How good is the Kemper Kone with Studio Profiles and the speaker imprints?

  • The separation you get from the kemper algorithm is so good, that the stimated results are very alike the direct profiles. And also, the small error from it, plays into the characteristics from each profile, sometimes in a good way. I say it is totally worth it.

  • I use mostly merged, but haven't noticed a significant difference in quality when using Kone imprints on a Studio Profiles.

    In my opinion the amount gain, and possibly even the nature of profile itself may be more of a deciding factor of how good it will work with Imprints than Merged vs Studio.


    I've found that often (but not always) the higher gain stuff tends to sound better in Full Range mode rather than using an Imprint, which may sound a little boxy for some of those. I think this may have to do more with the size of the cabinet than the Kone and the Imprints themselves (I'm using a 1x12). Imprints are pretty great at sounding like the modeled speakers but they aren't going to make a 1x12 sound like a 4x12.

  • I use mostly merged, but haven't noticed a significant difference in quality when using Kone imprints on a Studio Profiles.

    In my opinion the amount gain, and possibly even the nature of profile itself may be more of a deciding factor of how good it will work with Imprints than Merged vs Studio.


    I've found that often (but not always) the higher gain stuff tends to sound better in Full Range mode rather than using an Imprint, which may sound a little boxy for some of those. I think this may have to do more with the size of the cabinet than the Kone and the Imprints themselves (I'm using a 1x12). Imprints are pretty great at sounding like the modeled speakers but they aren't going to make a 1x12 sound like a 4x12.

    It is definitely a 112 issue, for high gain, I said it before and say it now, 212 is the way to go, or 412 if you can somehow push it. 112 mids sound like a cardboard screaming in most 112 (not all btw) when high gain is used.

  • It is definitely a 112 issue, for high gain, I said it before and say it now, 212 is the way to go, or 412 if you can somehow push it. 112 mids sound like a cardboard screaming in most 112 (not all btw) when high gain is used.

    EXACTLY!!! I think the Kab as a 1 x12 along with the imprints is a as good as it gets when it comes to being able to play all different kinds of profiles trhough it, yet responding like a true guitar cab (..not FRFR),all except for the high -gain (modern high gain).The 1 x 12 has it's limitations and gets boxy at louder volumes... So, it looks like a 2x12 with KONE's is the choice, 4x12 if I was made out of $$$..

  • EXACTLY!!! I think the Kab as a 1 x12 along with the imprints is a as good as it gets when it comes to being able to play all different kinds of profiles trhough it, yet responding like a true guitar cab (..not FRFR),all except for the high -gain (modern high gain).The 1 x 12 has it's limitations and gets boxy at louder volumes... So, it looks like a 2x12 with KONE's is the choice, 4x12 if I was made out of $$$..

    We had a discussion about this before, but I believe 412 are more of a novelty than anything, even for high gain and metal. The thing is they are hard to push to levels where you really feel the air on your back (that being honest, its the main mojo from playin a 412), that having one its only justified in very big venues, and even then, most likely you will mic your cab or go front house (which is the kemper main advantage for live IMHO). Looks cool tough.

  • We had a discussion about this before, but I believe 412 are more of a novelty than anything, even for high gain and metal. The thing is they are hard to push to levels where you really feel the air on your back (that being honest, its the main mojo from playin a 412), that having one its only justified in very big venues, and even then, most likely you will mic your cab or go front house (which is the kemper main advantage for live IMHO). Looks cool tough.

    Agreed!! 2x 12 is the more practical choice.

  • My band rehearsed today for the first time in six months and I brought my Kemper rack, SD 170 and Kone. Once again, I'm blown away with the flexibility and sound quality. Using a '59 tweed twin profile and Jensen 12R imprint it's instant Steve Cropper. Then, a click of the switch and it's a 1987 Marshall into a Celestion. I freely admit to being skeptical about Kone when it was announced, but in practice it works brilliantly. High end FRFR systems have their place, but for visceral fun nothing beats Kone.

  • Yeah , I love my Kone and home mod cab , it's freaking tremendous on my strat & AC 50 : growl, dynamics , shime ...


    I often use studio profiles with great results, I don't really care if it's a studio or DI profile, both lead to excellent tones.


    The paradox is that I often get a better monitor / room tone since I don't have a good matching cabinet for recording spdif ( No Oxford 12L6 cabs available for instance) .


    That's why I asked the KPA team to do a special pack with cabinets matching the imprints.