Posts by scratch17

    I'm interested in some information about the ideal housing for the Kone. Hopefully Kemper provides recommendation in the near future.

    I am pretty sure that there won't be an ideal 2 X 12 or 4 X 12 sizing.

    Since the Kabinet is closed back, a cab that you design might want to stay with a closed back.

    But I plan on making a 2 X 12 cab with component flexibility.

    That means:

    1. Closed or 1/2 to 3/4 open backs.

    2. Removable baffles with different drivers.

    I will definitely have a pair of Kones on a baffle.

    I am going to use a pair of EVM-12S for Thiele configuration.

    And a pair of Jensen C12N's in the cab for use with my '68 Bandmaster.

    I will also be mixing and matching some single drivers as well.

    3. I want to have an easily mounted enclosure that fits into the cab

    that gives me two Thiele 1 X 12 enclosures in a single horizontal 2 x 12.

    4. I want stereo and mono wiring.

    5. For stereo, I want a divider that splits the 2 X 12 into two vertically stacked 1 X 12s.

    That way when I get a Stage down the road, I can use the separate Kones with separate profiles

    and speaker imprints.

    I've seen a lot of videos where they reamp using spidf and other interfaces but it just confuses me. I'm new to all of this and if some could help that would be GREAT. I want to reamp my none powered kemper to a Apollo 8 with out SPIDF.

    I have a Kemper Rack (non powered) and have owned an Apollo 8. In order to answer your question, I am going to assume that you have recorded a dry track in your DAW through the Apollo 8, and you want to use a Kemper profile to reamp that dry track.

    Apollo Setup:

    You will have to direct the dry track from your DAW back through the Apollo. Use the Apollo Console 2.0 application to send a virtual channel to one of your Apollo's inputs. Then route that input to an available Apollo line output. That output will need to be patched to the RETURN input on the Kemper.


    To route a DAW output signal into Console for Realtime UAD Processing, simply assign any Console virtual channel (or channel pair, when the DAW source is stereo) as the output device for any DAW track, bus, or output. That DAW output signal then appears in the associated virtual input channel in Console, and it can be processed or routed the same as Apollo’s hardware inputs.

    Once you have the dry track coming back to an input in Console, use the Console I/O Matrix Panel to route the input (with the dry guitar track) to an Apollo 8 output.

    You can see how to do this on page 61 of the Apollo Software Manual. The I/O Matrix Panel is described there.

    I suggest that you just send the dry track as is to the Kemper for reamping. But there might be a situation that you'd want to add some compression to the dry track. If you wanted to use a UA effect (like Distressor, for example) before the Kemper, you can insert it onto the track in one of the insert slots.


    In your case, just connect the output on the Apollo to the RETURN jack on the Kemper.

    Select the rig you want to use. Connect the Kemper's output to an input (or a paired input for stereo output from the Kemper) on Apollo.

    In essence, you are using the Kemper as an outboard effect for the Apollo. So try to think of the setup as if you were putting a pedal into your amp's serial effect loop.

    Hello, I would love to release a firmware with which you can put 2 different rigs, at least 2 amps and / or 2 cabs, and be able to pan right / left without having to record.
    Also, a stereo mode

    Kemper has said that stereo rigs cannot be done with the current Kemper's hardware. So keemarcello , what you want cannot be done with a single Kemper.

    You can make a unified profile of that kind of setup now. You only need to an audio interface to combine the return signal.

    Why do you need an audio interface? A hardware mixer will combine the signal from two amps. That removes the need for a DAW.

    The guitar signal is split before the two amps. The mixer output is mono. It sums input 1 and 2.

    Keeping the two amps' microphones isolated from one another would be problematic. Bleed between the two mics would be difficult to control.

    Note that you can only do a Studio Profile here. You cannot do a Direct Amp Profile, which uses an approved direct box to feed the Kemper's input for profiling. That is because a DAP requires the speaker output from the amp to be fed through the Direct Box into the Kemper. The Kemper can handle that high energy signal. You cannot send a speaker level signal into a mixer without overdriving the mixer's input to the point of potential damage. And according to Kemper, attenuating the signal before it feeds the mixer input would negatively affect the profiling process.

    The above setup will not let you pan left and right between two rigs representing two amps. It will combine the sound of the two amps creating a mono rig that is a blend of the two amps.

    To do left/right panning between two amps you need two Kempers. Each can load its own profile.

    To pan between each you'd still need to send each Kemper's output to a hardware mixer, one to each side of a stereo channel. Then you could pan between the two rigs using the mixer's pan pot for the stereo channel. Note that on a stereo channel, the pan pot actually controls left/right balance. So this setup would allow you to morph from one rig to another.

    You guys are sorely missing out if you’ve never tried any of the Universal Audio stuff. It is eons above everything else I’ve got (Waves, Overloud, Neural).

    I couldn't agree more.

    I have evangelized use of a Kemper with UA plugins here before. There is a synergy when these two

    are combined that is remarkable. Remember, the guitar, amp, and stomps are not the only path to great

    guitar sound recordings. The complete path includes the mic(s) chosen with their placement on the speaker cab,

    the console's channel strip and even tape can have a huge effect on the overall recording. That is where the UAD

    plugins really shine.

    Also, UAD plugins provide some really unique abilities not available on any other platform.

    Here are some examples:

    1. Sound Machine Woodworks. This plugin takes the piezo electric pickup from a guitar and makes it sound

    much more like that of an acoustic guitar without a piezo pickup. If you like playing your acoustic or electric's

    piezo output through the Kemper, you should consider this one.

    2. The Townsend Labs Sphere L2 modeling mic software has native version of its included mic models. But if

    you want the Bill Putnam Collection or the Ocean Way mic collection for the Sphere, these are only available

    on the UAD platform.

    3. Speaking of Ocean Way Studios, check out the OWS plugin's re-miking capability. Not to be confused with the

    mic collection for the Townsend Sphere, OWS is a completely different plugin. It allows you to place the audio

    into one of the rooms of the famed studio, choose from some amazing vintage mics and place them as you like.

    It is similar to the Abbey Road Studios plugin from Waves, but the re-miking feature is amazing.

    4. Capitol Chambers is a reverb plugin to die for, and unique to UAD.

    There are so many others, too. These UAD plugins cover studio effects that range from compressors like the Manley Variable MU, EL Labs Distressor, DBX 160, to time based effects like the Korg SDD-3000, Dytronics Tri-Stereo Chorus, A/DA Flanger, tape emulations like the Studer A800 and Ampex ATR-102, and unique processors like the OTTO Biscuit 8-bit effects, Softube Vocoder and even the Moog Multi-mode filter.

    Since the UAD plugins are hosted by the UA Apollo's DSP, you are looking at sub 2ms RTL. In essence, an Apollo can be used as an outboard effects processor for the Kemper.

    And that doesn't include the Apollo platform's Unison technology that combines hardware and software to more accurately emulate the loading and gain staging of the models being utilized in your recordings.

    Since most users here would use the Kemper for the tone stack, I haven't mentioned the guitar amp sims available on UAD. But it is important to note that many of these amp sims also have the ability to turn of the preamp, power amp and cab sim sections. So when placed in the correct order, the UAD and Kemper preamp, power amp and cabs can be combined with one another.

    So you could, for example use the cabs from the UAD plugin of the Fuchs ODS 50 amp sim with a Kemper profile whose cab section was off. And you might decide to drop a Lexicon 480L reverb plugin before the Fuchs cab.

    WRT the arguments on this thread, it is interesting that Kemper has issues with customers clamoring for an editor and UA has customers clamoring for plugin and Console 2 app MIDI implementation.

    Yet the real point is that both companies have so many customers because their products are top quality as they are produced right now. Could providing these upgrades vastly improve their products? Absolutely!

    But until the upgrades are made, you are "sorely missing out" if you don't try the Kemper and the UA

    interface / plugin universe together.

    Actually, I am talking about a limit of three to five knobs that would be profiled. Maybe master volume, gain and treble presence and bass.

    Or the five band graphic EQ on a Mesa.

    And I am not including anything involving built in time based effects like reverb, tremolo, delay, etc. Just tone parameters.

    I realize that parameter modeling (AKA knob behavior) is not in the Kemper paradigm as of now.

    However, I don't see why it could not be integrated as a separate mode of operation that could be added to the profile.

    Kemper is adding the Kemper Kone technology, so why not add some parameter mapping for knobs to better recreate

    the behavior of the amp that was profiled?

    Yes, it would take some new coding to adapt the profiling process to capture how the parameter changes the amp's

    sound as the amp knobs are turned. Even if just 3 knob types (EQ, gain and volume) were available, I'd be tickled.

    Or, Kemper could simply use the component / circuit modelling technology for just the knob behavior of specific amps.

    That would not really be sacrilege. Kemper Kone technology is likely using the same or at least a similar method to do

    its magic. It isn't like the Kemper Kone technology will cover every speaker ever made.

    I just don't see any reason why the two paradigms can't live together. Or even be mixed in a single profile.

    Take for example a Fender Bandmaster. You could have a set of parameters that used the Bandmaster's treble, bass,

    and volume knobs. But you could still have a gain parameter, which is available in the profile, but was never available

    on the actual amp.

    that`s why a profiling function for overdrive pedals would be awesome

    so i bet it`s possible to make stompbox profiles too ...

    Wow! The limit has always been and will always be one profile per Kemper.

    Yes, you can make a profile of a pedal. Just the pedal, and nothing but the pedal. Use the Direct Amp Profiling method and substitute the pedal for the amp. Note that this does not work with time based pedals, and might yield bad results with a fuzz. But I've had good results profiling my Wheebo Plexface.

    Just use two Kempers. Profile a pedal and load it into Kemper #1. Connect it to the input of Kemper #2 and load your amp profile.

    Alternatively, put Kemper #1 with the pedal profile into the loop of Kemper #2 with the amp profile.

    I'd like to have a one to one circuit behavior for the parameter knobs on the Kemper so they acted exactly like the knobs on the original amp.

    Don't get me wrong. I love having the ability to change parameters on the profile that is not available on the tube amp from which it was derived.

    For example, if it was possible to model the knob behavior of a tube amp's gain control, I'd love to have the profile act the same way. The bottom line

    is that it would be nice to have what would essentially be a profile that included the knob function parameters of the original amp.

    The Kabinet is for me, a more desirable upgrade to my Kemper universe than the editor, the Stage, or new effects blocks.

    I found Christoph's explanation of how and where he got the Kabinet's concept revealing . I do wish he had

    elaborated at least a little bit on how the speaker models that will be available in the Profiler are different

    than the models used in Line 6's Powercab. My expectation bar is high with respect to the Kabinet's
    modeling technology. I expect some Kemper magic.

    Christoph mentioned amp wattage at one point when talking about a powered Stage. Then he said that due to

    users desiring differing wattage levels, it made more sense to add the amp to the Kabinet. But he said nothing

    about power requirements for the passive version of the Kabinet.

    I guess we will have to wait and see.

    If that's the case, I hope that Kemper Amps has the foresight to add an output on the Kabinet so you can daisy chain more at least two.

    If Kemper doesn't, you could always build your own cab with two drivers when they become available.

    I'm hoping that whenever this does come out, it has enough bandwidth to allow for full use of a 5-string bass in standard or 1/2-step down tuning. My gut says that I'm dreaming for that type of frequency response in a 12" speaker, but one can dream.

    Add a sub to the Kemper Kone. The low frequencies below what a standard 12 inch driver will produce probably won't take advantage of the modeling technology from the Kemper anyway.

    The Rack must be master, with the Axe FX 3 as slave to connect with S/PDIF. If the Axe FX 3 can operate as a slave. this connection method will work. If not, you bought the wrong Kemper model. The Stage can be either master or slave.

    Ability to separate pre-amp and power amp or combine power amp and cabs

    This would offer much more accurate options for live rig . Having the ability to monitor pre amp only no power amp no cab simulation into a tube amp and real cabs on stage, sending front master the pre amp> power amp- cab instead of pre-amp power-amp >cab option.

    I have good news for you.

    You can create a profile of a preamp. Read the manual. It describes the procedure required to create a preamp profile.

    Load the preamp profile and output the Kemper into a tube amp connected to a speaker cab. You have exactly what you want.

    However, you can't create a separate preamp profile and a separate power amp profile and load both into a single Kemper. You'd need two Kempers to do that.

    For example, say you wanted to create a profile of the Twin/Deluxe (T/DLX) module of the Synergy system and send it to a profile of a Mesa California Tweed power amp. The Mesa amp's section uses 6V6 tubes which can be set up in various ways.

    From the Mesa web site:


    The all-tube California Tweed is powered by 4x6V6 Power Tubes and our Multi-Watt™ Power Amp, featuring Duo-Class™ and Dyna-Watt™ technologies, provides five power levels, two operating-classes and three wiring options via a single 5-Way Rotary Switch!

    Obviously, you could create a profile of the Synergy T/DLX preamp module, load it into the Kemper, and feed the Kemper's output into the return of the California Tweed.

    But you'd still need to turn the switch to change the power amp's settings. That's not a good thing to try in mid performance.

    So let's say you create 5 profiles of the Cali Tweed's amp, each with a different switch setting. Again, that is perfectly possible.

    The issue is that a preamp profile is a rig. And so is a power amp profile. That's why to use both a preamp and a power amp profile, you'd need to use two Kempers connected in series.

    People made a great careers out of twiddling knobs.

    I can no longer play guitar as well as I was able to play just 5 years ago. In my case it is the result of ulnar nerve

    issues in both arms. Sadly, ulnar redirection surgery two years ago was unsuccessful.

    However, I can still 'twiddle knobs', so I haven't sold my studio or my guitars.

    Creating tone that stands out can be as valuable to the success of a piece of music as the melody and lyrics.

    Having said that, I know a very successful hooker that has retired to Tahiti from the money

    she made from her career of twiddling knobs.