Posts by elemefjot

    After surprising resonance in the KPA user facebook group, I thought I'd present my floor board approach here as well. When folded, this has the width of my toaster and is easy to pack with it. I usually configure the 3 exp pedals as [Master Volume] [remote] [Morph] [Wah].


    For those interested, there is a build plan here.



    francisco jent - powered toaster & remote

    Maybe ckemper or someone from staff could enlighten us regarding the matter :) There's indeed lots of posts that suggest that the cab is last one in the chain.

    Right! And just to emphasize, if cab was last in chain, Monitor Cab Off would be a simple thing. However, from my evidence cab is not last and that makes Monitor Cab off a difficult function (wich again partially explains the frequent observations that CABINET off changes the Monitor sound even with Monitor Cab off. @ckemper, I really wonder

    EDIT: forgot to cite „If the cab model is a linear transfer function, it doesn't matter whether it is before of after the effects. See, A times B is the same as B times A“


    Indeed. However, I think it is non-linear. Simple test: put the same stomp in A and X, switch everything off except CABINET, then see if stomp - cab sounds the same as cab - stomp for all cab types.

    I've seen various posts claiming that the CABINET simulation in the KPA was the last stage in the signal chain, after the EFFECTS session, i.e. not as it looks on the front panel. But the following experiment supports that the signal chain is actually exactly as shown on the front panel.


    Setup: Select any overdrive-type STACK with cab on. Set DELAY in EFFECTS to 'Legacy Delay' with 2 repeats,' Note Value 1' = 8/16, 'Note Value 2' = 16/16. Connect your headphones or a FRFR to MAIN out and listen to the STACK sound including CABINET. When you play a note on yer Guitar, you should hear the note plus 2 repeats: pling ... pling ... pling.


    Preparation: Switch CABINET off and do the same. Now the three plings will sound differently, typically bright/fizzy. If not, select another CABINET, where the presence/absence of the CABINET simulation is very well audible. Switch CABINET on again.


    Experiment: Put a finger on the CABINET button. Play *3* short notes on the Guitar now, quickly switching off CABINET after the 1st note and switching it back on after the 2nd note . The undelayed sound of the 3 notes should then be [normal] - [bright] - [normal]. Now listen to the delay: *both* repeats of the 3 notes will be [normal] - [bright] - [normal], like the original, even if the CABINET sim is back on while the repeats ring.


    This more or less proves that CABINET sim is before EFFECTS, and that the CABINET sim output is fed into EFFECTS, as shown on the front panel.


    Consequence:
    a) there is no way to put simulated stomps into a simulated FX loop of the profiled AMP.
    b) there is no way to put simulated stomps between the AMP and the CABINET. You don't do that in real world either.
    c) "Monitor Cab Off" is rocket science, or uses an additional EFFECTS chain simulation. I do assume the former.


    Additional, simpler evidence by Andrew d'Angelo in facebook: Put a fuzz into the X EFFECT and it will wipe out any differences between different CABINETS selected.

    It might not be common knowledge that Cubase uses a common sample rate for all tracks in a project...


    That said, I think that S/PDIF @ 44.1 should be a fine choice. Some really good music has been produced at this sample rate, and using S/PDIF, you‘ll be recording exactly what you rear straight from the Kemper.

    Oh my, I thing things got overly complex in this thread...


    If we can assign a name to a stored set of data (preset, rig, whatever), that name is obviously meant to allow distinction of different sets of data. I fail to find a reason to have the same name, in the same location, represent different sets of data. On the other hand, I remember many bad consequences of not being able to distinguish sets. So I think, we should be able to overwrite presets.

    I think that for organizing things, a folder tree is an old-fashioned, inferior solution. Rigs have lots of properties like amp brand, model, cab, style, gain, author, etc. etc. If you attempt to organize that with folders, you might end up with putting the same rig into different folders.


    Tags are a better solution in my opinion. And both the KPA and the RM are ready for that. Search/order by those tags and finding a rig is matter of seconds. The favourite flag has a similar purpose.


    That said, I do use folders in the RM, for different rig or performance collections that purposely contain copies of the same items, like

    • live performances folder
    • studio rigs folder
    • try out next rigs folder

    etc.

    Yeah, right, the KPA's arrangement of profiles is still a flat list. (sub)folders not available there, but different sorts & filters, which in my opinion is much better for the 'live device'. On the other, for the profile repository on a computer, the folder structure is great.

    I found this on p9 of the Profiler Remote Quick Guide:


    In the event that your stage is so huge that your Profiler is miles away from the Remote, you will not be able to reach both at the same time. In this case, enter the configuration page in the Rig Menu, select a Stomp or Effect Module and use the four soft buttons on that page to complete the assignment. Besides toggling the status of stomps and effects, each of the Effect Buttons can also be used to trigger so-called “Action & Freeze” functions, for instance “Rotary Speaker (slow/fast)”.


    HTH

    Are you using DI boxes with an attenuator for the DI out (and have it engaged)? I can't think of another reason for the profiling process to fail. If f the finished profile clips, what happens if you lower the Volume (not Master Volume)?

    I'm pretty sure there is something wrong with your bridge or tailpiece. Since you tune down a whole step on a Gibson (shorter) scale guitar with 9s, you have a pretty low string tension, so I don't see why strings should break otherwise.


    For comparison: I play d'Addario XLS 11s and 10s, which are relatively cheap standard strings. I hit the strings relatively hard, my vibrato is wide and I do bends over 3, sometimes 4 semitones. My gigging guitars have different kinds of locking vibratos. I don't change strings too often and they almost never break. It must be the hardware ...