Posts by Antipodes

    If you would like the option to go with stereo, this jack plate will supply all the wiring and switching for you - piece of cake to install, replacing the existing jack plate. It gives you the choice of stereo 4 Ohm and mono 8 ohm and 2 Ohm with a pair of Kones in a 2x12 - it just depends which input socket(s) you plug your power amp into. Just tape over/avoid the 2 Ohm socket if your amp is not capable of supporting such a low impedance


    https://www.amplifiedparts.com…plug-and-play-mono-stereo

    I had heaps of trouble updating to 7.5.3 with a Win 8.1 machine - failing to log into the kemper update server or connect to rig exchange. I successfully updated to the latest RM but couldn't update to 7.5.3 - no trouble previously on this machine. I moved to a borrowed Win 10 machine and after updating to the latest RM everything worked first time with the update and with Rig exchange.

    Rewire the drivers so that you have a series pair on each side - that will give you 2 x 8 ohms in stereo and if the mono mode runs those two pairs in parallel you will have 4 Ohms overall.

    Main outs or SPDIF are recommended. The Volume knob on front panel right controls output level of whichever outputs (any or all) are linked to it. This could be turning down your line level if it is low to suit your headphones for example.

    There are many level controls in the output menu which - if the settings are low - can limit your output volume. Check them out to see what is actually being routed to the outputs you are using and what settings are applied.

    Mass per unit length goes up as the square of the string guage and the mass of vibrating string directly effects the signal amplitude your pickups produce. From a 10 to an 11 guage gives you 21% more string mass and this should boost the output voltage of your signal by a similar amount. So going up a guage is definitely louder at the same settings and this is most significant/obvious when playing clean tones. You can get more gain easily enough with boosters goosing your amp's preamp or turning up the amp itself but the tone is not the same for clean tones. Clean jazz players using traditional archtop setups often use heavy gauges - 12s, 13s and even 14s for shorter scales.

    I think the use of the term "direct profiles" contributes to this confusion. This has meant in the past direct profiles of the line output or speaker out of guitar amps. These can be used with guitar cabs with conventional guitar speakers with good results but not with full range PA type amplification. With the advent of the Kone, "direct profiles" are now including acoustic and bass profiles which ARE meant to be reproduced with full range PA style systems.


    Kemper users with collections of commercial direct profiles or direct profiles they have made themselves want to exploit the speaker imprints offered by the Kone with them. They want to apply the speaker imprints to these direct profiles.


    So the use of "direct profiles" terminology is being applied to opposing use cases - 1) where the imprints are applied and 2) where the flat response mode is applied.


    Finding another term for the acoustic and DI bass amp profiles (ie without cabs) might help clarify things.

    I would like to use two Kabinets in stereo using an stereo power amp.

    The inconveniente I have with my KP head, is that I am already using the direct output/send in a stomp loop. Is there another alternative to send stereo signal to the power amp using just the monitor out, or sacrificing he fix loop is the only alternative?

    For the toaster and rack that is the situation - you lose the output for the loop when it is configured as part of the stereo monitor out. I gathered that the Stage has dedicated stereo monitor outputs so I think a loop is still possible with the stage even when stereo monitoring is being used. (any corrections or confirmations of this are welcome)

    Might be worth mounting the IcePower module on a bit of sheet aluminium - as a heat sink. Even better would be to have that heatsink facing outward on the back of the cab.

    OK - I see the cathode resistor with the bypass cap mounted on the PC board and there are a couple of other resistors attached to the switch. Looks like one is wired in series with the resistor on the PCB and the other runs down under the board. I am guessing that a higher resistance under the cathode lifts the voltage at the bottom of the gain stage and results in the effects you mentioned - with less compression etc. Interesting - I guess this sort of mod could be done to almost any tube pre circuit.

    Delivering gig/rehearsal volume is going to be the result of 1) the power efficiency of the driver - eg 98 dB at 1 watt is what the equivalent Celestion Whizzer cone speaker is rated at and 2) the power being dissipated in the speaker system. (The design of the actual cab itself will have some bearing on how well the room is excited by the driver.)


    Power handling rating (200 watts in this case) is simply about how much thermal energy the thing can cope with. In practice, the two things are not unconnected though, given that the product designers will want to specify power handling adequate for a typical use case eg producing volume adequate for gigging and rehearsing. To achieve that, they might have intended the driver to be used on its own or in sets of 2, 4 or 8.


    Early Celestion greenbacks, for example, had only 20 Watt power handling (paper voice coils that can actually catch fire if they are pushed too hard) and you needed 8 of them to cope with the power of a cranked 100W tube head. These days, Celestion makes a 150 watt RedBack and a Neo 250 Copperback with 250 watts of powerhandling - these have 2" and 2.5" copper voicecoils to cope with disspating that much power.