Kemper KPA Core Tone Tweaking - Revision history

Meambobbo at 05:08, 22 February 2016

2016-02-22T05:08:58Z

Meambobbo: /* Post EQ */

2016-02-22T03:45:24Z

‎Post EQ

Meambobbo at 22:59, 14 February 2016

2016-02-14T22:59:56Z

Meambobbo: /* Pre-EQ or Boosting */

2016-02-08T04:35:06Z

‎Pre-EQ or Boosting

Meambobbo: /* Post EQ */

2016-01-31T22:31:09Z

‎Post EQ

Meambobbo at 22:26, 31 January 2016

2016-01-31T22:26:52Z

Meambobbo: /* Swapping Cabs */

2016-01-31T22:15:48Z

‎Swapping Cabs

Meambobbo: /* Pre-EQ or Boosting */

2016-01-31T22:12:38Z

‎Pre-EQ or Boosting

Meambobbo: /* Pre-EQ or Boosting */

2016-01-31T22:11:57Z

‎Pre-EQ or Boosting

Meambobbo at 22:05, 31 January 2016

2016-01-31T22:05:03Z

@@ Line 24: / Line 24: @@
 * '''Direct Mix''' - Adds the direct (dry) guitar signal into the processed tone
-The profiling process defaults all of these to 0, with the exception of Definition which varies depending on the profiled amp and Tube Shape which defaults to 3.3.  If something seems "off" about a profile, you may want to see if any of these parameters are radically changed.  For some profiles, extreme values here can make an "organic" profile start to seem processed and fake.  Try resetting them to default values and see if the tone improves.
+The profiling process defaults all of these to 0.0, with the exception of Definition which varies depending on the profiled amp and Tube Shape which defaults to 3.3.  If something seems ''off'' about a profile, you may want to see if any of these parameters are radically changed.  For some profiles, extreme values here can make an "organic" profile start to seem processed and fake.  Try resetting them to default values and see if the tone improves.
-Definition gets quite tricky.  It's set by the profiling process but can be altered after the fact.  Many times a tightening boost in front of a modern high-gain amp will cause this to be set to max (10).  It's very similar to a pre-distortion EQ, darkening or brightening the signal to adjust the relative balance of how the fundamentals vs. the overtones are distorted.  While it works well for a quick tweak, I find it's no replacement for some finely-tuned parametric EQ in front the amp.  If the tone sounds a bit too harsh or thin, try turning this down, then using a Screamer or pre-EQ to add back any needed tightness or high-end saturation.
+'''Definition''' gets quite tricky.  It's set by the profiling process but can be altered after the fact.  Many times a tightening boost in front of a modern high-gain amp will cause this to be set to max (10).  It's very similar to a pre-distortion EQ, darkening or brightening the signal to adjust the relative balance of how the fundamentals vs. the overtones are distorted.  While it works well for a quick tweak, I find it's no replacement for some finely-tuned parametric EQ in front the amp.  If the tone sounds a bit too harsh or thin, try turning this ''down'', then using a Screamer or pre-EQ to add back any needed tightness or high-end saturation.
-Power Sagging affects the dynamics and feel of the amp, and can help get mutes to sound right.  If the amp feels a bit too stiff and fast, try turning this up.  A small tweak can make a big difference here.  I commonly use values of 0.4 - 0.9.  You'll know you've gone too far when the your notes start to sound smaller, less powerful, and more nasal.
+'''Power Sagging''' affects the dynamics and feel of the amp, and can help get mutes to sound right.  If the amp feels a bit too stiff and fast, try turning this up.  A small tweak can make a big difference here.  I commonly use values of 0.4 - 0.9.  You'll know you've gone too far when the your notes start to sound smaller, less powerful, and more nasal.
-The Pick setting I find I usually like to leave alone; however, every now and then I'll bump it up or down a bit.  The same goes for Clarity.  While many love this setting, I find it takes away from the real tone of the amp and makes everything sound like a similar crunchy tone.  Where I like to use a touch of Clarity is with a highly distorted tone.  Sometimes to get that super-saturated chunk with the crisp high end shining through, you need to use a lot of gain, and things can get mushy.  Clarity at ~1.0 can still sound quite natural but keep more definition to the tone without giving up saturation.
+The '''Pick''' setting I find I usually like to leave alone; however, every now and then I'll bump it up or down a bit.  The same goes for '''Clarity'''.  While many love this setting, I find it takes away from the real tone of the amp and makes everything sound like a similar crunchy tone.  Where I like to use a touch of Clarity is with a highly distorted tone.  Sometimes to get that super-saturated chunk with the crisp high end shining through, you need to use a lot of gain, and things can get mushy.  Clarity at ~1.0 can still sound quite natural but keep more definition to the tone without giving up saturation.
-Turning up Tube Shape can add a bit more bite or edge to the distortion, like you are pushing the power amp harder.  I often like to add a bit here, but it's important not to overdo it.  Tube Bias is similar, although I find this one a bit trickier - it seems to add volume as you turn it up, which can lead to an instant impression that higher settings are better.  However, too high can make dynamics become artificial-sounding and the tone a bit harsh.
+Turning up '''Tube Shape''' can add a bit more bite or edge to the distortion, like you are pushing the power amp harder.  I often like to add a bit here, but it's important not to overdo it.  '''Tube Bias''' is similar, although I find this one a bit trickier - it seems to add volume as you turn it up, which can lead to an instant impression that higher settings are better.  However, too high can make dynamics become artificial-sounding and the tone a bit harsh.
-The Compressor in the amp is great, mostly affecting crunch tones.  It is neither pre or post distortion, but part of the profiling process itself, making it very transparent yet powerful.
+The '''Compressor''' in the amp is great, mostly affecting crunch tones.  It is neither pre or post distortion, but part of the profiling process itself, making it very transparent yet powerful.
 == Cab Settings ==
@@ Line 53: / Line 53: @@
 * '''Volume''' - Used to level different cabinets
-I like to use the High and Low Shift settings for mild adjustments if the cab sounds too boomy or fizzy.  A little goes a long way, and I'm rarely tweaking past +/- 0.4 - beyond that and things can start to sound a bit weird or artificial.  High shift can also help to try to match another cab profile's tone, almost like you are moving the mic or changing its angle.
+I like to use the '''High and Low Shift''' settings for mild adjustments if the cab sounds too boomy or fizzy.  A little goes a long way, and I'm rarely tweaking past +/- 0.4; beyond that, things can start to sound a bit weird or artificial.  High shift can also help to try to match another cab profile's tone, almost like you are moving the mic or changing its angle.
-Character I generally leave alone.  A little boost can help accentuate the cab, but too much can make it sound fake.  Going negative often sounds quite stiff or flat, and I avoid tweaking in this direction.
+'''Character''' I generally leave alone.  A little boost can help accentuate the cab, but too much can make it sound fake.  Going negative often sounds quite stiff or flat, and I avoid tweaking in this direction.
 == Pre-EQ or Boosting ==
@@ Line 72: / Line 72: @@
 I often like to use pre-EQ or some kind of boost/overdrive to tighten up or otherwise enhance the distorted tone.  I almost always favor this approach over making big tweaks to the Definition parameter of the Amp block, although I do like to mess with Power Sagging, Tube Shape, and Tube Bias - they alter the tone in ways that are difficult or impossible to achieve using EQ/boosts.
-The simplest and quickest way to do this is to use the Green Scream effect, which is a model of a Maxon ''OD808'' pedal, which mirrors the circuit of the original Ibanez ''Tube Screamer''.  The typical settings when using such as an overdrive is to set Drive down to 0% and Tone between 60 and 100%.  '''The Green Scream effect's Tone parameter at the <0.0> setting matches 100% on a real Screamer.''' Turning up higher than <0.0> has no impact on the tone.  I find I am almost always between -1.3 and <0.0>.   Volume doesn't matter - I like to leave it at <0.0>.  Some like to turn Volume up heavily, but this is only necessary on older real amps that couldn't be pushed into distortion without the input volume boost.  It doesn't matter on a high-gain amp - you can use the Gain knob to get the right amount of distortion.  The only time it may be worthwhile using a non-0.0 value is when you want to be able to toggle the Green Scream on/off to switch from a cleaner tone to a more distorted tone.
+The simplest and quickest way to do this is to use the '''Green Scream''' effect, which is a model of a Maxon ''OD808'' pedal, which mirrors the circuit of the original Ibanez ''Tube Screamer''.  The typical settings when using such as an overdrive is to set Drive down to 0% and Tone between 60 and 100%.  '''The Green Scream effect's Tone parameter at the <0.0> (noon/center) setting matches 100% on a real Screamer.''' Turning up higher than <0.0> has no impact on the tone.  I find I am almost always between -1.3 and <0.0>.   Volume doesn't matter - I like to leave it at <0.0>.  Some like to turn Volume up heavily, but this is only necessary on older real amps that couldn't be pushed into distortion without the input volume boost.  It doesn't matter on a high-gain amp - you can use the Gain knob to get the right amount of distortion.  The only time it may be worthwhile using a non-0.0 value is when you want to be able to toggle the Green Scream on/off to switch from a cleaner tone to a more distorted tone.
-A more powerful approach is to use the Studio EQ effect.  It gets you both a more transparent sound (the Screamer tends to add a little compression/color) as well as greater control over exactly how frequencies are manipulated.  This features 2 fully parametric bands, plus low and high shelves.  Sometimes it's as easy as boosting a parametric band by about + 4-6db, lowering the Q down to like -2 or -3, and then sweeping the frequency to find the sweet spot.  Usually it's between 800 and 3,000 Hz.  You can use the low shelf to trim some woofy low end - I find a -3db cut around 150 Hz to do the trick.  If this isn't refined enough I like to use the other parametric band for this purpose.  I'll set the frequency to about 40 Hz, gain to about -4 db, and then lower Q until I can hear the lows start tightening up.  Another thing I like to do is cut some of the warm midrange - this can make the amp get more aggressive sounding.  Then you can start trying different settings to refine.  Sometimes, you may need to also trim some extreme high end with the high shelf if you get a harsh, crackly distortion in the high frequencies.
+A more powerful approach is to use the '''Studio EQ''' effect.  It gets you both a more transparent sound (the Screamer tends to add a little compression/color) as well as greater control over exactly how frequencies are manipulated.  This features 2 fully parametric bands, plus low and high shelves.  Sometimes it's as easy as boosting a parametric band by about + 4-6db, lowering the Q down to like -2 or -3, and then sweeping the frequency to find the sweet spot.  Usually it's between 800 and 3,000 Hz.  You can use the low shelf to trim some woofy low end - I find a -3db cut around 150 Hz to do the trick.  If this isn't refined enough I like to use the other parametric band for this purpose.  I'll set the frequency to about 40 Hz, gain to about -4 db, and then lower Q until I can hear the lows start tightening up.  Another thing I like to do is cut some of the warm midrange - this can make the amp get more aggressive sounding.  Then you can start trying different settings to refine.  Sometimes, you may need to also trim some extreme high end with the high shelf if you get a harsh, crackly distortion in the high frequencies.
-The Treble Booster effect also works well as a boost, but I find it doesn't offer enough control - it's basically a high shelf.  It can be a bit more transparent than the Screamer and doesn't cut any high end, so the tone can get quite harsh if used excessively.  The Lead Booster is more tame in that it is more of a hump than a shelf, taming both highs and lows; however, I find again that it is a bit too limited for my purposes.  The Pure Booster only boosts the signal level, similar to adjusting the Gain knob.  It is only really useful to toggle on/off to switch between cleaner and dirtier levels of distortion.
+The '''Treble Booster''' effect also works well as a boost, but I find it doesn't offer enough control - it's basically a high shelf.  It can be a bit more transparent than the Screamer and doesn't cut any high end, so the tone can get quite harsh if used excessively.  The Lead Booster is more tame in that it is more of a hump than a shelf, taming both highs and lows; however, I find again that it is a bit too limited for my purposes.  The '''Pure Booster''' only boosts the signal level, similar to adjusting the Gain knob.  It is only really useful to toggle on/off to switch between cleaner and dirtier levels of distortion.
 If pre-EQ'ing or boosting makes the tone too thin or scooped, you can use post-eq to try to make up the difference.  Thus, pre-EQ/boosts should be thought of as changing the nature of the distortion vs. changing the frequency balance of the signal.
@@ Line 98: / Line 98: @@
 FW 3.0 may alleviate some of this.  It allows the creation of "merged" profiles, where a DI profile (no real cab) is merged with a "full" profile (real cab was used).  These calculate the difference between the DI and full profiles, and push much of the resonance that is characteristic of the power amp into the amp profile.  This allows more of the amp's character to be retained when switching cab profiles.
 == Tweaking vs. Auditioning ==
@@ Line 110: / Line 112: @@
 }}
-While the KPA can be tweaked heavily while still sounding organic like a real amp/cab, this may involve a fair amount of time and effort.  Since there are literally thousands of free and commercial profiles available, it becomes a question of efficiency as far as trying to tweak profiles vs. auditioning other profiles.  My advice is to audition first and tweak later.  The Rig Manager software allows auditioning the free rigs on the Rig Exchange to be quick and simple.  For any given amp or tone, find the best 2-5 profiles available and save them onto your KPA or a Local Library folder in Rig Manager.  When auditioning, it is perfectly acceptable to make quick tweaks, such as adjusting Gain, enabling/disabling effects (or loading your favored effect presets), adjusting the ToneStack EQ, adding a simple boost.  If you have to start digging into the Amp/Cab parameters, add a post-stack EQ effect, switch the Cab profile, or dial in some intense pre-Stack EQ, the profile may simply be a dud that is not worth your time.  Continue to search for better profiles.  Only when you've exhausted your audition choices should you revisit the so-so to good profiles and start doing advanced tweaking.
+While the KPA can be tweaked heavily while still sounding organic like a real amp/cab, this may involve a fair amount of time and effort.  Since there are literally thousands of free and commercial profiles available, it becomes a question of ''efficiency'' as far as trying to tweak profiles vs. auditioning other profiles.  '''My advice is to audition first and tweak later.'''  The Rig Manager software allows auditioning the free rigs on the Rig Exchange to be quick and simple.  For any given amp or tone, find the best 2-5 profiles available and save them onto your KPA or a Local Library folder in Rig Manager.  When auditioning, it is perfectly acceptable to make quick tweaks, such as adjusting Gain, enabling/disabling effects (or loading your favored effect presets), adjusting the ToneStack EQ, or adding a simple boost.  If you have to start digging into the Amp/Cab parameters, add a post-stack EQ effect, switch the Cab profile, or dial in some intense pre-Stack EQ, the profile may simply be a dud that is not worth your time.  Continue to search for better profiles.  Only when you've exhausted your audition choices should you revisit the so-so to good profiles and start doing advanced tweaking.
 == Gain Staging and Clipping ==
@@ Line 123: / Line 125: @@
 }}
-The KPA is smart - it is impossible to clip its digital signal path.  You can chain together numerous EQ's or other effects that boost volume without having to worry about getting unwanted clipping as you would with real world devices or most modelers/multi-FX units.
+The KPA is smart - '''it is impossible to clip its digital signal path'''.  You can chain together numerous EQ's or other effects that boost volume without having to worry about getting unwanted clipping as you would with real world devices or most modelers/multi-FX units.
-The only thing that can be clipped is the Output block (D>A converter or SPDIF), which happens when the digital signal is too hot.  This is easily remedied by turning the Volume knob down.  You could also edit each effect to be more volume-neutral, but often you want to toggle those on/off ''for'' the volume change such as for a solo boost.
+The ''only'' thing that can be clipped is the Output block (D>A converter or SPDIF), which happens when the digital signal is too hot.  This is easily remedied by turning the Volume knob down.  You could also edit each effect to be more volume-neutral, but often you want to toggle those on/off ''for'' the volume change such as for a solo boost.
 '''Be wary of rigs in the Rig Exchange that may be clipping.'''  There are lots that have the Volume turned up or use Boost effects post-stack that push the volume too high.  Just turn down Volume and see if the tone cleans up.  Even a heavily distorted tone will sound bad (or at least harsher than it should) if subjected to this kind of clipping.

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 [[Category:Guitar]]
 [[Category:Gear]]
 [[Category:Guides]]
 [[Category:Kemper]]

@@ Line 28: / Line 28: @@
 Definition gets quite tricky.  It's set by the profiling process but can be altered after the fact.  Many times a tightening boost in front of a modern high-gain amp will cause this to be set to max (10).  It's very similar to a pre-distortion EQ, darkening or brightening the signal to adjust the relative balance of how the fundamentals vs. the overtones are distorted.  While it works well for a quick tweak, I find it's no replacement for some finely-tuned parametric EQ in front the amp.  If the tone sounds a bit too harsh or thin, try turning this down, then using a Screamer or pre-EQ to add back any needed tightness or high-end saturation.
-Power Sagging affects the dynamics and feel of the amp, and can help get mutes to sound right.  If the amp feels a bit too stiff and fast, try turning this up.
+Power Sagging affects the dynamics and feel of the amp, and can help get mutes to sound right.  If the amp feels a bit too stiff and fast, try turning this up.  A small tweak can make a big difference here.  I commonly use values of 0.4 - 0.9.  You'll know you've gone too far when the your notes start to sound smaller, less powerful, and more nasal.
-The Pick setting I find I usually like to leave alone; however, every now and then I'll bump it up or down a bit.  The same goes for Clarity.  While many love this setting, I find it takes away from the real tone of the amp and makes everything sound like a similar crunchy tone.
+The Pick setting I find I usually like to leave alone; however, every now and then I'll bump it up or down a bit.  The same goes for Clarity.  While many love this setting, I find it takes away from the real tone of the amp and makes everything sound like a similar crunchy tone.  Where I like to use a touch of Clarity is with a highly distorted tone.  Sometimes to get that super-saturated chunk with the crisp high end shining through, you need to use a lot of gain, and things can get mushy.  Clarity at ~1.0 can still sound quite natural but keep more definition to the tone without giving up saturation.
 Turning up Tube Shape can add a bit more bite or edge to the distortion, like you are pushing the power amp harder.  I often like to add a bit here, but it's important not to overdo it.  Tube Bias is similar, although I find this one a bit trickier - it seems to add volume as you turn it up, which can lead to an instant impression that higher settings are better.  However, too high can make dynamics become artificial-sounding and the tone a bit harsh.

@@ Line 74: / Line 74: @@
 The simplest and quickest way to do this is to use the Green Scream effect, which is a model of a Maxon ''OD808'' pedal, which mirrors the circuit of the original Ibanez ''Tube Screamer''.  The typical settings when using such as an overdrive is to set Drive down to 0% and Tone between 60 and 100%.  '''The Green Scream effect's Tone parameter at the <0.0> setting matches 100% on a real Screamer.''' Turning up higher than <0.0> has no impact on the tone.  I find I am almost always between -1.3 and <0.0>.   Volume doesn't matter - I like to leave it at <0.0>.  Some like to turn Volume up heavily, but this is only necessary on older real amps that couldn't be pushed into distortion without the input volume boost.  It doesn't matter on a high-gain amp - you can use the Gain knob to get the right amount of distortion.  The only time it may be worthwhile using a non-0.0 value is when you want to be able to toggle the Green Scream on/off to switch from a cleaner tone to a more distorted tone.
-A more powerful approach is to use the Studio EQ effect.  It gets you both a more transparent sound (the Screamer tends to add a little compression/color) as well as greater control over exactly how frequencies are manipulated.  This features 2 fully parametric bands, plus low and high shelves.  Sometimes it's as easy as boosting a parametric band by about + 4-6db, lowering the Q down to like -2 or -3, and then sweeping the frequency to find the sweet spot.  Usually it's between 800 and 3,000 Hz.  You can use the low shelf to trim some woofy low end - I find a -3db cut around 150 Hz to do the trick.  If this isn't refined enough I like to use the other parametric band for this purpose.  I'll set the frequency to about 40 Hz, gain to about -4 db, and then lower Q until I can hear the lows start tightening up.  Then you can start trying different settings to refine.  Sometimes, you may need to also trim some extreme high end with the high shelf if you get a harsh, crackly distortion in the high frequencies.
+A more powerful approach is to use the Studio EQ effect.  It gets you both a more transparent sound (the Screamer tends to add a little compression/color) as well as greater control over exactly how frequencies are manipulated.  This features 2 fully parametric bands, plus low and high shelves.  Sometimes it's as easy as boosting a parametric band by about + 4-6db, lowering the Q down to like -2 or -3, and then sweeping the frequency to find the sweet spot.  Usually it's between 800 and 3,000 Hz.  You can use the low shelf to trim some woofy low end - I find a -3db cut around 150 Hz to do the trick.  If this isn't refined enough I like to use the other parametric band for this purpose.  I'll set the frequency to about 40 Hz, gain to about -4 db, and then lower Q until I can hear the lows start tightening up.  Another thing I like to do is cut some of the warm midrange - this can make the amp get more aggressive sounding.  Then you can start trying different settings to refine.  Sometimes, you may need to also trim some extreme high end with the high shelf if you get a harsh, crackly distortion in the high frequencies.
 The Treble Booster effect also works well as a boost, but I find it doesn't offer enough control - it's basically a high shelf.  It can be a bit more transparent than the Screamer and doesn't cut any high end, so the tone can get quite harsh if used excessively.  The Lead Booster is more tame in that it is more of a hump than a shelf, taming both highs and lows; however, I find again that it is a bit too limited for my purposes.  The Pure Booster only boosts the signal level, similar to adjusting the Gain knob.  It is only really useful to toggle on/off to switch between cleaner and dirtier levels of distortion.
 == Swapping Cabs ==

@@ Line 137: / Line 137: @@
 |Kemper KPA Core Tone Tweaking#Post EQ|Post EQ
 }}
 Loop some drums and bass while dialing in your tone. If you are creating a track, definitely reamp - you will hear things much better when you aren't playing. My philosophy is that a good tone should sound good in all situations - low volume, high volume, inside, and outside a mix.  But a great tone will always sound great in a mix at a high volume, and honestly it's more important to sound good in a mix than good solo.  Pulling that tone outside the mix and lowering the volume may reduce its charm, but you'll still be able to tell its a good tone.  Comparatively, a "killer" tone you dialed up in the headphones at low volume outside a mix is more likely to sound like garbage inside a mix than if you took the opposite approach.  If you absolutely can't get your own drums and bass or even find a suitable backing track, you can import a track from ___ band you like the sound of - in this case, pan that track 50% L and pan your guitar sound 50% R to get some separation.  Now you can tweak EQ and really hear how it affects the sound in a mix.

@@ Line 10: / Line 10: @@
 |Kemper KPA Core Tone Tweaking#Swapping Cabs|Cab Swap
 |Kemper KPA Core Tone Tweaking#Tweaking vs. Auditioning|Tweak vs.Audition
 |Kemper KPA Core Tone Tweaking#Post EQ|Post EQ
 }}
@@ Line 42: / Line 43: @@
 |Kemper KPA Core Tone Tweaking#Swapping Cabs|Cab Swap
 |Kemper KPA Core Tone Tweaking#Tweaking vs. Auditioning|Tweak vs.Audition
 |Kemper KPA Core Tone Tweaking#Post EQ|Post EQ
 }}
@@ Line 62: / Line 64: @@
 |Kemper KPA Core Tone Tweaking#Swapping Cabs|Cab Swap
 |Kemper KPA Core Tone Tweaking#Tweaking vs. Auditioning|Tweak vs.Audition
 |Kemper KPA Core Tone Tweaking#Post EQ|Post EQ
 }}
@@ Line 82: / Line 85: @@
 |Kemper KPA Core Tone Tweaking#Swapping Cabs|Cab Swap
 |Kemper KPA Core Tone Tweaking#Tweaking vs. Auditioning|Tweak vs.Audition
 |Kemper KPA Core Tone Tweaking#Post EQ|Post EQ
 }}
@@ Line 100: / Line 104: @@
 |Kemper KPA Core Tone Tweaking#Swapping Cabs|Cab Swap
 |Kemper KPA Core Tone Tweaking#Tweaking vs. Auditioning|Tweak vs.Audition
 |Kemper KPA Core Tone Tweaking#Post EQ|Post EQ
 }}
@@ Line 106: / Line 111: @@
 == Gain Staging and Clipping ==
 The KPA is smart - it is impossible to clip its digital signal path.  You can chain together numerous EQ's or other effects that boost volume without having to worry about getting unwanted clipping as you would with real world devices or most modelers/multi-FX units.
@@ Line 113: / Line 128: @@
 == Post EQ ==
-{{Crumbs|blue|6
+{{Crumbs|blue|7
 |Kemper KPA Core Tone Tweaking#Amp Settings|Amp Settings
 |Kemper KPA Core Tone Tweaking#Cab Settings|Cab Settings
@@ Line 119: / Line 134: @@
 |Kemper KPA Core Tone Tweaking#Swapping Cabs|Cab Swap
 |Kemper KPA Core Tone Tweaking#Tweaking vs. Auditioning|Tweak vs.Audition
 |Kemper KPA Core Tone Tweaking#Post EQ|Post EQ
 }}

@@ Line 89: / Line 89: @@
 When browsing rigs, I like to save the Cab blocks of my absolute favorite rigs.  These should have a great tone with little need to dig into the ToneStack or use Post-Stack EQ effects.  Once you have a few stored, you should try these on rigs where the tone sounds off and tweaking isn't helping.  You may find a rare amp profile get new life.
-Keep in mind that the profiling process is not intelligent enough to completely segregate the characteristics of the real amp and cab.  Much of the resonant characteristics of the power amp portion of the amp is tied to the cab being used, so by switching the cab profile, you are likely getting a sound that would not accurately match that same real amp paired with the real cab and mic setup of the new cab block.  In most cases, the difference is somewhat subtle; and the tone of new Amp/Cab still sounds like a real rig rather than some digital concoction.  This is especially the case where you are switching from similar cab profiles.  For example, if the original rig used a '''''Mesa/Boogie''''' ''Rectifier 4x12'' cab profile and the new cab profile used the same cab, the impact to the amp's tone should be negligible.
+Keep in mind that the profiling process is not intelligent enough to completely segregate the characteristics of the real amp and cab.  Much of the resonant characteristics of the power amp portion of the amp is tied to the cab being used, so by switching the cab profile, you are likely getting a sound that would not accurately match that same real amp paired with the real cab and mic setup of the new cab block.  In most cases, the difference is somewhat subtle; and the tone of new Amp/Cab still sounds like a real rig rather than some digital concoction.  This is especially the case where you are switching from similar cab profiles.  For example, if the original rig used a particular model cab and the new cab profile used the same cab, the impact to the amp's tone should be negligible.
 FW 3.0 may alleviate some of this.  It allows the creation of "merged" profiles, where a DI profile (no real cab) is merged with a "full" profile (real cab was used).  These calculate the difference between the DI and full profiles, and push much of the resonance that is characteristic of the power amp into the amp profile.  This allows more of the amp's character to be retained when switching cab profiles.

@@ Line 65: / Line 65: @@
 }}
-For more on Pre-EQ and Boosting, see [[Dialing in Distortion Tone]].
+''For detailed general advice Pre-EQ and Boosting, see [[Dialing in Distortion Tone]].''
 I often like to use pre-EQ or some kind of boost/overdrive to tighten up or otherwise enhance the distorted tone.  I almost always favor this approach over making big tweaks to the Definition parameter of the Amp block, although I do like to mess with Power Sagging, Tube Shape, and Tube Bias - they alter the tone in ways that are difficult or impossible to achieve using EQ/boosts.

@@ Line 5: / Line 5: @@
 == Amp Settings ==
 {{Crumbs|blue|1
-|Amp Settings|Amp Settings
+|Kemper KPA Core Tone Tweaking#Amp Settings|Amp Settings
-|Cab Settings|Cab Settings
+|Kemper KPA Core Tone Tweaking#Cab Settings|Cab Settings
-|Pre-EQ or Boosting|Pre-EQ
+|Kemper KPA Core Tone Tweaking#Pre-EQ or Boosting|Pre-EQ
-|Swapping Cabs|Cab Swap
+|Kemper KPA Core Tone Tweaking#Swapping Cabs|Cab Swap
-|Tweaking vs. Auditioning|Tweak vs.Audition
+|Kemper KPA Core Tone Tweaking#Tweaking vs. Auditioning|Tweak vs.Audition
-|Post EQ|Post EQ
+|Kemper KPA Core Tone Tweaking#Post EQ|Post EQ
 }}
@@ Line 37: / Line 37: @@
 == Cab Settings ==
 {{Crumbs|blue|2
-|Amp Settings|Amp Settings
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-|Cab Settings|Cab Settings
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-|Pre-EQ or Boosting|Pre-EQ
+|Kemper KPA Core Tone Tweaking#Pre-EQ or Boosting|Pre-EQ
-|Swapping Cabs|Cab Swap
+|Kemper KPA Core Tone Tweaking#Swapping Cabs|Cab Swap
-|Tweaking vs. Auditioning|Tweak vs.Audition
+|Kemper KPA Core Tone Tweaking#Tweaking vs. Auditioning|Tweak vs.Audition
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@@ Line 57: / Line 57: @@
 == Pre-EQ or Boosting ==
 {{Crumbs|blue|3
-|Amp Settings|Amp Settings
+|Kemper KPA Core Tone Tweaking#Amp Settings|Amp Settings
-|Cab Settings|Cab Settings
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-|Pre-EQ or Boosting|Pre-EQ
+|Kemper KPA Core Tone Tweaking#Pre-EQ or Boosting|Pre-EQ
-|Swapping Cabs|Cab Swap
+|Kemper KPA Core Tone Tweaking#Swapping Cabs|Cab Swap
-|Tweaking vs. Auditioning|Tweak vs.Audition
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-|Post EQ|Post EQ
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 }}
@@ Line 75: / Line 75: @@
 == Swapping Cabs ==
 {{Crumbs|blue|4
-|Amp Settings|Amp Settings
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-|Cab Settings|Cab Settings
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-|Swapping Cabs|Cab Swap
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-|Tweaking vs. Auditioning|Tweak vs.Audition
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 }}
@@ Line 93: / Line 93: @@
 == Tweaking vs. Auditioning ==
 {{Crumbs|blue|5
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 }}
@@ Line 112: / Line 112: @@
 == Post EQ ==
 {{Crumbs|blue|6
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-|Swapping Cabs|Cab Swap
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 }}