Posts by chu

    This is getting a little bit impolite, there's no need for any of us to be so.


    I appreciate the OP's desire to have the profiles automatically select an imprint to match the cab used during profiling. But not only would that require either a reduction in the profiles available or for Kemper to come up with a massive number of Imprints immediately. It simply isn't viable.


    We can already store Imprints against Profiles so that we can achieve just this, but that requires us to do so. With the vast variation in miking positions and differences in personal taste, we will always require lots of profiles. The majority of us are entirely satisfied with the route taken by Kemper to give us some of the guitar speaker sound.


    If you consider that for any live performance with decent PA or studio recording, the drums, voice, guitars, piano, strings etc have been captured through a mic. If you were able to remove the sound of the mic from the guitar, you'd have a hard time making it work in the mix. It's really about the monitoring for the Kone.


    So yes, maybe there is a compromise to be made by having to assign an Imprint to the sound you're making, which may not be entirely the same. But you can flip from FRFR to V30 to whatever and still get close. The alternative compromises will disappoint far more people than this method.


    Instead of changing Imprints and the main outputs not changing to suit, I consider it the opposite way round. I am changing the Imprints to match the cab used in a Profile that I like. If I want a different IR for recording or playing live, I select a different Profile. I then make sure the Imprint sounds equally as good for me on stage. The priority for me is still the Profile used. If I'm dialling in the perfect tone for the Imprint without considering the main output, I'm neglecting some of the Kempers best attributes ie reliable, authentic sounding mic'ed guitar tones. No worries about the engineer dangling some cheap vocal mic over the cab. Same every time. That is my priority but the Kabinet allows me to play with the familiar sound of my guitar speaker au naturale.

    There's no magic, one click solution when using FOH. All mixed guitar sounds are captured through a mic, the same as drums, vocals and keyboards. The audience's ears expect that but us guitarists don't due to years of playing beside an amp.


    If the Kemper automatically changed the cab on the main outputs to reflect the imprint applied to the Kone, you might not get the desired result. You could get a sound that doesn't work on the FOH system you're using on that occasion and would have to adjust it after being told by someone else.


    The best way to us the Kemper, Kone and FOH is to dial both in to suit. I'm entirely happy with the concept that with a well dialed in FOH, I can still change imprints to find my own tonal mojo. It's a monitoring solution that covers all the bases but accordingly will at be slightly less intuitive to some.


    It's not an oversight. It's not a flaw. It's a feature that suits the majority of users.

    Nah. I've got a couple of much longer USB cables which are about 5m. I've also got a 10m USB extension cable. I don't do much with them but know that they certainly handle connecting to a printer and even record DI guitar when used between a USB interface and laptop. I would imagine that 10 mics on drums might be an issue but I've never had a single glitch.


    Mine were from nothing more specialist than Amazon.

    Nearly every sound card will have direct/hardware monitoring. And a lot of monitor speakers have multiple inputs. It doesn't matter that the drum track from the DAW has as much as 10 seconds of latency (other than it taking ten seconds to start after pressing play!) as you're playing into the ultra low latency Kemper. The output of that is split a) to the DAW and b) to the direct/hardware monitor outputs which has zero lag.


    If you record, the sound card has already measured the latency and knows how much compensation to add to the recorded track.


    The only thing that latency effects in the real world is DAW effects when tracking and soft synths. There's a lot of dick swinging on the subject which if you have a Kemper is irrelevant for guitar. I use a similar approach with synths, I use on board synth sounds and send that and midi to the DAW. I can leave the latency control on maximum and record and monitor with zero latency.


    It can rarely be an issue when micro editing loops but otherwise I'm far more interested in stability.

    Latency is only relevant if you are using the DAW for monitoring whilst recording. For example, you record vocals and use compressor and reverb plug VSTs as you sing.


    If you're connected to the Kemper, you can send a full sound and an unprocessed track to the DAW but unless you're using the DAW for effects, latency is irrelevant as you're monitoring the guitar directly from the Kemper, not through the DAW.


    Mine is usually set on maximum latency, unless I'm using a soft synth VSTi or really need a particular plug in whilst recording. I believe that some people overplay the importance of low latency universally.

    OK, maybe the word 'accusation' isn't the absolutely perfect word to have used, however it isn't a world away. In law, the two are intrinsically linked, with overlapping elements. If you wish to disect my posts to ensure absolute accuracy and clarity, it would be beneficial if your own were up to to the same mark, which they have not been. But that's just the way that relaxed conversation goes.


    Anyway, let's put it to bed. I'm sorry for any offence/misunderstanding.

    New title is fine as-is. Zero reason to nitpick this to death. As you said - it's your opinion.

    Definitely not a time to be giving a chap a hard time for the finer details. There's Covid. There's global financial disaster. There's a complete failure in horrifically expensive gear setup, maybe that persons main source of relaxation, and an unsettling suggestion that it's going to be incredibly expensive to fix.

    I'd be gutted. Nay, I'd be in pieces. I say we help a fellow human out and cut them a massive amount of slack.


    chu, No "accusations" merely speculation. The OP has stated that his home has been looked over by an electrician. In my 35 years of using and working with non-voltage related musical equipment, on stages and in studios, I have never come across an issue such as this. Please do not suggest that I have no sympathy for the OP. Indeed, I have.. Having said that, I find the title of the thread, "Kemper killed speakers, laptop and finally itself " to be highly misleading .


    I'm beginning to smell a troll here. There is absolutely no way the KPA could have caused the amount of damage the OP describes without there being other manifestations of electrical problems within his house... Lights, refrigerators, washing machines. microwaves etc.. If he's not troll, then he's not telling us the full story.

    Speculation? No, I'm sorry. I don't accept this. You're beginning to smell troll? If bringing in the word troll to the conversation and aiming it towards an individual isn't an accusation, I don't know what is. This isn't a legal debate to disect each word for clarity, it's about being supportive to someone upset. The word troll should not have been used.


    No hard feelings and no need to keep this going. Let's get back to the issue.


    The OP believed the house wiring to be safe as they had it checked by a professional; a reasonable assumption. Something has gone badly wrong somewhere. Get the Kemper looked at, hopefully it won't be too bad. Get the plug sockets checked. Then we can look further.

    Quit the trolling accusations, let's see where this goes. The OP has been polite but understandably he's upset because he's just lost a tonne of gear. We'd all be upset.


    There's clearly something at fault, and logical fault finding starts with one step at a time. Hopefully the KPA will be checked over and repaired without significant cost. Once done, then rest of the gear can be considered.

    I don't think anyone suggested the KD doesn't sound good, it was the debate on whether it can replicate certain sounds.


    This also is relative to your comment about presets, where people are saying they don;t sound the same. However, I think it gives a good starter for those not having used a Klon before as a benchmark.

    That might be the intention of those members but my perception of what they wrote was that the KD and OCD were disappointing. I respect everyone's right to opinions and expressing them but whether the onus is on the reader to interpret these posts differently or for the posters to write their opinions with greater clarity is another matter of opinion.


    I just wished to state clearly that my feelings towards the updates were entirely positive.

    I've been unable to install Beta 8 due to being too busy but finally got round to it last night. Installed straight from RigManager without a hitch. Some of the posts here had me believing that the new drives were going to be underwhelming but it pays to remember to be open minded and that opinions differ.


    The KD sounds great to me and intuitive to use and dial in perfect tones. I tried the presets but I really don't have an interest in such things. The sound of any overdrive pedal is so significantly dependent on the amp settings, that it makes no sense to me. I'm no more likely to use a preset than I would use an instruction manual and suggested settings with a Tube Screamer.


    Thanks again for the continued updates!

    if it goes before anything which affects the dynamic range such as a compressor or amp with moderate gain or compression, these will counteract the autoswell.


    Depending on what you have going on, the placement might need to be before, or after.

    I run in stereo as I use IEMs and find a mono mix incredibly uninspiring. However, FOH is whatever the sound man chooses.


    If I'm playing as a party band, the purpose is to please the customer therefore playing the right songs well, creating a good ambience and being the right volume is everything.


    If I'm playing in my originals band, keeping it tight, energetic and clear is everything.


    Stereo guitar just isn't a factor for me.


    I don't find that stereo guitar effects serve anything but my own needs, certainly not to 90% of the listeners. I've even moved away from extensive use of stereo guitar tracking in recordings (i used to double track most guitars and use stereo delays more than mono). Sure, it sounds amazing on headphones but I think it often detracts in less than ideal listening positions. Not that i don't use it, just a lot less. My mixes sound less exciting on headphones now but I think they sound way punchier and clearer.

    I had the gen - 2 for a while. It did a very nice job with ac sim, way better than the Kemper (sorry guys!) and the 12-string, banjo, and sitar sounded really good. What did NOT sound good was using this for rock and roll, not at all. That's why I sold mine after just a month tinkering around with it. I also hated the high action and thick strings they insisted you did not change.

    I had a 1st generation Variax built into a G&L Tele-type guitar. I thought that the basic models, LP, Strat, FilterTron and acoustic models were really usable. In particular, the acoustic models sounded much better than the sound of my acoustic guitars DI.


    But i typically kept it on Tele models as I discovered that there's more than the sound of a guitar when it comes to my playing. If it feels like a Tele, I really don't want it to sound like a Les Paul.


    Sure, it's great for a few moments when you absolutely must have a certain tone but i really don't need to. I don't think anyone cares (not even the rest of the band) if that acoustic guitar intro is played on an electric or acoustic. Soon enough I was playing my favourite guitars for the whole set instead of a less liked one which was more versatile.


    It's different if you're a professional band but then you've got a tech to pass you the next guitar for each song. Each to their own though!

    Don't get me wrong, I'm not saying it doesn't matter...it needs to inspire etc...how many times have you thought I don't sound quite right and it throws you off? Totally happened to me many times. In the same way as sound via IEM's drives me nuts....but I've also accepted that my sound won't be perfect and as long as I can pull my pinch harmonics I'm happy :)


    My ego needs constant feeding...I was also a child of the 80's....a pattern ? Ha!


    I need it to sound good. Somehow, when things sound good it becomes easier to play. But there's a tipping point of worth. My rig is complex enough now that I use a double sided 10U rack case. Add two guitars, do I need to have a cabinet for that extra few percent?


    For me, no. I'm also the singer so my vocal monitoring is way more important. I've played with seriously good musicians that finish a great gig and comment how terrible the sound was for them on stage yet gave nothing away for the whole performance. But I've also watched players making all kinds of demands on the sound man, or playing with knobs and settings throughout a show in their quest for perfect sound, to the point of it becoming a distraction for the audience.


    A couple of years back I experienced a band setting up in a pub. I'd seen the guitarist's Friedman and really nice Les Paul. As the rest were setting up, he was cranking out classic riffs and I was massively impressed by the tones. Really top class sound. But not only did he carry on wanking away for about 15 minutes to the clear annoyance of the customers, when the band started playing properly, they didn't sound that good. Nothing major, but a let down from the guitar sound alone.


    It made me consider just how important that great sound is and whether I'm too focused on it. Would I rather be like the bass player that plugs into a backline bass amp, shrugs his shoulders and says 'Good enough for me' or the guy fiddling his way through the show, desperately trying to find the missing mojo. Sadly I've been that guy and I regret it rather a lot.....


    Again, not saying that great sound isn't important but it's definitely worth putting it into perspective.