I actually don't understand AT ALL why everybody wants an editor for the KPA. It's a perfectly well thought out hardware interface and to me it feels a ton better to touch real knobs than to mouse around. A Librarian would be cool yes, but I don't need an editor or VST Interface at all....
Just bought the pack - really impressed thus far. Particulary the JSX rules...sold my XXX this spring, but I think those profiles sound better than my XXX ever sounded. Real killer. 6505 profiles rule as well- those will get alot of studio use even I still have an original 5150.Krank and Überschall are cool too. Not so much into the Fortin I am afraid....the Mesa Profiles feature one of the most beautiful clean tones I ever played. Great Job!
fully understand your problems with the Green Scream. I mentioned it here over half a year ago but not many seemed to agree with me. Don't get me wrong, I LOVE my Kemper but the Green Scream is only usable in the softest setting and even then it is too heavy handed. To me the Attack Part of it with harder setting sounds more like a Boss HM-2 than a smooth tubescreamer. Just very harsh, flat and strangely seperated from the amp distortion, while a real tubescreamer in front or in the distortion loop of the Kemper adds glue and smoothness to the sound. I really hope for an overhaul...
A model of the Maxon stomp (especially with the settings described by Jeff) would be highly appreciated!
And another +1 for the Maxon and the classic 9/12/12 o'clock setting.
For super attacky thrashy tones drive at zero, tone at max and level at max. But if they manage to completely model the Maxon I'd be happy and impressed.
I'd prefer 180 watt Mono at eight ohms as well...looking forward to sound samples and price...
Guys are you on crack?
These profiles are very professional, superbly smooth and great sounding...accusing him with his kind of credits and gear available of stealing a profile and reuping it under his name his plain ridiculous.
You can make almost any high gain amp to sound pretty similiar through the same cab (and this cab sounds stellar if you just raise the volume a little you would noice) given a few parameters like the amps using the same powertubes etc.
These profiles are killer and I am really looking forward to more of this. Thanks alot!
I know that many would feel great with some more parameters with esotheric names, and the Profiler would gain some "profile" but I am honest to you: There is no need for additional parameters there.
The vast majority of the profiles have passed a tube power amp. The characteristic sound and dynamic is captured in every profile, even when you play it by the Monitor Output with Cap Off.
How would aditional compression improve the sound? What do you expect? It limits the dynamics. Is that really what you need?
Believe me the last thing I want is the Kemper to become a nerdy guitar tool like the Axe for example. I love the straight forward approach of the Kemper and the real logical concept and usability. To me in my testings in the studio it was just obvious that a tube power amp gave a much greater feel and response than a SS Amp...you know, it was just an idea....
I could mimic the frequency response much better with the graphic or studio eq in Slot X so the SS gained some more character (a db or so + in the lower midrange at 250-400 and cut a db or two at around 800). Maybe it would be an idea to make that one assignable to monitor out? Since of course assigning it in Slot X will also colour the signal I am sending to the FOH.
Like I said, I am perfectly happy with the Kemper as it is and I might look into something like the Matrix when I am off for touring more next year but I am still in doubt a SS Amp can give me the low mid growl and depth of tube amp - but I'd be more than happy if that one (or the Kemper PA when it is released) would give me that. Tube PAs are heavy though, that's why I don't want to go there. I just successfully downsized my live rig to the Kemper. How heavy are those Matirx Amps?
Looking for depth with a SS PA is the issue IMO.
I know that, that's why I am asking for a software solution. You might get me wrong - it's not a real issue for me since it is not so important in my setup - it would be just a nice added bonus.
The Monitor EQ is what you should try.
The added mid range can be compensated there, if needed.
I have added it to the sound, since a number of beta testers have tended to add midrange on the Monitor EQ, so in average the sound will be more pleasant now.
Feel free to modify the sound to your needs by the Monitor EQ.
I am of course already using the Monitor Out EQ and found since the last update I need it alot less compared to before the update. What I miss is simply a little bit of depth and colour running the KPA MO into SS PA. Like I said, it's ok as it is (in my setup) and I only need the Monitor Out for on stage monitoring. It would be kinda the icing on the cake for me though.
BTW, are there any news concerning the KPA Power Amp Modul? Maybe that would solve that issue all together....
Well, like I said when I am using the KPA Live I feed the Main Out to FOH and use Monitor Out into SS PA into 4x12 for monitoring on stage (+ the regular Wedges on stage) so no DI Profiles for me. Besides I already profiled all my sounds for Live Use. I think in general most people might use a setup like this when playing Live with the KPA and adding a little bit more depth/tube power amp behaviour software wise to the Monitor Out would be a real cool feature I think...
As the title says - I think it would be really useful to have an algorithm On/Off switchable on the monitor out which simulates the behaviour of a tube power amp. Very few parameters would be ok - like frequency response and tube compression. I think everyone would benefit from it since most people are running the KPA with a SS Poweramp - just something that gives it a little more depth and growl and removes the mid flatness when running into a SS PA. I am running it right now with a very cheap SS PA for on stage monitoring (while the main out is feeding the FOH) and it surely would be nice to not have to shell out the cash for a super duper high end PA and still get a little more oommpphh and feel out of the Monitor out. It's ok like it is now I think (especially after the last Software Update with the added midrange) but adding a few parameters like mentioned above would be just perfect for me....
Mono bridged option and seperate output volume would be a must for me to get the gainstaging and workflow right....I also only need a poweramp to replace my super cheap thomann SS Crap PA for live usage and on stage monitoring. If it sounds good though, I could imagine using it in my Productions just in case a guitar player is over sceptical that recording direct doesn't cut it...
This is not the official Kemper Modul, right? Would love to know an estimated price and also it'd be cool if the Kemper Folks would chime in and give some news about their Power Amp Modul...I just tested this week with a (very) cheap solid state PA into my Laboga 4x12. Too flat and lifeless for serious application - I can live with it though strictly for on stage monitoring. Something (way) better sounding would be much appreciated and preferably in the 300 - 500 Euro Region...
Bigger one - most definitely! I can't see me using the Tap on the smaller with boots live on stage. It must be placed bottom row!
Back to Topic:
Great profiles! The Drive one is really cool - I disengaged the EQ and Verb in the post section and it sounds a lot like my XXX. Good Cab choice with the 054 Mesa by TillS. I think my XXX goes to ebay....
Here's a quote from my older, silver XXX manual - check point 5. Could be possible that even earlier runs didn't have the noise reduction, but mine definitely has one.
• Three 12AX7 preamp tubes
• Four 6L6GC power amp tubes driven by a 12AX7
• Power amp convertible to use four EL34 tubes
• Footswitchable effects loop with independent send and return controls • Damping switch (Tight, Medium, Loose)
• Special noise gate circuitry on Ultra and Crunch channels
• Line out with level control
• Cabinet impedance switch (4, 8, or 16 Ohms)
• Heavy-duty power, standby and channel select toggle switches
• Classic power status indicator lamp
• Chrome-plated brass control knobs
As far as I know the only difference between the newer and older concerning the gate is that the one on the newer is adjustable but on the older it is not - but it's still there. I could be wrong, but my old silver "mesa looking" xxx has a non adjustable inbuilt noise reduction.
What did you do about the XXX's built in noise gate? When I tried to profile mine the Kemper detected the noise gate and the resulting profile was not really satisfying. I hacen't checked out yours (yet) but how did you work around that?
Great Profile, Jens! One of the best Recto Profiles on Rig Exchange! Cab is good too! Very cool of you!
Edit: Maybe I'd try with a SM57 on that Cabinet on the edge of the dustcab - usually a foolproof combination. But your Cab sounds cool anyway!
Yeah, it works better ESPECIALLY at killing feedback on stage. I am using high gain sounds on stage and want my guitar to be silent in the breaks (lots of stop and go sort of riffing) - makes my playing tighter, hehe. The Kemper Gate is in small dozes good at killing (or rather shaping) noise but it's not suitable for killing feedback or unwanted guitar noises that's why a classic noisegate would be really cool, even if they included it as a stomp effect!