Posts by musicman65

    Just tried logging in using Tapatalk and my Username and/or password is rejected. I am (fairly) confident it is correct since it is stored and visible in Firefox and works there.


    bd

    Ok. Just for variety of opinion, here's my take:


    Its an amp simulator. It has the ability to sound very different and this is foreign to traditional amp users. Option A has been presented....find a few good profiles that work and build on them.


    Option B is what I do...I use several favorites that fit the various styles since I do play in a cover band. I have a 59 Marshall, a Fender Twin, a Bassman, a Mesa Triple Recti, a 5150, and a Fender Champ II that are my baseline tones. They are dialed in for my Strat and the way I play. From there, I build out whatever tones I need per song.


    Since you play originals, a single signature tone may be enough for you. Variations with different effects and gains may be all that is required.


    bd

    How do you deal with Phase cancellation issues when you are playing in stereo?


    The phase cancellation occurs anytime you have more than one speaker. Most bands have L & R PA stacks. There is cancellation everywher but perfectly in the middle.


    Even a single speaker in a room has cancellations due to frequencies reflecting from all 6 or more surfaces. That undesirable cancellatin IS the room...the same room we want our KPA to sound like! Running stereo doesn't make it worse, just different. the sound is less in your face and more "in the room" IMHO.


    bd

    I run PA direct with IEMs and a stereo stage FRFR amp...been doing it for years with other modelers. The IEMs are for me, the amp is for my guitar (volume sustain). I could do without the FRFR amp if it failed.


    I provide my own PA and run sound from the stage...set it at sound check and mix from IEMs.


    bd

    Amplification is amplification. Making a tiny signal into a large one cable of moving speakers is a matter of gain and the KPA is identical to any amp as far as him is concerned. The guitar is the source. If 60hz him is louder in the KPA at an identical volume as an amp, its typically because the KPA and/or monitors are eq'd with more bass response.


    There are a few other reasons that involve grounding and other interconnected gear that may cause him in either the KPA or an amp. That's different from single coil hum.


    The best cure I've found is Dimarzio Area noiseless pups...dead quiet! :P


    bd

    Interesting... but your mic is too close to DXR10. Basically you should put the mic a the same distance of your ears for optimized settings.


    I would think having the mic closer would give you a curve that corrects more for the speaker's inconsistencies. Mic'ing at a distance would correct for the speaker AND the room. Correcting for the room is great but not something we do for a traditional guitar amp. With an amp, we crank it up and let the room have whatever effect it has. The KPA emulates the traditional amp so my thought is to get the FRFR speaker flat and so the rigs sound true to the profiled amp and let the room sound like the room...just like what happens with the real amp.


    bd

    Or you could just use your ears, see what sounds good to you and in the mix & call it a day.


    Been there, done that! I ended up in an endless cycle of tweaking trying to correct a fundamental weakness in the FRFR. They ALL have a response curve that's not ideal. Some are good enough to live with, others really need correction. If the FRFR is too colored, my different rigs are all over the place tonally. Getting the FRFR flat enough to translate well is key. If that can't happen, I would NEVER tweak the KPA rigs using them. I have to have something I can trust. I'm ok if my gear sounds different in venues/rooms. That's expected...but I have to have a baseline when creating rigs.


    bd

    A company can't waive your right to sue them if they provide the method and instrument to modify their product. The fact that you promised not to sue in advance has little value in court. A third rate hack attorney would have a field day in court in that situation. The UL listing certification and whatever overseas certs would be lost and they would be open to litigation in the advent the installer got hurt. An improperly installed power amp can be potentially deadly. The ground on your guitar, which is connected to your strings, goes through the guitar chord to the amp. If the line and neutral are inverted or the line shorts to the chassis and its ungrounded, a lethal shock could (will) occur. Kemper has decided this is not a position they want to be in.


    bd

    ^^ I don't get the point. Why not just create the appropriate patch on your midi controller that will send one PC message on one channel to the KPA and another PC message on another channel to the other device?


    Why does the Kemper need to have a stored PC number and send it? I suppose it might be a problem if your midi controller is unable to control more than one device at a time, but I don't see a workaround being built into the Kemper.


    The idea is that you create a rig in the KPA and always want your external processor change to a matching patch every time it is called. The rig and the patch are locked together....even if you move it or change the mode PC# it responds to. Now your midi floorboard can simply call the rig without special programming.


    Constantly reprogrming a midi foot pedal to follow a setlist is a chore. Having a foot controller that accesses the performance mode and cycles through performances and slots sequentially makes more sense. Storing the PC# to send in the rig setting so it is always paired regardless of performance position makes sense too.


    At least thats how I'd like to see it work. BTW, its not a workaround. My Roland guitar processors do this today. Its a common feature in gear with midi capabilities.


    bd

    The drastic cuts are very likely because of standing waves and reflections from nearby walls and the ground


    That is exactly right. Most rooms in a home are 3 to 5 meter square with 3 meter ceilings. The resonant nodes will be in the 55 to 70 hz range with peaks and valleys reaching +/- 12 db or more without treatment. They reoccur in even orders (doubling) through the audible range, improving as the frequency increases. Usually taming the fundamental (lowest) frequencies helps the most.


    As soon as you move your EONs to a different room....lather, rinse, repeat!


    I own 4 DEQ4096's and 2 calibration mics. Its amazing the difference they make, especially on FOH mains.


    bd

    It would be interesting to use your DBX Drive Rack to analyze your FRFR without room and standing wave issues to see what corrections are made to make them more FRFR. You would need to be outdoors with the speaker elevated on something.


    CK is correct. This whole idea of correcting the KPA's FRFR amp for the room is somewhat futile. Think about this: The KPA simulates an amp and cabinet. Does anyone correct their real guitar cabinet for the room?...NO. The FRFR amp is aimed at sounding just like the amp/cab by being as flat and uncolored as possible so the tone captured by the KPA is accurate. The room is the room....no matter if its a real amp or the KPA through FRFR or cab.


    bd

    I suspect you are not used to playing a recorded amp sound. If you recorded your favorite amp with the perfect mic setup, what would it sound like through your current monitors. That is as good as it gets. The KPA is that good also. If your monitors don't rock out like you want, you may need to up size to something that can move as much air as your amp.


    bd