Why would any company with a very successful product replace it with one that sells for half the price?
It would make sense if sales of the successful product stagnated and the company hopes / expects to sell x times as many cheaper units. I don't think it's going to happen with Kemper ... but as a recent example, look at how Strymon now sell their Big Sky reverb effects as VST plugin at a much lower price than the original effects pedal.
Oops, looks like I misunderstood your issue.
I thought you were wondering why you can't change volume on the Direct Output. 
“Git analog” ... I cannot change anything in this Output. It’s greyed out in RM.
All output options starting with Git... are meant to be true/identical/unaltered to the front input signal. In case of Git Analog it's actually split out before AD conversion. In other words, there is no point altering that signal. Git-Processing is almost the same with the only difference being that the signal has gone through AD/DA conversion. Git Studio just lifts the HiZ guitar signal to studio line level. No user changes available (or necessary).
... I could send snapshots when I am back home, but in any case the 528 samples adjustment seemed to do the trick.
Thanks a bunch for your input.
Don't worry, I totally believe you that the 528 samples fixed it for you. There was just something off with the milliseconds you mentioned, hehe. 
Typical german nitpicking, nothing more, haha.
The important part is after that and once someone gets his head around that (and is the proud owner of a capable audio interface), it can make life so much easier in the long run.
This! I can only confirm that. ... Thanks lightbox for the great explanation
Some semi-automated alignment of the waveforms could potentially heal that as well.
Thanks
Regarding the semi-automated alignment would heal that after you have reamped, correct. But only as long as your Profiler effects chain stays within the boundaries of "Constant Latency". If you use e.g the Transpose effect, you would have to check and measure manually again . That's why I wrote "most of the time" in my previous post.
By using the "External Effects" insert, the re-adjustment is only one quick mouse click to execute the ping measurement and the corresponding compensation.
Cheers
Martin
Sorry for chiming in a bit late but here's my thoughts:
1. At the lowest commonly used sample rate of 44.1kHz, the 528 samples you mentioned would equal 12ms. You would get 25ms compensation with 528 samples only at a sample rate of 21.12kHz (which I doubt you're using).
This short episode of nitpicking aside, here comes the important part. Be aware, it might get a bit technical from here:
2. An audio interface typically reports its latency at any given buffer setting to the DAW so the DAW can compensate for that. What isn't actually reported to the DAW is the gear you have hooked up to your audio interface ... e.g. the Kemper Profiler's own latency. Even if you have hooked up e.g. a AD/DA converter via ADAT or MADI, the DAW will not know the added latency introduced by these devices. So the DAW doesn't know what it should compensate if you use the Kemper Profiler like a regular "input" source.
3. This changes if you setup an "External Effect" and use it as an insert effect in your DAW. Now you have basically created a complete signal chain that your DAW (and the "External Effect" feature) can measure and compensate for, typically by a short ping. I do this all the time, especially for reamping. It helps to set the Profiler to "Constant Latency" to get consistent ping latency values most of the time. This part might be tricky if you're not that much into audio engineering but I'm pretty sure Logic Pro can do this ... personally I use Cubase Pro or Nuendo and it works like a charm.
4. To make things even more complicated ... the above only makes sense for reamping. But most of the time you probably just want to record your playing directly. So it would be very helpful if you could setup your DAW I/O in a way that you can use the Kemper Profiler as a regular input source for audio tracks AND as an "External Effect" on an insert slot without changing your DAW I/O configuration all the time. This is possible if your audio interface has a decent DSP mixer software (like the RME interfaces I keep recommending). But it would become a novel if I would try to explain this step by step here and now.
Hope this helps at least to understand the cause for the issues you (and likely many others) have.
Cheers
Martin
But the picture in the manual ... shows the left speaker connected on DIRECT OUT. So the picture is wrong ...
Depends on how you look at it
If you setup your Kabinets as your backline (behind you, facing the audience) it's correct (for you, as the guitarist).
If you use the Kabinets as monitors in front of you, facing away from the crowd, it's "wrong".
So, what's the more common scenario?
Depends on what you expext them to be able to do. And obviously how much space you have for bigger ones.
Just by guessing, I would say 5" speakers might be good. Yamaha HS 5 are great value for money.
With 4" speakers you can always add a subwoofer if you're missing the low end too much.
Personally, I can't imagine 3" speakers to sound anywhere close to acceptable and enjoyable.
The smaller you go with the woofer size and the enclosure size, the less bass response you get. While this might not be a huge issue when you play electric guitar only ... you'll likely notice it quite a bit when you e.g. play over a backing track with bass and kick drum/floor toms.
Regarding "guitar only", I don#t know what genre you typically play. But don't expect such small speakers to "chug" properly (this plam muted ooomp in high gain).
It will work, just get a power cable that fits the US sockets
Ok, so you use this setup exclusively at home ... not for gigs, right?
First of all, try to find the cause of the problem systematically (by exclusion).
1. Connect headphones to the Soundcraft to check if the hum is still there after every step below
2. Disconnect the XLR Main Outs of the Soundcraft
3. Turn down ALL Level knobs of unused channels on the Soundcraft (like 3, 4, 7/8, 9/10, 11/12)
4. Disconnect the microphone
5. Disconnect USB
6. Disconnect the TS cables coming from your Profiler
At some point the hum should be gone. If it's gone only after step 6, you will likely have to hook up your Profiler through a balanced connection
(XLR female ->TRS cables from Profiler Main Outs). If the hum is gone at a different step ... e.g. after disconnecting USB, let us know.
One of the potential issues is that your Profiler is grounded, your PA speakers are grounded as well and your computer (USB connection) might be grounded as well ... but the Soundcraft isn't because it doesn't have a 3-pin plug.
The main outs go to the PA with 2 XLR cables.
Maybe this had us confused.
Which Main Outs? The Profiler or the Soundcraft?
Assuming you have your Profiler and the Soundcraft mixer plugged in the same powerstrip (on stage), the PA / FOH likely is plugged into a different power source with a different ground potential. Classic ground loop situation.
What to do:
Disconnect the Main Out XLRs and see if your own rig (Profiler, microphone, Soundcraft and your monitors) are without hum now.
If that's the case, you need to electrically isolate your rig from the FOH rig by using (passive) DI boxes for your Main Outs -> FOH desk or stagebox.
On the other hand, if you still have the same hum, it's likely the (unbalanced) TS cables running a couple of meters across the stage to your Soundcraft catching electrical interference from other gear/power cables on stage. In this case you should keep the unbalanced cables as short as possible and use (passive) DI boxes to convert to balanced connection as early as possible.
One more bit of info:
NEVER run audio cables (especially unbalanced ones) side by side (parallel) with power cables! If there are unavoidable power cables on the way, cross them in a + instead of = way.
Hope this helps
Obwohl aber Overdrive Effekte auch nicht verwendet werden sollten
Klar kannst du mit Overdrive profilen, solange sie nur Overdrives sind und kein eingebautes Gate haben.
Ein Problem könnten die beiden Gates in deiner Signalkette sein. Das mag der Profiler nicht so. Lieber ohne Gate das Profile erstellen und dann später (wenn nötig) das Noise Gate des Kemper Profilers nutzen.
A rig consists of everything that would be your "rig" in real life ... guitar amp, cabinet, effects AND their settings.
A "preset" is basically just the stored setting of a particular effect type (plus a few more that are irrelevant here).
When you add the effect type "Legacy Reverb" in a slot, it will load with some default setting. Adjust it to taste and store your settings as a preset. Now you can always use that custom made preset on a slot with "Legacy Reverb". Nice thing is, you can even export these presets and share them with others. But they need to go to the presets category in Rig Manager, since they are ... well, presets ... not rigs, not performances.
They are typed als KPR files but also as KIPR files , so real rigs.
They aren't real rigs, they are presets. Apart from the file suffix confusion, you can tell by the filesize. Rigs are typically around 4KB.
How about a backpack that fits your stuff? Make sure it has a padded hip belt, this makes it so much easier to carry heavy stuff longer distance. if it doesn't have a padded bottom, buy one that's big enough so you can put some soft and medium soft foam in the bottom. I think 35-45 liters backpack, roughly.
So the reamp takes a digital signal?
Yes
From what I can understand, it sounds like you have to convert the SPDIF DI signal back to an Analog signal for the reamping to work.
No
