Il remote singolarmente può essere acquistato o direttamente dal sito della Kemper oppure presso qualche negozio che delle volte non vende in bundle completo e magari rimane qualche remote invenduto.
Ci sono anche altre opzioni, ma tendenzialmente sono tutte più costose del remote stesso, quindi non so se ti possano interessare.
Comunque Liquid Foot, RJM Mastermind, Midi forte della Microdesignum, Gordius e BJ Devices (questa un po' più economica).
Eh, comincia a spuntare il -12.
Dopo di che tieni abbastanza basso il main volume, abbi cura di mettere il gain sui mixer al minimo e usare il fader.
Il problema ce l'hai su tutti i mixer o solo su uno specifico?
Io comincerei con l'abbassare il livello (metti la spunta il -18db dalla sezione output).
My guess is that they are basically applying a matching eq and maybe a gain compensation.
AFAIK, in order to compare your guitar to the presets you have to play a chromatic scale.
I will try a similar approach with my AMT and some Eq matching 
Non sarei sicuro del fatto che subiscano una conversione (quello avviene quando c'è un DSP).
Comunque un finale in classe D (e classe T, che credo sia la stesa e identica cosa) è detto, comunemente, anche digitale.
I think we have a little language barrier
I mean, if CK considers your request and in the meanwhile it is developed, I'm suggesting you what I'd do if I had similar needs.
No meant to be negative at all.
That's it
In teoria si, in pratica non tanto. Anche due finali digitali, di due Marche differenti, suonano differenti.
Comunque, se la differenza di prezzo non è marcata, io opterei per quella attiva.
É sempre una opzione in più, e non si sa mai.
Magari chiedi a Mirko di aggiungere un input passivo, se possibile.
imagine you play in one band where you need to switch rigs up and down (and volume), another band where you play only one sound but need to switch delay on and off and tap tempo (and morph). i could imagine a lot of different scenarios.
If I were in the same situation, I'd just turn two knobs before gigging.
But it is only me.
Different condition if I had similar needs during a live, but some of the options you mentioned, for me, would have no practical use.
But again, that's me.
A little update on 2017.Sold the Zoom and the AMT.
Bought an Atomic Amplifire and ordered a Line6 M9.
Almost forgot!
I bought two (yes, two) AMT CP100.
I mean, I would never use these functions on the same switches since they are about rig switching and it would make no sense to me having a rig up-down in a Rig and a stop control in another one.
I see no functionality in this.
Display MorePlans in 2015 for 2016:
1) Sennheiser EW300 G3 or Audio Technica M3;
2) Fishman Triple play.
What I bought:
1) a Zoom G3 (sold) 6/10;
2) a Zoom G3X (sold) 6,5/10;
3) a Zoom G5N 8/10;
4) a Line6 G10 8/10;
5) Two Yamaha DXR10 9/10;
6) two speaker Stands for Yamaha's 10/10;
7) an Ibanez RG1527 9/10;
8.) two green DiMarzio Ionizer 7 (not arrived yet);
9) an AMT EX50 8/10;
10) two Zoom FP02M 10/10;
11) an ICEpower power amp module (not installed yet);
12) a TC Helicon GXT harmonizer (sold) 8/10.
Plans in 2016 for 2017:
1) Sennheiser EW300 G3 or Audio Technica M3;
2) Fishman Triple Play
A little update on 2017.
Sold the Zoom and the AMT.
Bought an Atomic Amplifire and ordered a Line6 M9. 
Well, beside the looper, tap and the rig up/down (which are functions on their own that i'd keep separated from the rest), i believe you can do almost everything.
If you want to control the volume you can morph the volume with the expression pedal.
There IS a way to make something like you are asking for, and it is called Morphing.
I mean, you want a switch to work as C and D stomp activation on Rig 1 and on delay mix and boost on Rig 2.
Assign the switch or the pedal to the morphing function and use the mix control in the stomps (0-100%) in order to toggle between the two status.
Did I get it right?
I want the Helix's form factor with the Kemper's guts and power amp...
And make it waterproof...
And for €300
The strength of being in Yamaha corporation definitely affects this.
I think that they have just cannibalized the market in the € 700-1200 market.
In the US they are going for $800 thanks to the coupons that some online shops offer.
Hard times for Atomic and maybe Fractal too.
P.S.: the only thing I don't like is the fact that they kemper the bulky form factor. But I think that they did not re-engineered the whole unit in order to cut down costs.
Hi there, i' have noticed an issue with CabMaker on my Mac.
It works properly if you navigate thru the folders until you fine the .wav you want to convert in .kpir file, but it crashes every time I select the IR after I find the exact IR with the searching bar.
Here there's a .doc with the crash report.
I don't have any familiarity with any of the pickups you demo'd, but I have an opinion about pickups, but it is more or less the same about woods, bridges, amps and so on.
There are sound differences, sometimes big, some times really narrow, sometimes not one.
What really makes the difference is how these pieces of gear inspire us and how they react to our dynamics, which is not always translated into sound. It is the moment when your pick or your fingers ouch the strings that delivers the magic that makes you fall in love.
So, it is really up to you feel
P.S.: the wilkinson sound huge!
Well, at first I have done a merged profile using my tube amp plus the AMT, which is basically a DI plus an IR loader. (there are some tutorials here in the forum and on youtube too). The chain ends in a completely closed cabinet called tone hound, made in the past by Tube Town and now discontinued.
After that, since I feel that something is still a bit different and I know that i need all the tools to match my sounds, I went in browser mode and then I placed a loop in stomp A.
The send goes to the amp input and the signal comes back from the AMT into the XLR return.
Here I activate the Parallel Path in the rig section in order to make a quick comparison by turning the pot clockwise or counterclockwise, ear the differences and then work with a pre and with a post eq.
When I noticed that I was sending the ones with the Celestion commercial IR I have changed the file.
Try to download again 
P.S.: my sincere suggestion is to try with a different cab, this time the Wagener cab is not spot on.
Hi guys.
doing these years I have always felt that sometimes the Profiler needs a little help in order to match 1:1 (well, IMHO it's "only" 98:100 ) the profiled amp.
I have noticed this several times on my Steavens Poundcake 100 Mk I, an amp that i really, really love.
The problem is that some of the internal parameters and pre and pst eq are not available during profiling, so I chose to try a different approach.
So at first I made a merged profile, and once again i have noticed the there are some little differences in the low-mids and somewhere in the highs.
Something hard to describe, and I'm pretty sure that you won't be able to ear it in the mix. But you know, i'd love to have everything right there.
So I placed a loop in the A stomp, send to my amp and return from my mic (well, it's an AMT Pangaea with some IRs loaded) and the I have activated the Parallel Path.
For those who don't know how it works, check in out. It's a very powerful tool allowing the KPA to have two different signal pats.
Check the manual for further informations.
With the parallel path active I was able to switch between the profile and the real amp just by turning the parallel path knob, without having to swap cables an without weird sounds due to some user error (the can happen if you activate the loop and the amp path the same time).
In this way I could use the other slots (I have used a pre eq and a post eq) plus all the internal amp parameters in order to match my amp dynamics and sounds almost perfectly.
Here's a zipped folder with the 5 merged profiles i made with this "new" approach, check them out.
These are with a cab coming from the Michael Wagener free pack and they might sound a bit bass heavy, but the profiles have been made with a Celestion G12H30 4x12 IR and they have a very balanced tone.
