+1
A UI that replicates the KPA interface (to maintain familiarity) for computers (OSX/Windows) and/or tablets(iOS/android) would be greatly appreciated. I love the KPA's relative simplicity on-stage, but I'm worried about the longevity of some of those most used knobs. Being able to do all the tinkering at home from a computer or tablet would reduce the wear on the hardware by 90% or more.
+1
A performance-editor could be a decent first step in extending the rig-manager to a full "profiler-manager" with full-featured editor. I'm concerned about the reliability of some of the most used knobs on the front panel for the long-term. There would be a lot less wear on the hardware if I could do all the tinkering at home from a computer or tablet.
1. I have found the same issue with multiple firmwares
2. I have found the same issue with my two Kempers, Head and Power-Head.
3. I have reset global settings (initialize global settings)
4. ***Sorry, forgot to note that my CS is presently set to -6.0db
If the input doesn't clip (input green LED) then I don't see why the output would clip unless the rig-volume is extremely high. Your guitar/pickups etc shouldn't make any difference if the KPA's input doesn't clip. It is very few of the standard rigs or even the entire collection available on the rig-exchange that have the volume set too high for the output-stage. I'd guess that less than 1% of the rigs I've come across have the volume set so high that the output goes into the red, and even those are easily fixed by reducing the rig-volume a bit. I would have suggested defect hardware, but find it hard to believe that multiple units all would have the same problem unless they've been damaged by something external.
How is you power?
You don't use any external boosting stomps or other external equipment with the KPA?
</scratching head>
AFAIK there was a similar unit announced called X16 before the X18 which never made it to market.
I think it took so long that the X16 with a couple minor mods was relaunched as X18. Recently they announced XR18, a rackmount version of X18 as well as XR16 and XR12 digital rackmount mixers. The product presentation indicate that these somehow are intended to replace much of the current line of analog mixers. However, given Behringers recent track-record, I doubt customers will see any of these in the next year or two. It took them 2.5 years from the X32 was announced till the first full-size version of the console shipped. Even the smaller X32s that supposedly were just downsized versions of the full console took over a year from lauch-presentation to first shipment.
In the one guitar I do have using a Burstbucker (Type I I believe), I have to turn things WAY down. But with my LP using Classic 57's I don't.
I'm using the same input settings with most of my guitars which include a LPC with BB2/BB3, a Tom Anderson HSH superstrat with a set of their hottest passive pickups, as well as weaker pickups in a strat (Lindy Fralin vintage hot), a tele (G&L alnico) and a 1979 L5 with original humbuckers. I rarely touch the input sense parameters at all. Maybe a guitar with active pickups would be different, but I don't have one. By adjusting the input sense to make all guitars appear equally hot I find that I'm washing away the uniqueness of each instrument. It's better to have separate rigs for each guitar where gain and volume are dialled in for that particular instrument. I generally just make sure there's no clipping on the input (rare), use the gain+eq+effects to dial in the tone and set the rig volume so that the output doesn't clip.
The X-touch-line are controllers, not mixing consoles, and they are primarily targeted at controlling DAWs. The cheapest digital mixer from Behringer is still the X32rack until the compaxt X18 comes out rsn. With future firmware you're supposed to be able to control the whole line of X32s using X-touch though.
Could someone run a test to see if anything has changed?
I haven't run any formal tests, but I haven't registered any changes in output-levels from the KPA between any of the firmware releases I've tried in the 18 months I've had the profiler. There has been issues with settings being lost in upgrades, but once set levels have always seemed constant to me.
How do I "detach" the main outs?
Press "Output". Then use the page-buttons to scroll to page 2/5. The checkboxes at the top of that screen indicate which signals are affected by the master-volume knob. Press the button above "Main out link" to deselect.
There are two things you should do to please your soundman:
1. Cut the main output level by 10-20dB (about -15dB is usually ok) in the output section if you use XLR outputs. Many moden pro-level digital consoles operate all inputs as mic pre's. For line-level inputs they require the use of external DI boxes. You may run the KPA 1/4" main outs through DI to the desk, but you can just as well run direct XLR-XLR if you pull back on the level.
2. Detach the main-outs from the master volume in the output section. Then you can mess about with other volumes (headphones, monitor) as much as you please on stage with no effect on the signal going to FOH.
I am coming out of the KPA Direct Out using a 1/4"
Ahh ... I didn't notice that about direct out. Was thinking a direct connection from main out rather than using the port named "direct out".
Direct out is just a "copy" of the input, as if you're plugging your guitar directly into the computer's soundcard. Some people record this signal alongside the regular amp-output for re-amping purposes, but to do so you either need an audio-interface with a high-impedance input, or to run the signal through a flat/neutral preamp such as one found in an active DI-box to bring the signal up to either mic-level or line-level depending on the interface you're plugging in to. It is quite common for multi-port audio-cards to have one or two inputs labelled "Hi-Z" that you can plug a guitar directly into. With such a card there's no need for a DI
Have you tried to use XLR directly to the Apogee? I use direct XLR-connections for the mains for both live and recording purposes. To avoid complaints from the FOH/recording enginners about an overly hot signal I have to back off 10 to 20dB on the KPA's main outputs. If the apogee is able to handle hot (line-level) signals on XLR you may not even have to limit the KPAs output.
What is your main output set to? Chances are that it has been lowered a lot (-15 to -20dB) if you have used a direct XLR-connection to a mixing-console or recording desk in the past. This would make the 1/4" output quite low.
Beware that the default output volume (output menu section) is rather hot if you run XLR into a device with mic-pre's. I usually back off somewhere between 10 and 20dB on the main out to avoid complaints. At the same time it may also be wise to detach the main-out from your master volume. That way you leave the mains level stable for the sound-man or recording-engineer to handle regardless of how much you mess about with the level for your monitoring speaker or headphones.
I've also tried other options such as 1/4" via DI-boxes and using hardware attenuators on the XLR-connection but concluded that staying with a reduced output and direct balanced XLR has no negative effect on signal quality.
Then there's also S/PDIF out if you have a mixer or recording-gear with digital input.
I'd prefer individual feature requests not include polls. YES/NO polls about feature requests can lead to hurt feelings, antagonistic posts, and a divisive atmosphere.
I fail to see how a negative poll can be even anywhere near as insulting as harsh comments.
I'd prefer individual feature requests not include polls. YES/NO polls about feature requests can lead to hurt feelings, antagonistic posts, and a divisive atmosphere.
Wouldn't that attitude also exclude comments? Harsh comments may hurt a sore soul a lot more than a few negative votes.
Is it possible to automatically turn threads in feature-request into polls, or otherwise make it simpler for people to voice their opinion there?
I would like to see more ways to utilise expression pedals and this is one example:
Set end-points for rig-volume and gain (heel volume, heel gain, toe volume, toe gain) and have a linear transition with the expression pedal. This would make it possible to increase gain while maintaining the same output level (back off the volume as the gain increases). It would be a great tool when you're "riding" the edge of breakup. Different pickups and tone-setting on the guitar affect the breakup limit and having this mapped to an expression pedal (in my case the second or wah-pedal) would make it a lot quicker to adjust than having to mess about with both the rig-volume and gain knobs.
The concept could of course be extended to enable similar control of any single or set of attributes.
And for a long time, the recording industry actually cared about artists
That's very rare. Most ppl in recording/production/distribution never cared about artists at all. They've been concerned about their income. The fact that someone found a way to commoditise music at some point doesn't give them a right to keep that business forever. They have to face and accept disruptive technologies live everyone else. Most of the industry (production, printing, storage, transport, shops etc) has been made obsolete by technology already. Many of those left are bloodsuckers who don't make any positive contribution to the end product. As a part-time artist I'm making 3-4 times more a year today compared to 20 years ago just because modern technology has made it possible to bypass the parasites.
I history commercialisation of intellectual property is a recent invention. Prior to the invention of recording and distribution media living musicians would have to perform to make an income. Not too much earlier there wasn't even an opportunity to make a buck from sheet music. With digital distribution one may just as well see it as a return to basics through sharing, as theft. Societies are still struggling to make up their opinion on which definition to support. The recording industry has a lot of influence through their wealth, but it is far from clear that the industry's bare existence is to the best of society.
The idea behind the KPA was to create a community, not a commercial platform. I think this is best for the long term.
Btw, I fully respect the integrity of commercial products whether it is KPA-profiles or other music produces, but I prefer the community approach that pre-dates the commercial music industry when given a choice.
