Posts by Hurricane

When it comes to "steeling amp sounds" f.e. from friends and other guitarists in their rehearsal-rooms, I often meet the situation, that I have to make the profile in the same room where the reference amp is "screaming". I usually take my guitar box (2x12") and my powered KPA with me, knowing that it is a bit more work to compare the reference Amp and the profile afterwards (shutting up the reference amp and play the Profiler, and then vice versa, then tweak the profile (vial Amp-Eq) comparing again and so on).

And also at the beginning of the profiling process, the first problem occurs, when the reference amp is connected to the Profiler. The sound of the reference Amp now sounds completely different through it's own speaker (shrill with very low bass-response)and it isn't possible to tweak it to it's original sound via the EQ in the Profiler. Is this the influence of the KPA's input/Output-Buffer?

Are there any recommendations, how to make best possible profiles for this -for me most often- situation?

Since OS2.4.2 I got problem with my wah. Sometimes it remains in Wah-Mode even when not moved. Mad a pedal reset but occured yesterday evening during our Gig several times (I use Uno4Kemper chip last version with my fcb1010)

Do you have any advice?

Is it a OS-problem or a Pedal-Problem?

Quote from DD

I disagree. Having the transpose functionality in Input section would be a lot easier (and better). One could just use Transpose IF needed, and all the rigs would remain the same. It would be totally different than Transpose in Stomp A and locked -> All the rigs would lose their stomp A's. In what situation would one use Transpose in any other stomp than A anyway?

+1

Quote from lightbox

Yes, I think you're missing something.
If you record an uncompressed audio signal with lots of dynamics ... and you take care that the peaks stay just below clipping, then the overall perceived volume is much less than with a compressed signal recorded just below clipping. So with both signals you have the same max level, but one of them is much louder. That's what is used for pretty much ALL commercially produced pop music. They reduce the dynamics using compression.

The above said can easily be translated to the Power Amp Booster. You can increase the loudness of your Power Amp Output while still making sure that you don't increase the peaks at the same time. Add some Power Amp Boost and roll back the overall Output level. You'll loose some headroom (dynamics) but you increase the perceived volume within the limitations of your "weak" speaker. It's like "keep the peaks below 100W but at the same time increase the lower volume parts of your playing".

I don't know how to explain better in english. Sorry if I can't make it clearer than that.

That reads most clearly. The impulse-peak destroys the speaker. If you lower the possible dynamic-range in the output-stage (by increasing power-amp-boost), you achieve a higher output level. So you can reduce the output-level via the volume-knob on the front and simultaneously get less peak-overdrive.

I use my Power KPA live with a 2x12" Cab ( like a real tube amp) in performance mode with a FCB with Uno4Kemper and two FS-6-Boss Pedals (with in-built powersupply). All this linked with a 10 meter self-built-cable (Midi-In, Midi-out, switch1/2 and switch 3/4, Power-line for FS 6's) which is really bulky to transport and laborious to connect but necessary to use all stomps. (waiting for CK's pedalboard-solution )

I have different bands, I#m gigging with for roundabout one year, and I use one individual performance for each band. All in the same manner. Slot 1: clean, 2-crunch, 3-lead1, 4-lead2, 5-super-lead

Stomps are A-Wah (always on), B-Transpose-1, C-Leslie, D-free, X-EQ (always on), Mod-free, Delay, Reverb(always on).

I make my stage-sound by myself with my Guitarcab and feed the P.A. with my main-Outputs (normally mono). Often I get a cool mix of stage an P.A. sound at smaller venues. (Also sometimes get positive feedback from other musicians in the audience, asking where my amp is )

My experiences are that the KPA behaves most differently on stage than a normal amp when it come to different sound levels. The KPA is rather more complicate to tweak to the sound situation (large/small room, high walls, low-ceilings, tyle-floor, many windows, carpeted stage and so on). Sometimes I tweak via the Cabdriver-EQ which does effect all my presets but often with different impact to each sound. Sometimes I copy the performance on the fly and tweak each slot via the Amp-EQ during soundcheck.But this often leads to an overdriven output-section. Adjusting levels (to lower output volume) then leads to different soundlevels between slots. Sometimes I get into a mood of despair , but I will work on that patiently.

I never will use any OS-beta version any more. The bugs (f.e. sound changes during rig-change and other faults) during live-gigs drove me crazy several times. Please dear Kemper-Team check intensively before Update.

In the studio the KPA is unbeatable. No idea at all where to improve it

I've been making music for more than 30 years and I owned many (and still own some) guitar-amps and nearly all of the line6-stuff (but no Axe-FX), but since the KPA is on the market my paradigm changed. FUTURE HAS BEGUN.

Quote from DrFaust

Hey guys,

a few days ago i talked with another kemper user about how cool the kemper features are, but that the kemper seems
more to be a tool for recording, profiling, experimenting with sound and stuff. Yes it also has the performance mode,
but it still providing lots of features which are not neccessarily needed for playing live. As far as i know most of the
soundshaping stuff is happening on a microcontroller and smd parts. That inspired me to the idea of how cool it would
be to have a small device/pedal which uses a profile which i created/edited before on the kemper.
It would provide lots of advantages for people traveling alot, playing live etc.

- Easy to transport, no big case or rack needed.
- With external power supply it could also be put onto a pedal/fx board, to save space.
- You could use a seperate power supply (battery etc., depends on the power needed) so u could could plugin a headset, and play while taking a train for example.

[Blocked Image: http://i.imgur.com/XJll2EM.png]

Device features could (!) be:
- Footswitch, to mute the sound and use the pedal as tuner during playing pauses.
- Optional send/return jacks to include seperate pedals into the fx chain
- Headphone out - for practicing silently or checking the sound
- Main output jacks depending on what is needed
- Power jack for external power supply
- Display to show the name of the profile, tuning, master volume or something else. This display is just an example.
- On Off switch, to save battery when not used.
- USB slot for loading the profile saved by the big brother kemper

I know it sounds like i'm dreaming to much, haha, but i would just like to know what you think about the idea. Is it realizable? Would you use it? What features would be missing?

Thanks for reading

Dr. Faust

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and also one version with in-built-power-section (as f.e. the new Tom Blug amplifier). you then need only your pedalboard and a guitar cab for gigging.

Boss FS-6

Quote from paults

It might work, if you try switching the cabinet off - otherwise, you are listening to your amp and cabinet, miced up, through your cabinet again (as opposed to listening to your miced up amp and cabinet through a full range monitor or headphones).

When I play the profiles on stage through the same box, I use the monitor output with "cab-off". I think the cab-off-option is determined to be used in this way !!??

Quote from DonPetersen

Sorry, but many pros of the highest caliber are using the Profiler live and are extremely happy, so this sounds like user error to me.

If you 'crank the master' you are saturating the outputs of the Profiler and even though they are designed to handle even high levels really well and utilize soft-saturation, there is a point when all fail-safes will give up and the output will clip. This is the harsh distortion you're referring to.
are you using the powered version?

Of course, I think, I'm doing wrong. That's why I ask for help.

Yes, I'm using the Powered-KPA with a 2x12" Mojo-Box with 2 Celestion G12H30 Heritage.

I profiled my Two Rock Custom Signature Reverb II with the same Box, clean and with a Providence Stampede Overdrive for Crunch sounds and with a Zendrive for Lead-Sounds. I profiled at rather high level with two mics one SM57( direct sound) and a AKG -Kondensator (room sound), maybe that's where I caused my problems.

Thanks a lot for some great recommendations especially for miking. I will give my profile-ambitions further trials (as I now think with one mike at different postitions) .

Would you also recommend to make different profiles for clean, crunch and distorted sounds and each profile at different volume levels of the reference amp?

My profiles differ a lot live on stage , when using different levels, (I use the powered KPA with a 2x12" cabinet for stage monitoring). As I understood, the once made profile ist most natural sounding, when using it later in the same (or similar) loudness where I made the profile. So, should I profile different volumes of the reference amp if I want to use profiles later on large stages and small club-gigs? Or is it better to use only one profile and dial in different EQ-settings or/and different OUTPUT-Settings for the monitor-output when playing louder?

Should I -at the beginning of the profiling-process- put the settings for INPUT and OUTPUT (on the KPA) to a neutral position (and if so, what should I dial in)?

The guitar sound of the P.A. (signal of main output with similar cab-sim) is also completely different - much more bright/thin - compared to my stage sound. should I try to change the main-output-EQ just until it sounds similar ?

Sorry for my questions, but I have huge problems using my powered-KPA live. The sounds sometimes sound too muddy (listen here: https://www.youtube.com/watch?v=WFO-xjxUP1g) sometimes too thin. And the distortion sometimes becomes harsh when cranking the master volume (f.e. on larger stages). For recording I couldn't imagine a better solution but for live there is much improvement necessary I think. Penny for my thouhts

Quote from SanctumSolaris

I am at half on the Master Volume, zero on the Preset Volume, Main Output at -13.00, and Monitor Output at -13.00. I play with very high gain profile so I use both the Master Gate and insert the 4:1 gate in Slot A. Not sure how much gain you are running but my gates are set at 5.20 and 3.40. Also, clean sense is 3.30.

I have no noise or hiss, and when I stop it slams shut. If you play with less gain you can certainly adjust the gates. Hope this helps much better than a canned response of "try it yourself" or "what exactly are you using and trying to do."

That's very informative for me. I will give it a try with your settings, though I use mostly low-gain sounds. Looks like as I have to reduce the Master Volume, thanks a lot

What are the best Output level settings for optimized signal-to-noise-ratio? for studio and/or live situation

Main-Output, Monitor-Output, SPDIF, etc.

I have some problems with overloading the Output section (red LED) with my selfcreated Profiles

Regarding the huge amount of replies, ideas and proposals of this great forum concerning the KFC is maby a bit scary for the devellopers. I would'nt dare at least to decide nor the size nor the design of the KFC-prototype when I see the contradictory recommendations of our community in this threat and the complaints to be awaited after release.

As a user who encourage the Kemper-team to come out with the first Prototype very soon, I ensure that I also would accept no perfect solution at the very beginning but therefore a similar helpful Support via Updates as for the KPA itself. Otherwise I think, we all have to wait still a long time.

Kemper Team: Maybe it is possible to give us short information at what point of the project we are, and when the prototype probably is supposed to be available.

Is there a more detailled guideline (than in the manual) available for making best profiles? I have a lot of open questions which are not dealt with in the manual.

F.e.: Is it better to profile with two mikes? one in front of the speaker one in the room?

Which criteria are most important to preselect a similar profile as reference for the Profiling process? (Amp-Type, Gain-Level, Speaker-Type, Fx-types ??)

Should I profile at the same volume level, where I intend to use the profile later?

Is it possible to profile my specific Guitar-Box and use it as a cab-Preset ?

Is it possible to profile specific FX-Boxes (Pearl Overdrive, TC-Phaser) ?

Maybe it is possible to share tipps and tricks for profiling as a new specific category in the Kemper-Forum ?

Since I loaded the new OS 2.4 several changes occured.

1. My programmed sounds changed on the monitor-output (I there use a 2x12" Guitarbox) - they got a bit thinner.

2. My wah is programmed to stop when the pedal stops. Now, sometimes it stays in Wah-Sound-On even when not in use (I use the Behringer FCB with new Uno4Kemper-chip)

3. Some prgram-change problems with my behringer-fcb now disappeared (which is positive!)

I changed to OS 2.3xxxx and the problems disappeared. I changed to OS 2.4 they come back

Any similar experiences out there?

+1

I don't understand criticism. I think everyone convinced him-/herself to buy a unit, regardless at which point of time (software release), not knowing for sure if or how the unit would be developped further at all. Everyone made the decision just for him-/herself alone at that point, and all decided, that the KPA is worth to investigate the money.

I don't know many products, where new developments and features are provided FOR FREE. It might (and should) be normal that bugs and faulty functions are repaired as a customer service, but additional features - and there are a lot until now, I got since I bought my lunchbox- didn't cost me a cent.

What would you complain about, when the Kemper-Team offers a library-management-application for charge (with every feature you may imagine) and a bit compromise-afflicted solution free of charge we all currently are owning?

Complaining, moaning and criticising is unfair concerning the commendable customer service the Kemper-Team provides us with. Good ideas should be expressed as suggestions from the "user-front" but not as urgent problems.

I'm really curious about the prospective inventive Kemper ideas and solutions concerning Floorboard, connections, features etc and I will be patient, hope you also do so...

Blooze'n Groose

Quote from viabcroce

.
Hey, I strongly want a librarian myself!
Please, re/read my statement in its context: I wrote that you're evaluating how much time is "too long" based on your priorities only. I mean that Kemper have a lots of things to look after, and for them - I guess - 6 months are not "too long". Just that

Let's hope it comes quickly, but - much more important - let's hope it comes bugless (unlike Axe Editor)

+1

that's it.

Quote from Gibson

I agree, a good way to achieve all cases should be :
- the performance rigs always point to a "browser mode" one
- When a browse rig is assigned to a performance slot, the device simply asks if we want the original, or a copy. In the last case, it creates a copy (accessible to the browse mode too).
- A good thing should be that these copies should be tagged by a "performance slot" just like "favorite". So we could imagine that in browser mode, it is possible to filter to show or hide the performance copies.

By this way :
* By always asking "yes" when the device asking for a copy ... the behaviour is the same than the current one.
* By creating a copy, you can edit a rig either in performance mode or in browser mode.
* And you can also create performance by pointing the same rig (and then, editing all of them at the same time)

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Quote from Gibson

+666

I'm using my KPA mostly in Performance Mode during my live-gigs and also in our rehearsals. For this reason I have created a few basic-rig-sounds (f.e. nice clean crunch and lead sounds) in Browser mode an have copied them in different performances-slots, because I use them in a lot of songs.

The problem in live-situations is, that when I'm optimizing a rig-sound f.e. in performance 1 slot 1 (f.e. to match my sound to the surrounding for a optimum stage sound) I cannot use the result in all the different performance-slots automatically. I have to copy it first, which -for sure- can not be managed in live situation (when using many performances).

The reason for this is, that the used rig in performance mode don't refer to the "original created Rig" in the Browser-Mode, because it is only a copy of the rig.

I think, for the KPA-live-use it would be more conveniant, that every rig in performance mode is a copy of the original rig in Browser Mode, so that a change to a rig (via Browser- or via Performance-Mode) is valid in each place where this rig is used. (I hope I'm not confusing anyone)

So it could be a really necessary feature, to be able to create rigs in browser-mode and then f.e. tag them as "global". Any change to those "global-rigs" f.e. in performance mode then cause a change of this rig also in Browser-mode so that automatically this rig-change is done in all the other referring performance-slots.

May this be a feature of the future (hopefully)