Posts by Man_With_Gas

Quote from viabcroce

I believe an OD should stay in the Stomp section. The input of the Profiler should not (in terms of logic blocks) be equated to an amp's input. I believe that the amp's input (logically speaking) in the Profiler is after the A/D converter, and before the Amp block.:)

If I'm understanding your statement correctly (?) there would appear to be a fundamental flaw with the KPA's input signal flow and its response and output results will never satisfy an experienced player who knows tone & recognises and is sensitive to response dynamics whilst using the internal ODs/Distortions of the KPA.

I may have read your statement incorrectly and if I have, I do apologise, please clarify for me.

'If' this indeed is the current architecture of the KPA no wonder many people aren't using the ODs/Distortion stomps because we all expect the same result from the KPA of plugging a guitar into an OD then from the OD directing into the input of the Tube amp. What should never be forgotten or overlooked is an actual stomp is designed and built to accept the output of a passive guitar into its input. The stomp's output is also designed and manufactured to feed the front input of an amplifier. Any implementation variance to this intention will never yield what is expected by today's guitarists.

I truly hope I'm wrong with the above and if not, CK should consider reviewing ASAP.

I have tried every conceivable way of altering all the ODs in the KPA over the last 3 years and I still ALWAYS yield a far better result not using them and using a regular stomp (TS808,SD1 and FD2) as you would when using a regular tube amplifier. I wish this wasn't the result as I would REALLY like to use the KPA's abilities/functions at all times.

I truly like the effect of pure cab, however, I don't like it on at all times as it knocks the edge/bite off some profiles where I want that sound retained.

If and when it can be saved per profile, and not just global, I will only then be using it heavily on some rigs. Until then it is always off for me which
is a real shame.

Here's hoping for an update that will allow such things.

I 100% concur with the OP's premise.

For my needs and I also speak for many other KPA owners, that I personally know, if a late 90s' PRE Mosfet Fulltone Fulldrive 2 OD pedal in comp cut mode was introduced in the signal path of the KPA (in front of the KPA's very input circuit where an OD pedal is supposed to be at all times) it would be a game changer for the KPA's sonic capabilities.

Because I'm a man who is known as a doer I'm prepared to send my beloved and rare FD2 to Christoph & Don so they can do what they need to do in order to get it into the KPA exactly as my FD2 is. Not close but exact as this FD2 pedal is that special, especially for Single Coil players.

Christoph - if you want my pedal because you can & will attend to the request please let me know and I'll send it to you immediately.

Quote from sambrox

You have to register your KPA on the main site. This gives you access to the private forum.

Thanks for the heads up but I've done this and it still is no good.

I'm a long time (3yrs) live KPA user and I can only post in the public forum (I have no access to the private forum and I don't know why).

I wanted to give Guido some much deserved praise for his magnificent profiles and to recognise his efforts in producing and delivering them to us all.

I believe Guido is an unsung ambassador for the Kemper name & product the world over. His profiles have shown the KPA in its best light to date all over the globe.
He also helps achieve this as his profiles are all very well priced therefore many people chance buy them as they're not at great financial risk should they not like or use them.
To date all buyers have been astounded,very pleased and continue to come back for more as soon as he makes new amp profiles available.

Well done to you Guido and I sincerely hope Christoph recognises your contribution with a public showing of recognition & gratitude in further promoting the use of his ground breaking product in the best possible way.

All from me for now and I do hope others also chime in on this post to talk about their experiences and uses of Guido's profiles.

Cheers,
MWG

A reasonable request yielding a favourable outcome for alI I believe.

Once again Christoph thank you for letting us know. We again understand the current situation.

Have a good day.

Thank you Christoph, at least we know and understand now.

Now THIS would be VERY handy indeed for live stage work.

Please treat this as my request too.

Hello again Christoph - You know I don't often post but I'm perusing the board in the background all the time.

Having said that I thought it was again time for me to request this important and highly valuable tool.

I'd be grateful if you could advise will this feature ever be included or not? If not, all good but at least we'll know and we can stop
the ongoing requests for it.

Hello Christoph - Any chance of a comment from you about this ongoing and laboured request for the spring reverb & pre position delay stomp please?

Your comments/intention with these requests will certainly allow your customers to make decisions for themselves and finally put the requests to bed one way or the other.

I'd be very grateful for your highly valued comments/input.

I have a total desire to profile my trusty 1996 Fulldrive and I'd be happy.

I've tried it in the loop and I've tried all the available stomps in the KPA and nothing comes remotely close to it. If plugged into the front input it reins supreme.

If CK and team can provide the opportunity to profile dirt boxes the world of digital AND the KPA will be raised to new heights.

If I need to send some seed money let me know and I will via Paypal

I think having a metronome in the KPA would be fantastic. Of course it would need a volume control and assignable output option.

The KPA today is giving all guitarists the opportunity to have the very best sounds possible so why not try and get guitarists to be better with an essential practice tool for keeping time. In fact in a band rehearsal environment the entire band could benefit by having a readily available metronome that the guitarist can pump thru his rig and/or rehearsal PA.

Where's 3.0??

I'm eagerly awaiting.

Did I hear somebody say profile the stomp box on its own then 'merge' it with an amp profile??

Merging is the current word/activity so why can't this be achievable via this approach?

I'd much rather profile the amp without the stomp then add/merge it when I need it. Much cleaner way of doing it with far more
options on tap across the board.

I am so wanting to profile and add my Fulldrive Comp Cut mode to profiles so I can finally get rid of another
stomp. A good Fulldrive in this mode assists Single Coil guitars in getting Humbucker like results when needed.

In future I see profiling then merging many things ourselves as the building block process of achieving a final overall amp profile.

Quote from Ingolf

Of course the pitch shifter sounds different if placed pre or post stack.
What I was talking about is the pitch detection that should happen as early in rthe signal chain as possible.
Pitch detection and placement of the effect itself don't necessarily have to be at the same place, I think.

Ingolf is 100% correct.

You want pitch detection right at the raw/clean guitar input as close as you can get. That info is then sent to the pitch effect 'wherever' it may be placed in the signal chain.
You need the cleanest and most stable pitch you can get in order for the effect to accurately calculate allowing it to pitch track correctly.

Hello CK - What I’d like to request is a daily practical use for the existing USB slot.

A very powerful tool all of us practicing/performing musicians could use immediately would be to have (mp3 or .wav) songs on a USB stick and
the KPA would allow us to play them either through connected headphones and/or through the KPA’s outputs.

The KPA would need to have transport controls of course (stop, play, pause, rewind, forward & most importantly a repeat function
between 2 selected points. A>B)

If this existed all of us would no doubt be heavily using it all the time. The idea of only carrying a guitar and the KPA and being able to be
fully self-sufficient in any environment would be amazing.

I sincerely look forward to your response/opinion.

Cheers,
MWG

Quote from ckemper

I respect your request and the company Eventide, but I am afraid that all these methods even combined will not increase the impression of having two guitarists play a two voice solo by a significant amount. Can you provide us a clip with Eventide that demonstrates the effect?

Hello again CK - I apologise but I don't have the ability to record & post a clip as requested. A recording verses a live on stage (mixed in the air) delivery/simulation are very different.

Again I agree somewhat with your comment about it not being technically significant, however, different people and how they approach and deliver will vary on the % of significance.
Some may get little whilst others will gain more.

My suggestion/request is the best that I can come up with to further improve the current result. Is there something conceptually that you may be thinking/planning to further improve it?
By improve it I mean to make it more realistic simulating two live in the room (on stage) guitarists?

Hello CK - I certainly agree the example is to the extreme and it doesn't conventionally represent what 2 guitarists would play together as a harmony.

You also hit the nail on the head by saying coming out of the same amp.

I too agree your harmonizer approach is superior to most products overall but I've been saying for a while now there are only a few more things to do to
make it even more realistic.

If you could please add a user controllable delay for each harmonized voice and a user controllable modulation effect for each harmonized voice PLUS a filter/EQ for each harmonized voice.
The delay amount doesn't need to be a second or anywhere near that.I'm thinking a 1ms - 150ms delay at most for each harmonized note.

As you can appreciate two guitarists never have the same tone/EQ as the other and they are never perfectly in time and in tune with each other so having the above control could somewhat
simulate two guitarists far better than what is on offer at the moment. Some of the best twin guitar harmony sounds would be from Thin Lizzy and a common approach by them was one guitarist
was on the bridge pickup whilst the other was on the neck pickup. This is why the EQ option is required on the harmonized voice to try and simulate that + even when both were on the same pickup
their amp settings and touch are always different.

I have an Eventide H8000A and the above control exists in it, however, your tracking/algos etc.. are superior. If the above was implemented you would be leading the industry and satisfying
your users with world's best practice.

Hi - I rarely post as so many of you do it for me.

At a live show last night (300 people) I loaded up 2.6 (Beta) right before we were to start playing.
I did this because of all the positive comments I was reading in the private forum PLUS I'm a daredevil on occasion!

I used a Yamaha DXR10 (Dry) + Mackie SRM350 (Wet) along with a FCB1010 and a Relic Strat. I ran the rig hard & loud
in the venue's large room. I've played this room many times with this setup. I was playing cover songs from the 60s through
to now with the band I was with. Having said that you can imagine I was using many sounds.

First up I wasn't using performance mode and I didn't check ALL the functions after upgrading the KPA during the show.

I was always dissatisfied with the DXR10 as the mids were way TOO emphasised and the more I gained it up the lower mids/bottoms
were squashed/squaring. To be honest I was getting better results from a Mackie SRM450 and a RCF 322a. BUT again it wasn't as it
should have been when comparing it to my actual amps.(Bogners, Friedmans, Soldano SLO, Elmwood & Marshalls)

After last night's effort of using 2.6 I can honestly say I am FAR FAR more happy with the sound. It breathed SO MUCH better and natural harmonic
feedback and sustain were realised throughout the night. I played SO MUCH better due to the sound UPGRADE.

I can't comment on the profiling when using 2.6 but for live sound 2.6 is a SERIOUS UPGRADE and I encourage you all to load it up ASAP and put it
through it's paces.

BTW: When changing programs it was MUCH faster as advertised.