Nearly impossible? I don't want to admit that. My impression is different.
One aspect behind all the lines is the question if and how the core sound could be improved. I guess nobody would claim that the KPA is one hundret percent the copy of the profiled amp, would one? And if a gap exists between a profile and it's original amp, is it known where that comes from and is there any processing power left for improvements? BTW I don't care wich step of development comes first...happy about every step whatever it is.
Yup! I use Total Commander as well. No issues.
Sometimes metal parts start to swing and make noises. Have you checked that? Sometimes parts of the tremolo or the strings on the head behind the saddel start to sound.
BTW looking back one year to january 2012, the KPA had been the winner for me. I knew at once that I have to sell my ultra, no way to keep it. And the AxeII had been better than the ultra but something was missing to me. It made hughe steps since, the modeling is far better today.
To me the response is mainly an interactive thing that happens between the player and the gear. By listening to clips you could only scratch the surface. You got to have the gear in your hands, there is no way around that IMHO.
Sorry, no time left for complicated clips. You could at least listen to the hum of single-coils, how it's getting translated by the kpa. Turn the NG off, to do so, and listen. Or you turn your vol pot down and see how the curve is, the kpa's reaction is different somehow, like if the was a comp before the amp.
That's interesting. Have you done A/B comparisons with the real amps modeled/profiled? I found the KPA to be much more accurate when comparing it to my KPA to my Axe Fx II (already sold). I found the KPA pick response to be pretty much identical to the amps I compared it to while the Axe Fx II was far from identical.
Yes, of course I did, otherwise I wouldn't say it, our minds are that crazy, we tend to hear what we want to hear. I used a Patchmate Loop8 to compare both units. Somehow the KPA has the ability to turn the crappy sound of some models of my JTV Variax into good sounds...and that should not be. For a good real amp the formula crap in = crap out is valid. So how then can that thing let my variaxs models let sound good, even the ones that sound crappy with my real amps and with the AxeII? You could say, be happy it always turns anything into a good sound, but what I want is something different, an honest return of what I do with the guitar, even when that can end in a bad sound when I play sloppy.
Hi, I own both the KPA and the AxeII for over a year now. There is no winner, forget it. The pick response of the AxeII is far more real to me than the KPAs. The KPAs pressure in the lows is far more real to me than the AxeII's. I could go on about whatever detail, some are better here, some are better there, some are similar. But there is nothing like a winner. There are different skills, different aspects, that's all.
Yes, he said almost, then argued like there was no almost. Now all this whole thread is about all the almosts that we have everywhere here. Almost is the main problem.
Who cares about studios?
In last 40 Years everyone, because the studios are the "kitchens" of the sound for everyone. In studios are born the news sounds from seventhies.
You can have real amps there?
Yes, a lot. More than You can imagine...., and very special collections of rare amps.
In a studio you could use a different amp for every different sound, that's something you can't do on stage.
For this is a perfect choice the KPA, who is totally different from the other modellers, because You can copy, recreate and use on scene that "cooked" sound in the studio exactly which can,t be doing with anything else.
For this reason is the Kemper the perfect choice for everyone who is working with real amps. The KPA make a profile, an almost perfect clone from amps sounds not a simulation and react perfect to the guitar playing, like a real tube amp, not like a digital amp simulator!!!!!
You sound to me like an advertising brochure. Perfect reaction to the guitar, perfect clone, not a modeler, exactly....If it would be that good, we hadn't to talk here about any competitors, but we have to, so it is not perfect. It is somewhere near the real thing and not top notch, the same way that the FA thing is somewhere near as well. BTW I own both and I don't understand what all the fuss is about, they have both advantages and downsides, none is perfect. There will come next generations someday that are even better, how will you justify then that you said it's perfect now.
To me the live test on stage is the ultimate test for a piece of gear, will it cut through, will it survive or will it drown in the mix? Who cares about studios, you can have real amps there? In a studio you could use a different amp for every different sound, that's something you can't do on stage. If there would be an amp avaiable that has a prefect fender sound, a perfect marshall sound and a perfect mesa sound and some more, would I buy a modeler then at all?
Wampler has a talent booster. The are some clips on Youtube. Imagine how bad these players would have been without it.
For me, as a live player, the midi control is one of the most important aspects. And there are things you can't program in presets.
You would have four effects that you want to engage/disengage whenever needed in all different combinations that could happen: Wah, Treble boost, Mid boost, Delay. Why? You can't say what song comes and goes next in your setlist and on stage some things can happen where you don't want to be limited.
And you would have a bank of five sounds: The number of possible combinations is 5 banks x 4IAs x 3 IAs x 2IAs x 1 = 120. You would have to program 120 presets to have all combinations available! Not only that I needed to keep an overview over so many presets, which is almost impossible, I also needed to maintain all these. Whenever I needed to change a setting of a basic sound, I needed to reflect that changes on all other banks too, all that are based on the same sounds. You see, even 4 instant options are way too much to handle it with presets!
With IA switches is easier: You have 5 buttons for the presets and 4 buttons for the effects, that's all. You have to maintain one bank only and 4 effects only, that's all. (BTW: That's how real amps work, you have some basic channels with real knobs and when you turn any of these knobs it gets reflected to all presets that are based on that channel).
Just wanted to show that you can't replace what CCs can do by programing presets. Presets are no solution for live playing. You can't keep up even with a simple amp with stomps that way.
There might be ones that want to use additional gear together with the KPA, like external effects, switchers/patchers and so on. Even when you can program the midi foot (wich is pretty anoying on most controllers) you might be unable to use your external gear. Could be a dealbreaker for some, don't you think?
I can see why the want to keep it simple. And when they introduce the KFC they want to have similar assignments everywhere, otherwise they get flamed by noobies that set something wrong without having a clue what they did and bitching that they don't get it to work.
But there could exist ways to open the access to complicated settings for midi nerds without destroying the simple pnp behavior for the ones that want to stay away from complicated stuff.
Something like an advanced midi page with a advanced midi reset option (to fit again to the KFC) or so.
This is the best preamp I ever owned. Especially the clean channel and the crunch channel are awesome, the other two too but only with a strat and alike, I didn't like ch3 and ch4 with any different type of guitar.
Why I had sold it then? Dump action, I should have kept it.
Even if they are going to announce a rack version at winter namm, it could be a prototype and it could take a while until there are ready for a release. No need to worry.
...Meanwhile, deep in the Fractal lab, a brave Kemper unit fights for it's life and dignity.
It's tied to a wall, unable to move or toast.
(Also tied up are two used Axe fx slave gimp prototype units covered in leather with all their i/o plugged.)
The Kemper unit is again taunted and commanded to give up all it's dirty little secrets,
but it refuses to share its technology and algorithms.
The punishment is further probing with strong signals in all i/o and with things in the back compartment that even would get a hard man like Don Barzini's attention.
Then it's electrocuted in very sensitive parts and all it's knobs are rotated irrational and uncomfortable.
The fight for life and dignity continues...
Well, no wonder Cliff's KPA is flaky and don't want to start!
Lol. Fifty shades of green. Wicked!
Hi there, have you tried to capture the midi-stream of your footboard with midi-ox or something alike? Could it be, that the FC sends more than just a pc, but also some pcs or some ccs too, so the kpa has to wait for the end of the long midi message?