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(I guess I still don't understand why my requests for thread deletion have not been honored - they were not posted to create a 'kerfuffle'!) Christoff - I am trying to be helpful. I am very impressed that the KPA can copy my show-tested presets from another modeler so well - it is a very handy function indeed! I profiled 3 more of my amps yesterday, and it's getting better and better.(I guess I still don't understand why my requests for thread deletion have not been honored - they were not posted to create a 'kerfuffle'!)
This thread is a chance for me and *anyone else* including Mr. Kemper, to speak their mind concerning the KPA. The idea here is not to simply complain, but to offer helpful suggestions to improve the product for everyone:
I will start with this observation: I believe the KPA is a very innovative product, with vast potential - for this reason it *will* be copied (the highest form of flattery), and it is important for the originators to stay ahead of the game.
My main issue with the KPA is not it's EQ matching abilities (they are excellent), nor it's current effects arsenal (they are limited, but adequate), nor it's Cab matching capabilities, but rather the basic nature/character of the main 'distortion engine' that is used to build all the different distortion and gain models when profiling. It simply doesn't sound/respond tubey enough - to my ears, it sounds/feels somewhere between a digital simulation and solid state, especially on the transients and attacks. There is a certain 'crackle and sputter' graininess that gives it away for me - I realize that the EQ & Cab matching is enough for many users, but I believe the *nature* of the distortion must become more analog/tubelike for the final result to be totally convincing.
, I will attempt to expound on my original post:This post has been edited 2 times, last edit by "Radley" (Mar 17th 2012, 2:19pm)

I actually agree with this part of what Hadley said and many have felt it. They usually describe it as 'stiff' Hadley There are things you can do to mostly but not completely eliminate this the first being turn down the input sense below what you think would be ok secondly roll your axe volume/tone down a bit more than you would with other devices and only if needed compensate any lack of sustain by adding a little compression with the amp block parameters. Ive found this gets me the fleshy dynamic sensitive feel i like but it took me a while to get there. obviously getting the right profile to start with is important. I love my Kemper and have no purchase regrets but i did notice this stiffness from day one but you can get it where you want it with some experimenting. I think if CK added an input impedance selection choice it would greatly help in getting this type of feel as much lower impedance settings naturally get you in this ballpark.
Chris
Take your favorite distortion pedal or overdriven amp - play something sensitive with your fingers - that's right, bare flesh on the strings (a la Jeff Beck). Listen to the way the attack translates into tone - now do the same on the Kemper with a similar gain patch. It is *not* the same - it is a different feel/response altogether.
This thread is a chance for me and *anyone else* including Mr. Kemper, to speak their mind concerning the KPA. The idea here is not to simply complain, but to offer helpful suggestions to improve the product for everyone:
I will start with this observation: I believe the KPA is a very innovative product, with vast potential - for this reason it *will* be copied (the highest form of flattery), and it is important for the originators to stay ahead of the game.
My main issue with the KPA is not it's EQ matching abilities (they are excellent), nor it's current effects arsenal (they are limited, but adequate), nor it's Cab matching capabilities, but rather the basic nature/character of the main 'distortion engine' that is used to build all the different distortion and gain models when profiling. It simply doesn't sound/respond tubey enough - to my ears, it sounds/feels somewhere between a digital simulation and solid state, especially on the transients and attacks. There is a certain 'crackle and sputter' graininess that gives it away for me - I realize that the EQ & Cab matching is enough for many users, but I believe the *nature* of the distortion must become more analog/tubelike for the final result to be totally convincing.
Since this thread will apparently *never* be deleted, I will attempt to expound on my original post:
Take your favorite distortion pedal or overdriven amp - play something sensitive with your fingers - that's right, bare flesh on the strings (a la Jeff Beck). Listen to the way the attack translates into tone - now do the same on the Kemper with a similar gain patch. It is *not* the same - it is a different feel/response altogether. My 12 year old Boss GS-10 does it way better than this, and that is why I used it as an example. The KPA is a whole new generation with so many incredible new features - I just don't want to see us lose some of the most foundational aspects for building great tones...
I would also add that the AFX II delivers here much more convincingly than the KPA. Bring on the flames people...I really don't give a damn any more!![]()
There are things you can do to mostly but not completely eliminate this the first being turn down the input sense below what you think would be ok secondly roll your axe volume/tone down a bit more than you would with other devices and only if needed compensate any lack of sustain by adding a little compression with the amp block parameters. Ive found this gets me the fleshy dynamic sensitive feel i like but it took me a while to get there.
Chris
what he said. this helps a bit. i also belong to the "still-missing-a-little-bit-of-true-amplike-response-crew", especially with extremely dynamic picking styles, as described by radley. stop beatin him for having a point here fellas... ;-)