Posts by Man_With_Gas

    I believe the OD's lack any real/serious headroom and this is a major issue IMHO.
    The Fractal product suffers this even worse. Compression, compression and even more compression. Sound needs to breathe to sound real and alive.


    When I use a 1996 Fulltone Fulldrive 2 (Comp Cut mode) in front (100% important to be at the input and not the loop) the increase in dynamics/breathing makes the Kemper 100% real to me and I still own many of the very best amps in the world. (SLO, 2 x XTC 20th, Goldfinger, Elmwood M60 & M90, BE100, VH4, '68 Plexi, Shiva 20th & others)


    If CK & team could physically revisit and AB the KPA with excellent examples of ODs and distortion pedals I'd be very grateful and others would be too I believe

    Strobe tuners are more accurate to read but I do agree, a needle tuner 'option' would be a VERY handy tool and I would use the needle in certain situations myself.

    I think number 1) is a different approach from Kemper and available in other products that use modelling. Who knows what 100% is though, because I could take 10 Marshall heads from 1959 and they would all sound different.

    The Marshall Head I'm speaking of is model 1959 (Superlead) and not the year 1959.(No such Marshall)


    Marshalls have a cathode follower after the tone stack whereas Fender doesn't so tone stacks are different and not just their positioning in the signal chain.


    What I'm requesting is keep the current setup re tone stack etc... but add the option of selectable tone stacks at centre position so you can get closer to the original in a different way if you like.


    For me the KPA at gain sounds very similar to any amp profiled and not individual. I am a big fan of Guido's profiles but they're all sounding so close to each other no matter what amp is being profiled. It's not to say they don't sound good but they're not unique enough to each other. The biggest difference in all profiling today is the speakers being used and not necessarily the amp head itself. This is where the tone stack can make the difference as the generic Tone stack approach currently being employed could be improved upon or at least try a different approach.


    Many updates back you were given the option to place the tone stack post pre amp or pre preamp. This is the fundamental difference between Marshall's design and that of Fender and Mesa Boogie amps. My request is trying to bridge the gap even closer to sounding more like the real thing.


    I read somewhere way back that CK mentioned providing or developing different tone stacks? Anybody else remember this and if so, why hasn't it occurred?

    These are importantly practical and very real requests for the existing machine and its platform.


    1) 100% accurate 'selectable' tone stacks of the usual suspects (Marshall 1959 Superlead, Fender Twin Reverb, Mesa Mark 5, Soldano SLO, Bogner Shiva, Bogner XTC, Elmwood M90)


    2) 100% accurate Fulltone FullDrive 2 In Comp Cut Mode overdrive pedal with plenty and I mean PLENTY of headroom volume & gain wise



    3) Improved tracking of the custom scales function PLUS a renaming of the custom intervals to actual note names. This would make the GUI SO MUCH easier & faster for everyone (+ new potential customers) when programming your custom notes requirements.

    My Eventide H8000 would STRUGGLE severely with that level of shift. You're asking too much of KPA I'm sorry to say.


    The current nature of pitch shift is using time delay and when it's that wide the 'trick' is exposed.


    In my experience no shifter on the market can do convincingly what you're asking. One day hopefully but not yet.

    It's not recognised as an issue by Kemper and appears to be intentional. When switching with the Remote, there is no lag in switching, only on the display on the Remote changing. It's been said many times on here by the Mods that is works how they want it to.

    If this is indeed true I must say I'm disappointed. It makes zero sense and contradicts all the good things they do.

    If CK & team could improve upon its tracking and the 100% wet return tone I'd be very happy.


    In its current form it's serviceable however, I have every confidence CK could beat out the competition with a little more effort into the KPA.
    I'm not talking chords here, I'm specifically talking about single note lines. Not only the tracking but cleaning up the full wet sound would greatly benefit from
    CK's unique thought and approach process. Why allocate ALL those available delay lines in the KPA for ? when CK could dedicate most of them to Harmoniser duties returning a cleaner and more realistic wet sound. (this is when only using the harmoniser & digital capo I'm thinking)


    Harmoniser users the world over would flock to the Kemper in droves for this feature alone. I also believe if CK attended to this his KPA digital capo would benefit also pleasing many more KPA players/users.


    For the record I own an Eventide H8000a and I would love to retire it fully and use the KPA for all duties as I know CK has the capability of this realisation if only he dedicated some more of his time towards it.


    Here's hoping.

    I believe for an end to end tone & dynamic tone chain a marriage of SS (OD) and tube is required in real time and not have the two baked in together in the profile. If you AB these two approaches in realtime there is a very distinctive difference.


    I have most of the very best tube amps that exist and they all benefit of having the right OD in front of them. Again it's this marriage that yields the best result. The KPA as an amp is no different and this is why I have expressed what I have with my previous responses to the thread.


    Profiling your own stomps would be great however, at this stage I believe addressing the existing models and ensuring they sit in the signal flow exactly as a real world stomp does will satisfy me enough today.