Funny enough, the first time that I'm really enjoying my Marshall profiles is now that I found the cab with Greenbacks (I think it came with the Siggi Mehl profiles)... what a difference!
Posts by richaxes
I downloaded the list of factory profiles from here dated 04/28/12 and I seem to be missing some- like all of the Siggi Mehl amp profiles and the Duncan Convertible amp profiles plus a few others. Just got my Kemper about a month ago and updated it about 3 weeks ago. Anyone know why my profiles don't match the list and why I don't have certain profiles?
Make sure that you have the latest beta firmware version, it's 1.1.0 as of now. Install it, then go into System, and look for the Factory Rigs option - voilá
I still have this same problem coming up occasionally - I reported it like 2 months ago to Support by phone, sent an e-mail with my backup file but got no answer since then...
The only thing that helps me in this situation is turning the Kemper off (if you set it to off, it WILL turn off, just wait a little) and turning it on again... if it doesn't come up in say, 1-2 minutes, it will not come up, rinse and repeat. It will eventually turn on.
Perhaps it was something different, but I remember I was getting something like this the other day on one of the rigs I downloaded from the exchange. When I picked a note it was as if there was a quick volume swell in the loop that would push the output to clipping and then go right back down. It felt like the rig was corrupted so I deleted it and then things were ok again.
Thank you for the heads up!
Unfortunately, this issue is happening with multiple rigs for me, and yes, it's similar to what you are describing.
I'm on the latest 1.1.0, and I'm getting a strange clipping artifact with my KPA.
I've tried multiple guitars and profiles, and it's there, but I chose to share a profile with you that surely has the problem:
http://axes.uw.hu/Lead 1A - 2012-06-11 17-17-42.kipr
And I've also created a recording of the problem itself:
It happens most of the times when I bend a note in the higher frets - in the example I was bending around the 17th fret of the G string. It also happens more when I pick hard. The clipping effect is extremely loud compared to the normal volume level.
The KPA is surely clipping when this happens, because the Output led goes red for a second while this effect lasts.
I'm not sure what could be causing this, but as I said, I've tried it with multiple guitars and even different rigs, and the problem is still apparent sometimes. I've already tried System resetting but it didn't solve my issue. I've also tried lowering the rig's Volume, thinking that the problem might be that the rig is overloading the Output, but the problem is still there at lower volumes, too.
Could any of you please try my rig and see if you can replicate my issue?
I'll report it to support if you can reproduce this, too.
Not sure which version of FW to download to have the latest. The most recent FW uploaded to the site has a older FW number.
KPA Operating System 1.0.9 Release
KPA Operating System 1.1.0 Public Beta
Public Beta 188.8.131.5259
The second one is the latest beta and the first one is the latest final release. The "ideal" one to install would be the 1.1.0 beta, hence it's newer version number, but if you don't like / don't want a beta version, 1.0.9 Release is the latest stable one (I have to add, though, that 1.1.0 beta is perfectly working without any issues for me).
From what I've experienced and heard from other users, the KPA is something special when it comes to headphones. The headphones out is really amazing, sounds great, fine in volume, etc. So the KPA is your best bet for headphone usage.
The DD 2 is not even a dual delay but still capable of making that sound. I am aware of that.
What did you try to recreate that sound on the Profiler?
I think he means that he uses the Kemper PLUS the DD-2, not just the DD-2, so then it is a dual delay solution.
Italy was definitely better so it's a well deserved win, but they still have room to improve. So much missed chances... and also you can't play for headers against the English - they will win those... and you can't play straight shots against them neither.
The dials on the front are fine if you only use a couple of profiles, or like to randomly browse to find what you like then do very minor tweaks, and only ever use the snapshot functionality to save presets. But if you ever do anything more then they're not sufficient.
Otherwise it forces you into this workflow and limiting you from doing more, such as e.g. making profiles or new rigs, because that would require entering text which is a nightmare, or searching through the ungrouped stomps and rigs, which is also a nightmare, or going through the settings of stomps which is just very slow because it's all on multiple pages and you can't see settings side by side etc etc.
I can't express myself perfectly in English, so thanks for explaining my thoughts.
The main concern is seeing settings side by side or comparing things, etc. which is not quite possible right now.
while I can see the benefits of a librarian program, the whole editor thing is a bit of a mystery to me.
sure, if you're dealing with a 'one big knob and a bunch of buttons' kinda device, an editor might be preferable to working on the machine itself, but with the kind of UI the Profiler has...
I enjoy nothing more than to play guitar and to be able to just grab a knob, adjust the EQ, gain, stompbox setting, reverb level etc. instantly - just like when I was playing a half stack with dirt pedals and a tape delay.
It's all there. The knobs even behave like the real thing, I can go into a solo section, realize I need a bit more gain, grab the gain control and adjust it intuitively to get where I want to be.
why should anyone want to turn a virtual knob with a mouse instead?
It's not about tweaking... I can understand that for many people it's important to easily name a rig, I don't care.
But I do care a lot about the possibility of auditioning profiles before importing them, or having a simple way to just manage/install/delete profiles. As you know, currently it's close to impossible to really manage your profiles with the kind of UI the Profiler has...
But you said you see the benefits of a librarian software. I don't understand why you wouldn't see the benefits of an editor then. And I don't really see why would it be so hard to make an editor for the KPA, considering that the same people are behind the Virus synth, which has an amazing editor.
I mean... come on. Even a crappy L6 Pod has a software editor... you can still just turn the knobs on the unit, but sometimes it's very useful to be able to do this remotely.
As long as the Green Scream really sounds like a real TS808 (and it does if you leave the tone under the 12 'o clock range) and judging from this, other effects are carefully tweaked as well, I have no problem with the stomps being modeled instead of being profiled or something.
Let me make this clear, if we had the possibility of doing this, the KPA would kick anything and everything out of the game, because just imagine... think about this, Mr. CK! You have a great taste for ideas and surprises
Another thing: if this ever happens, I'd love to be able to pan L/R and maybe use a little adjustable pre-delay between the 2 (4 ) amps.
It would be nice indeed to be able to mix amps... I'd love to go for a rig setup like Joe Bonamassa's...
Being a KPA owner for a few months now, I can honestly say that this was my best gear purchase EVER.
I used to own quite a few tube amps, ranging from standard Marshalls like the JVM410H or the 6100LM, an EVH 5150 III, a Peavey JSX, and even high end amps like the Diezel VH4. I owned different cabs, like an older English Marshall 1960AC Greenback cab, a handmade Hayden 4*12 with V30 speakers or a Hiwatt Custom 4*12 with Fane speakers. I pretty much tried everything that a "mortal" can try, all this in a very fair time period of ~ 7 years.
I was never ever really happy with my tone. For some reason, with every combination I felt like something was missing. I guess I've always wanted something that could really do anything and everything I wanted.
I'm interested in and play in lots of styles of music, ranging from country to power metal. My biggest concern since I've started playing was the desire to play every style with an authentic tone. Make my Pink Floyd sound like it does on the record, make my Sonata Arctica sound like it does on the record, make my Brad Paisley sound like he does on the record, and my biggest quest, make my Joe Satriani sound like he does on his records. Of course, my playing is definitely the weakest point in this, but I can play these things fair enough to hear if the tone from the equipment is there or not.
As I already mentioned, I'm a "mortal" in the sense of guitar equipment - I was never able to afford too much high end equipment at the same time. This always brought me to facing hard decisions about selling and buying, and I sold and bought quite some things that I regretted later.
I was about to go for a Mesa Road King II head, hoping for it's amazing versatility, when I first accidentally bumped into the KPA and the first videos of it. I needed some time to realize that what the KPA was about, and I needed even more time torn between the Mesa and the KPA to make a decision. Money was not an issue this time, so I could have just gone for the Mesa if I wanted to.
My "home studio" is very humble, consisting of only a pair of old Sanyo hi-fi speakers powered by an old JVC hi-fi poweramp, and a Line6 Pod X3 Live as an audio interface. I've grown fond of the tone I'm getting from these speaker cabs but then I had an amazing Peavey JSX head and Triple XXX cab what I would replace with the Mesa.
I don't know why, or how, I think it was over one night that my mind has changed, and I really thought about the fact that the KPA is half of the price of the RKII, and while I wasn't totally convinced, I just decided to take the blind shot and pull the trigger on the Kemper.
The day it arrived, and I set it up for the first time, my quest was over.
The KPA is The Game Changer of guitar playing. Anyone who fails to see this is absolutely blind.
I've never been happier with my tones. I can go in literally two seconds from Brad Paisley to Steve Vai, with all the needed effects thanks to the amazing built-in ones. I 99% authenticly recreated the original Run Like Hell tone by David Gilmour with one of the amazing Hiwatt profiles in the Rig Exchange... this was one of the moments I was always waiting for since I've been playing. Currently I have no idea how many profiles I have, but all of them are keepers. I could never delete a profile, if it sounds bad at first, I just tweak it for a few seconds and it's usable.
And I didn't even mention the fact that with the KPA, you're also getting the tool for profiling... I mean, how cool is that? It's mind blowing.
Anyways... I think I've said more than enough, and this post is getting too long.
I'd like to thank Christoph Kemper and the KPA team for making this amazing product available. It has really changed the way I think about guitar playing... I'm playing more than I'm tweaking, and this is just plain amazing.
Please guys, share your own stories / opinions here about the Kemper, and show your appreciation.
Copied from this site:
"David has stated he used two delays for the studio recording of Run Like Hell, one in 3/4 time and one in 4/4 time. He likely used the MXR Digital Delay System 1. The main 3/4 time delay is 380ms, or what David calls "triplet" time, and the second 4/4 delay time is 507ms, or one repeat on every beat. The second delay thickens space between the main delay repeats by double tapping your 3/4 repeat with a 4/4, creating a huge delay rhythm. When using one amp, it is best to place the second 507ms delay after the main 380ms delay in your signal chain, and set the second delay repeat volume MUCH lower, with roughly half the repeats of the main delay. That second delay is just barely there, and too much volume can make a double tapped mess of the main delay. If using a 2 amp setup, you can try running one 380ms delay to each amp and keep the volume and delay repeats about the same for each, or you can run the 380ms delay to one amp and the 507ms dealy to the other for a slightly different feel. To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. For example, 380ms is your triplet time. 380 divided by 3 = 126.7ms. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8."
David Gilmour's Run Like Hell, as far as I know, originally uses two digital delay pedals in series to achieve the effect where the second delay repeats the first one.
I think that it shouldn't be too hard to make the Delay effect available as a stomp that you can place anywhere in the chain... then, I might be wrong, but I assume it's not too different from the other built-in effects...
What do you mean by nonsence? Yes i know your right it was a bad move but i did it non the less and now im paying the price. but nonsence?
What I mean is, if you're working for a friend or for yourself, it's OK to be delayed or anything, but in professional services it can really hurt your reputation and so. That's why I said nonsense... it doesn't make sense to me why would you update when in the middle of a professional work.