Posts by Deny

HA, took a leap of faith and I'm glad I did!!!

PureCab is so awesome it should be named "Mojo"

The *one* thing that wasn't perfect in the KPA until now IMHO was the high end frequency response, I've always felt something was a bit off there, and it was something very difficult to fix without affecting other frequencies that I wanted to keep if not boost. Now this is the interesting part, PureCab does *not* cut the highs, in fact my perception is that they're a bit boosted, but this time in the right place! Like the high end response has shifted or something.

Very, VERY welcome feature, thanks Kemper Team!

Damn, I have a gig tonight and would very much like to do it with the new firmware, is it reasonably stable?

Also, I've dialed down the highs on many of my rigs in order to control the fizziness, do I need to raise them back after switching pure cab on? Mind you, I won't be able to give it a try until I get home at the end of the day, that's why I ask, so I can plan ahead.

Quote from paults

One thought about the idea of an Instrument Input Level Ducking control:

It seems to me the Ducking setting needs to be rig specific, because of differences in gain, not input specific. Since higher gain rigs tend to be more compressed than lower gain rigs, the playing technique is different. With different playing dynamics, a different Ducking setting would be needed. So, wouldn't different Ducking settings be needed with different rig gain settings?

Yes, the idea is being able to select instrument input or delay module input for the ducking sense trigger on a per rig basis, sorry if that wasn't clear. BTW all the suggested parameters are per rig as well, and only for the delay slot.

I miss having more control over the ducking feature, specifically in the delay effect. Changing the current single parameter to a few more detailed parameters would make it a lot more flexible and powerful IMHO:

1. Ducker sense input: [Delay Input | Instrument Input] - this way when the rig gain changes, the ducker doesn't have to be adjusted as well (if set to instrument input)
2. Ducker sense knee: [linear | log | exp] - controls how the ducker reacts to changes in input volume
3. Ducker release: [0..500ms] - controls how long the ducker keeps its attenuation after there's no more signal
4. Ducker sense threshold: [-18 - 0dB] - trigger threshold for the ducker
5. Ducker attenuation: [0 - 18dB] - amount of gain reduction for the delayed signal

BTW I know the ducking parameter is present in a lot of places, but I really think the delay effect deserves more control over ducking, even if for that a new delay type needs to be created.

I have asked for that exact feature a while ago, now I see why it didn't make it into the KPA, I mean, I see it did, but only for remote owners. Why am I not surprised?

Quote from viabcroce

Deny is probably referring to the tonestack library containing all the various tonestack layouts as per the real amps.
We discussed a lot about this in the first years of the Profiler, since Eng. Kemper had released an interview where he had talked about it.

Yep, that's exactly what I'm talking about.

I wonder when the selectable tonestacks will be available, haven't heard a word about it in a while and I thought it would be released in 3.0. Also I'd really like to have more flexibility and a more predictable behavior on the ducker, something doesn't feel right about it, maybe being able to select the trigger input from guitar input/module input would solve it. Besides, going from 0.1 to 0.2 is often too much, in fact I wish instead of many parameters going to such extremes in the KPA we had finer control over them in the range that actually matters.

I'm surprised Don hasn't mentioned this, but if you want a more transparent compressor, the "compression" amp block parameter is worth a shot.

That said, I honestly wouldn't mind a higher end compressor like a Joemeek FloorQ - I own one and it's a very sweet compressor that can be set to compress very transparently like the OP wants.

A bit different setup, I have a Rocktron Banshee, which has its own internal power amp, and run it in the KPA effects loop.

This approach has a few advantages:
1) Single connection from the KPA output to FOH
2) No tap dancing, as soon as I select a rig that has the loop engaged I get the talkbox working, and out of the way otherwise
3) Total independence from house monitoring, vocal level, mixing, etc

And also a few disadvantages:
1) Needs a separate mic for the talkbox
2) My mic of choice, an old SM57, isn't powerful enough to drive the KPA FX return, so I use a compressor pedal for boosting the levels

Quote from ENDeverdave

After much trail and error, I am happy to report that I figured out the problem, I had to use a different channel than the one I was using!
Thanks for your help on this, I was wondering if you are able to use your expression pedal?

Glad you were able to solve your first issue. Yes, my expression pedal works fine, if I'm not mistaken the MPX-R1 lets you choose both the MIDI channel and which control number you want to use for the expression pedal.

Quote from Pick909

I use a G3 as a backup since a long time now. You'll find enough useable tones for going thru your gig, but don't expect it to sound nowhere near a Kemper.

Haha don't worry, I intend it only for practice, backup and possibly for extreme portability if I want to take an electric guitar instead of an acoustic to a camp fire for instance. BTW I'm going to test the G3X along with my newly purchased JBL Flip 2 bluetooth speaker, if that works out I can see myself taking portable gear with me a lot more often.

Thanks for the replies guys, G3X purchased

Does anyone use a Zoom G3 / G3X as a backup for the KPA? How does it compare? Unfair question, I know, but is it usable at all? Please share your experience.

Wow, over a year from announcement til availability and now this. BTW I've downloaded them while they were up and honestly don't think they're any better than my new favorite set of profiles, Top Jimi's '74 Marshall.

If you're using setups, this means you can send more than one MIDI command per switch. I'd say read the setups section of the MPX-R1 manual carefully and make sure you're not sending 2 PC# commands for the second row of switches (6-0), because that's what seems to be happening.

I use mine in direct access (setups) mode, works fine for me. It's a bit of a pain to assign exactly which PC# I want for each button on each bank, but once it's done it works flawlessly. I have it set up so for each bank buttons 1-5 select slots 1-5 of one performance and buttons 6-0 select the slots 1-5 of another performance.

Hello, just chiming in to say that this is, well, IT. Best Marshall profile I've ever used, period. In fact until getting it I wasn't even sure the Kemper could sound this good. IMHO it has to do with how it was captured so there's no need to mess with the definition parameter. I've tried many profiles which had either definition lowered after profiling (loses... definition, of course!), or had that ear-piercing and unpleasant high end emphasis in the wrong frequency range. These, on the contrary, sound right - I don't know how you did it, but please keep doing it with other amps.

Quote from Hannes_ITS

I haven´t. I´m still waiting for a stable release. Too many bug-reports at the moment.

+1

Quote from paults

Do you not get enough Boost from turning up the wah's Volume parameter?

No. Myself and most other players that I know of use the wah before distortion, and beyond a certain amount of gain, which is lower than I think is ideal for wah use, any increase in the wah volume is only going to make the following gain stages clip harder, without a substantial increase in post gain volume.

The name says it all: as soon as I move the wah pedal and the effect is therefore engaged, since all my wahs are before the gain stage(s) (amp + eventual dirt pedal), I'd like the possibility to link the wah to a volume boost in the amp or cabinet section, so there would be an effective volume raise when the wah is engaged. Something like a new parameter in the wah effect called "post boost" with a variable dB setting. Or just a pre/post checkbox for the already present volume parameter.