Posts by Hurricane

    As a live-Player the only thing I'm interested in with the QC is it's behavior when cranking a given profile/rig/sound (or what it's called) to gig-level.

    If it will "compensate" the Fletcher-Munson-Effect "automatically" (so that no tweaks have to be made, which btw. I don't expect ) I probably would buy it without hesitation.

    The profiler is able to sound awesome even on gig-level (don't get me wrong), but it needs a lot of time-consuming tweaks. This is the only aspect of improvement I see for the Profiler.

    For just studio-work the QC never would be an option for me. The profiler with it's corresponding giant "profile-market" doesn't leave any wishes open for me.

    Thanx for your Reply and your help.

    I wasn't correct enough in my description.

    What I want to know is: How can I Import a bunch of IRs into (a kind of) RM-IR-Pool so that I can choose and assign any of them into a rig's cab ?

    Ich finde es schon verblüffend, wie mit so "alter" Technik ein selbst nach rd. 10 Jahren noch so marktführendes und damit wertstabiles Endprodukt von Christoph Kemper geschaffen wurde.

    Es gibt sicherlich einige Punkte, die nach heutigen Technikmaßstäben etwas "veraltet" wirken, aber in der Kernkompetenz - und das ist für mich der Sound, die Editierbarkeit und das Profiling - ist der Profiler m.E. immer noch state-of-the-art.

    Ich hoffe, das bleibt auch noch eine Weile so und ich denke da bin ich nicht alleine.

    If necessary to be very quiet I recommend studio-Monitors or better a good FRFR-Monitor like the Yamaha DXR10, which is also very usable if you Need a good Monitoring for a live-stage (you never know).

    If it's possible to Play at home with a higher Level I'd suggest the Kemper-Kabinett.

    Das Nicht-Nutzen der Imprint-Funktion bringt mich dann allerdings an zu der Frage, wie sich der Kone gegenüber einem F12-X200 schlägt. Und ob ich nicht noch von meinem Rückgaberecht gebrauch machen sollte ...

    Ich kann Dir zwar Deine Entscheidung nicht abnehmen, aber ich sehe das so, dass der Kone (und noch besser das Kabinett) nur dann richtig Sinn macht, wenn man die Imprints nutzen möchte. Es ist zwar richtig, dass bei großen Bühnen (anders als im kleinen Club) das Publikum was anderes hört als Du, aber ein gutes Spielgefühl auf der Bühne ist auch nicht zu verachten. Vor dem Hintergrund, dass in der weiteren Zukunft noch mehr Imprints folgen, ist es für mich keine Frage das Kabinett (und auch den Kone, den ich eine Mesa-Boogie-Thiele-Box eingebaut habe) weiter zu nutzen. Der Sound fühlt sich für mich richtig gut an.

    Aber wenn Du das hören willst, was Dein Publikum mitkriegt, liegst Du mit dem Kone tatsächlich falsch (allerdings m.E. auch mit dem F12-X200). Ich würde dann immer eine gute FRFR vorziehen.

    The best Option for me would be like this:

    Making a (preamp-)profile of a discrete Overdrive-, distortion- or Fuzz-stomp.

    Getting/downloading a piece of "Kemper-converting-Software" (like formerly the "Cab-maker") to convert this kipr-file and implement it into the "Share-Folder" and Import it via USB-Stick into the Profiler.:love::thumbup:

    This also would allow to import different Stomp-Settings and didn't Need to "model" the Stomp-device.

    Besides all these very good recommendations here in the Forum I'd like to ammend another aspect for a newbie to "Tweaking the KPA"

    It's different to tweak the KPA compared to tweak a real Amp with Cabinet, because the KPA has a Pretty bunch of more Parameters which a real amp misses. But as already said above, you don't Need them all to achieve your sound-immaginations. There are Parameters which are more important and have a more intense Impact to the Sound (f.e. Amp-Definition, Cab-IRs, Amp-EQ and Stomp-EQs) than others. I personally needed a bit of time to get used to these parameter and their specific impact to the Sound.

    I always need to be Aware , that I don't listen to the amp's-in-the-room-sound when tweaking my KPA-live-Sound on our P.A.-System.

    On a real amp you normally just have gain-, volume- and EQ-knobs and sometimes presence and that's it. The rest is influenced by the cab's charackteristics with it's Speaker inside and reacts less intense and in a way smoother than the KPA.

    For example changing from a Strat-type guitar to a Les-Paul-type on a real amp, I just tweak the Gain-, The Treble- and the Bass-knob a bit. With the KPA I always first look what is active in the current Profile (Amp, Cab, Stomps, Output-EQ, Clean-/Distortion-Sense) before I choose a Parameter to adjust the Sound, because the different parameters interact between each other with partially huge effects to the sound.

    This affords a bit of experíence and may cause a bit of confusion especially in the beginning-phase and also in stressful live-situations.

    So finally I urgently recommend to tweak intensively just at least to become experienced to the KPA's capabilities and These are HUGE !!

    And also to have a lot of fun with your Approach to your personal Dream-Tone. :love:

    Please excuse my Question it Might be asked and answered already.

    Why does the sound change through my Konekabinett, when I Switch off the rig’s cab-Module ?