It is indeed $60, as long as you are not using it for commercial use. From the opening post I am assuming it is for personal use.
$60 - correct. Lifetime - well, yes, lifetime use, but not lifetime UPDATES 
Posts by Michael_dk
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That's CRAZY, Sam!
You ROCK! -
I guess what you can do is plug the Rocksmith cable into a Kemper physical output (e.g. Monitor Output) and configure that output to "Git Analog" to get the raw signal. In the Rocksmith app, you'll need to configure the mixer settings to reduce the guitar volume to zero so you won't hear your playing "delayed" -
Yes - this is exactly what I did (on a PC) - worked like a charm.
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Check that the sample rate is set to the same rate on both kemper and interface
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All other crap aside.... It is possible that next time the mic feedback problem might be alleviated by singing more loudly into the mic / closer to it. That's often the culprit - the FOH engineer having to turn up the mic channel in order for the voice to be heard, which causes feedback from the PA->mic.
Especially if the performer is a bit "shy" about his or her voice (I have no idea if you are, mind you :-)), then turning up the mic often causes people to actually sing less loudly, which makes the problem even worse...
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How high was you master volume set?
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The higher the Q, the narrower the bandwidth
Don't set it too narrow to start, it'll just be confusing. Dial the Q up a bit more than default, then sweep the frequency spectrum with a boost of between say 5 and 10 dB. Toggle on and off to recalibrate your ears while doing this, to find the right frequency. Once you find that it does seem to accentuate the sounds you want, try to dial the Q a bit higher and see if you target the frequency better. Once you find it, adjust the boost to where you want it.
By the way, use the headphones to find the frequency that you are looking for and narrow it in there. Then switch to the Laney to determine amount of boost, and possibly adjust the Q a final time.
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Suggested using Input Presets but in retrospect I think I was wrong 'cause I can find no mention of them in the manual, nor can I see an option to load or save them on the unit.
Sorry. Could have sworn that this was possible.
It is
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The lock only needs to be engaged once, that should be it I think. Regarding midi, I don't know how - or even if - it can be done, sorry
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Hi Sebatian,
Regarding how the amp (profiles) distort based on the output of the pickups:
One route to go is to simply treat the kemper as a regular amp and accept that the difference is there and work with it - ie. accept that some guitars drive the amp harder than others
Another is to store input settings on the kemper, where you can adjust the clean sens and distortion sens for each individual guitar to get them closer in how they drive the profiles. You simply adjust and the push the "store" button. Also remember to "lock" the input section, otherwise the settings will be lost when you change profiles. You recall input settings by turning one of the knobs above the display (I forget which one).
Regarding the loudness/output of the kemper (output stage):
I believe you can do the same as option 2 above, but for the output stage. Keep in mind that there is a lot of parameters in the output stage (EQs for different physical outputs, etc etc etc...
You could also - in the output settings on the kemper - link the physical output you use to the "master volume" knob on the kemper. Then you can tweak that quickly when switching guitars. Keep in mind that this will change the volume of all the outputs linked to the master volume knob . The output section has a volume setting for each output individually, and based on where this is set "on the scale from low to high", I believe the master volume knob (if linked) allows you to make fine or coarse adjustments. I seem to recall that having a low setting on the individual output means that a slight turn on the master volume yields a large change in actual volume - and a high setting on the individual output means you can turn the master volume dial "more" before the same relative increase. Or vice versa. I may be totally wrong about this.
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Did you by chance tell the kemper that it was profiling a clean rig rather than an overdriving one?
Don't know if it would make a difference, but that's all I can think of at the moment...
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Why spend so much money?
You gotta consider that the apple cheese grater is actually much bigger than the IKEA one - the photo does not do it justice!
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When connecting hte kemper via spdif, the kemper must be set to master. It can, however, be set to 48k. But I assume that you don't want to use the kemper clock for your converters regardless.
I don't know about the cables - you could of course try, but it's a long shot. Try with the cables you used for connecting the monitor directly to the kemper.
One thing to try, though, is to make absolutely certain that the cables are plugged all the way in to both Kemper and converter.
Actually, go into the output section on the kemper, there is a bunch of pages where you can EQ individually the outputs of the kemper. Check to make sure all the controls of the outputs are at <0.0>. I should have mentioned this first
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It does sound like some phase or polarity issue. Have you tried listening through the converters with only ONE channel from the kemper connected (left or right)?
The fizz/distortion you described while using spdif sounds like the converters are set to a different sample rate than the kemper. Which sample rate do you run your converters at?
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I think for most music producers the mac pro is overkill, and a "regular" imac will be more than sufficient. Larger studios is another matter, and studios where they work with television etc.
Regarding the monitor - I don't think it's intended for music production at all. You could of course use it no problem, but I don't see why anyone would want to buy it simply to use with a DAW.
In any case, the functionality of the stand would make the production price WAY more than 40-100 dollars.
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I'd say if you're not satisfied with sinmix' profiles, try looking at other people's free/demo offerings instead to see if they match your tastes better.
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Yeah, I think the earlier iMac Pro foreshadowed the price of any mac pro to come. Very expensive.
On the upside, the "regular" iMacs are very powerful.
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The gain is assigned automatically during the profiling process, like Definition. However, the person doing the profile can of course adjust it after the fact, before uploading.
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I seem to recall that when reading reviews of the JBLs some years ago that it was mentioned in one review that there was something about them that made reverbs stand out less than other monitors, causing some people to overcompensate a bit if not careful. I can't find the article now. I may misremember, it might have been the top end or something - so please don't base things too much on my faulty memory
From what you describe, though, it definitely does seem like a monitor issue. Try experimenting with reverbs in your DAW (eg. on a vocal recording or something), and see if you don't get the same difference there.
