Many of the comparisons between a real amp and Kemper show that Kemper has a little less at the sub 100 Hz area and perhaps a bit more at the lower mids, than the real amp. This test shows similar results to some extend.
Only that now you connect the Torpedo Line Out (instead of the mic as in the picture) to the Kemper's return.
So: guitar -> Kemper input, Kemper Direct out/Send -> amp input, amp speaker out -> Torpedo, Torpedo Line Out -> Kemper Return.
If you are making DI profiles, remember to disable any cab in Torpedo and also check the no cab box in the Kemper.
The current shelving EQ in the monitor out is not ideal for removing unwanted bass, since it cuts from so broad frequency range and still leaves some of the sub 100 HZ stuff there. HP (and LP) would be better for this purpose and if they were a part of CAB parameters, it would be even better since different cabs require different treatment.
I can see that this has been discussed before.
Here is Burkhard's answer:
"If you are using a so called Studio Profile "Monitor Cab. Off" activates an approximation for MONITOR OUT and internal power amp. An ideal average cabinet is subtracted from the overall sound. Consequently, the sound is still influenced by those parameters in the Cabinet Module. This has always been the case since the beginning.
If you are using a so called Merged Profile "Monitor Cab.Off" activates the Direct Amplifier Profile for the MONITOR OUT and the internal power amp. So, no approximation anymore."
If I understood, the Cab parameters shouldn't affect the Amp section sound when using DI of Merged profiles so this might be a bug.
Did @Awesome_Elvis get an answer for his bug report?
I made a DI profile of my amp and copy pasted a cab for it. When playing through a guitar cab with the Cab disabled from the monitor out, the Low Shift parameter of the Cab section changes the sound that is heard from the guitar cab.
I thought that only Studio profiles behave this way. My assumption has been that the Low and High Shift of the Cab section define the "split point" of the Cab Driver when using Studio profiles, but that they would not affect the Amp section sound when using DI or Merged profiles.
Edit: Low Shift affects the sound only when the value is increased.
How about Studio EQ in the output section? It would include the HP and LP and other filters too. A good idea would also be to make it selectable either global or per Rig.
My suggestion has been to include the low cut and hi cut in the Cab parameters, like in Line 6 Helix. This way one could set those values per rig. Sometimes more or less low or hi cut are needed. Still, even if those controls were only in the output section, it would be a big improvement.
This conversation is hopeless because there seems to be a confusion what a triplet is...
I agree with @jonwrightguitar that a triplet is there in most of plug-ins and it should be in KPA too, regardless of if someone can find a song or a YouTube clip that has a triplet delay.
I like how in Boss GT-100 and MS-3 there is a bass control for Tube Screamer and Rat etc. One can keep it in neutral position for authenticity or adjust it to achieve different sounds. For example sometimes it is nice to add a little bass to Tube Screamer or Rat and take a bit off from say fuzz.
I would be a good idea to have the midi offset thing also in KPA. Using for example QLab that starts from 0 requires always the calculation, which is of course is very simple, but leaves room for error nevertheless.
Let's hope there will be a Kemper mk. 2 in near future. There is always room for improvement and some aspects in the design of KPA are not fixed with software.
After all we are not driving Ford Model T's or typing on this forum with IBM PC's, are we?
Stereo delay can be offset manually with no problem.
Agree with @Eltzejupp.
Of course I can put one delay at 500 ms and the other to 520 ms, but if one wishes use the delay in "to tempo" mode (meaning e.g. a quarter note in respect of the tempo), there is not way to do the offset. That is why the offset parameter is needed.
I got to listen to the demo before it was disabled. It did sound good, but I would prefer single tracked guitars, at least when the original version is also single tracked, for example Smoke on the Water.
I think it would be good if the delay had an offset parameter. Just to get a slight stereo effect, not like a drastic ping-pong thing.
Yes, HP and LP would be much more useful than the current high and low shift.
Close miking a guitar cab usually introduces excessive high and low frequencies. If you are after a sound that is more reminiscent to a sound that you hear when playing a "real" amp, I would put HP somewhere around 90 Hz to 130 Hz and LP around 4 kHz to 6 kHz.
So, place a Studio EQ after the stack section and experiment. This is why it would be good if the CAB section would include an EQ or at least a HP and LP, instead of those vague High Shift etc. One wouldn't have to sacrifice a slot for EQ and those of us using Merged profiles could do those EQ adjustments without them messing the sound coming from the guitar cab.
I am a new user of the KPA. I worked probably a month with the Kemper at my home recording studio. I would say that I am familiar with the basic functions of the KPA. Yesterday, I took the KPA with me to our rehearsal room, where I met with the other guitar player of our band. We play in a cover band and cover songs of ZZ Top, Led Zepplin, Gary Moore, Hendrix etc. (Classic Rock). I usually play a Marshall JCM 2000 TSL 602 and the other guitarist plays through a VOX AC 30 and a Fender.
I wanted to see how the KPA would compare in a live or rehearsal situation with the other guitar players tone and sound. I played the KPA through 2 H&K monitors and compared to the tube amps of the other guitarist it sounded thin (lacking of bottom end), distant and flat or not very dynamic without punch to it. The profiles sounded either to harsh or too muddy.
It got a little bit better when I connected the KPA to our smaller PA. But still the sound of the KPA was not very impressive. For this test I mainly used some profiles of the factory content. Over the next few weeks I will check the KPA again through our bigger PA, hopefully the sound improves. At this stage I am not sure, whether I would use the KPA in a live Situation. I am not even sure, if I should keep it our return it.
Do you have any tipps for me, how I could improve the sound of the KPA so that it is closer to the sound of a real amp?
Kemper is all about the profiles. That's why it would be useful to know which profiles you used.
I am 100% sure that they are developing an editor. Their lack of confirmation and lack of communication on this subject is only so that they can do their job in peace and quiet.
I think both of these guys understood your question wrong @MKB.
You can totally use slave out to create a direct profile. Slave out is nothing but an attenuated speaker out, so it is kind of like a DI box built inside the amp. But, remember that you will need a load for the amp still. Be it a load box or a speaker cab.
I once compared DI profiles I made with a direct box and the Slave out of a Mesa Rectifier. I think I liked direct box version a bit more, but that is of course a personal preference.
Perhaps Kemper would have a better change succeeding in profiling if it had more "probing" points than the current two. For example a probing point after the pedals, after pre amp, after power amp and after the miked speaker cab.
Or how about if the current version of KPA could first profile after pedals, then after pre amp etc. and then Kemper would "know" which part of distortion is being produced at which point in the whole signal chain, a little bit like KPA separates the cab section by subtracting the Direct Profile from the Studio Profile?