I found out the Z12 only can do Program Changes, so 1) is not possible i guess.
2) It would be possible by assigning a RIG to Nr. 5 (for example) with volume at 0 so you can at least tune by using the 3 LEDs over the chicken knob without hearing any sound.
Any other solution would be appreciated!
Hello guys,
anybody using the Z12 with the Kemper in performance mode?
How do you activate the tuner using this footswitch?
I know the Kemper footcontroller uses CC#31 to activate the tuner.
So
1) shouldn't the tuner pop up when i hit Number 31 on the Z12? 
if thats not working:
2) is there any possibility to assign the tuner to 1 of the 5 available rigs somehow?
Would be a nice idea to have poweramp and preamp as separated sections in the rig menu. Same as Cab and Amp.
By having Poweramp Profiles too, the Kemper could eventually recreate the poweramp stage even better..
Guys: my support ticket says that nobody has ever reported such an issue to Kemper. They advised me to try refining by playing chords, asked if pure cab or noise gate is on.
It is kind of mind blowing to me if this true and I'm the only one who has reported the issue.. because I have profiled what... 20 plus different set ups... different places.. even different people doing the refining, for that matter. "Congestion" and raspyness" has always been there more or less.
So I would also encourage those having issues to record samples and open support tickets.
Why can't they just take a look at this thread here?
Such a long discussion should be proof enough that there are enough customers having the same issue, why opening individual tickets?
Don't really get it 
What about the supporttickets you guys opened... are there any news/statements from Kemper?
A direct profile is just profiling the amp head without the cab. These are meant to be used with actual cabs or 3rd party IR's.
A studio profile is when you mic the cab during profiling and create a single profile of both. With this method the Kemper decides where the amp and cab separation is internally, which may be somewhat imperfect.
A merged profile is when you make a direct and an amp profile at the same time, then combine them. The reason for this is to have a clear separation between the amp and cab in the event you use either independent of the other. They sound basically identical.
yeah I know the differences between them.
"The amp part of profiles for sure suffers from it. Direct profiles show this." I misunderstood here that by taking a studio profile you generally have a better result than taking direct profiles+cabs (merged) where you can obviously hear the degradation. It just made me wonder. nvm. 
Direct profiles show this.
What do you mean by that? Studio Profiles > Merged ?
No luck with the method shown in video (tried profiling with the EQ trick too, fruitless results). If Wagener actually does get the tones to match the amp without the usual "congested" issue, he must be doing something radically different to everybody I know who profiles amps. I wonder if anyone has any "inside" information.
Are Wageners Profiles indeed superior to the others and without the "congested"-issue you/we are describing?
If so, is it on the AMP or CAB part?
Or on both?
Would be good to know as a temporary solution/workaround.
I take it you've experimented with the Pure Cab™ setting whilst trying to reduce fizz, Sonic?
I'm allergic to fizz, specifically that accentuated through phase cancellation / comb filtering, and Pure Cab™ was a Godsend for me from the day it arrived.
For recording purposes:
Imho PureCab degrades the sound. It's kind a weird EQ which won't let the guitar sit easy in a mix. While it might be nice for playing in front of an amp, for mixing it's not what I would use.
If you open a graphic EQ after activating PureCab you will see a kind of compensation of the higher frequencies from 4-9k. It lowers the highest peaks but also boosts the nulls in between them. The result is a strange fizz where there shouldn't be one. Not 100% sure what it does to the low mids, I think it boosts them in some way too, but usually theres already enough low mids on guitars (at least for me). It generally makes the guitar more pleasant when playing alone, but it will fit harder in a mix IMHO.
To the video posted from @ColdFrixion:
It improves the dynamics of lead guitars a bit, but for rhythm guitars and overall tone it unfortunately does not help a lot... But it also wasn't intended to do so I guess
Erazorblade had mentioned overcompression with high gain sounds, which is something some of us have noticed with the palm muting issue, however I think this video may hold some answers:
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Awesome! seems to be also a possible solution for the kind of "fuzzyness" i was encountering! gonna try it today. Thank you! 
Still kinda funny to have these dynamic settings in the Studio EQ (which sounds more like a standard EQ in a DAW).
I just put the 2 files in my DAW and by directly switching between the 2 tracks it's even more obvious.
The 1st sounds like theres less gain and bass, but more high mids/highs/fuzz on it. Same thing I felt with the KPA profiles against the real amp.
Now that experiment would be a lot more interesting, if the sample of the kemper wouldn't be a profile of the AXE, but one of the real amp instead.
We know already that the Profile of an amp is not able yet to create an exact copy of the tube amp (for some sounds at least).
I guess more or less the same is happening when profiling an amp like the AxeFx.
Its like profiling a profile in some way.
Notwithstanding the 2 samples above:
Has anybody already tried to create a profile of a Profile, and so on, and then compare it with the real amp in the end?
(without altering mic positions, etc).
Maybe in this way it gets easier to understand where the problem is on the amp part of the profile.
With each profiling process the sound should suffer always a little bit more in the same way so at the end it maybe seems even more obvious what the exact degradation is and what could be done about it?
hmm..
Okay, in an effort to figure out how to resolve some of the issues plaguing profilers, I've been getting my feet wet profiling my Axe FX. Here are a couple of samples to compare.
Can you identify the KPA vs the Axe FX?
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Just listening on cheaper earbuds, but Sample2 seems to have a more extended low freq response and seems to be more 3D.
I guess #1 is the Kemper, it seems to be the difference I was feeling when comparing the KPA to the real thing. I hope I am wrong though.
PS:
But... are they level matched exactly? Listening to them again #1 seems to be a tad quieter, which can change everything when comparing 2 soundfiles like this.
Thank you very much
This is exactly what I reported to support when I tried to DI profile my bass amps.
And those frequencies are very important for the bass.
I bought the KPA 2 weeks ago and feel almost the same as you both.
Have to say that it's an awesome tool and I'm having a lot of fun with it in the studio and live.
But there is certainly a lack of this "feel" "room" "3-Dimensionality" and especially "something at the bottom end" when listening in my studio environment through flat/high quality monitors and headphones. Especially when muting the rhythm guitar section recorded through a valve Amp and decent preamps and replacing them by kempered tracks (profile of the same amp, same mic positions). Are there some other engineers which tried the same test?
The real one just sounds a tad fuller, smoother (less brittle), more dynamic and has that tiny little amount of room in it which makes it fit in the song more easily. These are all small differences but all together are quiet noticeable for me.
Ive tried now a lot of things and when listening to the KPA tracks without having the sound of the real one around for ABX testing it nearly does not bother me at all. But when I then switch on the real amp again I think "yeah thats it".
I tried to alter my (guitar driven) mixes in a way to let the kemper shine, and to some extent I succeeded, but something was still missing.
After some days and these A/B checks with the real tubeamps in the mix I knew what to look for when checking sounds. So it's something I hear also in other profiles. For highgain its this kind of "compressed" "overtightness" lack of roundness".
Don't want to offend anyone here we're talking about nuances, but in a critical studio situation with a lot of guitar tracks they can make a difference IMHO.
I've read now the whole thread and want to put together and maybe bring in some ideas to improve the things a bit which I think are a bit lacking compared to the real thing in a recording situation:
1) 3-Dimensionality/Room: What about putting a litte bit of reverb/delay on the recorded track with a high quality processor/vst? Just like 3-5%
and/or using kind of (Tape-)saturation plugins to improve that? I also found an advice from another member here who was saying the Blockfish VST from http://www.digitalfishphones.com/main.php?item=2&subItem=5 can lead to better results. EDIT: maybe also a plugin like the UBK1 (Kush) or TRANSIFY (JST plugins) could help.
1) a) For users with the poweramp: if you mic a cab and use the kemper only as amp alone, this seems to be a heck of a lot better than without, at least what I think.
2) Tonal differences: Dynamic EQ for palm mutes/etc. Normal EQ for the general lack of low frequencies and or 100-120 Hz boost before the Amp.
3) For the kind of "compressed" "overtightness" of highgain sounds I'm hearing I don't really know what there could be done, maybe they will get better after trying point 1+2.
PS: yeah i played a lot with all the settings on the kemper itself... I also tried a variety of profiles on the RE, also from members like mbritt, wagener, sinmix, ola, topjimi.. etc. I might try some commercial profiles too, maybe I'm getting easier to the sound i want.. but til then:
This should be a constructive post, I don't want to offend anyone and really only want to help to get even better profiles 
The KPA is an awesome amp and it's really awesome how far we got til now. But at least for me there are some things which can and should be improved. It will remain my main amp for live gigging/prepro/ and sometimes even on studio recordings, but for now I'm happier with the real amps for my rhythm guitar recordings which are a big part of the mixes I'm doing.
Cheers!
