Posts by scratch17

    1. Direct Amp Profiles (DAP) are a combination of a preamp plus power amp. It doesn’t matter if they are in a combo, head or even separate rack units.


    No speaker cabinet or microphone is used to create the profile.


    The Kemper DI is great. Just use good quality cabling and make the connections as printed on the DI box to make the connections. Then follow the instructions in the manual to create the profile.


    Yes, you will have no cab in the cab slot after the profile is created.


    2. If you did a good job creating the profile, the Kemper Kabinet with the V30 imprint should sound very close to the original hardware.


    3. I suggest you create a Studio Profile with your 1 x 12 V30 cab immediately after you create the DAP, but before you change any hardware. Then create a Merged Profile by combining the DAP and Studio profiles.


    Then compare the Studio profile to the DAP with the Kabinet and the Merged Profile with the Kabinet in FRFR mode.

    There are other reasons to connect the Twin and the Kemper.


    1. Since the S/PDIF I/O on the Kempers cannot be used to access the effects loop(s), connect the Twin in the second loop of the Stage via analog. Now you can use the time based effects on the UA platform with the Kemper’s profile.


    2. Use a preamp profile (no power amp or speaker). Connect the Stage to the Twin via either analog or S/PDIF. Load a UA amp sim that can turn off the preamp section. Use it as the power amp and speaker sections.


    3. Connect the Twin and Kemper via S/PDIF. You can now use the Kemper effects on a track in the Console or Luna without a profile loaded.

    The X8P has coaxial S/PDIF input and output. It does not have a S/PDIF optical (Toslink) input.


    The X8P has two pairs of optical ADAT I/O ports. These ports cannot be used as S/PDIF I/O.


    Note that the Apollo Twin models can use their optical ports in S/PDIF format, but the Apollo rack mount units cannot. Also, the second pair of optical ports on the rack units are only active when set to S/MUX mode.


    The Kemper Stage has coaxial S/PDIF I/O. The Stage can be either a clock master or a clock slave.


    That is good, because with a Kemper rack or toaster, you’d be forced to set the X8P to be the clock slave. The rack and toaster Kemper models are limited to being the clock master.


    That’s how I set up my non powered rack with my Apollo 8. Which precluded me from connecting some of my other gear. I would much prefer to use my Apollo interfaces as the clock master.


    If you want to connect the digital I/O of both the Stage and X8P, use the coaxial ports. Set the Stage to be the slave and the two devices will sync perfectly. Now you can record and/or re-amp using the digital connection between the two devices. But you cannot use the digital connection to insert the Apollo’s effects into either of the Stage’s effects loops.


    So how can you use the Apollo’s effects in a Stage effect loop? Go analog.


    If you have limited line level I/O, I suggest that you connect your Stage’s second effect loop to the X8P via an analog send and a pair of stereo returns. That will allow you to use the X8P as a real time multi effect unit after the Stage’s profile block. Of course, if you have enough available analog line level I/O, you can connect the Apollo to both of the Stage’s loops.


    In the two loop setup, you could for example, place a Distressor in front of your profile and Capitol Chambers after it.

    The “loudness” button was meant to compensate for perceived bass loss at lower volumes. Google “Fletcher - Munson curve” for information.


    Note that as volume increases, the Fletcher - Munson effect decreases. In effect there is less need for bass compensation as volume increases.


    At some volume level in any room will require no compensation. After you reach that point, activating a loudness button will artificially accent bass.


    So the effect is not linear. I know of no “loudness” compensation button on any stereo system that took this non-linear behavior into consideration. When you activated the compensation you got the same level of bass boost regardless of where the volume was set.

    HCarlH, I have owned two ‘78 Polytone amps (MiniBrut and a 104). Loved the MiniBrute cranked above 7 for crunch.


    You mentioned a MiniBrute pedal preamp. Is this a DIY or a commercial product? I’d love to get one for my studio if it was available.

    So I assume that there no way to use imprints without selecting a profile?


    I want to input amp sims from my UA Apollo with the cab sim off to the Kemper so I can use imprints and a pair of custom 1 x 12 cabinets with a pair of Kones in it.


    I suppose I can use the ultra clean profile I made of my Marantz Preamp and power amp with my Goldenear model 2 speaker. Then set up the Kemper to play the imprint I want through the cab with the Kone.


    I’ll just connect the output of the Apollo with the amp sim (no cab on in the sim) into the Kemper’s input. It should work like any effect in front of the KPA.

    I know this is not a “supported” usage of the technology, but I want to try it anyway. If it works, I will have added additional capabilities to the investment I am making in the Kone drivers. If it doesn’t work, I will just have waisted some time.



    An added advantage might be the ability to run the acoustic sim on one Kone cab and an imprint simultaneously with the amp sim on the other.

    I have been using Event 20/20 monitors for home use and a pair of Line 6 L2Ms for live. The Kemper Kone will change that.


    I plan using a 150 watt stereo solid state amp (Acurus A150) with a pair of custom 1x 12 Kemper Kone cabs. The rig will take the stereo output from my non powered Kemper rack, and feed each side of the A150. So the rig will be stereo.

    I have a wood shop with jointer, thickness planer and table saw. So I have a very elaborate plan for a modular scratch built cabinet.


    This is for studio use only. As such the design prioritizes configuration flexibility.


    While installing a Kone in an existing cabinet is an easy way to go, there may still be pitfalls to overcome.


    For example, the cabinet’s baffle may not fit the Kone driver easily. If the existing baffle was made to accommodate a driver with an outer basket frame meant to connect to the outer baffle surface you might need to make another baffle.


    If you want to try to build your own cabinet along these lines, you will need access to the following tools.

    I mention the jointer and thickness planer because you need them to create flat boards of specific thickness, with square edges from solid wood stock. You might want to build a cabinet using plywood for the box with a face frame. It is pretty easy to build the plywood box, but a face frame will require some skill. So will applying a finish.


    If you will be covering your cabinet with Tolex, you can get along with all plywood. Use baltic birch ply. It has fewer voids between layers. Ply is ideal because it comes with four factory edges that are square to the board’s surface.


    There are portable track saws from vendors such as Festool, Makita and Dewalt that can cut a straight, square edge. These are great for working with plywood because their crosscut capacity is limited only by their track length.


    My 30 inch Jet table saw is limited to a 24 inch cross cut without a shop built jig. In my case that is enough cross cut capacity because I have tools that allow me to join ply sections to one another. But if I didn’t already have a table saw, I’d buy a track saw.


    I am emphasizing square edges and surfaces because the cabinet is a box. If the components aren’t square and flat, the cabinet won’t assemble properly.


    You will also need a router with a circle cutting jig with at least a 13 inch diameter capacity. You can purchase a commercial jig or make one easily.


    Finally, you will need some good clamps and a flat work surface for assembly.



    My modular cabinet will allow me to use different drivers ( Kemper Kone, EVM 12S, EVM 15L, Jensen C12N, Mesa Vintage Black Shadow 10, etc. ) in various cabinet configurations.


    It will be capable of use with either guitar or bass

    amps.


    The outer shell of the cabinet will be a simple box large enough to contain up to 6 ten inch drivers. The shell will be open front and back. That will allow me to fill the outer box with one to three inner boxes from the back side. The front cover will be matched to the inner box’s driver complement.


    The outer box will be able to accommodate up to three inner boxes. That will allow me to stack a 1 x15 EVM 15L Thiele box on the bottom, and a 2 x 12 EVM 12S box in the middle. Any space left over will be left empty or filled with blankets.


    To maximize flexibility, I will use quick change mechanical fasteners to connect baffle mounted drivers to the inner cabs. That way the inner boxes can be used with any driver complement. Front ports and back side openings can be opened or closed quickly.

    I plan to build a pair of 2 x 12 inner boxes, two 1 x 12 boxes, two 2 x 10 boxes, a 4 x 12, and a 6 x 10, so I can mix drivers.


    Wiring will be quick change so I can do mono and stereo.


    As far as the Kone is concerned, I plan to buy two.


    If I am successful, this cabinet will work with all of my tube amps and my Kemper.

    spikey , I too suggest you look into an RJM Mastermind LT controller. At $399 new it is about the cost of one full featured pedal. These also are available used for less.

    There is Kemper support that even can add functions to your setup even if you have a Kemper Remote.

    You mention three Strymon pedals.
    All Strymon pedals are supported without programming required.

    You can set up in various modes. I am sure you can use it to do the coordination of multiple devices, with presets and parameter changes you are looking for. That is a great strength of all of the Mastermind controllers. There is also a really easy to use editor that can accept all sorts of MIDI programming if you want to go wild.

    I believe the Helix is also fully supported.

    How about just the Kabinet DSP with parameter selection in a pedal so you could use the Kabinet

    with a tube amp? I think this would be a great setup and would sell a lot more Kemper Kabinets.


    The pedal would go into a loop between the pre and power sections of the tube amp.


    This would also work with any other amp modeler or amp sim. Just place the pedal after

    the modeler or amp sim and add an inline power amp. Same setup as with a Kemper.

    People who sell commercial profiles will probably try putting regular Guitar speakers into a Kone cabinet when they make merged profiles - with the real amp EQed for that specific amp/cab combination, they could end up with some nice sounding profiles.

    Why not make direct amp profiles specifically designed to be used with a Kemper Kabinet? Just select the imprint you want with the DAP.


    I plan on using the DAPs I've made of my amps with the Kabinet.


    BTW, I saw an interview a while back where Michael Britt said he didn't want to make direct amp profiles because they sounded different with different user cabs. Since there is now going to be a Kabinet that if successful will become fairly ubiquitous with Kemper owners, that issue is no longer valid.


    The seller could even suggest the specific imprint or imprints for use with each specific DAP he sells.

    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.



    Quote


    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.



    Connections:



    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.