Posts by V8guitar

    This could be a number of things. First I would rule out your monitoring, so check via headphones.

    Next check your profiles. Try plenty of them as they can vary wildly.

    Most of this is set up as I've never had this issue and there are too many blind tests showing its very comparable. I try not to eq much as the base sound should be good.

    I believe that if it doesn't sound good, 95% of that will be you....either your set up, expectation ( I found when going back tot he reference amp, it wasn't as amazing as I'd thought), playing or profiles.

    To add: I found the KPa is like any really good amp - its sensitive to variables more so than a cheap amp, hence it will show up deficiencies

    Chris has pretty much nailed it, but just to add...

    The KPA has a lot of other parameters you can change along with eq etc ( defintion, power amp sag, pure cab etc), not to mention IR's, so if you are a tweaker, there is plenty to go at. Like Chris, I'm not much of a tweaker so it depends upon your personal needs. What I personally like is that those settings are like the next layer, the main settings are there on the front panel, giving it more of a "amp" feel/layout so seems to suit both types of people.

    I was ( and still am) a novice in the home studio side. I went Focusrite for an interface which came bundled with Ableton lite. As mentioned most DAW's are much of a muchness but also take a bit of time to get used to. I also struggled a bit with set up, particularly on the focusrite not playing nicely with windows/ASIO to be able to play music on my PC and playing along with it ( not a complex use case!). Its sorted now and I really like Ableton but I would really think about what you want it to do. Plus they can pull a lot of processing/RAM, so make sure its a reasonable spec laptop.

    So is it worth integrating? Totally. Anything from pulling down backing tracks and adding your guitar, through to developing harmony lines through multi track, to writing songs and laying down your ideas...DAW's make this so easy once set up and you have the basics.

    Note I don;t use the KPA for recording purely from a hassle perspective ( its in a rack ready for live stuff) BUT what I've found fab is that I've done a live gig, recorded it ( Multitrack) and then fixed my parts afterwards....because my KPA has the settings in place, playing over the mistakes is seamless! Its fab and worth having the DAW for that alone!

    Couple of other things that might swing it for live playing:

    1) No more miking cabs....sounds silly but for me its now plug in XLR, sound guy goes "yep". Level check is literally 10 seconds.

    2) Convenience - I use no outboard effects so no messing around with power source at the front of stage. I have 3 wires now ( as I'm wireless), power lead, speaker lead and Lead to remote. Set up is the quickest ever

    3) Convenience part 2 - I have the powered rack which is small and lighter than a Valve amp. Means I can plug and play into a venue supplied 4 x12 with ease...

    4) Convenience Part 3 - because I use no outboard effects and can set up my performances the way I want. There are so many options you can choose from but its like a multi channel amp....x10. Switching between fender for clean to mesa for hi gain, with a bit of delay for solos but dry for Rhythm...then a bit of boost via morph for riffs...

    These aren't unique to the KPA but a big advantage of digital.

    I never thought I’d see this day, but I sold my dream tube amp and basically my entire rig to buy a Kemper. I love tube amps, but the Kemper just fit my current needs and situation a lot better. I freakin love this thing.... 8o

    >>> HERE'S MY STORY! <<<

    We all went through this ( in some way or another...some people still keep theirs :) ) but for me, there is no perfect amp. I like many of them but I can;t afford to drag 7 or 8 amps to a gig etc. The KPA isn't perfect but it covers so many bases really, really well.

    Its now my dream amp...

    Get rid of those pedals, you don't need them :)

    For me its been a massive change, 6 years in, not looked at another amp/solution since.

    The session sounds great as well!

    That's actually a pretty critical insight. So, the profile is not a profile of an entire amp and all the sounds it makes.

    It's only a profile of that amp at whatever time settings it had at the time. Any "tweaking" done on the Kemper, such as adjusting the mid, treble, high gain, is just software by the Kemper. Is this correct?

    Just to expand on this....yes the KPA cannot profile the whole amp. It takes a snapshot at the current setting.

    This is the key bit....

    You can of courser change the eq and gain settings on the Kemper post profiling BUT as most amps have interactions between the EQ settings etc and therefore not linear, the KPA will become a less accurate version of the amp. That doesn't mean it won't sound good though.

    So please don;t think you can;t change the sounds and get good results or that its wildly different. Its also an advantage. I can theoretically dial in more gain on an AC30 profile than a real AC30 ( not that you might want to, but its possible).

    The reason I ( and many others) don;t tweak is because:

    1) If the starting sound isn't good, then there is a good chance you can't EQ you're way out ( not always true - many find the MBritt profiles dark but with a bit of tweaking come to life).

    2) I'm lazy and I often can;t hear wants wrong with a sound, I only know its not right. Therefore is better for me to move on. That's a personal choice.

    I know very well what you mean ... and I certainly agree. But ...

    1. Don't hire an engineer you don't trust in the first place.
    2. If you need to hire a triangle soloist for a gig, you'll have to trust him/her. You'll make sure you get to know each other enough so you're confident he/she will deliver the best possible triangle solo and right where you want it to be. You know and accept that you can't "control" it once you're on stage.
    3. The triangle soloist shouldn't ever try or even consider hitting your guitar strings with his/her triangle stick .... unless you guys agreed to it being part of the performance upfront.
    4. The triangle soloist, a human being with creativity and musicality, might have an idea how he could spice up your Death Metal song. So you should welcome him to demo his idea to you. Maybe it's something you didn't even think about ... but like it once you heard it.
    5. Engineers can be pretty amazing "triangle soloists" ... and might even be considered "band members" for a limited time frame (during the production). A "pro" engineer will work for the benefit of your music and not to satisfy his ego by turning everything upside down just because he can.
    6. If you record a DI track, there's no obligation to send it to the mixing engineer. But you have it, just in case.


    It's good to "commit" to something if you're confident that it's the only possible way to go.

    It's good to have options, just in case you're ready to open up for ideas you haven't even thought of.

    Very true :)


    So much more experience on here than I can offer but a fundamental question that has been raised is how much control you want to retain vs trust the engineer.

    That would drive if you send a DI track or not. Will you be able to control the re-amping or not.

    If it was me, I'd record my parts as accurately as possible with the base sound (gain level), but no effects UNLESS they are integral to the part.

    You may need to do some research but the Presonus is pretty good in my opinion. Monitors will cost more unless you have those already. For example I have some Yamaha HS7's which are about £350 ish a pair....

    Any noticable latency will not be from the Kemper but how its monitored, buffering etc.

    On the subject of recording, one big advanatge I found is that when I recorded our band live (multitrack) if I made a mistake I can fix it at home becuase the sound from my Kemper is exactly the same through my DAW as through the PA :)

    BTW - why do you need to connect to a PC? The answer should be for recording. If you don;t need to record then you can just use headphones. If you play along to MP3's, you can connect an audio device into the KPA for playback. Worse case you could get a very simple mixer and use headphones etc.

    Just a thought, as it might save you the hassle of connecting into a PC as you usually need a DAW etc...

    BTW Im also old school :)

    You cannot connect to a computer without an interface. Some devices have this built in, the Kemper doesn;t ( in the same way you'd need an interface to connect a mike).

    You connect either using an XLR or SPDIF.

    There is no major latency with the KPA, its with any interface and how its set up.

    A simple interface will cost you £100 max, there are loads to choose from. The Presonus Audiobox is pretty good. The Focusrite stuff for me was a bit fiddly...

    Connecting to a PA - yes direct into the PA, you don't need anything else.

    If you intend to play live as mentioned, I would start with it now. Its actually easier with the remote to set up because you can assign your stomps and morphing easily.

    You can do it all via the editor but actually the remote is so aligned to the KPA, I would break it out fairly soon, once you are convinced you'll keep the KPA.

    Best thing I ever bought - KPA

    Second best thing I ever bought - the remote :)

    Finally got to gig since getting my Kabinet and I have to say it was impressive. The power and spread from such a small unit was incredible. Worried it can't handle the volume? My ears are still ringing as I pulled out my in ears to get the full glory!

    Onl;y down side was when using the acoustic sim, I was getting drop outs as if some "protection" was shutting off when I hit certain frequencies. Not sure what it was so need to check that out. Didn't seem to be doing it at lower volumes and hope I didn't blow something :) was the last song of the night so I need to check it over...

    Otherwise, very pleased.

    Its true that some people don;t get on with the Kemper but that is the same with any product, that's always a risk, but the reasons aren't always that obvious. Some pointers from me

    1) You don;t need an amp to profile. Its one of the big advantages that you can profile your own amp and then get rid of it. In your case, you will still have access to 15,000 profiles free from the Rig exchange and countless commercial profiles.

    2) Tweaking - Im not a tweaker....if it doesn't sound good off the bat I move on. Could you be disappointed with Mbritt profiles? Possibly, but you can try so free profiles AND the cost of profiles is so low that mistakes are not costly. No one here can tell you though if you will like them or the Kemper. What I can tell you is that I'd be very suprised if you can't find a sound you like.

    3) I have genuinely never looked at another amp since. It took some getting used to at the start but I now see no point in looking at others. I prefer it over a Helix ( I like the built in amp, useful for festivals and easier to get a good sound quickly) and the AXe stuff. These are all good though and are options for you! Amps are very subjective...I suspect I wouldn't like a Two Rock. My main word of advice is try to look past the digital aspect. I took me 6 months to believe a digital amp could sound like a valve amp. Trust your ears not your eyes. For flexibility, sound options, convenience, digital is way past vavle amps. Add that they get you at least 95% of the sound ( in my opinion is 99.99%) its a no brainer.

    4) It is expensive but compared to a really good quality amp, its comparable. As mentioned the returns policy is great and second hand market is strong, so your risk is relatively low.

    5) Volume - Kempers don;t rely on valve distortion in the pre amp or power amp stage. Therefore you get great sound at very low volumes. You will never get a "marshall on full tilt" sound at a whisper volume, but that is due to physics, not the equipment. The Kemper will get you as close as possible.

    BTW, those floor monitors will be right in front of me to try those squealing feedback signals with main outputs going to the PA's. The singer will be at center stage, and the bassist on his other side. But, looks like it might be time to get some in-ears. --just more money again.

    Thanks for all your suggestions!

    Dude, its really easy.

    Do you need stereo? As previously said, live I just don;t think its worth it. That will halve you monitoring cost.

    All you need is rack, remote and a monitor. I used o use a PA wedge but I tried a few ( as suggested). Because I went for a powered rack, the wedge was passive and only cost £180. Your main out ( as I use mono for PA as well) as you say just goes to the PA.

    Wedges work well because they point at the band so your levels are more sensible!