Well,
I don‘ t subscribe to that point of view. Maybe it‘s just that my ears are not the kind of precision instruments needed here.
I know for sure that some do hear all the sonic niceties in yt vids. I don‘t.
That said, I took a close read of the manual, grabbed one of my Telecasters and it played allright. The guys in the band agreed that it was close enough. Of course I did not expect it to sound ok as a solo instrument in classical music.
It‘s ok in a mix too.
Greetings
Joachim
Yeah, I get what you're saying. but the basic premise stands - there was/is no perceptible delay when changing among a wide range of patches with the old-school rack FX units. I tried the Kemper without ever even considering the possibility that digital gear had actually gone backwards in this regard, and got burned by it.
Well,
Why don‘t you copy the rigs for one show with suitable titles to the browser area? So you may stack great many number of rigs.
Greetings
Joachim
Hi,
it's not precisley what you wanted to know but maybe it's helpful anyway.
I use my Yamaha DXR10 for backing tracks (Dr, Bass, Keyb, Voc). The guitar I'm playing runs with the Kemper Kone.
I like it this way and my bandmates like it too.
You may even cater a small gig with this outfit.
Greetings
Joachim
Hi there,
I was quite sure to skip any comment on this topic, but I'm feeling a bit rattled at the moment.
There are zillions of AB comparisons KPA/Amp to be heard.
I know of two people who could actually prove that they can decide wether it's the KPA or the amp.
One of them is a university teacher in Cologne's School of Music. He demonstrated (shortly after the release of KPA) the obvious differences for everyone to hear by means of tons of expensive audio equipment and tons of musical and technical knowlegde.
Then there is Mr. Chapman of Andertons who could tell the different sources apart because the orange amp in question was interactingg with his playing slightly different from KPA's handling.
These comparisons took place not long after the KPA's release and they were indeed enough reason for me to buy the thing at once.
I never had reason to doubt my decision. In fact, the longer I use the KPA and it's numerous revolutionary updates, the more I like it.
Over the years a vast majority of comparisons support the verdict: no differences except for some very well known configurations.
Really folks, how can anything (soundwise) be better than 100%? We are not in a political discussion , are we . 1)
When Shull's contest (see above) came down with a KPA sound that was very far from the amp's sound, my ears and I said: No, no way.
This thing is loaded. I need not to offer my opinion on nc's nice try. But I don't believe for a minute that all these past comparisons and my own two ears had it so wrong.
Really guys!
Just for the record: Everything that is a judgement in these statements is my own absolutely subjective view of the things in question.
I'd feel better though if all these contest comparions listed above would be viewed as such: Absolutely subjective points of view. After all none of us can look into other people's minds. So let's give them the benefit of the doubt in both ways.
Greetings
Joachim
1) I followed the hard dispute about the gain structure in extreme situations a few years ago. Mr. Kemper explained the matter in a way that agrees with all I know abour physics and mathematics. Of course subjective views can and will differ.
interesting comparison from Rhett. Listening to the WAV files i think there are clear differences between all three. The KPA does sound a little muffled and muddy in the low mids but I’m sure that could have been fixed with some refining and or tweaking definition/eq etc. The amp sounded great. To my tired old ears the QC had way more top end than the real amp. Much more country snap on the last chicken pickin lick for example. It seemed to “polish” the sound in a more “produced” fashion than the raw amp. That may or may not be a good thing depending on what you are after but it isn’t any more accurate than the Kemper. To me the QC version was too bright and spikey but that is only personal taste.
i did notice though that Rhett said the signal chain included a Fairchild compressor emulation in Luna. Kemper is pretty explicit in stating that compression shouldn’t be used when profiling so that may have contributed to the KPA profile’s slightly muffled tone.
Hi Pacocito,
Yeah, I quite like it. Very dominant sound for a strat that is.
Thank you for this exeptional rig!
Joachim
Hallo JoshiRocks,
Hall, Delay und andere Effekte werden beim Profilen nicht übertragen so weit ich weiß. Die hat der Profilproduzent also nachträglich hinzugefügt. Damit das funktioniert, sollte der Effektkram (zumindest diese Sorte von Effekten) aus dem Kemperbaukasten kommen, sonst kann man ja nichts anpassen, Ich wäre da anderenfalls ziemlich irritiert. Klar, die Gitarre ist auch ein Punkt. Nach meiner bisherigen Erfahrung sind die Finger aber wichtiger als die Gitarre. Natürlich klingt eine 100 Euro Strat auch am Kemper nicht wie eine ES335 von Gibson.
Es gibt ein paar sehr instruktive Videos im Netz darüber, wie man selber mit dem KPA Sounds nachbauen kann.
Schreib doch mal an choptones, wie sich das verhält. Ich habe von denen ein paar Profile und die sind alle brauchbar bis gut.
Gruß
Guten Tag,
ich probiere gerade das Kemper Kone Kabinett aus. Dabei kommen im Moment Profile der Amp Factory zum Einsatz, die ich am Anfang meiner Kemper Musik mit Vorliebe gekauft habe. Diese Profile haben tatsächlich nahezu immer die originalen Lautsprecher eingebaut, klangen aber über meine DXR10 nicht immer so wie ich das im Gehörgedächtnis hatte.
Jetzt sieht die Sache anders aus.
Man nehme z.B. ein 1963er AC30 Profil von Andy (TAF). Das ist ausgestattet mit einem Celestion Blue. Den gibt es im Imprint-Baukasten des Kemper Kone neben vielen anderen Berühmtheiten.
Der Sound ist schon merklich verschieden von dem, der aus der Yamaha abgestrahlt wird. Wenn mein Gedächtnis mich nicht täuscht ist das der Sound eines gut abgehangenen VOX AC30.
Bassman, Twin, Vibrolux, Vibroking, Princeton usw. alles fühlt sich für mich an, als ob es aus dem Winterschlaf erwacht wäre.
So deutlich und erfreulich habe ich das nicht erwartet.
Gruß
Joachim
Hi Renaud,
that's the spirit! The music virus has struck again and what a happy outcome! I wish you all a good time together!
Ah, well, well, I think Tim Buckley might have loved this track too.
Greetings
Joachim
Hallo Hans,
das sollte kein Problem sein. Klemm die Studiomonitore an den Master Out, wie jetzt vermutlich ohnehin schon verkabelt. Das Kemper Kab kommt (über einen Power Amp) an den Monitorausgang. Auf der Masterseite schaltest Du den Kemper Kone aktiv und aktivierst "Mon Cab Off". Dann wählst Du den Lautsprecher Deiner Wahl. Die Auswahl ist groß genug und teilweise sehr unterschiedlich.
Oder Du lässt "Mon Cab Off" in Ruhe, dann spielt der Kemper Kone dasselbe Lausprecher Profil ab, wie Main Out. Es klingt vermutlich dennoch etwas anders (Gitarrenbox <> FRFR). Das kannst Du über den Sweetening Regler etwas angleichen.
Ich hoffe, dass ich alles richtig beschrieben habe. Wenn das falsch ist, bitte ich gerne um Korrektur.
Viel Spaß damit - den wirst Du haben. Garantiert!
Gruß
Joachim
Hi aligatorlizard,
it took me quite some time to find decent bass profiles but then I'm more of a guitar player than bass man these days.
I came to quite like two profiles of The Amp Factory which i do use most of the times. I found that I can do the rest with my fingers.
The two profiles are
Amp Pig Cln
Amp Pig Drt
I think they're free of charge.
Good luck
Hi,
MIM 60's original version of the strat definitely is a very usable reissue of an original 60s fender mia strat, for which you'll have to pay double. Still there is a noticeable sound difference. You'll have to decide wether you like it better. The MIM comes with nitro finish (nicely done) and a 7.25 neck. All together a compound radius neck is easier to handle, even a 9.5 one is.
But to get the right (60s) sound maybe you should have the right feeling under your finger tips and comfortable does not translate to "right". Chords not only go down well but sound more substantial (subjective of course). Lead guitar playing is a bit (but just a bit) harder (strings are a wee bit higher; so you can do bendings 1,5 - 2 tones) Bottleneck is quite hard to get a grip on because of the neck's greater curvature.
I would not trade this mim original 60s strat. In my opinion it stands it's ground. I did compare it to an american standard (2011) of mine and a 79 rather old strat (wich sounds better than the two of them together) actually the second real guitar I bought 40 years ago.
So if I had the money I certainly would try to get a custom shop 60's reissue. Alas most strats on offer are made to look older (brr!). What's the word now...roadworn ?....relic!
Greetings
Joachim
Wow!
Really some Music!
Thank you.
Joachim
T h i s i s i t ! !
Dear Kemper team,
you already gave us a lot of really good unique stuff. Your spring reverb is absolutely wonderful and I can't get the smile 
off my face. That definitely is a good returning from holidays surprise. You fixed it to a tee.
Thank you very much.
Hi,
that really is a nice and very welcome idea. All the more since I was looking for chieftain profiles for some time.
Welcome on board!
Greetings
Joachim
Hi,
really a good idea and a promising discussion.
I'd like to add some rigs I found absolutely usable. It's been some time, though. Might be that I found most of them in the original factory content and did not look 'em up in the rig exchange.
1. MORGAN AC20 RMPACHECO
2. FENDER BASSMAN 59 JOHNNY NAVARRO
3. FENDER TINY FEET TAF
4. MS BB KOSEFF BALLANTINE
5. RIVERA THIRTY TWELVE HAYS
6. EVH 5153 CLEAN AIR OLA ENGLUND
7. FENDER VIBROKING CHADRIDES
8. TWEN COMBO CLEAN BR. M. PAUSIO
9. THE CHIEF DIRTY KEMPER AMPS
10. AC15 HAYS (SOME OF THE SERIES)
11. RAINHEART M.FRANZKOWIAK
12 TWO ROCK JET MAYER TAF (I believe this was free)
13. AC30 PURE BOY M. WIENSTROER
14. FENDER TWIN 335 U. BOSSERT
15. S.MEHL VINTAGE 50 2 M. WIENSTROER
16. MARSHAL GOLUB MARKO (thanks Karajan to remind me of that "hammer")
Greetings
Joachim
Hi Renaud,
(hope I did get it right)
thank you for this entertaining an Santana like piece of music. It seems to me that besides all that was said about "fingers", which I hold to be true, the organ and the doings of the percussions play a certain role in expierencing the tone of guitars: You only hear them together, the rhythm gets to you and the sound is a melting pot. In short: You came as close as one could get without beeing the man himself.
Greetings
Joachim
Great post, Armin.
Thank you for this easy to understand flowchart.
I generally agree and most times I give profiles a second and a third etc. chance. I like to believe that is a personal parameter that has nothing to do with science. Instead I'm thankful for all the work someone has put into producing this very profile. So I'm trying to do justice to the profile and the producer. So I find profiles I discarded for one reason or another on a regular basis. And of course the comparison of so many (good) profiles teaches my ears a valuable lesson...
I neither experienced the Kemper nor the guitars to be that unforgiving in the sense of right or wrong, but that certainly is a personal matter. I agree that monitors are of the essence. I use Adam Monitors (50W) and never had reason to complain.
Greetings
Joachim
Tom Petty
For me one of the few musicians that really made sense and sound. I really miss him.
No more "Deliver me", "Back down", "Little Refugee", "Break down" or "Don't come around here no more". I really fell in love with his rendering of the old Isley Bros. hit "Shout" - the Stones used the wonderful bass line of the song in one of their early live records without giving reference, naturally.
They don't make 'em like that any mo'.
As Tom T. Hall had it: "I hope the good Lord likes a little picking too!"
Joachim
Hi guys,
I most definitely am not in this kind of looking at my guitars, and I don't have any professional skills or experience to make what is known as "clever guesses" which I take as adding quite a lot of science and a good portion of intuition in the equations. I buy a guitar, given I may afford it, if and only if I like the sound, the feel and the handling.
The new professionell Fender models e.g. changed the material in the pups to the effect that every string gets it's own magnetic characteristics in the pu. When I compare my new Tele with one of the older models I hear quite a different sound. (Very subjective, I agree) But then again: Maybe it's nothing to do with the pups and all them changes of sound are solely caused by the new bone nut. In this case Fender's top pu designer (Mr. Shaw) did al lot of work for nothing. But it sounds really cool to my ears and that does it for me.
I hope the following videos are helpful in the discussion. I don't have any legal rights for these videos.
Greetings
Joachim
