User Manual

KEMPER PROFILING AMPLIFIER48
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.
As you turn the “Delay/Reverb Balance” 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 em-
phasize your instrument, as the reverb will not appear until after first delay reflection.
With “Delay/Reverb Balance” set all the way to the right, you can also get an interesting fourth configu-
ration: set reverb “Mix” set to maximum, and instead of hearing a repeating relay reflection, you hear a
repeating reverb tail. These reverb repeats can then be controlled by delay “Feedback” and “Time”. So, in
this configuration, the delay module becomes a pre-delay to the reverb, oering all the features of the de-
lay such as feedback or tap tempo.
 Please note: Since the reverb oers a pre-delay parameter of its own, it is a good idea to set it to zero in
this configuration, so it won’t oset the timing of the reverb tails.
 Time
Determines the decay time of the reverb, from very short to infinite. While the dierent room sizes of the
reverb types determine the density of the reverb reflections, reverb “Time” is a sort of feedback parameter
for them. Unlike other digital reverbs, our reverb time does not change with the room size. This makes it
easier to choose the appropriate room size by character alone.
 Pre-delay
In a natural reverb there is a silent time-period between the dry signal and the first reverb reflection. You
can adjust the length of that period using the “Pre-Delay” parameter. Generally speaking, you should use
a short pre-delay for small rooms and a longer one for large rooms. Increasing the pre-delay on short re-
verbs can give the impression of a bigger room. Also, a long pre-delay will separate the dry signal from the
wet, thus making it sounding more direct, but without losing the room character.
The KPA oers an unusually long pre-delay. You can even try to match it to a musical timing, such as an
1/8th note. If you like this idea, you should actually set Pre-delay back to zero and use the Delay eect for
that purpose. The way this works is described in the Delay/Reverb Balance parameter section above.