Let me take this moment to introduce myself, my musical and technical background.
My name is Janne, I've been playing guitar (+ some bass and keyboard) for about 35 years now.
I've been lurking on this forum since the summer of 2012 and now I pulled the trigger and got a White KPA two weeks ago.
A bit of my gear history, back in 79-80 i got myself a Korg MS-10 (and Rhodes 54), and then shortly one more MS-20.
This was my first foray into the world of synthesizers.
And as soon as it was available, the Rhodes were 'replaced' with a Korg Delta.
We were 2 guitar players in the band and we thought that me, having some background on the keyboard, could enhance the sound by adding some keyboard parts here and there.
That band dissolved around 81 and I did a reality check and found that guitarists were dime of dozen, so I sold everything I had and bought me the new Korg Polysix! Those of You that don't remember, this was really the first polyphonic (6 voices though) synth with memories that You actually could afford!
The closest thing to the elusive Prophet-5...
Now I came to the conclusion: In a few years we will have digital controlled guitar amps with memories, this is an amazing opportunity!
I started playing in a band adding a Pro-One to my setup and soon replacing the Polysix with what was one of the first Yamaha DX7 in Sweden!
I started exploring this new Midi tech, had a friend built me a midiinterface for my then, state of the art home computer, the Sinclair Spectrum, not yet available in Sweden, but mail-ordered from England.
Now armed with cutting edge tech, I wrote a 'GUI' patch editor/librarian for the DX7, later realizing it might have been one of the first implementations of something like that. Remember this were the time before the PC/Mac revolution, and You basically could not buy programs (not music related anyway) for Your home computer, there were no market yet.
And no computers even have midi-interfaces as options...
Well, no more talk about computers 'n stuff. I'll finish of that branch by saying I work as a Senior System Architect in IT, worked professionally in IT since '84...
I would say that the investment in the Spectrum have payed of.
Around '86 I played keyboard in a band, when one of the two guitarists left and I saw an opportunity to return to the guitar!
When that band dissolved I was fully back as a guitar player and in the next band I was the sole axeman and since then always left the keyboards to guys that really can play them, not just tinker with the tech...
As You can see from my background, I would not settle for an amp and a few pedals... Being in bands playing covers, I was always faced with being able to fast switch between a variety of different sounds.
I started with a Folkesson (Swedish amp guru) modded MusicMan amp, and a Zoom 9030 + midi switcher, but I still had some tap-dancing to do with switching amp-channels with the correct Zoom patches. Midi controlled channel switchers were too expensive for me to even think about.
Then I went all in, the age of the rack! The big guys had been doing it for years but now it started to become within reach for the hobby/semi-pro market.
I started with this fairly simple rig: A Rocktron Pro-GAP programable preamp, the Zoom 9030 in the loop, into a 2x60W Peavy Classic tube power amp, 2 Marshall 4x12, controlled by an Art X15 foot-controller.
This rig were updated over the next years:
First the Zoom were replaced with a Rocktron Replifex, much better sound and the amazing HUSH noise gate.
The Pro-GAP were replaced with the Marshall JMP-1 when it came out. (I still do have fond memories of the Pro-GAP, under-appreciated one)
The huge X15 were replaced with the ADA MPC switcher (that I still use... I haven't found anything like it yet...)
I stayed with this rig for many, many years...
Parallel to this, I had my eyes on the emerging 'modeling' market and got me a Yamaha DG-80 when they were released, still have it, and I still like it. (the motorized controls are sooooo sexy!) (to Mats Nermark: your review in Fuzz of the DG series were partly responsible... )
When I started 'building' my home studio/recording set up, I got me a Line6 PodXT, and I have since then been on the lookout for anything that would help me record my guitar well. I think I've tried almost every software modeler that is/have been available.
In 2007, I started to get bored dragging around my big rig, and I had tried to use the DG-80 on smaller gigs, but never been satisfied with it on stage with a loud rock band.
Then Hughes & Kettner released the Switchblade series and I thought, this was what I did envisioned back in 82!
At first I was inclined to replace my BigRig with just the Switchblade 2x12 combo, but came to my senses and got the 100W half-stack, thinking I could always have a 2x12 cabinet later on for smaller gigs.
I'm not really depending much on effects, so my first idea were to stick with the built in FX's in the Switchblade, but I missed a programable noise gate, and the lack of control of the built in mod FX on the switchblade, rendered them unusable (IMHO). So I added a TC G-major mk I, and controlling it all with my trusty ADA MPC, and this has been my BigRig since then.
I also have since this summer gotten me a 'medium-rig'. I found by accident, a good price here in Sweden on a brand new Line6 SpiderValve MKII 2x12. And I had another band were I'd been trying for a long time to get by, by using the PodXT into the PA, with for me, no satisfying results...
So I got the SVmkII with a Shortboard, and It's actually a quite nice rig.
And I have to admit that I already had the KPA in my sights at that time, so I also recognized the SV/Shortbord as a live platform for the KPA. I will report back when I have tried it out!
And now the KPA is my new baby, so far it has been a real trip to be able to crank it through my studio speakers and have the feeling and nuances from a high class guitar amp coming back to me...
I still can't really believe it!
For other new users, it's a deep product, take your time. If You expect a plug and play, instant gratification, You will not see the real power of the KPA.
Small adjustments (and big if You like) are often necessary, because if You think about it, the rigs You are playing are made by people that have other guitars, monitoring systems, technique and taste than You.
So far the KPA will profile their amp (+mic/preamp) for You, the rest are not available for profiling... yet...
To Kemper I'd like to say that I'm impressed with the KPA and all the thing I see coming from thinking 'outside the box'.
Things like being able to Lock parts of the Rig, to save parts of the settings, the flexible outputs, and more...
But still keeping it one of the most user friendly devices I've used.
Now this became long, and if You're still reading it, I also want to give this forum that You are part of, and the helpful atmosphere here a big !
Some of my music: Jannes Soundcloud
Well, it's a great thread and great idea, but it would be a lot better if each guy zipped up his favourite Profiles and linked it to Dropbox...that would be sharing.
Like this, it can take hours to search and find the Profiles listed.
Really a great idea!
And perhaps a wish for the rig exchange to be able to link to a search result or a specific profile?
The Bogner had me grinnin' all evening...
Might be the problem, an initial '.' in a file name usually means to the file system that the file is supposed to be hidden.
KPA -> Focusrite Pro 40
Yup, I realized that later that the SPDIF didn't have anything to do with 'locking the communication', it worked fine without it selected.
I changed the lock on the PRO 40 to SPDIF, but it didn't change a thing.
I guess that the KPA auto-locks to the SPDIF anyway.
I just tried for the first time to connect the KPA to my PRO 40, worked fine at the first attempt.
This is how I did:
1) Connected a S/PDIF cable from KPA out to PRO 40 in.
2) On the KPA, on the MASTER page 5, enabled the SPDIF out link.
Didn't have to do anything more on the KPA...
3) In the PRO 40s Mix Control, I selected the input on ch3-ch4 the SPDIF 1.1/1.2, panned them L/R and clicked the stereo link.
And there were sound!
No need to change sync on the PRO 40, I guess the KPA locks on to the SPDIF with the switch on the Master page.
I think he meant the Line 6 floorboard
I know that Line6 have been pushing this as a feature, using the USB to control any Midi compatible application, like using it to start/stop recording in Logic/Pro Tools. Basically anything that listens to Midi control messages can be controlled by the Shortboard.
The thing that makes it possible is that the Shortboard MKII is designed as a 'Class Compliant' USB midi device, so no drivers are necessary.
And that is the prerequisite for the Kenton box to work too.
I've seen a lot of posts were people are controlling non-Line6 stuff via midi, but it has always been either:
Shortboard -> USB -> Computer -> Midi -> device
Shortboard -> R45j -> Line6 Amp -> Midi -> Device.
I guess one could use an old PodXT as a translator too, You could probably pick one up second-hand for the same price as the Kenton box.
From Kentons description:
"Your USB device is plugged into the USB MIDI Host instead of into a computer. It provides MIDI In & Out sockets for USB MIDI keyboards and controllers which have only a USB B type socket. For example, used with a USB-Solo, it allows the USB-Solo to be used in a standard MIDI setup, just like a Pro-Solo. It has a USB Host port (USB A type socket), a MIDI In and a MIDI Out (both 5 pin DIN).
MIDI data received at the MIDI In socket will be sent to the USB device. MIDI data received from the
USB device will be sent to the MIDI Out socket.
The attached USB MIDI device MUST be 'Class Compliant'.
The MIDI USB HOST is powered by a regulated 5V mains adaptor (supplied), and can supply up to
500mA of buss power to the attached USB device."
Doing some research for a suitable pedalboard for the Kemper, I was thinking of the Line6 Shortboard mkII since I like the size and the features.
But since it's only sending either its own protocol over the R45j cable or Midi messaged via the USB port, something has do some translation here.
[Blocked Image: http://www.tunnelvisionmusic.com/assets/images/products/fbv.jpg]
Then I ran into the Kenton Midi USB Host, a small box that will translate midi messages to/from a Class Compliant USB device to standard Midi DIN.
Wouldn't this solve the issue?
(of course, if the KPA could listen to midi over the USB port the Kenton would not be necessary...