As for the cabinet which ones are recommended besides yours, besides the kemper cabinet?

  • Hi, Mark99.


    The short, but unsatisfying answer is, "It depends."


    Please tell us how you will be using your Kemper Profiler.


    Are you playing live?

    How big are the venues?

    Will you be sending a line out to a Front of House (FOH) system?

    Do you use in ear monitors?



    Are you playing in a studio/recording environment?


    What instrument(s) are you playing?


    What style(s) of music?


    Cheers,

    ST

  • A standard cab will color your sound more so than an FRFR cab from the sound you would hear from studio monitors (even two different FRFR cabs will sound different). That's not necessarily a bad thing. You might like the sound of a Marshall 1960V cab for a certain rig better than the imprinted rig going thru FRFR. It's really up to you and your ears. But the FRFR is going to get you the tone that is closets to what the original amp sounding like during the profile operation.


    If you have different cabs then try them all out.

    Larry Mar @ Lonegun Studios. Neither one famous yet.

  • Hi, Mark.


    I bought a powered toaster so I'd have all possible options. I started out running it through my Marshall 4x12 (well broken in Vintage 30s). It sounded great for my application (classic rock). However, I have a small car and the Marshall won't fit. So, I eventually bought the powered Yamaha DXR-10. It also sounds great, is plenty loud, and I like the wedge monitor form factor. It fits in my small car along with the Kemper / remote and makes for a nice, portable rig.


    Honestly, I didn't invest a lot of time in A/Bing the Marshall versus the Yamaha. I just plugged it into the Yamaha, liked what I heard, and called it a day.


    If you have a powered Kemper, then as BayouTexan recommended I'd start out by plugging them all in and seeing if you like what you hear. If so, grab a drink, play guitar. If you're into tone experimentation / optimization, or just suffer from GAS like the rest of us, you can later try out some FRFRs and see what they bring to the party.


    And of course, all the questions that ST asked will have a bearing on the best fit for your personal situation. The physical constraints of where you're playing will obviously be a factor in what's best.


    I remember when I was first reading about Distressors (a popular studio compressor), and most of the reviews said the same thing. You just can't get a bad sound out of it. I feel the same way about the Kemper. As long as you have profiles that are appropriate for what you play, I think you'll find it's not which cab is bad, which is good, but rather which cab sounds best for a given scenario.


    No matter which cabs I've used I haven't gotten a bad sound out of this thing yet. I mean, you know, if you don't count my playing.

    Kemper remote -> Powered toaster -> Yamaha DXR-10

  • I need a kemper first of all to record my electric guitar, an ESP 7 strings E II M II for metal music in a DAW and in future i want a cabinet for a live too

  • Una cabina standard colorerà il tuo suono più di una cabina FRFR dal suono che sentiresti dai monitor da studio (anche due diverse cabine FRFR avranno un suono diverso). Non è necessariamente una cosa negativa. Potrebbe piacerti il suono di una cabina Marshall 1960V per un determinato impianto di perforazione migliore di quello stampato che attraversa FRFR. Dipende davvero da te e dalle tue orecchie. Ma l'FRFR ti darà il tono che è vicino a come suona l'amplificatore originale durante l'operazione di profilo.


    Se hai taxi diversi, provali tutti.

    Unfortunately i don't have a cabinet to try, but if the kemper cabinet is good i want him.

    i refer to this: https://www.thomann.de/it/kemp…379df3b014ebc6df3ba3d518e

  • thank you i don't know well what is a FRFR and i don't know if the kemper cabinet is one of them

  • As for FRFRs, you can think of them as PA speakers or studio monitors. They're designed to give you the full range (FR) of frequencies, like you'd hear if you're mixing in the studio. A guitar cabinet limits some frequencies and enhances others since it's designed for guitar. Remember that part of the profile is the cabinet and mic used, so the guitar cab is already a part of the sound. That's why some people prefer FRFR, to reproduce as closely as possible what was profiled.


    If you're starting out just doing recording, I'd recommend just using the Kemper with your DAW / studio monitors for a while to get a feel for everything before spending any more money. Your studio monitors are, essentially, FRFR speakers. Just not big ones designed for gigs.

    Kemper remote -> Powered toaster -> Yamaha DXR-10

  • Per quanto riguarda gli FRFR, puoi pensarli come altoparlanti PA o monitor da studio. Sono progettati per darti l'intera gamma (FR) di frequenze, come sentiresti se mixassi in studio. Un cabinet per chitarra limita alcune frequenze e ne migliora altre poiché è progettato per la chitarra. Ricorda che parte del profilo è il cabinet e il microfono utilizzati, quindi il cabinet della chitarra fa già parte del suono. Ecco perché alcune persone preferiscono FRFR, per riprodurre il più fedelmente possibile ciò che è stato profilato.


    Se stai iniziando solo registrando, ti consiglio di usare il Kemper con i tuoi monitor DAW / da studio per un po 'per avere un'idea di tutto prima di spendere altri soldi. I monitor da studio sono, essenzialmente, altoparlanti FRFR. Solo non grandi progettati per i concerti.

    ok thank you. For record, you advice for monitors and cabinet, or headphones? I have headphones but before i use more but now i prefer to hear and listen me on monitor

  • My studio monitors are fairly old, Mackie HR824s. I also have a set of 5" Mackies in another room. There are lots of other great monitors out there these days, this just happens to be what I have.


    The Yamaha DXR-10 is a very popular powered FRFR, and what I personally have. There's a less expensive brand called Headrush FRFR that's also been pretty popular lately. If you don't already have guitar cabs, I'd recommend trying an FRFR first as it will compare apples to apples with what you get out of your studio monitors.


    I currently use Audio Technica ATH M-50 headphones in the studio, but only to check mixes with. When recording, I usually just listen to the Kemper through my Mackie studio monitors, with or without the rest of the mix.

    Kemper remote -> Powered toaster -> Yamaha DXR-10

  • Yes, when I'm recording I'm listening to both the mix and the Kemper through the Mackie HR824 studio monitors.


    The only time I use the guitar cabs is when I'm playing with a band.

    Kemper remote -> Powered toaster -> Yamaha DXR-10

  • Couple of comments on guitars cabs:


    1) You don;t need them to record as you can connect into your DAW directly.


    2) You have 3 options - regular guitar cabs, FRFR and Kemper Kabinet. None are better, just preferences. Guitar cabs we are all used to but add signifcant colour to the sound. Given profiles include Cabs and Mikes you either need merged/direct profiles ( which send just the amp to the cab) or remove the cab portion. FRFR is closest to the sound you would hear out of a PA but is different to what we are used to. The Kemper Kabinet is sort of in between. It can run as an FRFR but uses speaker imprints to give you even more control over the end to end sound.


    All cabs ( unless active) will require an amp. This is why I bought the powered version so I have the option to run cabs without adding a separate amp.

    I have run all options and prefer the Kabinet. in fact, I've just bought another one.


    I play heavy rock/Metal.


    Hope that helps.

  • thank you i don't know well what is a FRFR and i don't know if the kemper cabinet is one of them

    "FRFR" is a marketing term for a PA-style monitor cabinet. "FRFR" supposedly means "Full Range Flat Response", so the intent is to act like a very good studio monitor, PA system, or home stereo - very accurate reproduction. In reality, most cabinets that claim to be "FRFR" are anything but.


    In my experience, the best way to achieve this is to purchase the best self-powered PA wedge you can find/afford. The pro audio world has been building monitor cabinets for decades, they have the technology and costs well sorted out, and the performance you get very closely follows the price point. In contrast, most of the cabinets marketed as "FRFR" are low-end PA cabinets that have been re-badged, and they really don't sound very good. This is not universally true, as there are a few at the higher end of the range that are relatively accurate...but most are not.


    In the end, though, think in terms of balancing what you spend on the monitor with the Kemper. The KPA is a top-tier, no excuses digital amp. It should be paired with a monitor of similar quality, and that's not something that you get for $500.

  • In the end, though, think in terms of balancing what you spend on the monitor with the Kemper. The KPA is a top-tier, no excuses digital amp. It should be paired with a monitor of similar quality, and that's not something that you get for $500.

    Totally agree although..... just to apply a slightly different lens....this is"only" about your monitor.


    For live, in the past, as you miked your cab it was essential to get the best on stage sound as that directly translated into your FOH. With the KPA you typically send your sound direct and your monitor is now "relegated" to what you hear. This means that it needs to be good enough - it just shifts the emphasis slightly I feel :).


    Hope that makes sense

  • I've used Laney lfr-112 for more than 2 years, plenty of volume to play with a drummer, fine for small gigs. It's very reasonably priced too, powered 400W unit you can get for 300 GBP. Laney make 2x12 version as well, 800W I believe. The cab is not too heavy, but definitely not light either, something around 20kg or 44 pounds. In terms of the amp-in-the-room feel it's not very far from Kabinet especially after you tweak the cab and your profiles. It's also ok for studio and DAW recording although I'd definitely recommend getting a pair of proper monitors for that purpose.

  • the first time with kemper i tried it with a bogner 2x12 with V30 and it was impressive.


    Then i had a 4x12 1960 with G12_T75. hmmm, no, definitely not the level of juicyness and beefy response of the V30 even with the kemper.


    At the end i built my own 4x12 with 4 kones. And that was the best choice ( for me and my ears).


    Parallely i run it in studio over 2 x Presonus Eris E5 XT as studio monitors. It is "ok", not FRFR but for studio monitors + kemper , the solution is acceptable. Alternative: some 8 inches FRFR coax monitors. Redsound ELIS are at the moment the best i have got as "hidden suggestion".

  • Totally agree although..... just to apply a slightly different lens....this is"only" about your monitor.


    For live, in the past, as you miked your cab it was essential to get the best on stage sound as that directly translated into your FOH. With the KPA you typically send your sound direct and your monitor is now "relegated" to what you hear. This means that it needs to be good enough - it just shifts the emphasis slightly I feel :).


    Hope that makes sense

    Yes, it makes sense.


    I think that different players have a different view of their need for "perfect" sound. Some of us want it to be "really good", and accept a 99% monitoring solution while leveraging the advantages of volume control, size, weight, and flexibility. For those who are constantly chasing the tone monster and seeking absolute perfection, they're going to want a very high-quality monitor so that they get the full impact of a rig like the KPA.