Posts by Antipodes

    I think the definitive answer on how good the kones will sound with high gain/metal will be when someone drops 4 of them in to a 4x12. I've only recently split my 4x12 quad in to two 2x12's so I can switch between my JCM800 and powered Kemper. I must admit the Marshall (boosted, hi gain) dropped off in balls(? for lack of a better term) as expected with only 2 speakers. I'd be keen to hear from anyone who's dropped 4 of these in to a quad, If this gets the low end, full amp in the room for metal that a single 12" seems incapable of. I've always intended to get 4 Kones, I never assumed 1 or 2 would give the full sound I'm used to.


    P.S. I can't see any option on the Oceania site for discount on multiple Kone purchases. Is multi buy discount on Kones available for Australia?

    Yes - there are 2x Kone and 4x Kone items on the webshop. Don't order the 1x and edit the quantity to get 2 or 4 as then you will not get the discount.

    RCB - I don't know if this is relevant to you but one reason why Win 10 won't install is if the system is based on an old CPU/chipset. Early Intel Core systems (ie before Ivy Bridge from ~ 2012) will not work with Win 10.


    I would not wipe your old disk. Better to use a new one IMO - secures your data and drives don't last forever.

    Duncan PowerStage 700 is stereo and has 3 way tone controls to tweak the match to your cab(s). Only one volume control for the two channels so if you are going stereo, this suits matched cabinets. Each channel is an ICE power amp board comparable to the Kemper Powerhead amplifier. No power brick - just an IEC plug for connection to 120-240 volts anywhere in the world. This unit could suit players who need stereo and flexibility on input power. If you want to drive bass cabinets this could be the ticket also. It is pretty transparent and has masses of clean headroom which can be useful even if you are never going to use anything like 2x700 watts.


    The Powerstage 170 lacks this voltage flexibility - you need to buy 110 or 240 volt according to your region. (BTW Seymour Duncan have a new Powerstage 200 which is a variant of the 170 it seems).

    The cab itself contributes significantly to the sound of any guitar speaker - not just the driver. The resonances of the cab are part of the tone. I would expect the Kemper Kone to sound a little different in different cabs. It is possible that the DSP programming will have some impact - it may impart some cabinet characteristics - eg resonances - to the tone.


    Seems like we are all going to make like mad scientists with these things and I guess we can share our findings here.

    This whole Kone caper is going to create a lot of interest when it arrives in the hands of users. Looking forward to it, power amps at the ready. CK's contributions here are much appreciated.

    I wonder how well the Kone software would work with the 8 Ohm Celestion version:

    (This whole deal reminds me of the Emagic/Mackie collaboration over the Logic Control - and the release of the Mackie Control shortly afterwards.)


    Here is the 8 Ohm Celestion K12H-200TC

    https://celestion.com/product/138/k12h200tc/


    There is also a 100 W version:

    https://celestion.com/product/139/k12h100tc/


    The 200w product is shown as having sensitivity of 98dB (at 1 watt) while the 100 W version has 97 dB efficiency rating.


    Both have a 50oz magnet (1.4 kG weight) but the voice coil is 1.75 in for the 100W and 2.0 inch for the 200 W.


    Here is a commercial listing with pricing:


    https://www.parts-express.com/…XfD_BwE#lblProductDetails

    I find this surprising - with regard to the physics of dispersion. Bass frequencies are omnidirectional and treble frequencies are progressively more directional. Waveguides are used to increase dispersion of highs - eg in studio monitors. So dispersion is determined by frequency and the shape of the radiating surface and its surround.


    If DSP can impact beaminess, the control might involve filtering highs that contribute to the perception of beaminess. Otherwise, DSP can control the levels of each frequency but it can also control the phase. Perhaps phase effects can impact perceptions of beaminess. I would be interested in some clarification from Kemper staff.

    when the Kone is 4 ohm can i use it with a 8 Ohm Amp ?

    Transformer coupled tube amps usually tolerate a mismatch of double or half the impedance - so a 4 ohm or 16 ohm cab on an 8 ohm tap. usually works OK. That is the rule of thumb as they say.


    Transistor (solid state) amps not so much. Half the impedance means you are demanding double the current from the power supply and it may well fall short of delivering that at its rated output. Delivering what it can manange by way of current into a lower than recommended impedance is going to stretch a few relactionships.

    So connecting 2 ohm cab(s) on power amps rated for a min of 4 ohm can blow up your amp.


    How well they handle things at well below their rated power - eg asking <100 watts of power from your power head when it is rated at 600 is another matter.

    Don and Ingolf are correct I think.


    Detail is a term used in recording and audio tech and can be read as code for clarity and/or extended frequency response. If the mic introduces distortion (ie adding harmonics to the incoming waveform) or noise (adding harmonically unrelated frequencies) that would tend to mask parts of the audio signal and contribute to a lack of perceived clarity.


    Detail also involves the capturing of high frequencies that could get filtered out by mics that have limited treble extension. In recording applications, particularly on cymbals, strings and human voices, capturing all those frequencies can improve the perceived realism of a recording.


    Most mics and even the amplification signal chain (mic pres) colour the sound. These colourations may or may not be desireable when it comes to something like a guitar cab. It is really a matter of the preferences of the profiler and player.


    A mic like the SM57, which is probably the most frequently used mic on guitar cabs, adds it own significant colourations (eg a big presence peak just above 5kHz and attenuated high end) and is - at least in part - chosen over other mics for that very reason.