Posts by JuLai

    - 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 8.0.0.21450

    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.


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    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?