Posts by Antipodes

    Matt, really nice job on the Lonestar Special set. The profiles work great with single coils and humbuckers. You seem to have covered a lot of bases with these - the range of clean and low gain sounds with the different flavours were right in my wheelhouse. The mid to high gains worked really well for rockier material too.

    I particularly like the profiles with the 2x12 loaded with the C90 and the Celestion Gold. I have used the C90 and Celestion Alnico Cream combo quite a bit but the combo with the Alnico Gold works really well with this amp. I tried locking that cab and using it with some of your other sets like the Cornford and the Bassman and it works great there too.

    The Kone, just as a driver, driven by just any old poweramp is far from flat. It is only able to render a more or less flat response by the application of some carefully tailored Eq. This Equalisation is performed by the DSP of the Kemper which assumes, in Kone mode, that is compensating for the skewed response of the Kone which is a known quantity.

    If you apply Kone mode processing to any other driver, you will not get the intended result BUT you might like it/find it useful anyway.

    The EV12L is one speaker but a good one in that cab. The imprints give the impression of a range different speakers installed in that cab. If that diversity sounds appealing you could give it a try. Many of us seem to be pretty happy with the Kone from all reports.

    The other thing is that the Kone also functions as a quasi flat response monitor so you can play backing tracks through it as well as hearing full studio profiles through it with the cabs baked in. The Thiele cab has a particular frequency response - that response will be applied to everything coming out of the cab. There is some scope to tweak the response using the parameters that are there to adjust the Kone's response. If you think everything is too bassy, you could get if off the floor.

    I found (and backed up) that directory. Thought I deleted everything, but something still lingers that is causing the issue.

    Support STILL has not gotten back to me.

    I always have backups of Rig Manager contents - I use them to keep other machines up to date. So the current database can be replaced by backups if anything goes awry. One thing that might be necessary is to actually uninstall Rig Manager in Add/Remove programs (or whatever it is called in Win 10). This might not work if you have already removed those folders though.

    There a bunch of files in Program Files/Kemper Amps/Rig Manager and also here:

    C:\Users\#username#\AppData\Local\Kemper Amps\RigManager (The directory might be hidden by default.)

    BUT I would get directions from Support because you don't want to remove everything in these places - you want to retain the existing database of rigs etc which could be lost if you trash the lot. (So anything that you delete or move to another temporary folder needs to be saved in case you need it and you would need to note where it was before you moved it.

    Simpler and more foolproof to get Support - who know all the problems that can arise - to direct you.

    The output block might be better - as with the Space control. Ideally you would be able to set the location in the chain (eg between X and Y slots). The same could be done with the FX loop. Set its location and offer switching on/off by external switches and MIDI controls. So many great features but not enough space for them all in the current 8 slot layout.

    After an initial production run, manufacture of the pedal will be discontinued - sadly, no more of the critical NOS parts. Second hand prices will rise into the stratosphere. They will be photographed next to Klon Centaurs on the rigs of the elite. Aspirant guitarslingers will ooh and ahh and wish they could afford one so they could finally sound just like their idols.

    That's a great thought. How does imprint mode affect the two cones?

    The Whizzer cone appears to be the "amp in the room" factor.

    The whizzer cone is simply a device to extend the frequency range of the driver - more treble extension than the typical single cone 12" guitar speaker. The "amp in the room" sound is the combination of using a 12 celestion driver in a guitar cab like enclosure and the specific equalisation curve that is being applied by the Kemper DSP. This Eq curve has been fine tuned to emulate the particular driver ( eg Creamback 65M) used for the imprint IN THAT CAB. That last bit is critical.

    The guitar sound on the Vic Flick Video above seems to be dominated by what looks like a little condenser mic which is clamped onto the body and probably sitting near the f hole. It is very acoustic whereas on the early bond films it was more electric - the typical Fender clean + reverb sound (see the silver face twin in the background - Dr No was 1962 so in the Fender blackface era).

    Try the Fender Champ Rigs from Hays, great !!

    Those Champ rigs are absolutely stellar. The KPA is amazing with small amps, it doesn't matter how loud they are if you are profiling them, all that matters is the tone quality and the early silverface Champs have that is spades.

    It makes less sense to have power boost on the non powered versions to me but hey...

    I guess they are thinking that if you run an SD Powerstage (or something comparable) off the Monitor Out you effectively duplicating the circuitry of the Kemper power head but using an external Class D amplifier instead of in internally mounted one. Same issues apply with potentially blowing out speakers designed primarily to be driven by moderately powerful tube amps like the OPs 70 W driver.

    I thought the speaker output on the powered Kemper delivers the exact same signal as the Monitor, but powered.

    The Monitor out on a non-powered unit is a line level signal (something like 3V peak to peak would be the max amplitude). The powered signal from the power head is going to have much higher output voltages - that is what amplification is - it is an increase in the amplitude of the signal, so the powered output would have much higher voltages and be able to deliver high current as well.

    A back of the envelope calculation - 600 watts is the stated limit for the Power Head and

    Power = Volts x current and

    at 8 ohms load: Ohms law gives

    Voltage = I x R = current in Amps x 8

    => 600/8 = current squared

    So solving for voltage too - maybe looking at peak output that is something under 10 amps max current and 80 volts max signal amplitude at full power (accurate RMS power calculations involve more complex math - integral calculus etc)

    Nope...just tested it. No effect, which makes sense to me. The output levels to speaker, monitor out and main out are independant. Monitor and main eitehr go to a desk or powered output so input levels make sense. No need to pad a power amp...

    OK - I see where you are coming from - and you are correct that the pad nomenclature only applies to the Main Outs and is not used in the control settings on the Monitor Out.

    Instead - I would argue - the "pad" or"12 dB cut" (below full output power) was previously always applied (not switched) for the monitor out and now you can reverse this 12 dB cut with the new 12 dB power amp boost control which was introduced with v8 of the OS. This is not a hardware change - the potential output level of the monitor out output circuit was always what it now is with the 12 dB boost fully applied, but in the past there was no way to crank it past the safety level which was set at 12dB below max level.

    Presumably this was so that people didn't accidentally blow their speakers feeding a hot full powered signal into the typical power amps on the market or into their tube amp's return jacks.

    BTW I am using a non powered KPA and the monitor out section in the editor now ( since v8 of the OS) has a radio button for Power Amp on/off and a rotary control for Power Amp Boost which tops out at 12 dB. The Monitor out and the Main outs would all be line level signals and I imagine with no pad active and the power amp boost up full the levels of these outputs would be comparable. Perhaps support can clarify.

    The modeller/capture market is quite mature in some ways. The big players have been developing their code for 1 or2 decades. New hardware and new approaches are welcome but a relative newcomer to this space is unlikely to be able to compete feature by feature with the established players - Kemper/Fractal/Line6/Roland.

    Those guys all have specialist areas (eg the SY series synth, modelling and tuning possibilities are unparalleled elsewhere and have been evolving since the mid 90s - would love to see what Kemper could do in that area). The cost of entry to this market is getting steeper all the time. The same sort of barriers to entry apply in bigger industries - eg consumer electronics OS platforms and the automotive industry. It takes a big shift - like the move to electric cars or the move from desktop PCs to mobile platforms like iOS/Android to give newer players a chance to dominate.

    300 watts would also blow that 70W rated speaker.

    No one has mentioned the output section settings which typically involve a pad setting (volume cut - default is 12 dB pad (cut) which is a lot) for the Monitor Out.

    It is possible by adjusting this setting to boost the Monitor Out levels considerably (so that they are louder at the same settings on the front volume control) and also to see a meter showing the current power level which is an aid to protecting your speaker from overload.