Posts by greenblob

    Like Ingolf said, we also have a Freqout, for us in front of the Kemper. It is magnificent.

    We also have a Mimiq in the (stereo) external effect loop that used to get more use, it is still there though.

    I have the Freqout in the loop for Elec stuff, and swap it for a Mimiq (in stereo loop) for acoustic accompaniment with a singer. Still hoping these effects will be KPA inbuilt one day, but tbh I'm not holding my breath.

    Nothing in front typically. I'm a fuzz pedal addict/dork, but find the inbuilt fuzz's are fine for live things. Recording though, I always use a real fuzz pedal as the subtleties become more obvious.

    My question is specific to performance "Arrange" mode. I know there are the 3 Performance Load options, but even with the helpful "Pending" option set, (which works perfect when in the normal performance section) it seems to be ignored when in the "Arrange" performances mode. I feel like I'm missing an obvious option somewhere?

    As the Kemper wants to simultaneously auto load 5 rigs with every button press, trying to simply arrange the performances with the Kempers onboard buttons is massively unresponsive, jumps all over the place and is simply a glitchy frustrating mess to use.

    Is there a way to disable the performances from auto loading when in "arrange" mode?

    It's really cool that Kemper routinely makes Betas available for the bold/curious masses to help shoot bugs, but.... this 7.0 Beta seems waaaaay rushed for the Toaster/Rack faithful......

    I know we can all be whiny little keyboard babies, always wanting the newest teased free stuff asap (some truly epic "are we there yet?" threads on here). With the physical "Stage" KPA's being shipped (with a seemingly stable 7.0 Stage FW) the pressure was dialed up even further to offer the non stage owners a similar improved experience... but wow.. This one seems super ragged and forced.

    Betas are good, but this feels like a Pre-Alpha in alot of ways. I may cop some flak, but why was this one deemed stable enough by the KPA team for the masses to install and test?

    Hehe. Almost everyone has had shows like that, but keep cool, sell what you can, and get back to entertaining! After all... That's why you are there.

    If the feedback was really that out of control, the sound guy clueless how to fix it, and the show absolutely couldn't be paused (obviously regular uncontrolled mic feedback is a show killer.. no-one wants to hear that every 10 seconds ||), I'd probably unplug the mic, and yell with a grin "Well.... that obviously isn't working.. so..... we're going to do something a bit different for you", and just play instrumental.

    Play some stuff the audience will know and prompt them to sing along.. etc. Do whatever you can, and try to enjoy it.

    Technical issues can be tough, and your example seems particularly awful.. but if the people on stage battle through it with a good attitude and own it, shows like that usually turn out to be some of the more memorable nights for both the performers and audience.

    I was going to order one but then realised I’d have to run 3 cables to the back where our on stage IEM mixing desk sits and run power to the front also. Where at the moment I just run the remote cable and that’s it.

    We have similar live setups Raoul23 and I was also super tempted.... until I actually scratched out how we'd have to set it up. Having a Toaster, Rack or Stage option is awesome though for sure.

    We are a relatively small time band - but super busy and gig a lot, and my Remote looks pretty beat up. We don't abuse our gear (everything in racks, full band IEM, wireless everything, etc), but a couple of hundred energetic shows comes with expected wear. If I had a KPA Stage and it looked as beat up as my Remote - I'm not sure I'd trust it as the core device of my setup. Dumb little remote with single ethernet out front is much better for me.

    Still, that hasnt stopped me from trying to talk our bass player into picking a Stage up though (he's a KPA rack user also -but hey, we all need a backup ay? :) )... I'm super curious to try it!

    Made a quick to scale size comparison as I was curious if i should just buck up and order one.

    Bah.. Who am I kidding.. I know I will.. :rolleyes:

    Will be cool if "The illuminated sunlight-proof display, which increases display contrast even with the sunlight’s intensity, is designed to be viewed from any distance, under any lighting condition" gets added to the standard remote. I'm guessing it will as they both seem to have little photocells ready to go (top right of Stage, top left of Remote - hole looks the same as the LED lights). Foot switches seem slightly better spaced too..

    Will be interesting to see how many of us who already have a Kemper Racks or Toasters actually commit and move over to this guy. I'm on the fence.

    I started early with a Toaster in 2012, then bought a PowerRack and a (pre-ordered and wait listed) Remote in 2015. After comparing for a bit, the Rack suited my needs better (lots of live work), so sold the Toaster. Thinking I'll do the same here with the Stage vs current Rack + Remote. Not really seeing a strong case either way, so trying it first hand is really the best option.

    Havn't had a floor fx unit for 20+ years (a clunky ol' Digitech RP-12 skateboard back in the day!) so could be fun give it a whirl. Hopefully they don't run into the same vague and frustratingly long stock shortages they had with the Remotes release though.

    Has there been a pre-order thing mentioned anywhere for these? or is it just a free for all on the 24th?

    dont have a good dB level for benchmark, but the typical rule of thumb is: as low as possible at rehersal, as low possible stage volume, and a FOH audience experience that suits the room/energy/muisc style. Put as many instruments though the PA as possible. Live performance is all about what the audience hears. The performers just needing to hear what they are doing enough to put on the show they have rehearsed. With some crafty amp positioning, you can dramatically reduce the stage volume and achieve this pretty well. Earplugs are always good. You really get

    used to them quickly.. especially if you always rehease etc with them in. Have some recommendations on plugs if you are looking for some real use opinions. Let me know!

    Here's a dorky thread.

    At practice lastnight i noticed my old trusty kemper rack and our bass players newer KPA rack have several font changes on the front panel. When did this happen? Are there more variations out there? Looked at this thing hundreds of nights and never actually noticed.

    Naturally I'm going to assume the earlier and rarer "small font" Kempers will be worth a small fortune in the future?? After all, it is audio gear?? :D

    * "Vintage" Kemper bottom.

    I have a set of the Audio -Technica ATH-M50x that I think sound great with the Kemper. I also have a set of AKG K240's I've had since I bought them new around 1984. Made in Austria. Those still sound pretty amazing with anything.

    1984? Damn, you've got some use out of those bad boys! Brings up a good point though. Imo, a good set of headphones makes music much more enjoyable and will last you many many years if you treat them nice.

    Well worth stretching your budget for a decent and honest sounding pair (and there are many good recommendations in this thread) rather than getting something trendy/hyped (like those god awful "Beats by Dre" things that have somehow sold a bazillion pairs 🙄)

    Imo, dont worry about the kemper part of it. Just look for headphones that sound good to you with music and are comfortable to wear for long periods. The sky is the limit of you want to go crazy and empty your wallet, but for fair money I like these ones (have owned a far few headphones doing home recording/mixng etc and these are my faves that sound good for both how I use them and for general music listening),

    Budget: AKG K240 $69 (semi open back - kept as a spare pair. I really like them all round)

    Mid: Sennheiser HD 280 Pro $100 - closed back - used for singers to wear while tracking. Sound good and have great isolation (no mic bleed for recording or annoying of others if used elsewhere) but for me atleast, not the most comfortable to wear for long periods (as in 2+ hrs)

    Keepers: Sennheiser HD 650 $320 - open back. What I use every day when not using traditional monitors. Super comfortable, really good all round audio balance and not fatiguing on the eardrums with extended sessions

    Live, band practice and travel: 64 Auido A6 inears. $1300 - bought these as I play in a band that are all on IEMs. Sound fantastic, and are crazy comfortable as they are custom molds and save my hearing when near a drummer... but damn they be speeeendy!

    For listening to music or jamming on the Kemper, I'm happy to grab whatever pair of the above is closest most of the time.

    Hope it helps!

    Real guitar feedback needs speakers, volume and proximity.. but if the old school earplug way isnt your bag (it is the Kemper forum afterall!) then imo,

    - The current Kemper FW has nothing on board that can simulate feedback. This makes me very sad.

    - Convinving speakerless feedback can be done with the Digitech Freqout. Just dont expect it to be fawless all the time. It does add a very cool live feel if set subtly and tastefully -but- is still no substitute if you're a 10 second intro feedback kinda guy. When your natural string sustain dies, the feedback effect gets very confused and the illusion is wrecked. That's the trade off. For me though, the Freqout is amazing for adding spice to IEM live solos and more intense sections.

    Atm it's the best we have unless you want to stand infront a speaker and blast yourself with... yourself. .

    Probably the single most vulnerable point is the non-Neutrik ethernet connection in back of the Kemper. Seems like a strange place for them to cheap out given the critical nature of the connector, but a tie down for security and cable strain relief (plus a couple of spare cables in the bag) should make that a non-issue.

    I have always thought they may have kept the KPA's ethernet port as non-neutrik so it can act as a "break away" point. If you ever snag yourself up in the ethernet cable running out to the Remote not being Neutrik locked on both ends is a good thing. Maybe?

    I know there is a little baby plastic clip on rj45 plugs, but mine always break off in the first few weeks no matter what cable I'm using, so I added a small velcro tab to the kpa end of my 75ft flexable cable and stick that to the onother velcro patch at the back of the rack. Secures the connection, but will break free and avert a serious hardware snafu if I or any of the guys unknowling catch a foot the under the cable while jumping around. It's only happened once live, but it pulled out as intended as was as easy as plugging it back in at the end of the tune.

    The remote has been good to me but I did have to clean the expression pedal socket on one of the exp inputs as it was acting funny. 5 second fix and good as new.

    Using Shure GLXD14. Works flawlessly.

    I like it better than the Line 6 G55, too. But we can have that debate elsewhere, Line 6 users... :evil:

    I still have my GLXD14. Thinking i should revisit it and see if i can find the cause of the dropouts. I did love it when it was working!

    *Edit - I see there is a new firmware on the Shure site. Might as well give that a go!

    Yes, I've noticed that random flicker too. Always makes me worry that something has gone wrong somewhere, but it doesn't seem to have any effect. Strange!

    Think it might be related to the quality of the cable or firmness of connections?

    Mine had the flicker too but it dissapeared once I went to a PoE injector to run longer Ethernet cables. So, possibly just a voltage sag?

    Over 3 years constant gigging use here and no issues with the remote. Seems solid!

    Was using a Shure GLXD14 for a while but was getting occasional dropouts. Tried everything under the sun to resolve it but couldn't (frequencies, positioning, firmware, cables, etc etc). A shame as I loved a lot about it (body pack charger and spare battery inbuilt into receiver, great body pack design etc), but dropouts were obviously a deal breaker. Maybe mine just had an issue?

    Our bass player had been using a Line 6 G50 with no issues so I changed to one of those. Its been rock solid over the last 2 years. Receiver mounted in the KPA rack. Much less adjustability/channels than the GLXD14 so that could possibly become a problem if there are alot of g50's in use nearby, but for me it's been solid (and its significantly cheaper than the Shure). Not a fan of the body pack battery door design (I now tape it closed for piece of mind as it had popped open on me twice while performing) and having to keep up on AA batteries in the transmitter kind of sucks, but its never had any erratic signal dropouts. Had to replace the cable from guitar to bodypack also, but the original received ALOT of use before it failed. Overall though, I can recommended G50!

    At a just for fun jam at a mates place I wired up an old hi-fi stereo from the 80's and a pair of big ass floor standing home theater speakers that were kicking about in his garage.. Haha. With the Kemper gerry rigged into its tape input. 😁 .. suprisingly it actually sounded pretty great (and in stereo!)

    Not my 1st recommendation for amplification obviously, but I guess it shows you can almost make anything work!