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Kemper Profiler Rack
The Kemper Profiler Rack complements my Laney IRT6OH Ironheart guitar amplifier (Benton G112 cabinet), my Fender Mustang GTX50 modelling guitar amplifier that is mostly use with my Fender Rhodes Mark II, and the Amplitube 5 Max plugin. One advantage of the Kemper Profiler is that also has bass guitar profiles which allows me to hook up (and record) bass players as well. Of course, the Amplitube 5 Max also comes which bass guitar presets but for playing and recording/monitoring this requires routing through Cubase (or another VST3 hosting program). Although possible it increases the latency. Therefore, I prefer not to play/monitor through the computer but stay in the hardware domain as I explain [here]. In addition, I can easily integrate the Kemper as an external insert processor in Cubase.
The Profiler rack comes as a 3U/ 19″ Rack device that comfortably and fits into dedicated studio rack furniture. The Profiler rack features amp Profiles from the best studios, a preamp stomps section with four Slots, EQ and cabinet plus four more slots for stereo effects. The arsenal of FX (stomps and stereo effects) is constantly updated. The morphing technology allows for smooth control of unlimited continuous parameters to blend amp settings, FX, and levels.
The Profiler rack features a number of routing possibilities: 2 x main output in Stereo, monitor out, 2 x Guitar In, Send/Return (loop for ext. FX), MIDI, S/PDIF, USB, 2 x for Switches/ Expression Pedals.
Profiler rack can be remote controlled with either MIDI or the Profiler Remote Pedal. Connected to a router device the Profiler rack can also be controlled wirelessly from an iPadOS compatible tablet with the Rig Manager. The complete librarian and editing software Rig Manager works via USB.
Signal flow
The signal-chain comprises 8 effect modules in addition to the amplifier stack. Up to four effects can be placed “pre” the amp stack, and another four “post” the amp. The final modules of the effect chain are ideal for delay and reverb effects. Both delay and reverb offer “spillover”, meaning the sonic tail is not cut off when you change to another Rig. Pretty much every effect offers optional “ducking”, allowing you to control the effect intensity just by the dynamics of your playing.
A number of parallel routing options are also available
- An effects loop (sending and receiving sound to the outside world) can be placed in any of the free effect modules.
- The amplifier provides a Direct Mix control, for instance to add the clean guitar to the distorted signal.
- The delay and reverb can be configured in serial and parallel fashion by using a continuous crossfader.
- A parallel signal path can be established, bypassing the whole signal path. This will appeal to bass players who often like to mix the dry bass signal to the processed signal to maintain the bass fundamental and original dynamics. This also makes parallel compression very easy to achieve.
Putting delays and reverbs into their designated modules gives access to special routing features which can be defined in the Rig parameters:
- DLY+REV Routing 0%: pure serial signal flow
- DLY+REV Routing -100%: pure parallel signal flow
- DLY+REV Routing 100%: only the delay tails getting reverberated
Specifications
Audio Specifications
- Sampling Rate: 44.1 kHz
- Internal Processing: 32-bit floating-point
- Signal-to-Noise Ratio: Greater than 108 dB
- Latency: Less than 3 ms
Inputs & Outputs
- Front Input: 1/4” TS unbalanced input for guitar
- Return Input: 1/4” TS return input for external effects or profiling
- Alternative Input: 1/4” TS alternative stereo input
- Direct Output: 1/4” TS unbalanced output for monitoring or reamping
- Main Outputs: XLR and 1/4” TRS (stereo or mono)
- Monitor Output: 1/4” TS unbalanced mono
- S/PDIF In/Out: Coaxial 24-bit/44.1 kHz for digital audio
- MIDI In/Out/Thru: 5-pin connectors for MIDI communication
- USB Port: Type A and Type B for software updates and data exchange
- Ethernet Port: For external controllers (e.g., Kemper Remote)
Amplifier & Effects
- Amplifier Profiles: Can store up to 1000 amp profiles
- Effects Loop: Mono or stereo effects loop with adjustable send and return levels
- Effects Section: Comprehensive suite of built-in effects, including delays, reverbs, modulation, and overdrive
- Stomp Section: Four independent stomp slots
Additional Features
- Profiler Mode: Captures the sonic character of physical amps
- Performance Mode: Optimized for live performance setups
- Tuner & Metronome: Integrated for live and studio use
- Output EQ: 4-band studio EQ for main outputs and monitor outputs
- Pure Cabinet Technology: Minimizes unwanted sound coloration in profiles
General Specifications
- Type: Rack-mounted digital amplifier profiler
- Height: 3U (Three Rack Units)
- Dimensions: 14.45” x 19.02” x 5.51” (36.7 cm x 48.3 cm x 14 cm)
- Weight: 5.4 kg
- Power Supply: Internal universal power supply, 100-240V AC
Effects
Delay
The approach taken for the delays might be a bit different from what you’ve seen before. One 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. Why not have a dual reverse delay? Or a serial delay with analog tape character? Or a melody delay with ducking? All of these are possible with the delays in the PROFILER.
| Single Delay | |
|---|---|
| Dual Delay | |
| Two Tap Delay | |
| Serial Two Tap Delay | |
| Rhythm Delay | |
| Quad Delay |
Pitch Shifter Delay
The pitch shifter delays are powerful combinations of the delay types with one of four different pitch shifter types.
Crystal Delay: The Crystal Delay is a reverse delay in which the pitched notes are 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.
Chromatic Delays: The chromatic pitch shifter is positioned at the delay input and can be played polyphonically (chords).
Harmonic Delays: The harmonic pitch shifter is positioned at the delay input and is intended to be fed with single notes only. The pitch is set in musical intervals and will follow the selected key.
Loop Pitch Delay: This pitch shifter also works chromatically but is positioned in the feedback loop of the delay, resulting in a pitch helix or spiral with every repetition.
| Crystal Delay | |
|---|---|
| Loop Pitch Delay | |
| Frequency Shifter Delay | |
| Melody Chromatic Delay | |
| Melody Harmonic Delay | |
| Dual Chromatic Delay | |
| Dual Harmonic Delay | |
| Dual Crystal Delay | |
| Dual Loop Pitch Delay | |
| Quad Chromatic Delay | |
| Quad Harmonic Delay |
Reverb
The reverb offers studio-quality algorithms and works closely with the delay effect. Brought over from the ACCESS VIRUS synthesizer, our delay and reverb provide an outstanding sound quality. They are also very unique in that they perform a full spillover when you change to a new sound. This means that both the delay and reverb will decay as per the previous sound and unchanged settings, while you play a new rig with all new settings.
| Spring Reverb | |
|---|---|
| Natural Reverb | |
| Easy Reverb | |
| Echo Reverb | |
| Cirrus Reverb | |
| Formant Reverb | |
| Ionosphere Reverb | |
| Space |
Distortion
We have faithfully modeled the most prominent vintage distortion pedals. In addition, we have created a number of novel booster and tone-shaping effects that could not be realized in the analog domain.
| Kemper Drive | Covers the crucial ranges of the most sought-after overdrive pedals available |
|---|---|
| Green Scream | Inspired by the Tube Screamer TS808 or OD808 |
| Plus DS | Inspired by the MXR Distortion + |
| One DS | Inspired by the Boss DS-1 |
| Muffin | Inspired by the Big Muff |
| Mouse | Inspired by the ProCo Rat II |
| Full OC | Inspired by the Fulltone OCD |
| Kemper Fuzz | Capable of faithfully recreating a number of germanium and silicon fuzz devices |
| Metal DS | Inspired by the Boss Metal Zone |
Booster
The boosters feature several dedicated filter settings to perfectly shape your guitar for your individual amp distortion tone.
| Treble Booster | |
|---|---|
| Lead Booster | Tunable peak filter, emphasizes specific frequencies |
| Pure Booster | Boosting or attenuating without coloring the sound |
| Wah Pedal Booster |
Shaper
These are distortion effects, with a unique character, that probably never existed in the analog realm. They are especially destructive when playing double-stops or chords.
| Bit Shaper | Reduces the bit depth of a signal |
|---|---|
| Octa Shaper | Distorts the input signal by forcing all the negative segments of the waveform into a positive signal |
| Soft Shaper | |
| Hard Shaper | |
| Wave Shaper |
Pitch Shifter
It shifts single notes as well as complex chords with unsurpassed quality. The Pedal Vinyl Stop effect drives the pitch of your guitar continuously down to zero and silence via an expression pedal. The PROFILER introduces a new technique to the guitar world, called “Formant Shift” – this maintains the natural sound of pitched notes, even at large pitch intervals.
| Transpose | “Digital capo” for your instrument |
|---|---|
| Pedal Pitch | Inspired by the Whammy pedal |
| Pedal Vinyl Stop | Turns the pitch down to zero |
| Chromatic Pitch | Dual-voice pitch shifter |
| Harmonic Pitch | Dual-voice pitch shifter, creates intelligent harmony voices |
| Analog Octaver |
Modulation
The chorus effects span from the faithful recreation of the bucket-brigade chorus sound of the 70’s to the crystal clear 80’s multi-chorus, and the characteristic micro pitch effect, based on our pitch shifter algorithm. The Rotary Speaker effect, in combination with a PROFILE of a real rotary speaker, is indistinguishable from the original.
| Vintage Chorus | Inspired by the Chorus Ensemble |
|---|---|
| Hyper Chorus | Complex six-voice chorus |
| Air Chorus | Inspired by the Jazz Chorus |
| Micro Pitch | Detune effect, based on pitch shifter technology |
| Vibrato | |
| Rotary Speaker | Inspired by the Leslie speaker |
| Tremolo |
Phaser and Flanger
While the Flanger is based on a warm-sounding emulation of a bucket-brigade circuit, the Phaser allows very complex modulations by using up to twelve phaser stages. The distance between the peaks and notches of the Phaser can be controlled by the unique “Spread” parameter.
The modulation rate of the Phaser and Flanger can be linked to the song tempo.
| Phaser | Up to 12 filter stages for each stereo side |
|---|---|
| Phaser Vibe | inspired by the Univibe |
| Phaser Oneway | |
| Flanger | |
| Flanger Oneway |
Wah
The wah effects are a collection of different filter and lo-fi effects, have in common that they are automatically linked to your wah expression pedal without further hassle. Control the various colors with your pedal or alternatively by the dynamics of your guitar using the Touch Wah function. Each wah effect features an optional auto-off function that triggers as soon as you stop moving the wah pedal. You will find a number of preset wah effects that simulate your favorite wah pedals:
| Wah Wah | The classic |
|---|---|
| Wah Low Pass | DJ-like wah effects |
| Wah High Pass | |
| Wah Phaser | Phaser and Flanger are controllable by your wah pedal |
| Wah Flanger | |
| Wah Rate Reducer | Lo-Fi sample rate reduction by pedal |
| Wah Ring Modulator | Two outstanding Sci-fi effects |
| Wah Frequency Shifter | |
| Wah Formant Shifter | Shifts the formants and character of your instrument |
Compressor and Noise Gate
The compressor features the full compression bandwidth of well-known compressor pedals, but without further coloring the signal. Our unique “Squash” parameter controls the sponginess of the compression.
The noise gates are not an alternative to the main noise gate, but a complement, especially for expertly shaped metal palm-mutes.
| Compressor | |
|---|---|
| Auto Swell | Mimics a volume pedal swell with every new strike of the strings |
| Noise Gate 2:1 | Soft expander, expansion ratio of 2:1 |
| Noise Gate 4:1 | More aggressive expander, expansion ratio of 4:1 |
Equalizers
A set of parametric equalizers as well as a graphic EQ helps to shape your signature sound. As with most effects, they can be placed before or after the amplifier.
| Graphic Equalizer | 8-band, octave equalizer, with fixed frequency bands |
|---|---|
| Studio Equalizer | 4-band parametric equalizer, adjustable frequency/ bandwidth/ Q-factor |
| Metal Equalizer | inspired by the equalizer of the Boss Metal-Zone |
| Acoustic Simulator | Makes an electric guitar sound like an acoustic guitar |
| Stereo Widener | Creates a subtle stereo effect by using equalisation |
| Phase Widener | Creates a wide stereo signal from a mono signal without coloring |
| Delay Widener | Stereo-widening trick of delaying one side of a stereo signal by several milliseconds |
Loop
To connect external gear, the PROFILER offers a hardware effects loop on the rear side of the amp. You can apply the hardware effect loop in any of the effect modules A-DLY.
| Loop Mono | |
|---|---|
| Loop Stereo | |
| Loop Distortion |
Gallery
Kemper Profiler Remote
The PROFILER Remote is the tightly integrated Kemper foot controller for the PROFILER. It allows to control, administer and program without any knowledge about MIDI, or having to delve through cryptic data sheets. It has a large illuminated display. Five buttons allow to directly access five different sounds (“Rigs”) and entire Performances can be switched using a bank system. Dedicated buttons give access to the tuner, tap in the tempo, and enable the new, exclusive looper effect.
The Remote connects via a single Ethernet cable to the PROFILER. No extra power supply is required. Up to four continuous foot pedals can control multiple parameters inside the PROFILER. Four buttons switch effects on and off.
Programming Remote
Four buttons, individually assignable for each Rig, can control multiple effects at the same time. In order to associate an effect with a button, all one needs to do is hold the Effect Button of choice on the Remote and press an effect module button on the PROFILER at the same time. Status color LEDs give a great overview on assignments and purpose of a switch/ pedal.
Controllers and switches
The four TRS connectors on the rear panel can be used for expression pedals and switches. Pedals can be used to control volume, wah, pitch and even combinations of multiple continuous parameters – all freely configurable by Rig. Multiple functional assignments can be assigned per expression pedal – for instance, volume + wah + pitch can easily be assigned to the one pedal.
Control other equipment
The Remote allows to trigger external MIDI gear by sending program change messages from the MIDI OUT of the PROFILER.
The Looper
With a single click on a button, the Remote turns into a fully-fledged looper control station. Loops can be recorded, overdubbed and deleted by using the buttons on the board. One can reverse, play at half speed and undo takes. The maximum duration of a loop is thirty seconds (or one minute in half speed).
Kemper Profiler in Studio
Here the Kemper Profiler is placed on top of my Laney IRT60h Ironheart guitar amplifier.
YouTube Videos
Tutorial playlist
Profiler packs
These are additional profiler packs that I bought for use with the Kemper
- MRK7 (Tone Junkie)
- Captures the tone of a “Mesa Mark VII” and features 27 rocking profiles. We utilized a killer Mesa 2×12 cab with old V30s that we just added to the collection which is an exceptional choice for these rockin heavier tones. Profiles marked CH1 are lower in gain and fuller in the low end and stretch from clean to fat and crunch. CH2 features classic and modern crunch and CH3 features classic tones from the MRK history of tone!
- 68 Twin Reverb 15 LQD (Tone Junkie)
- Recreates the sound a 1968 drip edge Twin reverb that was outfitted with a JBL D140F speaker. I ran into this amp used in a store and realized that although someone had modified this vintage amp, they modified it either back in the 60s or they took the time to match the speaker and amps from fender from those years. If Fender had made a Twin with a 15 inch cab this is the speaker they would have used, because the JBL D140F was the 15 inch speaker in other fender amps in the 60s. The sound is big and bold, bright and deep like a twin should be. We profiled 32 Liquid Profiles using a variety of microphones and amp channels (bright switch on and off).
- Gampe STV3 Bass (Chop Tones).
- Recreate the sound of an Ampeg SVT-3 PRO. Cabinets: Ampeg SVT212 AV 2×12, Ampeg SVT410 HE 4×10, Ampeg 1×15, Eden 4×10, Mark Bass 2×12. Mics: Shure SM57, Electrovoice RE20, Sennheiser e609, MD421, Neumann U47.
Links
Documents
