Posts by Myramyd

I think with the new Performance Mode I'm going to switch to KPA only (no external FX) to simplify my setup time so, while this feature might be useful I'm not sure I will need it any longer thankfully.

J

Hello,

I would really like to have the ability to adjust or defeat the automatic noise gate on the Distortion Loop. I use external effects (Boss GT-100) in the loop both for boosting leads and adding multiple effects at once and using any sort of volume pedal cuts off the delay and reverb instantly, so you don't hear the tails. I'm not able to do volume swells without the gate cutting off the sound. Doesn't matter where I put the pedal, whether I use the internal Volume, or an external pedal, or the guitar's volume knob. It abruptly cuts off not only the delay/reverb but also the sound itself (i.e. the gain), so I'm not able to play with the volume knob any lower than half or the gate kicks in and cuts things out. It's worse on higher gain profiles and not as abrupt on lower gain.

I've tried using the regular Mono Loop and although the problem goes away I get clipping when boosting for leads. From what I've read on this forum it sounds like the automatic gate on the Distortion Loop is what is cutting things out. Yes--I have all other gates completely off!

Otherwise it all works perfectly with the Distortion Loop as long as I stay at full volume.

Thanks,
J

Quote from Garrincha

Yeah, that's the first thing I do with any profile: Turn off any EQs and Effects and even set the tone stack to neutral position and go from there. I always use EQ and reverb only at mixing stage and the plugins in my DAW. As good as the Kempers EQs are, the Neve, Pultec und SSL EQs of my UAD-2 are better and I like to use these if needed.

Most of the time the raw profile sound is much nearer to what I want from a certain amp than the tweaked version.

+1 Agree 100% with both of you.

In my opinion the tweaked versions are great for jamming by yourself when you just want to have fun but, for either recording or live performance I have to start with a raw profile or the EQ is just never right in the mix. The raw profiles are recorded well enough that it's like starting with a real amp and working from there. I still do very little tweaking since, if the raw amp doesn't sound right or needs a lot of tweaking then it isn't the right choice for that song to begin with (in most cases)! Otherwise I just find another profile that is what I'm looking for. All of my live and studio presets have zero EQ stomps and only the occasional dirt or (pre-)boost stomp. To each is own.

Looking forward to trying these new profiles though. Plan to buy a few this weekend hopefully.

J

Hey And44,

Thanks for your work on this--the new website is great! Looking forward to trying some of the new amps.

On the discount code, will that only work one time or with all purchases between now and the 22nd?

Just wondering if I can use it a few times between now and then or if I will have to buy all the profiles at once to get the discount. I have several I'm looking at and I get paid on the 20th but there are a few I would like now.

J

One question--does anyone know if it can be programmed to turn on multiple stomps with one click?

Usually for leads I switch on a boost or comp in front, delay, and reverb along with a volume/EQ boost all at the same time.

With my Boss GT-100 in 4CM I can do this with one click (using the Boss effects, not the KPA's).

J

Yes, I've used the Matchbox preset. It sounds like what it is--another type of reverb set to sound along the lines of a spring reverb. But, it's not really authentic sounding at all. I use the one on my Boss GT-100 instead and its a lot closer.

I have a feeling we will get step filters and all sorts of crazy stuff before we get a spring reverb, which is really a shame since its a basic effect that all other guitar units have! There is a reason those amps were called Twin Reverb, Super Reverb, Deluxe Reverb, Vibroverb, Princeton Reverb, etc.--we are sorely missing the reverb half of those amps!

Not being a jerk, just would love to hear some beautiful, lush springs to go with these amps we have!

J

I think having a decent or authentic Spring Reverb is the #1 effect that I sorely miss. Having killer Fender profiles without a realistic spring reverb to go with them is really silly and in some cases pointless IMHO.

I switched on my (real) Deluxe Reverb the other day and just cranked the reverb knob just to get it out of my system.

Rather glaring blemish on an otherwise near-perfect unit really.

J

For those complaining, just look around your stage and/or studio and add up how many pieces of gear you see that:

1) Get the level of forum support and troubleshooting of the KPA

2) Get free updates (or any updates at all)

3) Seem to have a dedicated team at the company who's only mission is to make things better always

4) Have a support team that actually knows their own product inside and out

Last time I checked, my Marshall JVM didn't add free pitch effects a year after I bought it, my Gibson Les Paul doesn't amplify itself, and my DAW and plugins charge significant amounts of money every time a new version comes out.

Some people are just ungrateful and expect things that frankly the KPA team has no obligation to give you or any of us. To have a product that sounds this good AND provides constant feature updates? CK and his boys should have CRATES of beer being shipped to them each day as a thanks from us!

Settle down and go back to making music...

J

Well, the big use is to make things sound thicker.

I was excited when I saw they added Micropitch but, honestly it won't be able to replace my Eventide since it only has one pitch and no delay. On the micropitch you hear in famous recordings (Van Halen, Motley Crue, etc.) there is usually two pitches, at around -9 cents and +9 cents then you put in a slight delay of around 10ms+ or so (all adjusted to taste) and you get that '80's hard rock sound.

Then if you are doing harmonies, I usually offset those by a few cents, along with a slight millisecond delay to make it sound thicker and more like two guitars playing.

Even my Boss GT-100 has these parameters and I use it sometimes instead of the Eventide.

J

Thanks raen, that's helpful.

Right now I have the kemper at the bottom of the rack with a blank shelf above it to hold it in place but, that doesn't stop it from sliding around. That's why I have the packing materials in there.

This looks like something worth trying!

J

Can I ask where you got or how you made the brackets for it? Right now I have mine in my rack with the Styrofoam and packing materials it came with keeping it in place.

Thanks,
J

I have wondered the same thing but, I have used Pyle mixers before and they are pretty noisy and don't last more than a few months unfortunately.

I guess you get what you pay for.

J

The reason I ask is because the manual says the main outs are -10dB on the GR55.

J

Forgive the dumb question but, I'm considering getting a GR-55 to use on a few songs.

Is there any downside to just plugging the main outs of the GR into the main input of the KPA?

I already use the FX Loop of the KPA so, that's not really an option for me. All I want to do is use alt tunings on 2 songs (no modeling or effects, etc. from the GR55) and PCM synth on a few others (synth alone, no guitar, stack turned off in mono, etc.).

J

I second that. After endless POD tweaking in my past, I have to say the KPA is the least tweaking I've ever done--including some tube amps!

Unless you are an insane tweaker, you can usually find a profile that you like and if you don't you can just move on and try others that might be closer. From there the most tweaking I've done is some minor EQ on the front panel or effects. I have swapped cabinets on 2 of the 40 profiles I use for gigs but that was just because I felt like messing around and happened to find a combination that I liked.

The only significant amount of time you will likely spend in the beginning is playing through all the profiles. If you really like high gain you can sort them by the amount of gain. Tons of great high gain profiles to choose from so you shouldn't need to tweak much.

Otherwise, welcome aboard!

J

I use the micropitch for our 80s type songs, 2 or 3 part intelligent harmonies, octaves, I use the synthonizer on one song and the "laser pistol" effect on Rebel Yell (Billy Idol).

I'm in a Classic Rock cover band and it is very handy for what we do. I've played around with it in the studio as well on my original stuff.

J

I use only IEM and no floor wedges or stage volume and love it--so does my hearing.

J

I would think the bass amps are going to be hit or miss since the KPA wasn't necessarily designed with this in mind (I.e. like it says in the manual) so, I see where you are coming from Andy.

I think the free SVT and B15 Andy did sound quite good though and are very useful. I used one on a track the other day and ended up keeping it for the final. So, worthwhile to have them if they are done well. Thanks for offering them to us.

I will say that the cleaner profiles don't have as much character, which makes sense since that is more or less a DI sound with some cab mixed in but, the SVT/B15 profiles with a little hair on them sound quite good. I will also say that I still like Amplitube better than the KPA most of the time for bass tracks.

Just my opinion.

J

I've had mine for about a year now and I've found that it is the best pitch unit there is, you just have to learn how to use it. It's not necessarily the most user friendly, just like all the Eventide stuff but, it's really powerful once you get comfortable with it. The presets make really good starting points.

J

Try it with your TimeFactor set to Guitar/Amp level instead of Line level and see if it still does it.

J