There's no "review before publish" system in place.
We have a pretty helpful page to see the most recent changes ... and this log includes ALL changes.
There's an entry for the user generation but no entry of you editing (and saving) a page.
Just a wild guess ... maybe you tried to edit a page while it was "locked" because someone else was editing the same page? The corresponding alert boxes can easily be overseen. 
Maybe that has something to do with the requirement, according to the manual, that the Volume pedal should be placed "Pre Stomps"? Maybe it's somewhere else in your rig?
I tried immediately after you told me about the RIG menu setting .... makes no difference. Even the checkbox "Lock Vol.Pedal" in the same menu has no effect regarding the problem we're discussing.
Also, the "Git + Processing" output setting seems to include the volume pedal (but with AD conversion).
It doesn't include the pedal, that's what makes me wonder. All combinations with "Git" in their name on all available outputs ignore the volume pedal.
Thanks for the hint regarding RIG menu. This "problem" solved.
But the Git signal remains untouched by the volume pedal. Difficult to understand why you would want to record a DI track without your volume pedal work being part of it? Or is this intentionally and we would have to record the DI track and a MIDI track with the pedal movement at the same time? Wow *headscratch*
BTW: Yes, there's AD/DA (or at least AD) conversion because you can route the Git signal to the S/PDIF out.
I've imported packs of 300+ rigs many times and I never had a problem.
It must be somewhere before DELAY/REVERB.
But still it's kind of weird because if you route "Git" signal on any output, it won't be controlled by the volume pedal. You always get the direct guitar signal, which is awkward if you, for example, do this violin like playing with the volume pedal (volume @ zero, pick, move volume up). Basically you can't do ANY volume changes using this volume pedal via CC #7 and record DI for reamping. I think that's really weird, isn't it?
PS: You can see the pedal's action on CC #7 in System menu, page 6/9 ... but as I mentioned in my first post, you can't see any of the volume controls in the signal chain change its value.
My personal opinion is: It won't happen.
And I think it's not due to an overly protective mindset @ Kemper. But I could imagine 2 other reasons:
1. Workload @ Support:
Kemper can't offer support for user generated additions to the feature set. But still they would have an increase in support requests ... or at least more work to figure the cause of user problems. At least one more step to exclude unsupported causes.
2. Future features (Kemper Profiler II):
I can well imagine that with ever increasing processing power, it will be possible to run multiple profiles in one box at the same time. This could lead to real stomp box profiling, end of modelling in the STOMPS section. CK wouldn't be CK if he hadn't already thought about these things ... and why should he invest a lot of manpower in the development of an SDK, while he could make better use of the manpower to extend on a future version of the Profiler that would immediately make user programmed modelling obsolete (with the exception of time based effects, of course, that's another story).
But as always, that's just my personal guess. 
It's the regular MIDI CC #7 Volume control, nothing special.
If it's none of the menu accessible volume controls, where exactly in the signal chain is it placed? Obviously somewhere in the OUTPUT section, I guess. But is it in front of the other output volume controls or after or is it one of the existing controls but the output menu doesn't reflect the current state? I would like to know so I can add this info to the Wiki.
Looks like I can't figure out where exactly (in the Profiler's signal chain) the volume pedal affects the volume.
I checked every volume control in the Profiler, but the displayed values never change while I use the volume pedal. Help, what did I miss? Or is it a bug or missing feature that the volume change via pedal isn't shown anywhere?
EDIT: This problem solved in post #8 ... different problem still unsolved, volume pedal can't be recorded on DI track. Doesn't affect the "Git" output option.
... a file with the size of 5K ...
Much easier to download 5K from the interweb than from my bank account. 
I own the Boss FV-500H (good quality), the Korg EXP2 (the worst pedal I ever had) and the Korg XVP-10 (the one I like most).
This Marshall Bluesbreaker 1962 LE is the very first tube amp combo I was seriously thinking about buying after I played Andy's profiles. It's just so unbelievable good (for my taste). But when I compare the price tag (7.50€ vs. 5200€) I think I can easily live with the profiles. Basically that's why I really LOVE to own the Kemper Profiler every single day. I spent half a fortune on profiles and have a chance to discover "my tones" in this amazing world of tube amps and cabs and combos that I could never afford buying and/or trying.
I don't mind to sometimes buy a pack of profiles just to realize that they don't fit to me. The TAF LazyJ pack was such an example. I'm sure they are very good profiles for many, but I just didn't fall in love with them. Did I regret buying them? No! Not a second. They are part of my journey through this wonderful world. And even if I spent 500 € per 20 rigs I keep using, it's still well worth the investment, imho.
One more thing I would like to tell you guys:
It might be strange, why some are chasing the big names (amps and/or artists) all the time. But I think there's nothing bad about this. It doesn't necessarily mean that we always try to end up with a perfect copy of a famous sound. But these big names give a lot of guidance, help to find our way through the world of amplified guitar sound. Even the greatest artists of all times tend to be massive gear collectors for some reason. They want to discover, they want to add to their arsenal of musical expression. Has it ever been easier to go on this journey?
Christoph Kemper has provided us with the technical foundation for this phantastic journey and those who share their profiling work (paid or free) have built a world of sound so worth to explore. Thanks for all! I love it and I enjoy it every single day!
Cheers,
Martin
I don't think the Profiler uses more than 24bit internally, because the Freescale DSP is 24bit.
Where does it say on Andy's site that this Bluesbreaker was Profiled?
Not on Andy's site but here on Kemper Forums.
Marshall Bluesbreaker 1962LE at Andertons - take note Andy!
Cheers,
Martin
I cannot mute the dry track, see below. ( I do not have an external mixer).
I'm sorry but I have to comment on that. Don't get me wrong please, no bad intentions from my side. But this is one example of how important it is to have good equipment. The whole idea of direct monitoring through audio interfaces makes no sense as long as you can't mute and mix signals on the monitoring (independent from the signal going into the computer). Even better if you have not only ONE way to monitor but a couple of individually configurable busses.
This is the perfect example, why I always suggest Focusrite Saffire interfaces.
I'm really sorry to hear that you finally ran into this trap. Always very annoying to run into these problems after the investment has been done.
Cheers,
Martin
my prediction is we will at least see a announcement at january namm probably with low supply following like the racks from last year.
This was the traditional way to announce new products .. and shipping started after Musikmesse.
But imho, this is changing because many companies realize, that they can't generate enough public attention during these exhibitions because there's just to much to see, to much to be reported in magazines within just a couple of days. I think, announcements do not necessarily occur at NAMM or Musikmesse anymore. Internet has taken over ... at least for announcements.
Go to this page:
http://www.theampfactory.com/purchase-history/
Login with your username (not email address) and password
After successful login you should see your purchase history and 1 or more links to "View Details and Downloads".
If you go there, you can download the corresponding pack(s).
This is working, I just double-checked.
Doesn't, mention what yr. it was made or what spurs are in it...anyone have the detaile d specs.
It was the very limited reissue (only 100 units made), Marshall built and sold this year.
The actual amp profiled is exactly this one:
Although I realized that you wrote this in the "Free rigs and profiles" section, I just have to recommend the Orange Matamp 1968 (Amp Pack 4) and the Marshall Bluesbreaker (Amp Pack 6). Add some Muffin and enjoy, especially the Matamp is smoking and steaming with Humbuckers and P90s.
Speaking of Jack White ... well, you could even profile an old transistor radio or a megaphone or whatever old and half broken device you can find. Jack is very different to many other guitarists, he's never looking for perfection in gear. He's always fighting with and against what he finds interesting to use. If intonation isn't right, if the neck isn't straight, if there's lots of string buzz ... deal with it, it's an adventure. At least that's my impression of him and it's what makes him unique and interesting.
First of all: Everything is a matter of taste, you might have different expectations than I do.
I had a chance to listen to the 3 Yamahas DXR10, DXR12, DXR15 in a well equiped showroom. All 3 were in head high position, roughly 1.5m (5ft) off a sound treated wall.
First I just listened to all of them using some music, pretty loud but not even close to max. First I didn't care about the currently set mode on the DXRs. The DXR10 immediately sounded better than the DXR12, there was no "life" in the DXR12. The DXR15 was amazingly good in my opinion, because I expected it to have just to much lower end. But that didn't happen.
Then I checked the mode they were set to ... and I should have known before, the DXR10 was set to FOH/MAIN while the DXR12 and the DXR15 were set to OFF.
Next I switched all to FOH/MAIN ... and what happened then was: I still liked the DXR10 best, the DXR12 got more "life" but there was something missing in the mids ... and the DXR15? Man, the DXR15 really started to move considerable air. I didn't notice any problems in highs or mids, but the lower end was amazing and a little to much for my taste at the same time. It didn't loose definition in the mids and highs but wow, the bottom end department clearly exploded. If you like really fat tone, this one should be a safe bet ... although this beast is huge and heavy. But if you prefer clearer, crisper and balanced sound with still enough bottom end, then the DXR10 turns out to be the best option, in my opinion.
I was surprised that somehow the DXR12 turned out to be the bad boy in the family ... well, not really bad but a noticable hole in the mids that I didn't like.
Hope this helps, although it's highly subjective.
