Hi,
I’m selling 2 Yamaha DXR10. One comes with a Yamaha cover.
Both work perfectly, minimal signs of use. They have not been used very loud.
I’m selling them because I changed system.
Sold also separately.
I can ship but would prefer pick up in Berlin.
Please make me an offer.
Try inverting the phase of the monitor or FOH signal. It happened often to me.
It would be great if we could do that on the Kemper directly.
Do you place the KPA delay in the same position as the Timeline (before or after the amp)? That can change the dynamics of the delay a lot. As mentioned, Grid has a similar effect.
I really like the KPA delays. They sound great. At home I can easily dial in the sound I’m looking for. But I end up using my El Capistan instead when I play live.
I tend to adjust settings while I play live to match the room, my mood or the song.
I normally only adjust Time, feedback and mix. Even though those parameters are directly accessible on the KPA I can’t manage to adjust the sound as quick as I can with the El Capistan. I suspect this is because of the range/speed and feel of the encoders and the lack of a clear reference.
I’ve seen this mentioned on the forum before but I don’t think anything official...... unless you’ve heard something recently / at NAMM now?
I thought he mentioned it when he presented the new reverbs at the last NAMM.
Didn’t CK announce new stomps as well?
Thanks Kemper! the reverbs sound great 
I'm a big fan of spring reverbs and this one is amazing (better than my Big Sky!).
I can't turn reverbs (or other FX) off anymore on the KPA if they are loaded in the reverb slot. Switching on/off from the remote works fine. It's not that I WANT to turn the reverbs off! But I thought it's good to mention this.
As others have mentioned it seems that the knobs are not working:
Reverb Slot: not working on any FX type
Mod slot: not working on reverbs (mix&time), working on other FX typs
Hi!
Thanks for the thoughtful replies.
The model is Shure 215. I connected it directly wired to the KPA.
I didn’t consider that isolation is important in order to avoid excessive IEM volumes. But I will definitely keep this concern in mind for the next time.
In my case the gig was with quiet drums and almost acoustic on-stage volume. I think open IEM would have been safe for my ears .
Headphone volume in this “isolated” setup was -15 dB. (Profile (clean-crunch) volume is average or below) I never needed to push in order to hear myself and I played much more relaxed and controlled. That was really great.
With amps or KPA through a monitor I sometimes find it hard to find the balance between “don’t hear myself” & “too loud”. I was surprised that it felt really comfortable through IEM.
Hi!
I have used IEM yesterday for the first gig ever. I had never had as much control over my sound in a concert. I really liked it.
I ran the IEM directly from the headphone out on the Kemper. I used it only to monitor myself. (The band is not using IEM)
I know... I should send everything I want to hear on my IEM.
But for simplicity: are there open IEM or sleeves? I’m using Shure in ears with the rubber sleeves. The isolation was a bit to much. I would love to hear the band, the room and the audience a bit more.
Thanks
Just looked at pictures. I would try the monitor in.
This is only relevant if you hear a lot from FOH.
For example if the monitor and FOH speakers point in opposite directions there can be phase cancellations. The mixed sound your hear from the FOH speakers and monitors might feel weird and sound hollow.
If the monitoring system is set up properly it should already be in-phase...but very often it is not.
It really depends on many factors. But if it sounds weird I always ask the engineer to flip the phase of the monitor signal. very often that resolves the issue.
I often need to invert the phase of the monitor out. It always depends on the P.A. setup and monitor/speaker placement.
It would be great to be able to invert the phase directly from the KPA.
@'Wheresthedug I totally share your opinion.
I have several times tried to suggest what would be in my opinion massive improvements for many users, without affecting in a negative way the other users.
I really like my Kemper. But it is always the same... the answer is always:
A) you can already do it, or
B) nobody needs that.
Both points, as you also demonstrated, are simply not true. I honestly give up. I keep my Kemper because it is good, but it’s a waste of time to share experience and feedback to help to make it better.
I hope that the lock function will be updated at some point.
The reason why I use the lock button is not that I don’t want to store the performance with the correct effects in all slots. The lock button allows us to apply changes (during a gig/rehearsal) to effects to all slots (and performances). This makes it much more similar to working with pedals and has less the character of a programmable multi fx unit.
For some people programming is the way to go, others prefer to be more flexible and spontaneous.
I’ve been playing with the spring reverb for a couple of weeks now. It is really great! It gives more sparkle to the sound and feels sooooo natural. I keep it always on
Well done, Kemper Team!
Try doing it at higher volume, even on a lower gain amp. There'll definitely be a pop sound when you pull the jack out. Now imagine that being miced up and fed into a PA. Disaster!
You are missing the point. We can agree that there is always some kind of pop noise when unplugging the cable from the input of a tube amp or other device.
But let's compare 2 situations:
1) Fender Deluxe Reverb at 10: unplug the cable from the input -> soft pop noise
2) Kemper with a similar profile into a DXR10 (set to a volume to match the Fender at 10) -> pretty loud pop noise
It is irrelevant if the Fender is miced and played through a hugh PA, or if the Kemper is played through a hugh PA. What counts is the signal to pop-noise ratio which is definitively much worst on the Kemper compared to any well serviced tube amp I had. It is comparable to a tube amp with grounding issues in my opinion.
I love my Kemper, it is ok that it is not perfect. It is still a great tool. Do I unplug the cable form my (miced) tube amp: yes. Do I do that with my Kemper: absolutely no.
Instead of arguing against the observation of @Priami everybody could be curious and test it, compare and measure the results....who knows, maybe the input of the Kemper could be improved and we all could benefit from not blowing up the PA when we (accidentally) unplug the cable.
Check again! They all do this!
Also, that sound is bad for speakers. Better to mute your output before unplugging your guitar.
None of my tube amps does that (i am not playing high gain amps)
I have started profiling my deluxe reverb. I made many profiles with the same amp settings and mic (sm57 straight into the KPA) with different mic positions.
With different positions I mean anything between close to 2 m away and 1 m above the speaker.
The result is really interesting (and useful for recording real amps ). The sound changes from bright to dark. Angling the mic resulted in a scooped sound. I recommend putting the mic at your ear position when you play. This was a nice surprise. It gives much more amp in the room feeling.
On stage...monitor out (TS) to my DXR10 (used to be a CLR). My DXR10 never set much above 0dB. Volume controlled by my KPA Master Vol
do you use the XLR or the TS line input on the DXR10?
Welcome!
I had the Line6 M9 but sold it...don't remember for what, but it was long before the kemper.
Since you mentioned the looper:
The M9 has some really nice features like overdub level (which the Kemper does not have) and it is very easy to control. No need to tripple step to start a new loop. I have always liked line6 loopers for their intuitive design.
I find the functionality superior to the Kemper looper. If I remember right you could also assign the playback and overdub level to expression pedals.
But: I always felt that general sound quality through the line6 was not great. Especially in combination with other digital devices.
The Kemper looper is great. Hopefully it will receive a little update one day 
- overdub level footswitch/exp assignable
- playback level (with an increased range 0% - 200%), footswitch/exp assignable
- delete loop, assignable to footswitch
Sound quality is great, no additional AD/DA conversion.
The effects of the Kemper are all better in my opinion.
I would still keep the M9 if you like the looper because the Kemper might not offer what you are used to.
Cheers,
Karsten
Display MoreHi All. It's my first post here too, so I apologize if I cover well trodden ground.
I can see two things that the kemper might do to accomplish what you are asking for, but both require jumping through hoops since the Kemper clearly was not designed for this.
1. Linear response correction. This is done by capturing the impulse response of the system in question. This is usually done by exciting a linear system with a known signal, sine sweep, MLS, etc, but that can not be done easily on an acoustic guitar. That doesn't mean that you can't extract an IR though. If you have a pickup on the guitar, you could pluck a series of notes or chords recording the output of the pickup and the output of a microphone. You would then need to do a de-convolution of the dry (pickup) signal and the microphone signal. I believe the resulting IR could be loaded into the cabinet section, and would transform the pickup output into something much closer to the real thing. This technique would be much better than simple EQ as it would include time behavior, which is extremely important in an acoustic guitar due to resonant energy storage in the system (EQ is frequency space only, and does not include time behavior). This is basically a way to capture an accurate EQ with resonant behavior included, but still only deals with the linear response. In a real acoustic guitar non-linear response is what gives the guitar its actual tone, ie. what harmonics are included and in what proportion.
2. Non-linear response correction. This requires actual profiling with the Kemper. I just bought my Kemper, and I have never profiled an amp with it, but I do understand some of the signal theory involved. I think it might be possible to use the built in profiling routines by exciting the guitar body with an audio exciter, such as this one. I have used this technique several times to study the resonant behavior of things like turntable plinths. The essence of what the Kemper is doing during profiling is making a map of the non-linear behavior of the system under test as a function of input frequency and amplitude. I don't see why a similar process could not be applied to the acoustic guitar. I can envision a few problems: One is that you assume that your excitation source, and its coupling to the guitar are linear. Compared to the guitar itself, this might be ok. The other problem is that this information will be duplicated somewhat on your pickup signal. Clearly your pickup already picks up some of the non-linear behavior of the guitar, or it would sound nothing like the guitar at all. If your "profile" of the acoustic guitar was taken with a linear source, but the actual signal it is applied to already includes some of this non-linear response I am not sure where that gets you. Perhaps if you can blend the amp signal with a dry signal it might still get more than the IR only technique. Or maybe it is just a can of worms.
EDIT: I should note that the deconvolution mentioned in the linear response correction section might require some hoops to be jumped through in an of itself. I do not have direct experience with de-convolving arbitrary waveforms like this, but I think it should be possible.
Sorry, I love making things do stuff it wasn't designed to do.
Chad
Hi Chad,
Thank you very much for sharing your knowledge. Very interesting.
I have much less technical understanding and found your explanation was very helpful.
Cheers!
Karsten
