Kemper Amps Forum

It is always important to keep our eye on the 'big picture'. From what I can tell so far, the AFX II 6.0 has added some real Audio DNA into the models, making them sound more urgent and distinct. It is still a different sound than the KPA, but that seems like a good thing to me....

Quoted from "richaxes"

I have a feeling that Christoph will be smart enough not to play along and include tone matching.
I mean, I'd love to have it in my KPA as it would be a nice feature to have... but...
Honestly, do we really need to copy tones to justify the KPA? Profiling is much more complicated and realistic in a sense than tone matching.

Tone matching only involves the cab...KPA algorithm involves 'everything'.
It just goes to show how important the KPA cab algorithm is, and how brilliant it is...look what it allowed Tills to do.

CK could do some tone matching in house and apply it to a cab, basically a "tone matched cab".
For example, hey guys, here's the Angus Young 'Back in black' tone matched cab, download it.
Chances are he's already done it, years ago, whilst writing the algorithm for the cabs tone matching real mic'd cabs must have been done as one 'part' of the process. (I'm guessing here of course)

But, I think CK has far greater tricks up his sleeve...

And we all look forward to his future 'trickery'....

Quoted from "hoth"

I think we will be getting a torrent of honeymoon reviews of 6.0 in the next weeks so hold tight KPA owners!

I think every guitarist deserves the right to getting over the top excited with the gear they own/buy whether it be a KPA or Axe-FX11, 11R, etc, etc.
Fanboy is a good thing, it keeps the 'gear' industry ticking along...it's positive energy.

We should be happy for our Axe-FX11 buddies, we're happy, they're happy, nothing wrong with that.

KPA fanboy here.

Tone Matching is simply "Match EQ", it's a basic old trick in most DAWs, you sample the frequencies over time for a source clip, do the same for a destination clip (in this case a simple internal sine sweep through a sim will do), subtract the difference and that's your new EQ curve. You can then do things like adjust the resolution/smoothing fade in the top/bottom adjustments or the overall effect amount in a normal match eq plugin so I'd assume the same for the Axe.

No audio DNA or magic or other marketing nonsense, just basic stuff. It doesn't affect the sound much (or at least any more than an IR does, which to me doesn't at all, a DI signal through an IR still sounds like a DI signal with an EQ on it), but if you start out with a source that's in characteristic somewhat close to the source then it can sometimes help get you a little bit closer, and more importantly not as jarring within the mix.

Personally I think it'd be a cool addition to the Kemper as well for those in cover and function bands needing to quickly nail those tones, or for situations where a set of mix stems come from a different studio/location and you need to maybe retrack a small section.

I think the bottom line for the KPA is that most users feel it does it's primary function (amp profiling) very well, but it is still not a complete, comprehensive package for doing serious recording or live gigs that demand quiet performance and simultaneous in-depth effects. For $1,800 plus shipping, does this seem too much to ask?

I hear you Radley, for sure the value proposition could be improved and I'd welcome new and more effects. But at the same time the whole reason I bought the Kemper was for that self same core functionality of copying and sounding like a real amp warts and all. Nothing else does that that I've heard. I have other cheaper FX units and amp sims for sounding like amp sims (which I've never found a desirable quality, because if I wanted to play a synth I'd have practiced harder at my keyboard lessons), and on the recording side my DAW software offers me more effects than I could ever possibly use. But yes, while for me it's fulfilled it's requirement for the most part, for the dough the Kemper absolutely is not complete and needs further work and improvement. The FX, librarian, perform mode, etc are certainly below what you'd expect, and in the meanwhile the competition will improve and at some point catch up with where the KPA is now.

I feel 100% satisfied with the kemper and that it is a complete package. For me there's not really anything else I desire out of the unit.

Quoted from "Radley"

I think the bottom line for the KPA is that most users feel it does it's primary function (amp profiling) very well, but it is still not a complete, comprehensive package for doing serious recording or live gigs that demand quiet performance and simultaneous in-depth effects. For $1,800 plus shipping, does this seem too much to ask?

Quoted from "Radley"

I think the bottom line for the KPA is that most users feel it does it's primary function (amp profiling) very well, but it is still not a complete, comprehensive package for doing serious recording or live gigs that demand quiet performance and simultaneous in-depth effects. For $1,800 plus shipping, does this seem too much to ask?

Do real amps have "in depth effects" onboard? They can cost up to twice as much and might only have reverb. I think $1800 is a fair price for what you get, and is way more successful imo in representing real tube amp tone over the $2600 AxeFXII.

Quoted from "Radley"

I think the bottom line for the KPA is that most users feel it does it's primary function (amp profiling) very well, but it is still not a complete, comprehensive package for doing serious recording or live gigs that demand quiet performance and simultaneous in-depth effects. For $1,800 plus shipping, does this seem too much to ask?

Actually most of users are very satisfied and use the Kemper for everything. I understand this is not the case for you, but having both units (lucky you) that shouldn't be an issue.