clock The PROFILER can both receive and send MIDI clock. Find details in the manual section about Tempo.
MIDI 264 ✓As soon as you select MIDI THRU to transmit MIDI commands by Slot the PROFILER will stop forwarding incoming MIDI data to the MIDI THRU. Transmitting Pedal Controllers for Morphing, Wah, Volume, and Pitch to Two External Devices The four pedal controllers for Morphing (control change #11), Wah (control change #1), Volume (control change #7), and Pitch (control change #4) can also be sent via MIDI to those two external devices configured on the “Perform Mode: MIDI” page in System Settings.
MIDI 265 NRPN The PROFILER features more than 400 parameters, so you can’t address them all with a standard MIDI control message, which is limited to 128 parameters. However, the PROFILER also supports the NRPN (Non-Registered Parameter Numbers) protocol, which allows the addressing of 16384 parameters, with a resolution of 16384 values (14 bit). For more detailed information regarding NRPN please consult MIDI Parameter Documentation, which is available here: www.kemper-amps.
Getting Organized 266 Getting Organized Whether you are using a handful of Rigs, or hundreds, you might be looking for effective ways to organize your browse pool. The PROFILER offers various features to keep an overview, find Rigs quickly, or do some housekeeping. Views In Browser Mode, you can use either TYPE or soft button “Views” to select a specific View. This will restrict the list of Rigs in the browse pool to a specific subset of your choosing.
Getting Organized 267 Any View can be combined with a sorting criteria, which you can choose using the corresponding soft button. The available Views are: “All Rigs”, “Favorites”, “Non-Favorites”, “My Rigs”, “Current Author” and “Just Bass”. Any Rigs within these Views can be further sorted by Rig Name, Rig Author, Creation Date, Amplifier/Cabinet Name, and Gain.
Getting Organized 268 Erase Non-Favorites If you want to clean up your PROFILER, you can use the “Erase Non-Favorites” soft button in System Settings. All Rigs will be erased, except for “Favorites” and “My Rigs”. We recommend that you create a backup before you use this function. Rig Manager Rig Manager is a librarian software designed to help manage your personal amp collection. It also keeps your PROFILER operating system up to date.
Updates, Backups and Sharing Sounds 269 Updates, Backups and Sharing Sounds The PROFILER operating system should be updated on a regular basis to receive refinements and new features. All you need is an internet connection, a PC or Mac and a USB memory stick.
Updates, Backups and Sharing Sounds 270 If you would rather play it safe, give the public beta revisions a miss and just move from one release to the next. It is highly recommended to keep the release software current. As soon as we publish a new release, you should at least plan the next upgrade. Perhaps you want to finish your ongoing tour first, but then you should move on. There is no reason to be concerned if one release is 3.3.0 and the next is 4.0.6.
Updates, Backups and Sharing Sounds 271 ✓Usually, you can update to the latest operating system in one step. However, if the operating system currently installed on your PROFILER should happen to be older than 1.8.2 Release, you need to take an interim step, and upgrade to that operating system version first. Leaving this step out might lead to an error. Creating Backups We recommend backing up your Rigs, presets, Performances, and settings on a regular basis.
Updates, Backups and Sharing Sounds 272 configurations on the pages “PEDAL 3-6 (Remote)” of PROFILER Head, PowerHead, Rack and PowerRack are migrated into “PEDAL 1-4” configurations of the PROFILER Stage and vice versa. To merge a backup file with the existing content, please proceed as follows: Importing Rigs, Performances, and Presets We offer you access to a mind-blowing variety of the highest quality PROFILEs and Rigs.
Updates, Backups and Sharing Sounds 273 It is also possible to export all effect presets to your USB stick in one go. These presets will be stored in the “Shared” folder according to category and effect type. ✓By using a USB lock, you can prevent anyone else initiating an unauthorized export or backup of your precious Rigs and presets. To avoid mechanical damage of the USB connector, you might need to disconnect the USB lock before putting your PROFILER Head into a bag or hard case.
PROFILING an Amp 274 PROFILING an Amp Now we’re getting to the fun stuff! PROFILING™ your own amp, custom digital simulation, or favorite stomp box, is what sets the KEMPER PROFILER apart from every other digital amplifier out there. We have spent years getting our PROFILING system to deliver the goods in terms of sound quality, playability, and ease of use - all wrapped in a user-friendly interface.
PROFILING an Amp 275 PROFILING with Effects in the Recording Chain Many guitarists get their signature sound by combining their tube amp with distortion pedals, booster pedals, and equalizers/filters. If you want to, you can keep these in the signal chain during the PROFILING process - they will all be accurately included as a part of the reference amp sound. However, there are a few exceptions: some distortion pedals use a special design that cannot be captured accurately, for instance the Tube Screamer™.
PROFILING an Amp 276 PROFILER. Keep in mind that this will not change the result of the PROFILING process in any way but will make A/B comparisons between the reference amp and the PROFILER much easier. If you want to make Profiles of computer-based amp simulations, but without using any kind of external mixer for monitoring purposes, you need to be careful not to create a feedback loop. One easy way to avoid this is by using only headphones to monitor the output of the PROFILER while PROFILING.
PROFILING an Amp 277 Making Connections Connections for PROFILING a Guitar Amplifier Here are a few typical scenarios for the most common PROFILING setups: ✓Connect your guitar to the INPUT of the KEMPER PROFILER. ✓Connect the DIRECT OUTPUT or SEND 1 of the PROFILER to the guitar input of your reference amplifier. ✓Connect your microphone, or microphone preamp, to the RETURN of the PROFILER (use either the XLR or quarterinch input, depending on your microphone or microphone preamp).
PROFILING an Amp 278 Normal connections; on PROFILER Stage connect to SEND 1 and RETURN 1 The above assumes that you are miking the guitar cabinet connected to your reference amp. If you are taking a direct, cabinet-simulated output, either from the amp itself, or from a speaker load box such as the KEMPER DI box, you can connect the line-out from a load box directly to the RETURN / RETURN 1 of your PROFILER.
PROFILING an Amp 279 subgroup of your mixer, and then route the output of that subgroup directly to the PROFILING input. You can use the equalizer and phase switches on the mixer to optimize the mix. Make sure that the signal is only routed to the PROFILER and isn’t duplicated at the main outs of the mixer.
PROFILING an Amp 280 Connections for PROFILING a Combination of Amp and Stomp Box Connections including a stomp box; on PROFILER Stage connect to SEND 1 and RETURN 1 • Connect your guitar to the INPUT of the PROFILER. • Connect the DIRECT OUTPUT or SEND 1 from the PROFILER to the input of your stomp box. • Connect the output of the stomp box to the input of your reference amplifier. • Connect the microphone or microphone preamp to the RETURN or RETURN 1 of the PROFILER.
PROFILING an Amp 281 ✓The PROFILER can only take an accurate PROFILE of preamp stomp boxes, such as overdrive and distortion pedals, equalizers and filters, tube preamp pedals, and so on. Attempting to PROFILE a delay, reverb or modulation pedal is unlikely to work as expected. Connections for PROFILING a Computer-Based Guitar Amp Simulation • Connect your guitar to the Input of the PROFILER.
PROFILING an Amp 282 Using other built-in PROFILER effects in the reference rig while you are PROFILING is not a problem. Any active effect will still be audible when you switch to your reference amp, so you can configure them to suit your reference amp tone, even before taking the PROFILE. When you have taken the PROFILE and stored it as a part of a new Rig, all the effects that were part of the original Rig will be stored also.
PROFILING an Amp 283 “Clean”. In truth, this step isn’t strictly necessary; the PROFILER will detect if the reference amp is clean during the PROFILING process. However, setting the PROFILER to “Clean” before you begin PROFILING will ensure that no extremely loud signals are sent to the reference amp.
PROFILING an Amp 284 Refining the PROFILE After the automatic PROFILING procedure, the PROFILE is nearly done and very close to the original already. Now it’s time to give it the final polish: press “Refine PROFILE” and play your guitar for about twenty seconds. This is no time for a meaningful solo - you need to play several chords, with attitude! This will generate inter-modulation in the distortion that the PROFILER needs to do its refining.
PROFILING an Amp 285 Congratulations! You have added a new guitar amp, and a new guitar cabinet, to the arsenal of the PROFILER. You are now free to combine each of them with other guitar amps or guitar cabinets to create new hybrid stacks. You will notice that the GAIN knob is automatically set to the same (audible) position as the reference amp and the amp volume is the same as the other amp volumes to make it easy to compare different amps.
PROFILING an Amp 286 How to PROFILE an Amp without a Cabinet (Direct Amp PROFILEs) So far, we have taken PROFILEs of combinations of guitar amplifiers and guitar cabinets. We call these “Studio PROFILEs”. The purpose of a Direct Amp PROFILE is to capture the sound of your tube-amp including its power amp.
PROFILING an Amp 287 Connections PROFILING with DI; on PROFILER Stage connect to SEND 1 and RETURN 1 Why do I need my guitar cabinet when I want to capture a PROFILE without a cabinet? It's true, the sound of the speaker will not be captured in this case, but the complex impedance behavior of the speaker is still needed to create those oft-mentioned interactions between the power tube amp and the connected guitar cabinet.
PROFILING an Amp 288 our built-in power amp sound like a tube power amp. For this reason, we recommend that you don't use any kind of power-soaks or power-attenuators, either as a substitute for, or in addition to, the DI box and true speaker. Those devices work mostly with simple resistors, which might inhibit the desired impedance interactions, thereby resulting in an inauthentic PROFILE.
PROFILING an Amp 289 The recommended refining procedure, which comes after the automated part of the process, is a bit of a shot-in-thedark, as you will continue to hear your reference amp through the physical guitar cabinet only. Still, it's a good idea to go through with it by playing chords on your guitar, as explained in the chapter “Refining the PROFILE”. When the PROFILING is done, it's time to listen to the result! • Turn down “Monitor Volume” for the power amp of the PROFILER.
PROFILING an Amp 290 ✓Do not touch the controls of the amp after capturing the Direct Amp PROFILE, as both PROFILEs, and thus the eventual Merged PROFILE, must be based on the same original amp sound. • Connect the microphone (instead of the DI box) to the return of the PROFILER. If you want to disengage the DI box, and connect the guitar cabinet directly, don’t forget to put your reference amp on standby first. • Prepare for the capture of the Studio PROFILE by adjusting the microphone positions.
PROFILING an Amp 291 • Press soft button “Paste”. • "Merge Cabinet" will appear under a soft button. Push it! • You can undo and redo the merging by pressing “Merge Cabinet” again and comparing results. • Press • Once stored, it is no longer possible to undo the merging! and store your new PROFILE.
PROFILING an Amp 292 Under the Hood In case you enjoy reading about technical details, below is a description of what the PROFILER is doing during the PROFILING process: During the first phase, you will hear white noise with a rising amplitude. The PROFILER is now collecting data about the frequency response of the reference amp. The frequency response will change dramatically as the gain increases.
Trouble Shooting 293 Trouble Shooting This chapter is intended to help recognize certain error states which can be corrected by the user. Any error states not covered here should be referred to KEMPER Support. Generally, please keep the PROFILER operating system up-to-date and create backups on a regular base. The current operating system release and latest public beta are always available on: www.kemper-amps.
Trouble Shooting 294 Noisy outputs If you should hear noise on any outputs, please check the GROUND LIFT buttons on the back panel (or Ground Lift options in the Output Section of the PROFILER Stage). These may only be used selectively and must never be activated all at the same time. This is very important. Otherwise, you might not only face a shielding issue, but also a serious health risk.
Trouble Shooting 295 Customer Support Any other error states under current operating system should be addressed to Customer Support, either via phone or e-mail. More information about the Kemper hotline, along with an e-mail template, can be found on the web-page www.kemper-amps.com/contact. Please report all relevant information, such as your operating system revision, and how the situation can be reproduced.
Trouble Shooting 296 Technical Specifications
KEMPER PROFILER Specifications 297 KEMPER PROFILER Specifications Dimensions PROFILER Head and PROFILER PowerHead PROFILER Rack and PROFILER PowerRack Height: 21,7 cm (8.54 inches) Height: 13,9 cm (5.47 inches), 3 HE (3 RU) Width: 37,8 cm (14.88 inches) Width: 48,3 cm (19 inches) Depth: 17,3 cm (6.81 inches) Depth: 22 cm (8.66 inches) PROFILER Stage Height: 8,5 cm (3.35 inches) Width: 47 cm (18.5 inches) Depth: 26 cm (10.24 inches) PROFILER Remote Height: 7,5 cm (2.95 inches) Width: 42 cm (16.
KEMPER PROFILER Specifications 298 Analog Inputs PROFILER Head, PowerHead, Rack, and PowerRack Front INPUT: ¼-inch TS unbalanced, dynamic range >108 dB, impedance 1 megohms ALTERNATIVE INPUT: ¼-inch TRS balanced with ground lift, dynamic range =105 dB, impedance 825 kohms RETURN: XLR balanced, ¼-inch TRS balanced with ground lift, dynamic range =105 dB, impedance 825 kohms Analog Inputs PROFILER Stage INPUT: ¼-inch TS unbalanced, dynamic range >108 dB, impedance 22 kohms -1 megohms selectable RETURN
KEMPER PROFILER Specifications 299 HEADPHONE Output: 3.5 mm TRS stereo, 32-600 ohms, 330 mW @ 32 ohms, 220 mW @ 600 ohms Power Amp PROFILER PowerHead and PROFILER PowerRack SPEAKER OUTPUT: 600 watts at 8 ohms, 300 watts at 16 ohms Control and Data Interfaces MIDI IN/OUT/THRU: 5-pin DIN connectors SWITCH/PEDAL: ¼-inch TRS, each for mono/stereo switch or expression pedal (10 kohms min, 100 kohms max. impedance) Network: RJ45 connector (not applicable on PROFILER Stage) USB: USB 2.
KEMPER PROFILER Specifications 300 Electrical Requirements Line voltage: Head and Rack: 90-275 V AC max. 0.5 A Stage 100-230 V AC max. 0.5 A PowerHead and PowerRack: 100-125 V or 190-245 V AC max.
KEMPER PROFILER Specifications 301 Electrical Approvals FCC verification procedure – 47CFR §15.
