Posts by fourstrk

    Used the Stage live for the first time last weekend, with the latest beta OS, playing Main direct to FOH and MON to a Behringer Eurolive 212A powered wedge.

    Couldn't believe the quality of the sound. It was exactly as if I was playing in my room and everything just worked, perfectly. I even had one transpose patch, which also worked a treat.

    The only issue was that it was a big stage and some other band members couldn't hear me clearly - mixing issue or need a more powerful stage monitor?

    They need better monitoring and a better monitor mix. They won‘t get a better quality guitar sound in the board than they already have - problem solved.

    Using the four buttons as stomps would fit to the current workflow.

    Change profiles via softbutton or external footswitch.

    Since it‘s a profile loader performances would not have to be supported. Hence, not too much interference with the more price-intensive model variants.

    I had an Amp1 for a quiet long time when it came out - I like Thomas' approach of keeping it simple and (as being German) I also like that we have innovative companies like Kemper or Bluguitar coming from Germany.

    The Amp1 was (is) awesome for what it is, I always used it with traditional guitar cabinets and never played it with headphones. I sold it when I got the Kemper which changed my way of work.

    The only problem I got with the "Amp X" is the "web shop" part. If I understand the text correctly, you basically get the "Amp1 Mercury + Iridium Editions" plus some other features in one box. If you need further "classic amp sounds" you would have to pay cash. I hope that there will be the opportunity to design own circuits and share them with others (similar to the RigExchange). It's fine that there are "official sounds" that you can buy but I do not like to "lock-in" myself in an environment where I *have* to pay money. For Kemper, I am in the driver's seat to decide if I'd like to or not. This is the only downside I see with the "Amp X"-concept.

    From a terminology point of view both what one does with recreating a signal chain is either a „model“ or a supervised learning based on a „[network] architecture“.

    The more complex the network topology the more processing power is required to keep the training in a reasonable time frame (how long is reasonable?).

    Each training step calculates the results of a function which is „weighted“. The result of the calculation are then compared by using an error function (how good is the function?). The cumulation of these weights makes the individual sound.

    First papers on AI approaches are decades old. They give a great technical way to solve problems but there are too many variables that one can say that they generally outperform „classical“ approaches.

    I can imagine that by throwing a lot of processing power on the problem, one can achieve satisfying results.

    I hope Kemper is hiring some students who are dealing with some proof-of-concepts of the next generation training process / network architecture. It has been just a matter of time that someone comes up with a competing product.

    This should put this speculation to rest...

    They seem happy with the DSP and their internal libraries / tools they created for it.

    However, a KPA2 could get more ROM, RAM, 2x DSP for parallel routing and processing power to support AES50, OSC and all these ... probably a bigger screen ...

    But to be honest - I do not see a lot of added value. I like the approach of sticking to the HW and make the SW bulletproof.

    A smaller form factor without any buttons on it, just some line jacks for external switches / pedals and a lower price point would be cool. Since we have the editor now this could be feasable.

    Ich kann aus eigener Erfahrung die Produkte von Fischer Amps empfehlen, aktuell nutze ich hauptsächlich den "In Ear Stick" mit einem XLR-Kabel für Stereo IEM. Ich habe mir ein eigenes "Multicore" aus 1x XLR und 1x Gitarrenkabel gebaut. Abgesehen von der etwas eingeschränkteren Bewegung sehe ich nur Vorteile gegenüber zwei Funksystemen für IEM und Gitarre. Für kleinere Bühnen reicht das kabelgebundene Setup total aus und ist verglichen mit Funkstrecken weitaus weniger störanfällig.

    Leider hat der Kemper soweit ich weiß keinen Limiter in der Signalkette zum Kopfhörerausgang. Das ist für mich ein "No-Go" für Live-Situationen.

    Ich hatte das glaube ich sogar irgendwann mal als "Feature Request" angefragt. Möglicherweise - ich kenne mich hier nicht aus - lässt sich da rein softwaretechnisch was machen? Schade, dass das Ganze irgendwie eingeschlafen ist.

    I won‘t answer to your post in detail since it contains hypotheses about what I am or do which - by the way - are of no concern for the matter.

    I also won‘t rectify the sense of a metronome. This should be clear to everyone.

    I connect a metronome using the AUX of the KPA. It would be way less hassle to avoid third party hardware in the process for the sake of simplicity.

    Here‘s a small story this discussion reminds me of. I was on a workshop at which Thomas Blug unveiled his „Amp 1“ some years ago. I asked him if it was possible to connect a stereo signal / AUX. Most of the guys in the audience had that „dafuq“-reaction, some even giggled around. Thomas Blug took this thing very seriously and answered that he had exactly that in mind and implemented this feature, especially when I explained that I would need this functionality to prepare for sessions / rehearsals where you get recordings / arrangements upfront or simply to listen to the guitars / soli in a recording to play after.

    I only play guitar using the Kemper these days so I would like it to contain everything that I need as a guitar player on a regular basis - including a metronome.

    If you do not need one that‘s perfectly fine. I do not judge that and would kindly ask you not to judge others as well.

    It's not about what you need, it's about what the Kemper is.
    I didn't see this on any of the competitors products.

    Hey KPA has a USB slot why we can't use MP3 files for backing Tracks?

    No one else has a Profiler. Why invent one? See my point?

    With the transition to digital technology there‘s a whole lot of things which can be added by software which give value to the user. For example a metronome(-stomp).

    This is the big advantage. I personally do not use some stomps (e.g. whammy, transpose, most delays, ...) but I am glad that they are available when I need them.

    The KPA is a flexible tool and a metronome is crucial for practising timing and rhythm.

    Probably because it was only intended for communication with the remote, nothing else.

    For hardware which shall live long, the more I/O flexibility there is, the better. Probably for a Kemper MK2 they may think about adding Ethernet again to support some protocols, let‘s see.

    I was hoping for the KPA having an Ethernet API. This hope died when the Stage came out without an Ethernet socket. Would have been great to at least keep the option and keep the product ecosystem aligned. I do not know the background of the decision but it seems that they limited themselves for the future here. The Head / Rack versions came with a physical connector but without any functionality on the Ethernet port. Why not going the same route with the Stage?

    To only thing I do not like this much on the Stage is that they did not route the Ethernet plug out ... if they did, there would have been a chance to be able to control the Stage (and the other profilers) via Ethernet, which then would enable a smartphone / tablet application. Especially in today's stage environments (digital mixers, WiFi, ...) the integration into an existing stage-network would have made sense to me.

    Ich hatte auch schon einmal einen "schlechten, nasalen Sound". Nach ewiger Suche war dann die Ursache klar: mein nicht verbundenes Wah Pedal stand angeblich auf "toe". Wäre auch kein Problem gewesen, wenn ich nicht ausschließlich die Option "Wah@Move" (oder wie ihr das nennt) nutzen würde ... habe dann händisch den Wert auf "0" gedreht und alles war gut. Der Fehler ist seit dem nie wieder aufgetaucht ... das Pedal schließe ich manchmal nach wie vor aus Faulheit nicht an. sounded great, particularly out front, but not at ear splitting levels.

    I have to admit, my rigs sound way better at home through studio headphones than through my IEM, especially with sounds having higher gain. But for live use, I basically do not care too much about the overall sound quality (in my IEMs) - what really matters is that I can hear _what_ I play and _what_ the others play. I kind of rely on the KPA sounding great over the PA (which is does). After listening to my cues afterwards in the DAW over the studio headphones it always sounded as I expected it to do.

    There is a little coloration but I’m sure that’s what gives it the “amp in the room “ feel

    Funny thing is this: I exclusively use the KPA for about 3 years now for playing guitar at home, in rehearsal and live via either studio headphones or IEM. Now we got some Yamaha DXRs as satellites for live use ... since these cabs seem to have a good reputation at the "FRFR"-gang in this forum, I took it home to test it. Now read this:

    The sound I got was what I expected. Absolutely nothing to blame. Here's the but: since I am this used to "directly" hear the guitar in HiFi via earphones, I had difficulties playing without headphones since it all was "wibbeliwobbeli" and way more undefined as if I play direct with headphones. Basically I learned these days, that I do not want to go back to an "amp in the room". 8)8o

    Had the same problem a few years ago with a Dunlop wah. I ended up replacing the bottom metal plate with a wooden one, quite similar to the Harley Benton alternative above, except that I learned that due to the weight of the pedal, I would be safer to use velcro all over the bottom of the Wah instead of just at the tips as Harley Benton is doing it.