Posts by JedMckenna

    We need to look at this for what it is, a profiler and not a modeller. Now that there is a editor "like other companies", this concept will go over the head of even more people. Unlike those other companies, on this platform, amps and cabinets are profiled together to constitute a rig (which are all listed two inches above in your list of rigs.) People used to modellers go straight to swapping cabs etc but while it cab be done, the algorithm to separate the cab part isn't perfect. So choose your rig first (containing amp+cab together) and then arrange effects and whatnot around that. If you want to work backwards, save your effet presets and then recall them on another chosen rig.

    Indeed. I am so grateful for the timing since I'm going on rehearsals/tour in which massive editing will be required. I find unbelievable the level of entitlement I see from some users on this forum, of which some have little or no real professional needs in the first place. This release is such a glorious way of putting an end to the whining that had been going on here (although the nagging will start all over again soon with the Kone/Kabinet). Kudos to the hard work this company puts in, and it reflects in how their products are becoming industry standard for touring or recording touring artists worldwide.

    If we're talking about studio profiles being recorded direct as is on one end and you listening with proper speakers on the others, cab choice shouldn't matter. There is lots of deception indeed and it's been blatant since the explosion of commercial profilers. Many double track their excerpts / add post eq/effects etc. Kind of like the elite cycling world with PED: if one doesn't cheat, it's week in comparison to the rest of the competition who does. Try to get individual samples first and navigate this world with caution.

    If it's good enough for many major studios around the world and for an increasing number of major artists ... I wouldn't be worried it's not good enough for you.

    Indeed. At the end of the day, whether it's with a Kemper or even a POD, your effect processor/amp is rarely the weakest link stopping you from getting great sounding tracks. Especially with the modern high end devices, engaging in the marketing battle of brand 1 vs brand 2 is a waste of energy imo.

    I feel the pain man. I have to say though, the option of buying oversea should be last resort. You were in Canada thinking it was cheaper buying in Euros from Thomann but... at best, you get shafted with import/custom taxes/shipping costs you didn't even know existed and at worst, you have to send it back and forth oversea like you just did. Kemper and plenty of other brands sells at over twice the US/Europe price in some parts of the world and unfortunately buying at the crazy local retail price still usually ends up being better option than buying oversea. That was an expensive mistake but I suggest just make peace with it in your mind and try getting a KPA head locally or wait a year or so until the new batches of Stage get more reliable.

    As awesome and useful as Kemper/Fractal etc can be, I think you are missing some of the most fundamental aspects of electric guitar playing if you only play through digital devices. I am kind of limited in terms of space and try to keep gear to a minimum but I have at least a small tube amp I still vastly prefer going through for most smaller gig or with some particular artists where I use more effects. Some folks these days are forgetting that in some situations, some amps get you there quicker and feel right straight away without being dependent on a PA, good speakers or sound man etc.

    It depends on what your doing. To keep it very flexible, I go from rig 1 to 4 in order of gain. Rig 5 is solo sound. I usually just use 2/3 performances for electric sounds and 1 for acoustic/nylon. It doesn't sound like a lot but with effect switches and morph for each rig, it gives way more than enough options. I typically play 20+ song concerts and write on each chart which preset is used for what song, I try to keep the sounds of one song within the same performance. If I were always doing the same material, I'd have a performance for each song but for now I find this to be the best option when repertoire changes all the time.

    I'd suggest to start with the factory rig packs by commercial profilers who cater to your genre. They cover much more than they did in 2013 and with this and RE, you can probably get everything you need without buying anything. - except maybe a set of real speakers/FRFR so you can actually what it sounds like for real (through guitar cab, they can all sound too similar.)

    I have the same problem. I really take care to have the cable pass under the profiler so that it doesn't pull away from it in case there is a tiny pull on the cable. It's very fragile and really waiting for a catastrophe to happen (like when that cameraman fumbled into my cable and pulled out that UK power adapter right before my solo intro during an arena concert... tape your cables on the floor folks!)

    Still rocking some OS 5 release here while I've been into this never-ending recording project... looking forward to upgrade soon but at the same time, I don't get the obsession to always be on the latest betas. Those earlier releases were rock solid.

    When the editor does get released this thread may turn into a "We WAITED 9 months for this piece of ...???????"

    You might not have been here long enough to remember the delays, the reverbs and the multiple OS releases: the editor release will go almost unnoticed/unappreciated and a few hours later, the same users will just move on to the Kone/Kabinet thread whining about why the latter still aren't out yet.

    Varying the gain on the original profile via a boost/od stomp is a great way to keep consistency in the tonal character of the profile because different profiles of the same amps can sound very different. However, if you want a different flavor of tone and eq shape altogether (closed back 4x12 vs combo, etc) or something way outside of the spectrum of gain of the original profile, getting a different one might be easier, more accurate or preferable. About the obsession for trying presets and tweaking, I suggest consciously limiting your options to a few profiles at a time.


    I encourage to explore Rig Exchange and especially the free packs from commercial profiler for some time before splurging left and right on a bunch of commercial profiles you are likely to waste if you don't know what you are really looking for in the first place.

    I'm not getting angry.

    As it's a forum I'm quite within my rights to comment, as I see fit. I really don't need your input, or critique, and patronising retort of every line I write...

    You being "within your rights" is irrelevant. Sorry that someone has to point it out but those kinds of posts by people who don't even own the thing are trollish at best, and that's why it annoys some people. Like any products, of course there will be bugs and malfunctions happening to a small sample (and be well taken care of) but while thousands of other are doing just fine, you generalizing over the entire line is childish and not helpful to anyone.

    The way I operate is I have a main rig folder that I use 90% of the time. This folder contains only 4 profiles for every one of the 10 gain increments (so 40 "favorites"). Once in a blue moon I sit down just to try other profiles and they better be real good to replace one of its respective 4 in that main folder. Eventually, you get to know quite well what to go for and what is at your disposal so that there is no time wasted messing around.


    Concerning recording, I recommend recording your DI no matter what so you can re-amp later when you find a dozen profiles that you think would have sounded better.

    Audient makes great interfaces but unfortunately, with it's single line input and no spdif, the ID4 is too limited for proper stereo recording. I used a Audient ID14 and while still not packing too many features, at least there is what's needed (and more importantly an ADAT input with which you can use spdif if you get a cheap little adaptor). I suggest either getting this or a cheaper Focusrite in order to take advantage of spdif.

    Even if they "ship worldwide free", some countries has very intense custom or weird protectionist type fees that in some case are very hard to predict before the product actually arrives and get stuck at the custom. With that and the rate of change, I paid around twice the retail price for a toaster+remote+bag when I got it some 4/5 years ago. If I get a Stage, I will definitely wait until I tour in the EU/US to buy it!

    In my experience, when there is feedback or sound issues like this, we go into survival mode and all this fancy gear, KPA rigs and tweaks suddenly become totally irrelevant... then I wish I had brought just a Blues Junior and a TS9! These kinds of gigs still occur very often for me and I still really hate how dependent we are on other factors when going direct with a digital device. If I have any doubt that this situation might happen, I bring a small amp instead. I recently went back to a nice full pedalboard (that has the ability to go direct too) and live, I use it now as often if not more than the KPA (depending on the gig); it's just consistently good throughout any random system or situation I come across (ie. touring in small venues).

    But ... Dual Amp allow great and infinite creative possibilities (many of us would use and experimenti with it), so, to start, it could be a fantastic addition just only a "dual stack feature" without missing the other ones you listed.

    So, to be more precise: today all the chain is mono till the stack included, then from slot X start a stereo configuration. Let's think that the stereo mode start then from the stack itself... "Dual Stack" feature would allow to run a double stack A & B in parallel with just two additional parameters: a Blend parameter that goes from 'only stack A' to 'only Stack B' and a Stereo/Mono parameter that goes from 'Stack A fully Left Panned & Stack B fully Right Panned' to 'Mono Merged Stack A&B'. All the rest of the signal chain would remains exactly like today. So, not a full flexible parallel chain, but the most important thing of a parallel chain: two increbible Kemper Amp Profiles together! I'm sure this could make happy more than 90% of the "parallel chain users" ... like a dream ;-)

    I personally don't get the hype at all about dual-amp. Same signal through 2 amps is not how you make guitar wider in a mix. I'm actually genuinely curious as I might have been missing something about this but in your example of "Stack A and B panned on either side", I'm not sure when that could ever be favorable over a proper double tracking panned on each side. If you really want the exact same track with two amps, just re-amp the DI track with a different amp... If I want a different kind of definition or accentuate different frequencies, it's probably because I haven't chosen the right amp/eq/settings to begin with. Seems to me just like a trendy feature that make it sounds like all of a sudden, your guitar will sound better because 2 amps must mean bigger/better tone...


    Edit: Sorry about going off the topic of this thread!!