If it were actual copyright or trademark or patent infringement then the patent/copyright holders would certainly have ample financial incentive to sue.
And they have gotten sued. At least by Roland (that I know of).
If it were actual copyright or trademark or patent infringement then the patent/copyright holders would certainly have ample financial incentive to sue.
And they have gotten sued. At least by Roland (that I know of).
However, you do realize that the reason why Behringer was able to acquire these companies in the first place was because of money earned selling products made from schematics stolen from other companies and sold for much cheaper, right? (Rhetorical question, since you did acknowledge that this is how Behringer operated 10-15 years ago). The point is, you’re OK with Behringer because now they’re “legit”? Seriously, the logic brought forth here is mind blowing. Regardless of how Behringer operates now, the fact of the matter is that they got were they are by performing unethical practices.
Actually, I'm acknowledging they are doing it today! Right now! While you and I banter, Behringer is sinking MILLIONS of dollars into cloning half a dozen vintage synthesizers. And they are killing it. Selling them like gangbusters and making millions of $$$ in profit.
It was never my contention they weren't "legit" 10-15 years ago. I was saying that 10-15 years ago they sucked at it.
So let's bring this back around to the KPA2...
I sincerely hope Kemper finds it in their heart to steal a few ideas from their competition when they release the KPA2.
Display MoreBehringer is sinking MILLIONS of dollars into cloning half a dozen vintage synthesizers.
So let's bring this back around to the KPA2
...
The obvious question is: are they working on some form of profiling?
A GOOD quality mic preamp remains a relatively expensive device. (Starting typically at about $500 USD).
I’m not sure it’s really something the KOA needs of it adds perhaps that 500 to the price.
You're missing the point. Mackie puts four perfectly usable mic amps in a $100.00 mixer. I use a Mackie as a cue mixer and guess what, if I record using a Langevin, Avalon, or Neve style mic amp, I can hear the differences they impart perfectly through my Mackie cue mixer when I play back the mix.
The reason for a modest mic amp with phantom power in the Kemper is so I can sing into the PROFILE I made of the Neve, API, Chandler etc pre.
I wouldn’t want a profile made with a Mackie mic pre.
I think you’re missing MY point.
They perhaps don’t want to provide a LOW quality way to profile.
You can perhaps hear the value of the API pre monitored through the Mackie, but it will sound even better monitored through an API.
The guys who started Vintage King audio used to be in a band called Blackwater Surprise and they toured with a Neve console, Pultecs and LA-2A’s and yeah it sounded great. But very few bands, even established acts, have or choose to exploit that luxury. But approximating those tones live could be pretty cool. Maybe not the same, and a venue where those nuances are captured and reach the audience is relatively rare, but I guess no harm in going for it.
It’s not that what big acts travel with is cheaper or lesser.
It’s that, much LIKE deciding to use a Kemper, almost everything (both front of house and monitor mixer) is all digital and stored presets for every song for recallability.
On the huge production shows, even things like Kemper performance changes are all synced via midi to a central computer that’s also syncing lights and videos and pyro and so on.
Yes in many cases that’s true.
Display MoreNo need for Behringer bashing (or other brands for that matter).
While Behringer may have acted dubiously in the past fact is they BOUGHT expertise and knowledge by buying MIDAS.
That’s why the X32 series is that good.
And while we're at it, I remember when Ibanez did cheap rip-offs of Fender designs.
The rest is history.
Pretty sure that the main guts and design of the X32 was done before they bought Midas. They just had Midas tweak their preamp design a bit and afterwards the biggest selling Midas desk ever was born the M32 which basically is an X32 in black with upgraded preamps and faders.
Anyway I agree it's silly to bash other products unless you are learning from their mistakes. Based on history it would be a mistake for Kemper not to be working on V2. It's great many of you are still super happy with it as is. Personally I sold mine because even though I admit with M Britt profiles the Kemper has the best amp sound of the modelling/profiling world but I didn't care much for the effects or lack of computer editing. I also would like the ability to stack amps, iRs and have more I/O so in a hotel room on the road I don't need anything else. Also 96k is desirable.
So many Kempers have been sold that R&D costs were recovered years ago and really the price should halve without an update. Additionally the pedal, like fractals, is also way over priced and under developed. Adapt, evolve and survive. History has taught us this is necessary. Of course they are working on V2 but they will not tell you until it's ready to go because clearly they are milking V1 for all it's worth.
Pretty sure that the main guts and design of the X32 was done before they bought Midas. They just had Midas tweak their preamp design a bit and afterwards the biggest selling Midas desk ever was born the M32 which basically is an X32 in black with upgraded preamps and faders.
Anyway I agree it's silly to bash other products unless you are learning from their mistakes. Based on history it would be a mistake for Kemper not to be working on V2. It's great many of you are still super happy with it as is. Personally I sold mine because even though I admit with M Britt profiles the Kemper has the best amp sound of the modelling/profiling world but I didn't care much for the effects or lack of computer editing. I also would like the ability to stack amps, iRs and have more I/O so in a hotel room on the road I don't need anything else. Also 96k is desirable.
So many Kempers have been sold that R&D costs were recovered years ago and really the price should halve without an update. Additionally the pedal, like fractals, is also way over priced and under developed. Adapt, evolve and survive. History has taught us this is necessary. Of course they are working on V2 but they will not tell you until it's ready to go because clearly they are milking V1 for all it's worth.
96k is already done. An editor may possibly be in the works. And the effects keep getting better.
You'll be back
Pretty sure that the main guts and design of the X32 was done before they bought Midas. They just had Midas tweak their preamp design a bit and afterwards the biggest selling Midas desk ever was born the M32 which basically is an X32 in black with upgraded preamps and faders.
Anyway I agree it's silly to bash other products unless you are learning from their mistakes. Based on history it would be a mistake for Kemper not to be working on V2. It's great many of you are still super happy with it as is. Personally I sold mine because even though I admit with M Britt profiles the Kemper has the best amp sound of the modelling/profiling world but I didn't care much for the effects or lack of computer editing. I also would like the ability to stack amps, iRs and have more I/O so in a hotel room on the road I don't need anything else. Also 96k is desirable.
So many Kempers have been sold that R&D costs were recovered years ago and really the price should halve without an update. Additionally the pedal, like fractals, is also way over priced and under developed. Adapt, evolve and survive. History has taught us this is necessary. Of course they are working on V2 but they will not tell you until it's ready to go because clearly they are milking V1 for all it's worth.
For me it is all about tone and the rest is window dressing, even if it can be inconvenient. When you play live or record, who is thinking about how you put your sound together.
A courtesy outlet for my pedal board would be cool. Maybe even an isolated power supply in addition to power pedals that I'd keep close by. I think the peavey invictive has something like that.
96k is already done. An editor may possibly be in the works. And the effects keep getting better.
You'll be back
Cool I did't know that but that appears to be a sample rate converter from 44.1k to 96k out the SPDIF it wouldn't give higher resolution detail of profiles and sounds like 24bit 96khz profiling would at the outset and playback as well as any conversion.
As for Profiling and / or converting the guitar input to digital at 96kHz, Mr. Kemper is convinced there'd be nothing to gain from it. I tend to agree - no electric guitar, bass or mic'd guitar cabinet's gonna benefit in any way from an extension beyond 22kHz frequency-response wise.
An acoustic guitar in a pristine, ultra-quiet hall mic'd and preamped with high-spec'd equipment? Maybe, but that's not Profiling.
1 remote to control 2 profilers
Display MoreOn the topic of a tablet based editor:
I think that everyone should start expecting that every embedded device will soon come with a tablet editing application. There will be varying degrees of how usable the device is WITHOUT a tablet; however, the trend will be pretty clear. Less physical controls, more tablet controls.
I was REALLY Leary of moving from my venerable Allen & Heath Mix Wizzard to my current X32 Rack. I mean really .... who had ever heard of a mixer with no faders!
I gotta tell you guys, I aint ever goin back to a physical console. I am completely hooked on the features I now have.
A good tablet application is a thing of beauty.
If you could use your PC or your tablet for editing and setup of the floor unit, you would have no reason to edit live at a gig (not that I ever touch my rig live anyway). If you are at home or in the studio, then editing on a large screen with control out the ying yang would be the way to go.
While I applaud the larger color screen of the Axe III, I must point out that the screen on my $150 Android tablet is larger, easier to read, and much higher quality. If I drop my android and break it, I will simply use my daughters iPad, or my wife's Android tablet .... or my bass player's ... etc, etc. Break that nice new screen on the Axe III and you are likely looking at a much bigger bill along with some time without your amp.
I personally don't see how to make a fully functional interface for a KPA on a foot controller. Anything I can imagine is simply crap when it comes to the failure mode analysis and usability.
Question....
Does anyone REALLY use the Helix front controls to do their setup?
While I'd love a tablet app for tweaking and library management I hope the front panel remain fully functional on future models. I don't think I would have gotten a KPA if it was not possible to control almost as if it were an old amp and pedal-board. It's the same with my mixing consoles. I've got a Behringer X32-Rack that I use in places where there isn't space for anything bigger, but I reach for my M32R or A&H-SQ6 whenever I can. Physical faders are so much quicker and more accurate both when I have to make quick changes when mixing from stage while playing, and when I do FOH-mixing out front for other bands ... and this from a guy who do comp-sci for a living
While I'd love a tablet app for tweaking and library management I hope the front panel remain fully functional on future models. I don't think I would have gotten a KPA if it was not possible to control almost as if it were an old amp and pedal-board. It's the same with my mixing consoles. I've got a Behringer X32-Rack that I use in places where there isn't space for anything bigger, but I reach for my M32R or A&H-SQ6 whenever I can. Physical faders are so much quicker and more accurate both when I have to make quick changes when mixing from stage while playing, and when I do FOH-mixing out front for other bands ... and this from a guy who do comp-sci for a living
Hi hedal,
Mixing from stage becomes quite impossible when the mixer can't be located next to you .... like if you are one of the front men. Making small changes between songs, or even within a song on a tablet that is mounted on your mic stand is really the only option IME..... but of course YMMV. I think that most people would rather mix on real faders; however, most bars don't have a dedicated FOH mixing position so you are left running back and fourth to side-stage mounted mixers. Personally, I would rather sit in the crowd with a 10" tablet drinking a tall one
For a KPA foot version, I just can't see having the massive number of controls on the front of the KPA today. I can see your point with respect to the normal "tube amp settings"..... but foot controllers? Even my friends with a massive pedal board literally never make changes to a specific foot controller in a live gig (nor did I when I had one). Why would a KPA floor version need to have specific efx slots in the chain modified live (outside of morphing)?. Sure, there should be a way of bringing parts of the chain in and out of the rig like the current foot controller does. I completely agree with that. EFX editing though?
From a cost standpoint, I also find it hard to believe you could reduce the price of the floor board version to be much less than the current rack version if you put all the physical controls back on it.
My own personal use model is that I don't change any settings at a gig other than things I can hook up to a pedal, or a button on my foot controller. Its really hard to do any tweaking between songs other than getting to the next rig/performance ... at least it is for me and my limited skill set
The trend is towards automated setlists with the possibility of manual intervention.
All settings are already defined per song. (From KPA, Mixer, Light, Keyboard to Vocal effects).
Changes in a song can be pre-programmed to the beat when using a click track or a partial playback.
Footswitches that can call variants of parameters during a song are already possible. (At least I've read that before).
For this purpose it is of course necessary that the individual participants in this system also have the corresponding communication interface.
Devices that do not have this will probably not have a longer future or will exist as niche products.
MIDI I think is outdated.
Display MoreThe trend is towards automated setlists with the possibility of manual intervention.
All settings are already defined per song. (From KPA, Mixer, Light, Keyboard to Vocal effects).
Changes in a song can be pre-programmed to the beat when using a click track or a partial playback.
Footswitches that can call variants of parameters during a song are already possible. (At least I've read that before).
For this purpose it is of course necessary that the individual participants in this system also have the corresponding communication interface.
Devices that do not have this will probably not have a longer future or will exist as niche products.
MIDI I think is outdated.
Blimey I hope that isn't the future...out goes improv...
I think that will increase but I don;t think it will take the place of a regular band scenarios. The valve amp has survived transistors for xxx years so I don;t think it would make anything obsolete, but yes might limit its market..
Display MoreThe trend is towards automated setlists with the possibility of manual intervention.
All settings are already defined per song. (From KPA, Mixer, Light, Keyboard to Vocal effects).
Changes in a song can be pre-programmed to the beat when using a click track or a partial playback.
Footswitches that can call variants of parameters during a song are already possible. (At least I've read that before).
For this purpose it is of course necessary that the individual participants in this system also have the corresponding communication interface.
Devices that do not have this will probably not have a longer future or will exist as niche products.
MIDI I think is outdated.
I'm happy with my MIDI automations for my bands live shows
But if there could be a more convinient way to automate stuff then I would love to try it out
Blimey I hope that isn't the future...out goes improv...
I think that will increase but I don;t think it will take the place of a regular band scenarios. The valve amp has survived transistors for xxx years so I don;t think it would make anything obsolete, but yes might limit its market..
Just because the technology exists doesn't mean it will force YOU to use it. You can use whatever you want, and let others do their thing.
It's like when the Evertune bridge came. I saw in forum threads posts like "Oh my god not in MY Les Paul" like they actually were afraid of it.
I love all the following modern stuff:
Evertune = keeps my guitar in tune all times
Digital amps directly to FOH = fast setup times
Automated patch switching via MIDI = all focus on playing and stage presence instead of having to find the right foot control
And soon we're getting ourselves an In-Ear Monitoring system that will have its own mixer so we can carry our exact monitoring sound from gig to gig, and basically we shouldn't even have to soundcheck, just plug our stuff in and make sure the FOH tech gets a good sound out to the audience, while we already have our monitoring stuff set a long time ago.