Ideas for a Kemper 2 in the future.

  • Heres a idear :incoporate 2 12ax7 like the digitech 2101 i wish the kemper had a bigger lcd color scrn and master on off for effects.

    I had the 2120 (purple version). I loved the idea at the time that it had real tubes, and I even bought NOS JAN Phillips tubes for mine at a pretty penny.


    I have to tell you, the KPA puts it to shame. I sold mine within 6 months of getting my KPA .... and I was using it just for efx, since I had a VHT UL setup which had very nice distortion (and the KPA sounds better than the VHT as well).


    I am with you on the larger LCD Color screen and master on/off (although you can accomplish this through the FC I believe).

  • I had the 2120 (purple version). I loved the idea at the time that it had real tubes, and I even bought NOS JAN Phillips tubes for mine at a pretty penny.


    I have to tell you, the KPA puts it to shame. I sold mine within 6 months of getting my KPA .... and I was using it just for efx, since I had a VHT UL setup which had very nice distortion (and the KPA sounds better than the VHT as well).


    I am with you on the larger LCD Color screen and master on/off (although you can accomplish this through the FC I believe).

    I had the GFX1 Twin Tube back in the day because I fell for the “real valve preamp” marketing. They did nothing and it sounded terrible compared to the Kemper. I also had a Mesa V Twin valve preamp pedal. Basically an normal solid state pedal with two valves stuck in to look good and give it something to market. Only ever used it as an emergency backup to get through a gig if my real amp went down. Again it sounded OK. But the valves in the pedal were for the marketing team not the end user. I sold it after I got the Kemper.

  • Main Manual, page 116

    Reading over those pages, it appears that you CAN run Delay and Reverb in parallel (pg 267). You can output the wet signal only for Delay and Reverb as you mentioned (page 116), but not your Modulation sounds.


    My ideal would be four effects: 1. micropitch; 2. chorus (TC1210, SDD320 style); 3. delay; 4. reverb... *ALL* in parallel-wet L&R, with the miked cab sound right down the center, using no outboard gear.


    It's doable on a Fractal, and is, realistically the most complicated signal path I would ever care about for 80's era Lifeson tones with no extra stuff to lug around. Like I said, I love this Stage Profiler, but as long as we're making wishlists, that's the ultimate for me.

  • I’m not the only one but… a small pedal version no larger than the HX Stomp. And make it able to load two profiles. I’d be happy if it just did that and no effect blocks… it would be entirely for amp tones and a pedal board platform or studio tool for adding plugins to.

  • I’m not the only one but… a small pedal version no larger than the HX Stomp. And make it able to load two profiles. I’d be happy if it just did that and no effect blocks… it would be entirely for amp tones and a pedal board platform or studio tool for adding plugins to.

    This. A super portable profile player that fits in a gear bag and integrates with Kab would be an incredible addition. The best thing about kemper for me has been the lack of need or want to "upgrade" my hardware in typical axefx or line6 fashion.

  • I honestly shouldn’t be here anymore because I use fractal now 😅

    Naw man, there's room for everybody, everywhere. I never really understood the whole "fractal vs kemper vs line6 vs (insert the latest brand here) debate". It's like comparing a strat to a paul. They're all incredible at what they do but everyone has different needs. If I had to choose just one for a desk, it'd be fractal. Since I'm mostly just performance and want easy transport/setup I find kemper the best. If I was a billionaire, I'd have all of them in every room.

  • I don’t see the IK Tonex being mentioned much as a new player in the field. That could potentially change everything actually. I’ve not seen or tried it myself though, but if profiling can be done with a reamp-box and software, the need for a new physical Kemper MKII might become close to obsolete. The Kemper Stage might have its place still as a complete solution for touring and recording artists. But as I see it the Tonex can change the game.


    I remember asking about this once. Whether or not it would be possible to use the computer to profile amps, because they have more power and such and now the answer is actually here. Less than a year after my question. Whether or not it’s going to be a success and change the game, it’s hard to say. But to me it surely would be something I would be very aware of, being a producer of expensive physical units.


    One would have to wonder if “reality” has caught up to you and if there are valid reasons to put out new physical versions now. What would be the such valid reasons if the Tonex happens to be as good at capturing profiles as the Kemper?


    It’s very interesting. It just opened my eyes….that’s for sure. As much as I love my Kemper and the company and the value it has given me over ten years, the fact that a new company presents a cheaper and “easier” solution and possible equally as good makes ME wonder, what reason of existence a new physical Kemper will have.


    It would have to be a seriously crazy unit, because the Tonex opens up brand new possibilities using the computer. The computer you’re using already to record and stuff. Easier reamping just by changing amp in the plugin (like all other plugins of course). It’s definitely interesting and very convenient. Maybe this is the way, Kemper needs to go? 🤔 Probably not since they do not do what others do.


    I love my Kemper and will not jump ship as long as it keeps working like a charm. At least not right now. But what will happen in a year or two from now? No one knows. I just know that if buying a Kemper MKII, it has to be a very huge upgrade. Otherwise I will doubt its reasons of relevance in the future and I cannot justify a purchase. Not when an easier, cheaper and probably equally as good alternative is there.


    Again….the Kemper Stage is a different thing and might be “future proof” as it fulfills other stuff than profiling.

    Edited once, last by b_ryan ().

  • I don’t see the IK Tonex being mentioned much as a new player in the field. That could potentially change everything actually. I’ve not seen or tried it myself though, but if profiling can be done with a reamp-box and software, the need for a new physical Kemper MKII might become close to obsolete. The Kemper Stage might have its place still as a complete solution for touring and recording artists. But as I see it the Tonex can change the game.

    I can't really see ToneX being an upgrade/replacement/'Kemper killer'. It probably has its place in the studio, I get that, but not in a live environment, not without a set of pedals around it or HX Stomp etc. I use the KPA as an all-in-one solution in live environments. If the ToneX tones are better replications of real amps (as some say) then fine, that's something that may attract some, but by the same token, if it's an audible difference, it's something that Kemper could address.

    Kemper Powered Head / Stage / Powered Kabinet

  • You’re probably right. I still see the Tonex as something that could stir things up. Imagine you just have to have a midi floorboard connected to a pc/Mac. A cheap live setup and equals a Kemper with a floor controller. I used to run my Kemper with the Behringer midi controller 10 years ago. Same setup….just cheaper. The Tonex will probably be accessible through different products live. I see it as a thing, that really could change things, because of the price tag.

  • I would mostly like to have a version without all the controls on it. I use Rig Manager for everything and just last Saturday for example at a gig I must have touched another button when I was switching off an effect and it went into a menu where I had to reach down to get out of it.

    I would love to have one version like the stage but just with the size of the remote (and also just the same buttons and I guess one on/off plus USB)
    And a small rack unit with just a display and on/off button on the front and a wireless remote for it.

    Equipment like the Midas MR18 mixer that we are using in the band shows that you don't really need any physical controls anymore.

  • The hidden secret about what makes the KPA competitive with the latest/greatest are certain advantages that are related to its simplicity, but not always obvious to those without first-hand experience. A KPA 2 has room to improve, but should seek to continue its unique approach rather than replicating the competition. Profiling is not the only thing that made this unit special.

    • Continue to have a fixed (but bigger) signal path with a dedicated amp section. (keep or expand the parallel path and something like the del/rev parallel thing) The reason you can do convenient things like lock certain blocks is because there is such a fixed place for the amp section to go. This is also (probably) what makes the KPA's unique volume compensation when adjusting gain practical. Harder limits on the number of effects per Rig is the reason that there's DSP leftover to allow the Del and Rev slots (the place 90% of guitarist want these effects) to Spillover into other Rigs, as well as global access to the Looper. This is what makes it possible to switch between 5 Rigs in a performance, each with a morph (which is basically a variable second SCENE) during a song, as opposed to the build-a-mammoth preset model of the competition.
    • Add 2 effects blocks before the amp section and 2 after, for a total of 6 before and 6 after. Add some sort of dual amps and cabs in the amp/cab section, with three possible modes: One is a simple A or B switching mode to switch between profiles in a Rig, a parallel blend mode (zero is 100% amp A, 100 is 100% amp B, 50 is half and half), and a spread mode (equal amounts of A/B with a single pan knob). These parameters would of course be accessible in a morph or if there’s SCENES.
    • Add a parametric and/or graphic EQ as an additional set of parameters in the Cab section (freeing up the X slot that a lot of folks use for post amp EQ, and, more importantly, making such refinements something that can be saved with the amp/cab settings since that’s what’s its tweaked for) Figure out a way to have these dual amp options function without losing the super convenient automatic volume compensation that all the competition lacks. Let people who "need" four amps and cabs at the same time and endless possibilities of parallel satisfy their desire with a competitors product. Allow the saving of single amp/cabs like in generation 1, but also allow the ability to save the entire amp section with both amps as a preset that can be called up in the creation of other Rigs.
    • As noted: the automatic volume compensation that lets you dink around with the gain setting on OD models and the amp and not have to adjust volume to taste (and the misery of then having to go back and forth between other rigs to see if the volume still matches) Don't give this advantage up to replicate the open canvas grid model of competitors.
    • Don't sacrifice simplicity for the guitarist to make room for other instruments. Seriously, why would anyone ever want to share an all-in-one unit with another musician in a live setting? If you MUST include such a feature, make it fixed and call it the SIDECAR. Single stereo/mono 1/4" input and output jacks; dedicated to this use only. Hit a button and access this alternative signal path that has nothing to do with the main guitarists signal path, other than being able to customize it per Rig, performance, or lock globally. Give it three effect blocks, one of which could be a single amp/cap profile. That will suffice for bass, acoustic, vocals, keys who could otherwise just plug into direct box; beggars can't be choosers. By no means replicate the wide-open grid format of QC and Helix and the DSP juggling game, again let those that prefer that arrangement, buy one of those and live with the disadvantages.
    • Importing of KPA 1 generation rigs (one more reason to continue to have a fixed signal path) By default, imported 1st generation Rigs would have their one amp and cab in both the dual amp spots, leaving the ability to swap one of them out later. Effects A,B,C,D would be placed in blocks 2,3,4,5 (leaving the 1 and 6 empty as I proposed 6 effect blocks before and after the amp section) Effects X,Mod,Del,Mod,Rev would go in blocks 8,9,10,11 (leaving blocks 7 and 12 empty). *Perhaps changing where the imported effect blocks of 1st gen Rigs go globally could be tweaked, say if someone wanted A,B,C,D to import to 1,2,3,4 or 3,4,5,6.
    • Full stereo signal path. Allow panning of otherwise mono effects like OD models. Perhaps expand the parallel options a bit; there is some in KPA 1.
    • Priority spillover. With an upgrade in DSP, minus the extra DSP to do the things I mentioned, perhaps allowing 3 or 4 blocks to spillover; let's assume 4. Don't go the Helix route that allows spillover of everything by giving up half your DSP. Instead allow four effects needing to be in the Del and Rev blocks to spillover, allow them to be wherever. So you can add up to 4 such effects to any rig and not think about it. If you add a fifth delay or reverb effect, either the left most or right most (globally chosen) will not spillover by default. However, perhaps you could manually choose the odd man out if you wanted a fifth delay for some odd reason: choose "no spillover on rig change," in that effect's parameters. Since so many of the singular effects even in KPA generation 1 allow all sorts of parallel/serial, dual and quad, mod and pitch options, having four such simultaneous effects with spillover is more than enough. Allow those that want the never-ending mammoth preset with no spillover and large audio gap route to go to a competitor.
    • Profiling OD pedals. Perhaps streamline the controls for DSP sake and give gain, Mix, 3 or 4 band EQ and a simple tone knob, perhaps functioning like the Definition knob that’s in the amp section? Since we’re going full stereo, allow it to be panned left and right. As a different type of profile, (even if the process is similar) your OD profiles are in a separate list/folder than your amp profiles for organization’s sake.
    • Blue tooth audio. In a world where $25 blue tooth speakers exist, why not allow your phone to connect via blue tooth (not just for Rig manager) but to stream audio, as you can now use the aux inputs to monitor an external source for practicing along with a recording. Would be nice to not have run a cable for this.
    • Scenes: These might be disorganized to offer alongside morphing? Perhaps either or? (you can set up a complex morph or create a certain number of scenes in any Rig) Not sure how I’d organize this though, in terms of number of Rigs per performance or bank, number of possible scenes per Rig. Some way that makes logical sense with the rows of footswitches.
    • Keep their unique approach to effects. They are the only unit (perhaps Fractal does this) that provides a ducking parameter to just about all their effects. This feature alone has made me do so much less tap dancing when more and less delay are needed in different places, and therefore less need for something like scenes and more effect blocks or Rigs to get through a song; and it’s a lot easier to set up. The Kemper Drive and Kemper Fuzz are second to none.
  • The hidden secret about what makes the KPA competitive with the latest/greatest are certain advantages that are related to its simplicity, but not always obvious to those without first-hand experience. A KPA 2 has room to improve, but should seek to continue its unique approach rather than replicating the competition. Profiling is not the only thing that made this unit special.

    • Continue to have a fixed (but bigger) signal path with a dedicated amp section. (keep or expand the parallel path and something like the del/rev parallel thing) The reason you can do convenient things like lock certain blocks is because there is such a fixed place for the amp section to go. This is also (probably) what makes the KPA's unique volume compensation when adjusting gain practical. Harder limits on the number of effects per Rig is the reason that there's DSP leftover to allow the Del and Rev slots (the place 90% of guitarist want these effects) to Spillover into other Rigs, as well as global access to the Looper. This is what makes it possible to switch between 5 Rigs in a performance, each with a morph (which is basically a variable second SCENE) during a song, as opposed to the build-a-mammoth preset model of the competition.
    • Add 2 effects blocks before the amp section and 2 after, for a total of 6 before and 6 after. Add some sort of dual amps and cabs in the amp/cab section, with three possible modes: One is a simple A or B switching mode to switch between profiles in a Rig, a parallel blend mode (zero is 100% amp A, 100 is 100% amp B, 50 is half and half), and a spread mode (equal amounts of A/B with a single pan knob). These parameters would of course be accessible in a morph or if there’s SCENES.
    • Add a parametric and/or graphic EQ as an additional set of parameters in the Cab section (freeing up the X slot that a lot of folks use for post amp EQ, and, more importantly, making such refinements something that can be saved with the amp/cab settings since that’s what’s its tweaked for) Figure out a way to have these dual amp options function without losing the super convenient automatic volume compensation that all the competition lacks. Let people who "need" four amps and cabs at the same time and endless possibilities of parallel satisfy their desire with a competitors product. Allow the saving of single amp/cabs like in generation 1, but also allow the ability to save the entire amp section with both amps as a preset that can be called up in the creation of other Rigs.
    • As noted: the automatic volume compensation that lets you dink around with the gain setting on OD models and the amp and not have to adjust volume to taste (and the misery of then having to go back and forth between other rigs to see if the volume still matches) Don't give this advantage up to replicate the open canvas grid model of competitors.
    • Don't sacrifice simplicity for the guitarist to make room for other instruments. Seriously, why would anyone ever want to share an all-in-one unit with another musician in a live setting? If you MUST include such a feature, make it fixed and call it the SIDECAR. Single stereo/mono 1/4" input and output jacks; dedicated to this use only. Hit a button and access this alternative signal path that has nothing to do with the main guitarists signal path, other than being able to customize it per Rig, performance, or lock globally. Give it three effect blocks, one of which could be a single amp/cap profile. That will suffice for bass, acoustic, vocals, keys who could otherwise just plug into direct box; beggars can't be choosers. By no means replicate the wide-open grid format of QC and Helix and the DSP juggling game, again let those that prefer that arrangement, buy one of those and live with the disadvantages.
    • Importing of KPA 1 generation rigs (one more reason to continue to have a fixed signal path) By default, imported 1st generation Rigs would have their one amp and cab in both the dual amp spots, leaving the ability to swap one of them out later. Effects A,B,C,D would be placed in blocks 2,3,4,5 (leaving the 1 and 6 empty as I proposed 6 effect blocks before and after the amp section) Effects X,Mod,Del,Mod,Rev would go in blocks 8,9,10,11 (leaving blocks 7 and 12 empty). *Perhaps changing where the imported effect blocks of 1st gen Rigs go globally could be tweaked, say if someone wanted A,B,C,D to import to 1,2,3,4 or 3,4,5,6.
    • Full stereo signal path. Allow panning of otherwise mono effects like OD models. Perhaps expand the parallel options a bit; there is some in KPA 1.
    • Priority spillover. With an upgrade in DSP, minus the extra DSP to do the things I mentioned, perhaps allowing 3 or 4 blocks to spillover; let's assume 4. Don't go the Helix route that allows spillover of everything by giving up half your DSP. Instead allow four effects needing to be in the Del and Rev blocks to spillover, allow them to be wherever. So you can add up to 4 such effects to any rig and not think about it. If you add a fifth delay or reverb effect, either the left most or right most (globally chosen) will not spillover by default. However, perhaps you could manually choose the odd man out if you wanted a fifth delay for some odd reason: choose "no spillover on rig change," in that effect's parameters. Since so many of the singular effects even in KPA generation 1 allow all sorts of parallel/serial, dual and quad, mod and pitch options, having four such simultaneous effects with spillover is more than enough. Allow those that want the never-ending mammoth preset with no spillover and large audio gap route to go to a competitor.
    • Profiling OD pedals. Perhaps streamline the controls for DSP sake and give gain, Mix, 3 or 4 band EQ and a simple tone knob, perhaps functioning like the Definition knob that’s in the amp section? Since we’re going full stereo, allow it to be panned left and right. As a different type of profile, (even if the process is similar) your OD profiles are in a separate list/folder than your amp profiles for organization’s sake.
    • Blue tooth audio. In a world where $25 blue tooth speakers exist, why not allow your phone to connect via blue tooth (not just for Rig manager) but to stream audio, as you can now use the aux inputs to monitor an external source for practicing along with a recording. Would be nice to not have run a cable for this.
    • Scenes: These might be disorganized to offer alongside morphing? Perhaps either or? (you can set up a complex morph or create a certain number of scenes in any Rig) Not sure how I’d organize this though, in terms of number of Rigs per performance or bank, number of possible scenes per Rig. Some way that makes logical sense with the rows of footswitches.
    • Keep their unique approach to effects. They are the only unit (perhaps Fractal does this) that provides a ducking parameter to just about all their effects. This feature alone has made me do so much less tap dancing when more and less delay are needed in different places, and therefore less need for something like scenes and more effect blocks or Rigs to get through a song; and it’s a lot easier to set up. The Kemper Drive and Kemper Fuzz are second to none.

    Right on the money IMO!


    Exactly this. Keep the methodology, provide a migration path from the original KPA, and expand the capabilities within the existing product architecture.


    I would add the following:


    * Color LCD screen

    * Enhance looper to allow up to 3 independent loops (basically give it RC300 capabilities)

    * Create an enhanced set of time based effects (chorus, flanger, etc) like KPA did for delay, reverb, and distortion (just to finish off the "premium" effect chain).


    That would indeed be a great way to move forward to a KPA2 IMO.

  • While the colour LCD and Looper may need new hardware the time based effects updates could easily be achieved in the current KPA.

  • While the colour LCD and Looper may need new hardware the time based effects updates could easily be achieved in the current KPA.

    I'm inclined to agree. While I have a long wishlist, the features I suggest might be a little futuristic DSP wise. The KPA gen 1 has a surprisingly great versatility within a performance. What combo of sounds you can access in a song without audio gap or awkward ambience cut offs is what ultimately determines the flexibility; not how much you can cram in a single preset or Rig. You essentially have access to 40 effects (8 times 5) not counting the amp section, looper, or noise gate in a performance!! The question is, can you live with the one amp/cab at a time and spillover in the delay and reverb spots only. I can live with both. I can't think of time where I was like "gosh I need another effect for this song and ran out of effect blocks" Chances are if I want another effect and if I've run out of room in a rig, I'll want to turn something else off when I add that effect. Copy and paste the Rig into an adjacent slot in the performance. Replace the one effect; problem solved.