Cliff measured it and claimed that the KPA's amp models max frequency is 13KHz.
Not sure many of the old boys here can hear much above
btw. look what typical guitar speakers can handle:
EVM 12L
Would you happen to know if the 13 kHz limit is a choice or a technical issue?
I have just added a couple more "classic" rigs to the party. A lovely Brimar loaded 1970 Silver Faced Selmer T&B 100 and an early Simms-Watts MKI also from 1970. Profiled with original white Senn 421, AKG D112, Neumann KM86, Royer 101 and Beyer 834.
Mostly clean with some drive/crunch thrown in as well as some "analogue tape" profiles (Studer A80).
Kept all of them.
Makes sense especially if you are producing, engineering or mixing as different setups, cabs, and chains with different mics, preamps, comps and eq may be needed for future projects, plus the smell of valves and iron every now and then is nice 
If by air you mean depth as in tridimensional and breathing you can achieve that with some careful mic placement and a good sounding room. Finding the sweet spot where the profile sounds as you hear the amp in the room is tricky and sometimes a bit frustrating and time consuming but well worth the experimenting.
I personally recommend taking your own profiles as the KPA isn't merely a "player". Once you have grasped how it works and have taken profiles of then amps you own if the need arises of a different amp you can't get hold of then maybe look into other people's profiles, both free and commercial to see if you can find what you are looking for. I see buying profiles as a need arising if you want an amp that you (or your friends) do not own, in other words to broaden your palette. On a different perspective if you are not just a player but happen to be a producer or mixer then you may want to have a few different options when recording or reamping.
Interessante notare o meglio tastare il polso del paese Italia, dove da quello che leggo i rivenditori non vogliono rischiare di avere in negozio un prodotto che é quasi costantemente in "backorder"
We use it quite often when a DI was captured as well as when a production choice calls for a different sound. We have profiles for all of the amps in the studio locker as well as some from long term customers, friends and fellow musicians.
It depends on the engineer but I usually keep the chain basic in case I need further tone shaping down the line. Preferred pres for bass are either V72s or 1073 with a few exceptions here and there. Sometimes I have a Pultec and rarely a comp following the pre. Microphones vary depending on the cabinet used and the sound we are aiming for, ranging from usual suspects like U67, RE20, D12, 421 to Brauners or Gefells.
No profile will be good for everybody out there, pick up type, instrument and player make a huge difference. Same goes for monitoring, if I'm monitoring on ATC 150s and the player is listening through laptop speakers he/she will definitely be complaining about a lack of "low end"
http://www.ampsound.eu/page9/index.html
At the bottom of the page. I will probably add a couple of "contemporary" and a couple of "vintage" time permitting ........
Although I fully agree bass sounds being a matter of taste and relevance for a given production and consequent mix placement, I have nevertheless added some "dist" rigs (amp on eleven, Spinal Tap style
I have added a little naughty 1966 WEM for those who like vibey bass tones
Could you be a bit more specific? Maybe it doesn't fit the song/production style?
Bear in mind that different players and different instruments will give you different results even when using the same profile. To make a profile 100% suitable for everybody you would need six months, ten players and twenty different basses. As suggested try a different profile and see (or rather hear) if it suits your track better.
There are no set rules for bass recording. Sometimes we record it "straight" some other times with compression on the way in, some other times it will have compression on the way in and out in the mix. We tend to eq after as selecting a different amp/speaker combination, microphone and microphone placement always sound better than equalising on the way in. There are exception to this as well but most of the times try to move the microphone and or change mic/amp/speaker before reaching for the eq.
We keep a dozen different bass profiles in our KPAs to suit different production requirements and different players.
Great! I hope it comes soon.
Hey gang, I'd like to start a thread collecting rare amps that could (hopefully) help to find interesting profiling projects for Andy (TAF) or Armin (Soundside) or any other folks who might be able to get their hands on these amps.
- Cesar Diaz CD-100 - Warren Haynes likes them
- Sears Silvertone 1485 6x10" 100W - Jack White's favorite amp
- 1987 Marshall Silver Jubilee 100W - Joe Bonamassa and John Frusciante can't do without them
- Van Weelden Twinkleland - Joe Bonamassa (There's a great donation ware profile, but I wouldn't mind to have a set of profiles of this amazing amp)
- Alamo Amp-3
- Magnasync Moviola URS
- Tapp Amps
- Roccaforte HG100
- Jim Kelley Combo
- Ladner Tomtone Deluxe
- Ampeg Gemini
- Sunn Model T
- David Bray Marshall Plexi
- Bletchley Belchfire
- BRBS 100
More suggestions for this list?
I wasn't aware of the BRBS. Didn't even know it was a "local" product. How is it? High gainy marshall type?
I might just be able to add a Rocca to our rigs when I find the time if anybody is interested.....
Great! Where can se find selmer bass profiles?
http://www.ampsound.eu/page9/index.html
At the bottom of the page. I will probably add a couple of "contemporary" and a couple of "vintage" time permitting ........
Although I fully agree bass sounds being a matter of taste and relevance for a given production and consequent mix placement, I have nevertheless added some "dist" rigs (amp on eleven, Spinal Tap style ) in the bass amp profiles. Some will like them some will just plain hate them .... but hey, they are there if you need them....
Now this would be awesome. Especially since you're an audio enigneer and a lot of profiles on the RE are poorly miced, so go for it!
Ok this is done and up. Demos are just to give an idea, simple and raw played by house engineers rather than Satriani or Vai I'm afraid.
I will do some more as we have a couple more Selmers in the amp locker but I will give priority to more quirky bass amp setups.
Hopefully I'll find some studio down time to do the contemporary guitar amps towards the end of the year.... trying to do amps that are not around yet or just with different cabs and mics.
Regarding the microphones they do make a difference but bear in mind that player style and guitar/pickup combinations make a bigger difference.
Just finished putting together a Mullard loaded 1970 Selmer S.V. bass channel set. Available soon.
I will add some more oldies and modern amps in the future as time allows!
This is now solved thanks to Kemper support and the local distributor. The KPA needed an audio board change.
Thanks to all involved for the speedy repair.
It takes the same time to set up a mic, preamp, amp, cab chain and even tape machine as to write down all the info by scrolling the tiny browse knob so please do, even connecting a simple keyboard to jut type rig names, cabs , mics and so on would be a welcome addition.
+1
thanks i'll check those out, but i still think there is room for more high end and or rare stuff.
im also surprised there hasnt been more Di preamp profiles too, especially since you can use them on anything.
Vintage channel strips and valve preamps and the like :^)
By rare stuff you mean old stuff? Or just boutique?
Hi there,
updated to the latest firmware, took a few new profiles, everything working jolly good. After six or seven new profiles DSP Error shows up. KPA still working fine with old rigs but when taking new profiles there is a digital noise. If you are an old timer a mix between to a condenser capsule overloading and digital mistracking. It still profiles but the outcome sound like a monitor speaker with just the tweeter working plus the digital (quasi distortion) noise.
Contacted support. Just one reply so far. Sent two other messages, no reply. In the meantime thanks to them I have learned how to access maintenance mode, flush the memory, firmware, booting from USB and what not apart from rocket launching. This is the second KPA. The first one was defective out of the box. Only 7 months old, used in a commercial facility. Support says it could be hardware but without further communication I don't know how to go about getting it checked repaired (distributor offices closed until Monday....)
I tried to downgrade without success, actually the KPA got stuck while doing the analogue board firmware boot........
Every time I have tried flushing memory the first profile it takes sound fine then it starts doing this encoder type noise.
Everything else checked, even tried fresh with no rigs, no even factory, the issue doesn't go away. Noise present at all levels low, and high throughout the monitoring chain (reference amp in the profiling page). Even if I tap or speak through the mic it is audible (and gets profiled).
All menus checked, all mics changed, cables, preamps and what not.
Anybody else with this hardware issue? Anybody else thinking of keeping spare KPAs in cases like this? How frequent is it?
Cheers
Any help appreciated
