On paper, the harnessing of AI to create the code to replicate a tube amp is a killer. Hard to imagine this not being the way forward.
From tech point of view having all the user created models available (@ cloud) with the information what kind of tweaks users have applied to original capture to make it somehow preferable over the original model sounds intriguing from AI perspective.
And secondly, capturing that preamp + poweramp gain & sagging that is not possible with kemper. .smaller tweed amp flat out..
Vids have been pretty good, like the Rabeas. Would be interested to see some more how QC handled external equipment like front end slamming pedals. This might show something more about the electrical capabilities (headroom, converters) and the low end dynamics / transient attack significance.
Maybe Rabea could get some Marshall Guv’nor and reproduce Live Blues tone with his SLO ?
Yeah Wheresthedug idea sounds right even haven't tried it either myself. Just to notice if you'd want to use it for freeze level boost you need to first step the morph and then the freeze right after as the freeze then cuts the signal input and just maintains the given level. If using remote with default button assignments I'd probably dedicate the performance slot & effect buttons that are on top of each other for easier access e.g. slot 5 (morph) & fx button III (freeze).
This is somewhat familiar dilemma. Have been many times in rehearsals trying new rigs in practice just to notice the levels are all over the place. 
Using only DB only feels hard as the amount of sound level boost is directly linked to the tone - boosting mid scooped sound to be heard requires much more DBs than some mid forward tone. And sometimes the dynamics within the band get carried away more than usual.
I usually solo boost with morphing by both adding level and sculpting the tone to poke through little better as well. Then I also like to have a dedicated booster available post-stack to be used only if the situation really calls for it. 
Wasn't this very issue reported initially when the pack was released @ [BM Profiles] Lead, clean, RR and crunch still on sale
=> breu then removed this corrupted profile from the pack, right?
Cool comprehensive contribution ?
Remote is optimized KPA in mind, so yes, one can't reach all it's features with same level of usability with other devices.
But toggling morphing alone should be rather easy for GCP as it only requires one midi CC ON/OFF command.
Did the OS upgrade (win7->win10) somewhere in 2020. The update itself went smoothly, but the earlier stable PC (quad core i5) started showing some random instability symptoms (random complete freezes and/or bsods).
In some point after M$ pushed a major version update and the bsods went nuts so needed to re-roll the update.
After some investigation the root cause started to point towards the motherboard which isn't seemingly Win10 compatible (ASRock H67M) and no newer bios FW available.
So now figuring out how much HW to throw in the trash bin. Performance wise fully useable for my current needs and build to be rather silent (fanless power supply etc.)
..to be seen..
I have the ODR-mini, but haven't tried to match it. Seem not a trivial task for K stomps because of how the dual filter tone stack in the ODR (plotted below). The pedal has also some 'squishy' compressing component to it, atleast when driven harder, that feels unique to it.
[Blocked Image: https://nordland-electronics.de/images/odr/Spectrum.jpg]
In theory it should be same (if the profiling, DI capture and merging is done correctly), but in practice there’s usually some difference. Sometimes more, sometimes less, but still some.
Must chime in, some of the, if not THE, best 5e3 profiles. 
Was wondering have you jazzfreak experimented using both of the volumes while still only using the bright input?
On this video Rhett is getting cool on-the-edge-of-breakup tones this way as well as his favourite setting (around ~10:35):
my 2 cnts:
Dynamics, both player & amp - there's a lot more dynamics in the reference supro. But not just amp, it is even more the playing.
Amp setup - the real thing is set up cooking. it almost goes to fuzz land with guitar maxed. Many studio players have said using this trick to get rich harmonic clean sounds, but . Rev' the amp, but turn the guitar volume down where playing softly it's seemingly clean (but rich in harmonics) and digging in it breaks, works especially well with non-master volume amp.
Other - at first glance it looks like there are two amps miced. Mics look like some Royer+MD421 combo. And it sounds like those too where as you profile doesn't. Is there some comments what it is recorded with in the KPA profile?
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. 
For this reason it would be nice to have equal properties for both morphs.
all of the stock profiles sound the same and/or very similar
Can you make sound samples using some stock profiles?
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 https://reverb.com/item/143219…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.
http://www.woodytone.com/2010/…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.
