Posts by JuLai

    The fact that I plugged in from the same output into a different device later that showed the same symptom whereas the kabinet was still plugged in and working felt like that output had a fault.

    To me, this would really imply grounding issues between different AC powered equipment. Kabinet is passive device after all without own grounding and being able to take some 200W of 'abuse' even.


    Reminds somewhat the 'classic' "Got electrical shock when I touched microphone" -issue where gear have differing ground potential which escalates as electric spike once shorted. In the microphone case the shorting piece is the person itself touching strings and mic grill simultaneously, but here the triggering factor would be the XLR cable itself.


    So would look into the possibly incompatible (difference in ground potentials), ungrounded or faulty AC outlets.


    Hopefully the pros find the root cause and get the issues sorted out for you. Be careful until then though. :|

    (One of) the golden rules tells to boost the signal as close to the source as possible (without clipping) to maximize the signal-to-noise (SNR) ratio.


    Other, more practical point of view, is the usability: which one is easier to access and use, KPA or amplifier/Interface volume.


    Active studio monitors are rather common and it is impractical to use their levelling (if they even have any, e.g. my Neumanns don't) so that's why those are set for the maximum needed level to still not sacrifice SNR.


    So I would go workflow in mind avoiding any added complexity. I have KPA hooked to both Interface and Kabinet and Interface having both studio monitors and headphones and DAW as input as well so I use all/any of those, which ever requires least amount of work to do the job! :)

    ckemper and all others:

    I made a demo video ...

    Haven't tried the new drives yet so can't comment on those, but the real "pedal + KPA" -phenomenon touched on the vid sounds familiar.


    I got inspired by Gary Moore's Live Blues sound and found myself trying to get something similar with KPA (SLO100 + EMV12L + Marshall Guvnor Mk1 slamming the Soldano, rather hard). After got a Mk1 clone and tried some several edge-of-breakup/crunching soldano & marshall profiles just to notice the "Slamming KPA profile with actual pedal" part didn't work quite like expected as the signal level "wall" came too early on.


    Was hoping that if the external pedals can't recreate the effect through KPA that one day there would be some internal pedals that could achieve the effect. Anyway, hopefully all this gets sorted out and we get to stretch also the dynamics limits beyond real world as we've used to within the AMP section.


    Sounds good! How does they pair with imprints & cone? Hopefully well enough justifying couple additional superlatives 😎👍

    Got Mackie HR824s with 8" woofers and similar footprint as Yamahas. And I found them to be too big, both physically and sound stage wise, in the small-to-mid sized home studio environment that is not finetuned and treated acoustically well enough.


    When changed to another room, even somewhat bigger and treating it more, changed to KH120s and they fit the bill way better for me.

    I have both: Seymour Duncan PS170 (ICEPower) and TC BAM200. Unlike the PS170, BAM200 is tailored for bass guitar. With all controls at 12 o'clock it has a pronounced mid-range dip with boosted low and high end. To get something close to a flat response you need to set with Bass at 10 o'clock, Mid at 3:30 and High at 10 o'clock. That provides a response that's flat to +- 1db from 30 Hz. to 10 KHz. Also note that the BAM 200 has a lot more gain than a dedicated power amp. Set the Kemper monitor out at around -30 db and run BAM200 gain at around 10 o'clock. Set BAM volume to suit.

    Interesting indeed. I got actually somewhat similar results when I compared CLR and Kabinet+BAM to each other. I'm curious how did you come up with the flat response settings for the BAM? Did you compare with the PS170 by ear or by measuring both or something else?

    Sounds to my ears like a Marshall rather than a Fender. And from the video clip looks like one of those dual channel JCM900.

    So I would start from there. I'd probably try to get best clean JCM900 (which is imo SL-X by the way, and that is actually really nice one, even he is not probably playing one ;) ). Such that is having power tubes working and giving the goods. Then maybe goose it slightly with a boost or comp but still have the overall output clean-ish or on the edge. Maybe both humbuckers from LP, with some volume rolled back a little bit from the neck pickup to clear it up a little, but while keeping it nice and full.

    I don't think you can mimic the modded muff as they are about modifying the pedal's tone stack for the most part and the muff tone stack is about filtering the mids away (tonestack = parallel HPF & LPF having the tone as mix ratio). But you can always try and probably atleast get closer.


    Any way I can mimic that on the Kemper, or do I just do it by putting an EQ block after the Muffin stomp?

    I would start with this approach yes. Recall there was tubedriver in his chain after modded muff so could try e.g. some GS there as well.


    I don't know which what muff version the Muffin is based on (different versions have some variations in the tonestack), but as a starting point one could maybe try counterbalancing the BM "Civil War" circuit where the mid dip center is around 1.3KHz so the GEQ's 1.25k knob would be my first choice. Followed maybe also Low and High cut tweaks with some volume to compensate.


    If the GEQ works at all (maybe even with a Green Scream as a booster/filter) I'd next grab Studio EQ and tried to sweep the Hz value together with its Q-value to finetune the Hz band and center point.

    Now when there has been a lot of Kabinets & Kones sold and the imprint tech has been out there for some time already, I thought it would be interesting to hear about experiences and experiments from the users what comes to findings in actual use.


    Starting myself I was earlier using 100% FRFR and have now moved using mostly Kabinet /w imprints for monitoring both at home and band rehearsals. No gigging yet with the Kabinet, hopefully sooner than later. :)


    I have gone through my go-to profiles and noticed that not all of them 'likes' imprints that much for some reason. Some that I had considered earlier as gems with FRFR (=worked great out-of-the-box with different guitars) suddenly lost the magic through the imprints, no matter which one of them selected. But then again some profiles seem to love them and seemingly benefit from imprints beyond their original Greatness!:love:

    (I'm not mentioning any names here as I'm using 95% commercial offerings and don't wish the thread to be moved nor be personified in any way.)


    Still, have wondered could this 'imprint adaptiveness' be impacted by some profiling phase techniques or is it more about the profile type (Studio) where Kemper has sometimes challenges in the CAB separation part. Or then could the 'magic' just have been in the cabinet part of the profile in some cases. :/


    Experimentations continue, but so far I'm pretty much all convinced and grateful to Kemper for this yet another groundbreaking innovation!8):thumbup:

    Find also Bert and many others already mentioned great as well, but just checked the new Cililab V2 Friedman profiles and I'm liking them a lot through the Kabinet. Especially the DI profiles with fake cabinet enabled for Kabinet imprints. Less bassy than Berts out of the box for sure.


    I was just listening the Rabea's Jake E Lee amp youtube demo and found these have somewhat similar vibe to them. Really cool!!


    My continuing efforts to get to a usable profile with at least the Tele. This is all now entirely in the Kemper. Thoughts welcome on whether this is better or worse than the last attempt. Sounding a bit ‘bronze strings with piezo pickup’ but I quite like it. Or does it just sound like a Tele?

    Listening back to the first one this one improves it to my ears for the tele. Acoustic with piezo-ye vibe to it, but that's the best what one can use in a noisy pub environment anyway. 8) Great Work!

    You'll find the functionality description from the Main manual by searching for "Volume Pedal Range".


    Basically without pedal connected, the negative values don't have impact, positive values produce gain or volume boost (depending on the location).

    Have you tested yet how hot the ICEPower gets when played with gigging volume for a longer time?


    One would think that it gets warm inside the closed back cab. BAM200 has even small fan, but no idea how necessary that is for 'average' user.


    There seems to be thermal protection circuits in the ICEPower module which start kickin' in causing thermal shutdowns if needed, but that wouldn't be too cool while in the heat of battle.


    Had once 500W class-D Bass head that had problems with the fan supply voltage and it worked fine in home, but started causing shutdowns after a while in a band practice scenario.