Posts by JuLai

    MIDI is a standard communication protocol and Kemper is using a proprietary one between Remote and KPA.

    Sure you can connect additional MIDI controller(s) to KPA, but that kinda defeats the "1 controller, 1 cable" idea.

    Also, morphing includes the concepts for custom ramp-up/down and min/max level so it goes beyond any regular MIDI capabilities.

    For me the added value are the ramps. I'm for example using it to automatically and precisely build up a Crystal Delay over 8 bars or ramp a Pedal Vynil Stop via Morph Pedal to Pitch.

    This! For me it was one of those lightbulb moment to discover how morphing via a switch can be also really useful to achieve much more even and precise transitions than operating a morph pedal with a foot. For example short pitch dives a la "Lonely Boy" or a note sustain bloom fx (=precise gain+delay+eq buildup and decay) just by pressing a momentary switch. :love:

    For this reason it would be nice to have equal properties for both morphs.

    These players in the videos control delay mix via pedal. That application is no real suprise and can be achieved with our Morphing. If you lock the DLY module, your delay even becomes global. The videos don't directly make a case for needing something like Morphing on top of a delay mix pedal. Actually these traditional analog floor board setups shown in the videos cannot simultaneously morph parameters across various stomp boxes and amp and cab at all.

    Sure, fair point. I didn't address the fact that I need and use morphing already to other more demanding and important things (special fx or other multifunction secondary applications) so much so that I don't want to "sacrifice" it to this relatively simple task, because I thought many have said it already.

    For sure there is nothing morphing going on in the vids, they were more to demonstrate how PROs are having master fx level controller in addition to preset changing setups. Morphing is KPA (or digital domain) specific thing which is heavily used already and could be improved even further.

    Here are couple example rigs (Timmons and Thorn) with "global" delay/reverb expression pedal. So they have programmed some presets, but have still additional 'master' wetness controller. Used through the gig and songs (ambience, effect).

    Not sure does the master mix get changed through preset changes. Most probably as it is possible to program Strymons with MIDI program changes. Or not if user so prefers. Such user selection would be nice to have with KPA also. So let the user decide.

    Maybe it would be possible also to select for each delay/reverb (or even any other pedal or continuous controlled parameter) whether the parameter should follow the current SLOT specific morph controller or another, global, one.

    For me is "Telegraph" the nearest Profile to Knopflers iconic Strat-Sound. The Amp is a "RainHeart" and the author is M. Franzkowiak.

    Can someone tell me more about this awesome profile?

    I believe it is taken from a Bob Reinhardt Mini Me originally (like this one…red-matching-head-and-cab). Profiled by Kemper (ex?)team member (Manfred Franzkowiak) and included in the factory content and then re-tweaked by a forum member -> "Telegraph Road" kinda profile.

    There were several other excellent profiles by Manfred as well that were referenced many times, recall they were known to be rather "tweaker friendly". One other great rocker is the Broken Hearted (Seymour Duncan Convertible amp) from the same Author:

    Actually the great Knopfler himself was known using Reinhardt amps like can be seen below (jump to 1:00 or so)...just to find himself changing to the KPA. Maybe he stubled to this very same profile as well. :D…n-demartini-gear-rundown/

    Rumor is you had a grail [Marshall] plexi that you used to keep fans on in the studio because the plate voltage was so high. It supposedly blew every few hours. Is that true?

    It is true. It’s a mid/late ’70s 100-watt. I used that amp on Invasion – I bought it just after the Out of the Cellar tour and before the Invasion of Your Privacy album. I used that plexi head with another, and on most of Dancing Undercover.

    - Volume 0 (slot 1) / 4.5 (slot 2)

    When I switch between slots 1 and 2, I can hear the difference in the tone, but there's no difference in the volume (looking at the meters on my mixer).

    Should I do something differently to hear the difference?

    I think that you would need to test something like Volume -5 (slot 1) / 0 (slot 2)

    The fix was about getting rid of the automatic volume compensation effect. And in relese notes it has sais to be implemented below zero region "changed: automatic amp volume compensation in combination with distortion effects, which have volume set below zero".

    Here was was older demo musicmad did where the problem is visible. Instead of the rig cleaning up and getting lower in the volume with sub-zero volume settings it instead put out pretty much even output due to leveling automation that was compensating the drive pedal as well.

    [Public Beta] PROFILER OS

    May be wrong, but have had the impression (kemper bag, remote, RM, power amp..) that what they don't want to have is any more 3rd parties to hassle with (and avoiding possibly any undesired contribute to the brand) than is a must. And as a tech centric co. they seem to have hands full with the tech already.

    Not saying having merch wouldn't be good move - I'd sure get some, but would expect top quality and world wide availability (without having to pay top dollar for any inter-continent logistics) as I would with anything having "Kemper" reading on it. 8)

    I remember comparing all those several classic K240 variants when I was purchasing my first 'real' headphones.

    * K240 monitor

    * K240 DF

    * K240 Studio

    Didn't ever quite understand why they used such similar names when the products had so much different qualities to them..

    But yeah, headphones and amp-in-the-room with all the reflections, directivity, standing waves etc. don't go that well hand-in-hand.

    I personally have had better success with closed back than open back headphones with kpa what comes to feel, in-your-face aspect of soundstage and even ear fatigue.

    Apparently Matt uses Mad Professor Deep Blue Delay which is known for its rather analog and musical sounding delays even though it is digital delay (the dry path remains analog).

    Anyone have replicated the effect with Kemper?

    Or if anyone have seen any EQ curve plots anywhere it would be a nice starting point as well. Although don't know either does the EQ change along with the repeat length (or level) like it does with the Carbon Copy for example?

    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.