Elizabeth Day's Kemper Profiler Stage on the job.
Modeling meets profiling in Kemper’s latest Liquid Profiling OS, and lures a busy session and studio player into a brave new world of sonic control.
Making the switch to a Kemper Profiler was a very personal decision for me, and so many factors went into it. In my earlier professional life, I considered myself a devout lover of tube amps and had invested in an extensive and well-built pedalboard featuring the effects I loved and trusted. I would bring a Fender Hot Rod Deluxe on trailer/bus tours, or fly with my pedalboard as checked luggage and backline different amps. For local shows, I’d lug my gear around and consider the venture a mixture of playing music and going to the gym.
Then, in 2017, I’d rented a room up two flights of stairs, and I’d just finished several international tours with various artists. I was nursing a chronic overuse injury in my left arm, and was becoming frustrated with the inconsistencies I experienced at different venues, caused by humidity, temperature, room size, audience, gear lost by an airline, etc. I’d fortunately hit a point of financial stability where splurging on a solution seemed practical. Friends and players I respect were talking about switching to Kemper’s fully digital approach. I’m grateful that I did the same thing. Although I still have my pedalboard and tube amps, I use my Kemper Profiler Stage on every gig that I can.
Until Kemper’s recent free OS 10.0 update—which includes the company’s new breakthrough, Liquid Profiling—I’d been a fairly simple user. I’d primarily downloaded my favorite rigs from friends whose ears I trust (fellow Nashville guitarists Mike Britt and Chris Reynolds) and tweaked them to my own specs and gig needs. But intrigued by the idea of a new OS that blended modeling with profiling, which would essentially provide all the sonic controls and bandwidth of the amps profiled inside the Kemper, I recently dived into profiling.
“All the important factors—gain, treble, mids, bass, etc.—are fully controllable as you gig or record.”
To my surprise, it was fairly easy. First, I learned the system’s original method for profiling. Basically, you find a favorite tone on the amp you’re profiling, plug a guitar into the Kemper’s front input jack, mike up the amp, and run that mic line to the Kemper’s return jack. Then you complete the loop by running a cable from the amp’s input jack to the Kemper’s 1/4" send jack. (For Kemper Stage users, like me, this will require a male XLR to TRS adaptor.) The Kemper’s LCD screen gives you step-by-step instructions. You follow them, refine, and play—A/B listening with headphones, until the Kemper nails the exact sound you want. When you initialize the profiling process on the Kemper, it sends test tones through the amp, retrieves the sonic properties of the amp’s setting, and saves a snapshot of the amp’s properties that you can call up when you’re rocking.
Once I had that down, I learned that the process had to change a little bit in OS 10.0 to take advantage of Liquid Profiling. Instead of capturing an amp’s sweet spot, you capture the amp with all the settings at noon—actually about 5.5 on the amp I used, which has typical dial markings of 1 to 10 . Then, from Kemper’s extensive menu of tone stacks, you choose the most desirable one to pair with the profile. That allows for the amp’s entire sonic profile to be digitally recreated within the Kemper, rather than just one sweet spot. After that, it’s a matter of using the Kemper’s dials just as you would that original amp’s. This means all the important factors—gain, treble, mids, bass, etc.—are fully controllable as you gig or record.
My newly acquired profiling skills are already paying off, since I can now bring the versatility and flexibility of my Hot Rod Deluxe with me anywhere, and my Kemper lets me engage with gain and EQ settings in an organic way—an improvement over the old operating system’s limitation of engaging in only one set-in-stone tone stack. There are a few other new developments with this update, too, including USB recording and a user app for Android phones.
My Kemper Stage sounded great before, but unless you’re a player who tends to set-and-forget after profiling, it didn’t quite nail the feel of a real amp. Now, with Liquid Profiling bridging the worlds of modeling and profiling, the nail’s been hit squarely on the head.
PG contributor Steve Cook shares his long and winding journey from tape-cassette-amp DIY-er to Line 6 Helix evangelist.
My first amplifier was a home-stereo cassette player and a ¼” Y adapter from RadioShack. The trick was that if you plugged your bass into the Y adapter, then plugged into the mic input on the cassette player, you could press record and pause at the same time and you would be able to hear your bass.
This simple and effective approach to bass was my launchpad. When I played a house party at age 14, I made sure they had a stereo so I could play that day—my first backline request. Eventually, practicality took hold and I saved up to buy an amp, then another, and another, until I had a massive Peavey rig with matching 2x15 cabs.
My humble beginnings shaped my approach to bass: simply plug in and play. As gigs changed and experimentation started, effects leached their way into my signal chain. A chorus pedal here, maybe an EQ boost there. In time, though, I would always go back to the simplest, most direct approach possible, which was little more than a tuner into an amp.
Then the digital age pushed us all into new territory. Guitar players started showing up to gigs with little red bean-shaped devices chock full of overdriven tones, which eventually made their way onto untold numbers of records in the ’90s. Other floor and rack units followed suit until the technology became really good, and players started ditching bulky amps for these easier options. Modeling and then profiling technology became a norm rather than an exception, and all of a sudden just about any tone from any amp or era was possible.
Modeling an amp or effect involves a series of attributes and components from that piece of gear which are already loaded into the modeling unit. Profiling is replicating the sound of a piece of gear or effect and automating the code. This process can capture subtle nuances that are unique to those pieces of gear.“Within minutes, each piece of gear was faithfully reproduced, and what took me years to amass was now available to the world, and in a much more streamlined platform.”
I looked at the new technology as a boon for guitar players. However, in my personal approach, I proceeded with caution. I looked at massive pedalboards and tech as things that could possibly go down mid-show, and I didn’t like that idea. Plus, as a bass player, I always liked feeling air move onstage from an amp, and somehow that air mixed with my tone made me happy.
Then I had a pivotal conversation with Michael Britt, a guitar player with the country band Lonestar. Several years ago we did a tour together, and he and I spoke about his preset “empire,” where he sells packs across multiple platforms. Michael’s profiles are immensely popular and profitable, which got my attention. He and I talked about doing a batch of bass profiles for his website.
I brought some 20 different bass DIs to his house and watched the profiling process. It was fascinating. Within minutes, each piece of gear was faithfully reproduced, and what took me years to amass was now available to the world, and in a much more streamlined platform. (Michael donates half of the profits from this joint effort to the Mama Lere Hearing School at Vanderbilt University in Nashville, where my son was a student.)
I was intrigued by this whole new world. I ended up with a Line 6 Helix Floor model and started making bass profiles. The profiles are on the modeling side, with a number of preprogrammed bass amps, cabinets, and effects available for me to sculpt into usable, real-world tones. The extra dimensions of cabinet mics and IRs have made the platform indistinguishable from its analog counterparts.
I am on the technology train now full time, as I switch between the Helix and the Line 6 HX Stomp depending on the gig. I’m still using an amp setup, although not nearly the earth-shaker rig of my past. However, some things don’t change. My personal HX presets are pretty simple, with a few tricks thrown in. One favorite gig hack of mine is to add a polyshift on the front of my chain to drop my tuning a half-step when the singer isn’t feeling it that evening.
I’ve been fortunate that my profiles have been embraced by my contemporaries and heard on countless records and stages around the world. I never set out to be an influencer of any kind. I heard the term “informer” recently, and I like that moniker a lot better. We’re all working toward that thing in our tone, and the evolution of tone will continue. I’m happy to finally dip my feet in the water.
Now, will someone please profile a cassette player for my presets?
