Posts by sambrox

    **Has anyone else wondered if there would be any benefit to setting the new Kone firmware to “EVM12L” while playing through an actual EVM12L?

    I can only imagine the contrary. As C Kemper has said that the Profiler uses DSP to flatten the response of the Kone, the imprint must be built on top of that adjustment, meaning the imprint/EQ profile applied to the monitor output would take in to account the idiosyncrasies of the Kone’s natural response. It would be like using room correction software for a home studio and then EQing a guitar for a mix made in that studio, then taking that mix someplace else including the room adjustment and applying the same EQ to a guitar recorded in a completely different studio and space. That made sense in my head, at least hahaha:D

    You will never get the same sound on both outputs, it’s physically impossible, as one has a microphone and mic pre in the equation. Exactly the same as it would be onstage. However, I don’t know any guitarist that records main tracks in the same room as the speaker cabinet they are recording through, unless it’s to generate feedback, or it’s a “live in the studio” thing. At the very least, they wouldn’t be relying on it as their monitoring source. I think your theoretical application won’t work, if you need to trust the sound coming out of the Kone as the same as you’re committing to “tape”.

    Dear CKemper,

    I noticed that the Imprint option is ATM available at the Monitor Output only.
    It seems to me this leaves out all those who use a stereo poweramp (be it retrofitted or external) with their Racks and Toasters?

    Probably, the Imprint function should be made available at the Main Outs as well, when the Cabinet section is switched off?

    Thanks :)

    You can use the stereo monitor out function.

    Direct Amp Profile. A profile made with a DI box between the power amp and the cabinet to capture the interaction between the two. You can then merge this profile with a Studio Profile to make (yes, you guessed it!) a Merged Profile. A happy side effect of this process is the accurate separation of the Cab portion of the profile, which can then be added to other DA Profiles without the KPA having to ‘guess’ where the amp ends and the cabinet begins, as per the Cab Driver algorithm. Hope that helps! :)

    I asked Thomas Blug on Instagram with regards to pricing. He didn't say anything about the BlugPrints, though he did say that the AmpX would retail for at least twice the price of the Amp1. Fair enough, I guess, now that it integrates the Remote1, BluBox, has digital and analogue FX and will also power your extra pedals. It seems extremely well thought out.

    Now this I'm interested in. I've had my Amp1 for a few years, but in conjunction with the Remote1 and Looper system, it became too bulky and heavy (and the gap when switching with my original Amp1 was a pain in the arse), so I use it now as a clean pedal platform mounted to my pedalboard. I'd love to be able to do away with (most of) my pedals and just carry the one unit. Any idea of a price range?

    I used the Helix for several years before coming over to the Kemper in August and the "snapshots" do resolve the issues with the audible gap when switching. I have setup patches with up to 8 snapshot in a preset and had as many as 4 amps in the preset too. While you will not be able to select any 5 amps like in the Kemper without running out of DSP, you can do quite a bit. I enjoyed the flexibility a great deal when I had the Helix and came to the Kemper just for the improved tones and unlimited ability to get any amp and not wait for Line 6 to make it. Of the short comings of the Helix, switching amps/effects and such is no longer on of them.

    It was a deal breaker for me, which is why I got rid of mine, and why my interest in the Quad Cortex is minimal. Snapshots drove me mad.

    Is the flat mode a result of correction in the Kemper software?

    Kemper stated when the speaker was announced last year that the profiler DSP is used to flatten the response of the speaker further in FRFR mode. Let’s see what they say at this year’s NAMM.

    I did a search on CK's forum name and the phrase "Clean Sense". He consistently calls it a volume control and in one post even considers taking the input LED out of action, as he feels it confuses people's understanding of the function. Mr Kemper also states that the input is soft clipped if the input signal is too high, though the KPA has masses of digital headroom at the input and the soft clipper only comes into effect when the input LED is consistently red. He also says that this has no effect whatsoever on the distorted sounds, as these are by nature hard clipped at a lower threshold. The only instances where clean sense could possibly be perceived to be affecting distorted sounds is with breakup/low gain tones, where the balance between the clean and distorted portions of the profile could possibly be audible.

    Make of that what you will.

    Those sounds don't inspire me in the slightest, but I'm more of a vintage tone guy these days. If I was still into metal, I think I'd love it. One thing I noticed from this video is that the stomp switches are waaaaay too close together to be able to work for me live. I have trouble with the Remote (the main reason why I'm considering the Stage, which has increased distance between them), so this would only frustrate me in the thick of a live show. Size 12 UK plates of meat and a congested footswitch don't go well together.

    Yeah, great stuff Sam , you went much heavier on the spring verb than me , the tones are more rounded too, more modern.

    I was really aiming for raw 50's tone, Thanks for the hint on the drums, but that's EZ2 not a real drummer this time.

    The OK Kings record was recorded before Kemper, and the amps we used were original mid-late 60’s Fenders recorded with ribbon mics from the same period (guitars, too). We were really going for authentic, but I guess the mix engineer dragged us back up to date, haha!

    I think the drums you programmed are great, but just a tad too punchy to be 50’s/60’s, which is why I suggested just using room mics.

    It still sounds good on second listen :thumbup:

    Nice tremolo! I used to play in a surf band (technically still do, though we haven’t played a gig in y e a r s. Check out OK Kings on Spotify, if you like) and you’ve got the sound of the rhythm guitars spot on. I agree with Chris, though. The lead is a bit too shrill, and a bit too gainy to be genre spot on, for my taste. As for the drums, for me, I always start with just the room mics and only use close mics to support the kick and snare if they get too washed out, though I use them subtly. You’re very close, though :thumbup: