Kemper Amps Forum

From a feeling point of view it works very well, when you defeat the cab and run it through an amp and cab it really kicks...
I've also thought that having a power amp sim + a real one would have been...funny, but it doesn't! I thing that the power amp/cab interaction is built in the cab block (no info on it, just a feeling) and that could explain why Sheguitarplayer was noticing a negligible difference between the real deal and the KPA driving the real power amp and the real cab.

It works a lot better than any other modeler I've tried to date. in this config, but keep in mind that I'm an FRFR convert since a lot of years...

Quoted from "CrossHairSB"

When I FINALLY get my Kemper I shall be using it with either my Carvin DCM1000 or Matrix power amp & 4x12 Harry Kolbe cab. I mostly play live.
Question I have is: Won't using a power amp along with a profiled power amp sound funny? There's no Power amp on/off button, but that would just defeat the purpose wouldn't it?
I have the Adams A7X but I will be going for some KorN or Buckethead jamming and want a whole lot of massive 4x12 air moving!
I think I'm way off the mark as to how this all works, sorry.
CH

Shouldn't do.
The power amp stage of the profiled amp has a profound effect on the sound of the amp as its designed that way.
The Carvin is, I believe, a pa amp. These are designed to amplify the signal cleanly with little or no coloration, and succeed to a varying degree depending on the quality of the amp. They certainly don't have the sag and give of a loud valve guitar amp.
EVH used to use HH mosfet amps to 'reamplify' his power soaked Marshalls, and I bet they were nowhere near as clean as your car vin.
Im using my KPA with a 50watt atomic valve amp and an evh 5150 cab. It is absolutely fantastic.
Ive made some profiles specifically using a power soak, which basically gives me a profile of the amp/power amp but no speaker and these work very well indeed with the power amp/cab combination.

Been there, done that. I am no FRFR guy (yet?).
KPA -> Monitor out (cabs off) -> Matrix GT800FX -> 4x12 1960V -> WOAAAAAH

Quoted from "JoeBlob"

Been there, done that. I am no FRFR guy (yet?).
KPA -> Monitor out (cabs off) -> Matrix GT800FX -> 4x12 1960V -> WOAAAAAH

Great isn't it?

Quoted from "CrossHairSB"

Appreciate the insight,
(For me) The AxeII is close to satisfying my stubborn ass. Thought..."well, you aren't using it to its full potential... you need its cab emulation". So I purchased the Adams A7X's. STILL...lacks the breath or air. Maybe for a recording situation these would apply.

Now I am to defeat the cabs on the Kemper and still feel like I'm kinda cuttin' myself short. But I need the moving air of a 4x12!

(?) are PA speakers FRFR? I have a PA (yamaha's 15" etc...) with a 1000w Ksub. (AxeII sounds terrible through it).

Thx again guys,
CH

PA speakers are trying very hard to be FRFR.
FRFR means Flat frequency flat response. Its what all pa systems are going for but its a trade off of price vs power, and total FRFR is probably not actually possible with current technology.
'Cheap pa systems get nowhere near.
All these FRFR systems you see being touted on the likes of the axefx forum etc are actually pa speakers.
For example the RCF NX12s that are the current 'go to' FRFR monitors are mid range pa speakers/monitors, and are designed and marketed as such.The atomic FRFR series (which I use to my regret) is designed to be FRFR but again, its really 'as close as we can reasonably get'
Top pa systems (d&b and the like) are pretty much the state of the art and much more expensive than you want to spend on a guitar monitor system.
A Pa system also highlights many low and high frequencies that make a guitar sound awful.
If you were to mic a very expensive guitar amp through the pa system the engineer would eq it to remove the woofy lows and piercing highs. This is because the mic itself imparts a huge impact on the tone, usually adding big highs and lows and sucking out some mids.
A modeller, no matter how high spec, would be the same. If it didn't, it wouldn't be realistically modelling the mic part of the 'chain'
One of the things I really like about the KPA is it involves the amp, the power amp, the speaker, the mic and finally, the eq applied at the mixing desk after the mic to 'balance out' those piercing highs and lows. Whats more, it captures the way they all interact which can't be completely captured when trying to split them into component parts.

Quoted from "sheguitarplayer"

Quoted from "CrossHairSB"

Appreciate the insight,
(For me) The AxeII is close to satisfying my stubborn ass. Thought..."well, you aren't using it to its full potential... you need its cab emulation". So I purchased the Adams A7X's. STILL...lacks the breath or air. Maybe for a recording situation these would apply.

Now I am to defeat the cabs on the Kemper and still feel like I'm kinda cuttin' myself short. But I need the moving air of a 4x12!

(?) are PA speakers FRFR? I have a PA (yamaha's 15" etc...) with a 1000w Ksub. (AxeII sounds terrible through it).

Thx again guys,
CH

PA speakers are trying very hard to be FRFR.
FRFR means Flat frequency flat response. Its what all pa systems are going for but its a trade off of price vs power, and total FRFR is probably not actually possible with current technology.
'Cheap pa systems get nowhere near.
All these FRFR systems you see being touted on the likes of the axefx forum etc are actually pa speakers.
For example the RCF NX12s that are the current 'go to' FRFR monitors are mid range pa speakers/monitors, and are designed and marketed as such.The atomic FRFR series (which I use to my regret) is designed to be FRFR but again, its really 'as close as we can reasonably get'
Top pa systems (d&b and the like) are pretty much the state of the art and much more expensive than you want to spend on a guitar monitor system.
A Pa system also highlights many low and high frequencies that make a guitar sound awful.
If you were to mic a very expensive guitar amp through the pa system the engineer would eq it to remove the woofy lows and piercing highs. This is because the mic itself imparts a huge impact on the tone, usually adding big highs and lows and sucking out some mids.
A modeller, no matter how high spec, would be the same. If it didn't, it wouldn't be realistically modelling the mic part of the 'chain'
One of the things I really like about the KPA is it involves the amp, the power amp, the speaker, the mic and finally, the eq applied at the mixing desk after the mic to 'balance out' those piercing highs and lows. Whats more, it captures the way they all interact which can't be completely captured when trying to split them into component parts.

Excellent post, lot's of truth right here.