Posts by greenblob

    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!

    Crap. Just when I thought I was done buying toys, I watch a video on Freqout.


    Are you guys using it in momentary, or does it do a good enough job on auto to set it to fire and forget?

    I stay in performance mode on the KPA, so have the Freqout engaged and set to Auto all the time (momentary Off) but only have the loop (ie, freqout) activated on ganier patches. Works like a dream and sounds natural as long as you dont go too mental with the pedals settings or want perfect 10 sec feedback swells etc. Can get a wee bit erratic and almost synth like at that length!

    Also have used a TC Electronic Mimiq (double tracker effect) in the stereo loop for acoustic gigs too with great results.

    The Kemper is amazing, but it has nothing onboard that can do the cool specialty things the Mimiq or Freqout can, so sticking the real things in the FX loop is the easiest solution for now.... I reeeealy hope that changes though with a future KPA FW treat of some sort.

    yeah... well this massively sucks.


    I'm not a big user of social media etc, but spend a fair amount of time casually scrolling user forums on topics I'm interested in. Inline photos (that you dont have to click on to view in detail) are key to that experience. The very active Kemper forums included.


    I understand that Kemper are just doing what is needed to protect them from liability, but wouldn't an updated "KPA Forum - User terms and agreement" cover it? I'm not a liability lawyer obviously but


    I hope whatever the big boys (FB, Twitter, Snapchat, Ebay etc etc etc) do to protect themselves and their core business, filters down to all other community driven online information sites... even the humble audio gear forums.

    This very popular thread will suffer as we can't post in pics to appear directly in the threads anymore (as discussed in the KPA forum here: LINK ).. but anyways....


    Here's my newest guitar. Wife bought a sweet immaculate 2004 Collings D2H acoustic for my birthday. Absolutely love my Matons (Tommy Emmanuel Custom and EBG808CL) and they have been played to death the last several years, but the Collings is the sweetest of the bunch.... that is... till i broke it


    My 3 favorite acoustics:

    [Blocked Image: https://i.imgur.com/3GObM2n.jpg?2]



    With my 2 fave electrics:

    [Blocked Image: https://i.imgur.com/cuiKtzY.jpg?2]




    A few days after these pics I heard a clang and awful string drone from the basement. Shortly after my 2 cats bolting up the stairs. Went to investigate and found a broken guitar stand and the new Collings face down on the floor .... with the headstock partially snapped. Noooooo!!!!


    Busted headstock:

    [Blocked Image: https://i.imgur.com/J18fIbu.jpg]


    [Blocked Image: https://i.imgur.com/WCU01mU.jpg?1]


    Busted guitar stand:

    [Blocked Image: https://i.imgur.com/VAxjd44.jpg?1]




    Its at the guitar doctor now, and he assured me as it was a partial break and clean break it will be an easy, solid and almost invisible repair.. but after all these years its the first guitar that I've kinda busted. A little gutted that it happened to this one so fast though.


    Cheap guitar stands and cats. Not a good pairing. Wife won't let me remove the kittens, so I guess a fancy new stand is in order!

    That's one hell of a classy introduction marcpattison and.. welcome!


    We are lucky to be in an age where sharing tones and is so damn easy and I love that you have that as a mindset from the get go.


    An "effects heavy profile sharing" thread would be super cool to see what people are doing with onboard fx and no doubt inspire some amazing music. Will keep an eye out.


    Again.. welcome mate!

    pamplemousse What is your target budget for the cheaper SM58 alternative? Knowing that might help dial in the suggestions a bit more?


    Please, go to your local musicstore and try some mic's that are within your budget. To choose a SM58 ("because it's the best bang for the buck") is a stupid choice. You're playing guitar? What guitar(s) are you playing and why did you choose them?

    DML I see your point & imo handling cheaper performance mics at a store is totally worthwhile as in some cases they look decent in photos etc but just feel super fragile and scream poor build quality in person. Actual performance though is hard to test. He may find one that sounds great on his voice in the shop (with whatever is being used for monitoring there.. thats a whole other can of worms) and the price is right on it, only to find that it gets totally lost in the noise of rehearsal requiring massive eq tweaks (does that make it the wrong mic?).. or maybe it loves to feedback like a screaming banshee because it's rejection characteristics don't suit their needs in real use.. Imo the shop test could be very misleading is all I'm saying :)


    The boring 58 is obviously far from the only choice, but its a relatively safe one with very well known performance characteristics (for good or bad), and proven reliability at a pretty fair price. I'm sure there are cheaper and decent 58 alternatives out there that will suit the OP's humble needs so I'm interested see what people recommend.

    That's a tough one. The SM58 is still one of the best bang for buck decent performing mics out there (along with the Sennheiser 835 imo) and unless it gets lost will typically last a lifetime.


    For half the price you might want to consider the Shure SM48, but imo one of the first 2 suggestions is what you should be aiming for to be content in the long run.


    Oh, and be cautious buying mics on fleabay etc. Alot of extremely convincing fakes on there that look the businsess and appear to be a genuine bargain, but are totally counterfeit and perform awfully against the real mic. I bought a bargain SM58 from an auction site a few years back (out of curiosity mostly.. was always suspecting it was fake. Think I paid maybe $30), and physically side by side it was almost impossible to tell the difference (actually pretty impressive work)... but performance wise - it was trash compared to the real SM58.