Right, except I don't like taking the feet of since they get lost and sometimes you want to remove a piece to move around, etc.. Have done "shims" from wood or doubling up the velcro, but just curious if there are better ways.
I want do the same thing in black aluminum, mostly to keep the pedals from sliding around.
How did you do the routs? Looks almost like a telecaster jig
Also, just velcro on the bottoms? Hard to get things flat with raised feet.
I agree that Rob is probably not going to win any singing contests but he gets the job done and is a very good guitarist too. A lot of people don't think Steven Wilson is a great singer either - fine, but he is a once in a generation MUSICIAN so that's what matters (IMHO).
Rabea (Bea, whatever) is a humble, generous teddy bear of a dude and an incredible musician. Well OK, and he lives near my sister in Brighton, UK so I may be biased. Stoked to see him and Rob Chapman on Kemper's!
If you are not hip to bands like Dorje and Karnivool, you are missing some of the best modern rock out there!
Sorry if this was already posted...
I just wish all companies would respect, value, and take care of their customers like Kemper GmbH.
As someone riding the "hamster wheel of obsolescence" with other vendors (ahem, AVID, UAD, Apple, etc...) I really appreciate that Kemper is committed to improving what we already have, as opposed to selling us something new every year. Sure they could add newer SHARC chips or charge for feature packs like delays and reverbs, but they seem content to improve code, add features and make our investment pay off.
I am actually really happy that it is quiet at NAMM and that the marketroids have not (yet) taken over the engineering focused team at Kemper. Maybe it's a german thing - the only other company I can think of that is close would be RME. I had 12 year old stuff running in my studio that would get driver updates and features added every few months. I am a Kemper customer for life as long as they continue to innovate, treat customers right and, heaven forbid, don't get acquired by some coin operated conglomerate.
I can't imagine this ever being a feature with the current KFC. There is no A/D convertor in the controller. The high impedance signal would have to travel through the remote cable causing a humming, buzzy mess of your sound.
Current KFC, nope. But a simple enhancement would be to convert to low-Z at the Kemper remote like this > Radial SGI
and then run the signal down the same network cable (haven't looked at the pinout but presumably there are a few wires free). I have a few devices in the studio that use standard network cables/jacks for analog audio and they seem to work fine, for example the Furman HDS-6 headphone distribution, etc....
Note that this is also NOT doing any A/D/A conversion so should not add latency. Not sure people would want to pay for the added weight/cost but it IS technically feasible in a next-gen KFC.
There are also things like Dante/RedNet/AoE where you could do it with low latency digital, but that seems like way overkill for this application.
A little off topic, but some interfaces like the UAD Apollo 8 have built in sample rate conversion. So for example, the Kemper will still run at 44.1K into an SPDIF channel but you can still run everything else at 96K, etc...
It does seem like an obvious enhancement to just put output sample rate options in the Kemper though...
Only Master Mono will give him both L and R delays. But this may sound phasey when L/R delays have identical timing and modulation is applied.
Can confirm - I also get weird phase issues when running some stereo delay profiles through Master Mono.
One thing to keep in mind is that "stomps" are mono so will not have phase issues as compared to the "effects" section, which CAN be stereo.
Yep, good idea. There is an attribute called "Pickup Type" but I'm pretty much of a noob so not trying to keep it simple for now...
Yes, I do agree that the Kemper does react in generally the same way as a traditional guitar > amp setup.
I think what is happening is that I now have hundreds of profiles, but have gotten lazy so it seems like a lot of work to have to switch guitars, lol. For me, single coils work MOST of the time and buckers work SOME of the time, but I guess I need to spend more time in more situations - thanks for the feedback (no pun intended).
Remember this > Line 6 Variax? As much as I love the smell of hot tubes and soldering up new pickups, one has to wonder how far off a convincing version of this technology can be....
We talk so much I didn't think to include this, but for completeness, why not?
I am new so sorry if this has been discussed to death already (and don't mean to hijack db's thread), but what guitars are you guys finding work best with the Kemper?
Personally, I am liking single coils (Tele's specifically) since the additional clarity really allows me to hear subtle differences between profiles. Humbucker's are fine, and yes I know about "input sens" but they just don't seem to be as versatile across the board from clean to higher gain. Nice to have different colors to paint with, but if I could only have one guitar with my Kempoer, it would be a tele.
Totally agree that the Kemper Profiler and UAD Apollo have changed everything. Could not live without either.
Other lesser "game changers" for me in 2016:
Toontrack EZ Drummer and EZ Keys - yeah sure, there are a bunch of other virtual drum hosts but none of them do what Toontrack does as far as building performances and composing. EZ Keys was a total sleeper for me, the "circle of fifths wheel metaphor" is just great for writing songs. Example > EZ Keys (by a guitar player...).
Logic Pro X - I have been a LONG time Pro Tools, Reaper and Cubase user but Logic is just so well laid out that I find it far superior to the other DAW's when it comes to productivity and workflow. Nothing wrong with the others at all, and of course you need to be on a Mac, BUT the only way I would ever use the others again is for collaboration where we needed to swap project files. Groove 3 has some great tutorials (Eli Kranzberg Logic Pro X - Explained, etc...) and despite the cartoony UI, LPX has a ridiculous amount of power hidden under the covers.
Acoustic treatment - it always cracks me up to see guys with premium gear playing in a crappy sounding room. I use some tools like Fuzz Measure to "shoot" rooms (much as the KPA does with guitar amps), and then use bass traps and diffusors from GIK or home made ones. If you can't or won't do that, the Behringer DEQ2496 is an amazing piece of engineering for a little over $200/US. Just as a FRFR system can help the Kemper, a flat room and/or EQ will help your recording and mixing.
Invest in your front end - electric guitars excluded, having a great player, source, room, mics and preamps are more important now than ever. Put money into what happens BEFORE your DAC's and DAW. Plugins are fun and easy but you cannot polish a turd so get it right up front.
Constraints - yeah, not technical and not sexy, BUT there is an inverse relationship between having TOO MANY choices and actually making music. Find a good profile and make some music - don't dick around with knobs all day and obsess about what piece of gear you need to buy next. I am very guilty of this - after looking through my 600+ great profiles last night, it dawned on me that ANY of these are good enough and if the Beatles had all this stuff they may have never written a song.
So on that note, I will take my own advice and go practice arpeggios and write a song now
Here's a shot of my KPA in action atop "The Most Dangerous 3 Feet in Show Business" rack:
Well I’ve been lurking for a few weeks now, but wanted to drop in and say “thanks” to everyone on the forum for the great information and positive environment.
I initially dipped my toes in the water with a lunchbox KPA and then went a little nuts and have since picked up an Atomic CLR (holiday sale!), Kemper remote, Mission EP-1 and pretty much everything made by MBritt and Guido. I have to say that after a lifetime of endlessly chasing every amp, pedal, microphone, modeler, etc… the KPA is finally “it” for me.
A couple of random observations (not that anyone asked…):
Christoph Kemper is a freakin genius, or maybe an alien? I don’t agree with every single design decision in the KPA, but 99% of it is logical and works across many different use cases. The fact that the platform is over 5 years old already and still doesn’t really have any shortcomings is just crazy in a world of disposable digital technology.
The KPA is actually underpriced, all things considered (but don’t tell Kemper that). Given that you can replace many amps, cabinets, effects, mics, etc.. AND have a uniform and flexible way of controlling it all is just nuts. I am selling a huge pile of amps and effects and not looking back.
Most importantly, the KPA has removed many barriers separating me from the creative process. I have always had some excuse where I needed a different amp or effect and it was too much trouble to setup or was too loud or (insert excuses here __________). Now I just fire up my KPA and play until my fingers fall off. I have literally come up with more songs ideas since owning my KPA than I have in many, many years, and of course that is the whole point of music, isn’t it?
Anyway sorry for the rant - just wanted to pop in say how fortunate I feel to have such a great tool at my disposal that is backed by such a great group of folks. Thanks!
P.S. now can we please get some Kemper tee shirts?