Profiles of the TriAxis (preamp only) might have worked into your amp. I’ve found that after output gain matching and setting power sag around 1.8, the Kemper sounds the same. Still have the TriAxis though.
But playing and how it fits where you play is more important than what it’s played through any day!
Direct Sound EX-29 are closed back with the most isolation. I purchased them for mic placement as they have the most passive isolation of any I'd seen at the time.
These are not accurate on the high end (roll off) but profiles sound good through them for playing. Not overly expensive.
https://www.sweetwater.com/sto…headphones-midnight-black
I have Sennheiser HD600's as well and agree with benvigil:
Second the HD600. Super natural sound, nothing is overhyped like the Sony MDR-7506 or the DT-770/990 -- never tried the DT-880 but want to.
The only drawback is that, being open back, you need a decent SPL to cover the sound of the strings. It's nice being able to have a normal conversation and hear your surroundings with them on, for the reasons you mention.
They are somewhat lean on the bottom end.
Back to the original question, why not add a Lexicon PCM 81, MPX-G2, or a TC G-Force? Or an Eventide Eclipse?
This of course assuming you don't like the onboard effects and want to learn complicated old equipment that may be hard to replace...
They all look good in the rack and have fancy lights 
Tongue in cheek (although I do have them in my rack)
What if I went something like either of these? Furman P-1800 AR or Furman M-8X AR
A lot of the reviews mention quieting noise. I know reviews are hit or miss, but this one sounds close to what I'm trying to accomplish:
"After years of going gig to gig and having my guitar rig go from being dead quiet at one venue to noisy (hiss, 60 cycle hum, etc.) at the next, I finally bit the bullet and bought the Furman P-1800 AR. Now my rig is dead quiet everywhere I perform."
The P-1800AR has both filtering and regulation. The M-8X AR seems to only be regulation. I have an old Furman regulator (probably 20 years old) and one of the conditioners (PL-Plus) from the same era. They didn't have all of the filtering and regulation in the same box at the time.
https://www.sweetwater.com/sto…il/PL8C--furman-pl-8c-15a is the Furman unit starting point IMO. That line goes up in price according to whether you want a voltage display, or voltage/amperage display (PL8C Plus-).
Next up is the https://www.sweetwater.com/sto…00PFR--furman-p-1800-pf-r. It has the features of the PL8C with the display. It is made for tube amps and stores some reserve power.
The aforementioned https://www.sweetwater.com/sto…P1800AR--furman-p-1800-ar is the PL8C with the display and voltage regulation. The need for regulation is mainly to protect from too much voltage coming in off the mains. The unit is heavier and may hum when regulating (my old one did when the power dropped). It does add a transformer, which may give an extra buffer. But the Kemper is designed for various voltages and this probably would not be needed.
Microphone pattern (omni, 8, cardioid, hyper cardioid) and distance will affect how much influence the room has.
Decibel output of the amp in relation to the distance also greatly impacts what the microphone will receive regarding room.
A Marshall on 10 will overpower sound coming from the room if it is close mic'ed, but in a small room the reflections are quick and powerful.
As previously stated, ambient mic'ing picks up more of the room, but the profiling homogenizes the sound.
Profiles are 2 dimensional until they are played through a speaker, as an amplifier is until it hits the speaker.
The room makes the third dimension.
At least those are my opinions.
Open the Output section (hold the Output button) and go to page 1 of 7.
Set Main Output to Master Stereo (OR DLY/REV Wet) and use the XLR or TRS Main Outputs into a stereo amp.
Set Monitor Output to Stack. This includes Stomps A-D and the Stack, but not the post effects.
Also, check the "Monitor Cab Off" with the second soft button if the 2x12 is a guitar cabinet (not full range)
Read the Output Section in the manual, starting around page 67 for great information regarding these options.
Haven’t checked the direct, but the studio profiles sound great with an EJ thinline! Very Mesa
Note that around the second studio profile it has some Michael Britt Rig Pack information.
If the stereo is also used for movies (audio/visual) and you watch something with special effects, the dynamic range should not be an issue. Even with the high levels of compression used on movies. If you are using normal (not loud guitar...) listening levels like you would listening to music, there should be no problem.
Medium to High-end audio is a subjective realm...
It will work, but I still don't like the sound of the XLR's out. The effects loop works ok, but I prefer using one of the Outputs to Amp to the input on the KPA or other devices and then the effects loop return from the KPA outputs. You have to play with the effects loop input and return levels on the 11R to get the right levels. Make sure that the amp and cabinet blocks are off in the 11R. Also set the output to amp level to 0 and the rig output to 0. It takes some comparison to get the levels right.
Another thing I have done is compare certain effects from the 11R to the KPA, and try to emulate them on the KPA. This works pretty well with some. I really like the compressor on the 11R, but that sound I have not dialed in with the KPA compressor.
Get familiar with the KPA effects and controls. You may find that you prefer several of the effects on it. These types of processors take time to learn and I find it best to spend exclusive time with new gear to learn its strengths and weaknesses.
What rate do you normally use? If you are happy with the 11R set to 44.1kHz, then you could use the KPA SPDIF out to the SPDIF in of the 11R. However, this limits routing options.
Some attenuators still have a pretty hot line out signal, and may be too much according to how much the power section on the amp is being driven.
Also remember for the best direct amp profile you will want a speaker hooked up and have a DI tap into the signal between the amp and speaker. This will profile the interaction between the two. Load boxes do not give this interaction and don't sound the same.
Update from earlier comments.
Did some more profiles of the TriAxis preamp yesterday and on some higher gain profiles the cab remained on when the profiling finished. However it would automatically shut off after refining.
So in this case the KPA recognized the direct profile during refinement and not the initial profile.
Are you using firmware 3.0? It should auto detect the preamp profile. Once it is done profiling it automatically turns the cabinet off. 3.0 is the first non-beta to do this I think.
3.0 seems to have improved preamp profiling. Just finished profiling a TriAxis rhythm green several times and it sounds just like the preamp for the first time. Cab was off after each profiling.
Thanks for the response. the other quirk on the 11R is the way the outputs sound. The master outs are XLR only, and I need to get a set of cables that are XLR female to TS. I have a set of XLR to TRS, but the sound is altered through that route. I prefer the sound from the "outputs to amp" for going into an amp than the effects loop. It compromises the sound of the second loop because of the master outs though. I am making things much more complicated than they need to be...
The effect loop on the 11R adds a little latency also, as does the loop on the KPA. Trying to save on that. But the 11R effects only sound good to me at 96kHz. Some equipment sounds fine at 44.1 (KPA, G-Force), but not this one to me.
I will try the KPA in the effects loop and see how it does.
Thanks
Would like to interface an Eleven rack with my KPA through SPDIF input. The ER effects are great (Have played through the amps maybe twice since the KPA came...they are not so good) and I do like the input section and the way it works with the effects. But they only sound good to me when it is run 96kHz. 88.2 is OK, but 44.1 and 48 just don't have the dynamics or fullness of 96.Anyone else have this experience with Eleven Rack?
After reading the statement again, it does imply that the hidden feature is there in 2.7.4. From what some have said on this post they must be using it.
With that in mind, the statement would indicate that it either hasn't been tested with or is unstable with 2.8 and up.
thanks for the corretion.
2.7.4 does not do DI the way that 2.8 does from what Kemper Co. has stated. The older firmware profiling preamps is different from 2.8, which now detects the lack of a speaker/microphone input and thus disables the cabdriver. The old firmware would not do that.
The statement means that any profiles (at least DI) done with 2.8 up will not be backward compatible but should work with everything 2.8 and higher.
if you are gigging I would not do anything until 3.0 comes out, which is supposed to be this month.
This gives the "amp in the room sound" with the DI profile. It sounds great! I have done around 8 different DI's and when used through the same speaker, it sounds like the amp much more so than disabling the cabdrivere ever did.
Each speaker will interact differently with the amp and as such the speaker used when DI'd will reproduce accurate sound when the KPA is driving it. The amp settings would be dialed in for that speaker anyway.
Merging compared with the full studio profile is slightly different, but you end up with both the DI and Studio profiles for comparison and use either way.
This is huge for me!
The Marshall "copy" of the Bassman. Celestions, KT-66 tubes (later EL-34's), different transformers. What a sound! The 4x12 that ultimately came after the 8x12 is so much of the sound too. Don't know wether those cabinets were just luck, but what an instrument.
There is an interview with Sid McGinnis from "Late Night with David Letterman" on Premier guitar where he has a Bassman head upside down for cooling. He makes a comment about the greatest Marshall improvement, flipping the chassis.
The Westinghouse design does not diminish how great a designer Leo Fender was. He made great designs before and kept refining after the Bassman.
Jumping in to what this thread has become...
What about harmonics (overtones) and their effect on other frequencies? Do frequencies we cannot hear, whether by loss or range affect what we can hear?
Wasn't the '59 Bassman design taken from a Westinghouse (I think Westinghouse) tube amp builder guide?
The TungSol 5881's and the Jensen speakers had a lot to do with the '59 tone, no?
