Yeah, on it's back is actually the correct way. Then you can zip down the front and back and use it without taking it out of the bag.
Tried this. It's a very tight fit and not comfortable to get out of the bag. Plus the bag is way to big if the head is put this way. I think I prefer the normal way of putting it in. Looking to trade my head for a rack version nevertheless.
Wowowow Elvis, don't tell me your putting your unit upside down into the bag?!
Mine does not. Tried it but could not close the zipper. 
Agreed. With FRFR 'though, there's no need to mic the cab, so there's one less source of "contamination".
Indeed. Since we changed to IEM with the whole band (before it was just me and le keyboard player) the overall band sound quality has gone up about 400%. FRFR is as step in the "right" direction concerning spill reducing.
BTW: to the whole discussion about if the KPA is as good as the amp or not. Soundwise, everything is said. Feelwise, I prefer the KPA for high-gain sounds because it's much easier to play than a real amp and much more tweakable regarding pick attack. Lead-shredding is so easy and sounds really differentiated with the KPA like it never did with my amps.
They probably didn't know. Sounds like you are doing your stuff without communicating it.
That is an interesting question....is someone out there able to help? Tks
Using the AUX in options. BUT there is no limiter. This feature is already requested.
Hi, ich kapere mal den Thread. Ich würde mein Head gerne gegen ein Rack (UNPOWERED, daher auch nicht in Konkurrenz zum Threadersteller) tauschen. Das Head ist zwar schöner für daheim aber seit ich die Remote habe steht der Kemper in der Backline und nicht mehr so nah bei mir. Da ist das Rack praktischer.
As always this leads to the point where the open discussion has no result. There is a difference, might it be good or bad, who cares. I do not have a battery of amps to compare. But what I can say is that I like about 2-5% of profiles I hear and these are more than enough. I have fun playing these and the band members, sound engineer and audience like them too. What do we want more?
The possibilities outrange the tonal nuances by far in my opinion. If I would change back from KPA to valve technology my amp setup would cost me about 4000$ including 2 or 3 pedals.
I like the idea of putting some reverse delay or octaver on for 1 intro or solo without having to spend 200$ on a pedal, search for it, reorganize my board, sell it etc. Modeling was neber a point for me, even in the first 1 or 2 years of the KPA. But since they are optimizing and developing their software on and on and with having the Remote it outranges valve technology in live situations for me.
I appreciate the free updates. I would be not very happy having to pay for each new OS version. But I will pay for a KPA standalone floorboard which only does performance mode. Like a remote with an audio processor.
Your FoH gets spill in if you use a cab onstage. Does not matter if vocals spill in guitar mic or the other way around. It's always not optimal.
Press and hold the cab button. Release the cab button. Turn the browse knob.
What I like with the KPA is the ability to not bend over all the time when creating presets as it would be with a floorboard. Yes, there's an editor, true.
I like the spearation with the KPA. A KPA floorboard would be nonsense for me since the real unit would be enough.
When they would make a "Flooramp" without the possibility of profiling as an ADDITION where you could put your performances on. Like a remote with a sound processor ... that would be awesome. No knobs for tweaking (or just little tweaking like volume etc.). That would be awesome. Make it only available for users that habe the KPA and make it reasonably priced.
In my experience, the KPA sounds more defined than a tube head and therefore positions itself better in the mix. I would cut bass at the tube head. Just a sidenote.
A bit cynical BUT if the sound engineer disqualifies during soundcheck tell him to put EQ on 12 and let the magic happen.
Your rigs should have already been EQ'd in rehearsal.
The EQing point for the monitoring mix is one of the most forgotten things by non-professional sound guys. Actually it's one of the differences between sound guys and sound engineers. If you tell the pro that you are not loud enough (what singers do) he checks the EQ. If you tell a sound guy he produces feedback as everyone tells him that him or her is not hearing him- or herself.
They would be more famous if there was a CabExchange and an AmpExchange, thus better sorting in RigExchange. What helps me the best Amp DI Profile if I get only estimated cabs out of studio profiles?
You answered your question by yourself.
Using real cabs to go FoH or on stage plus sending cab-simu to FoH lacks the possibility to hear what the crowd hears. Go FRFR or IEM.
Only way (for me - my personal opinion) to use cabs is when there is no FoH or no guitar on FoH or a miced cab which is basically non-sense regarding the output possibilities you have with the KPA.
There is no possibility to get a cleaner FoH signals than with the KPA by itself. We record every live gig. Since the keyboard player has it's DI boxes and the bass player has a DI out on his amp (and me with the KPA), our live recordings sound ridiciously awesome. Only thing you have to do is EQ and volume in the DAW. (And reverb, compression, EQ on the vocals and the drums.)
There is no Misc here ... but probably Tips and Tricks?
Don't want to intrude on the OP of course!
Just open up another thread under Misc. and cover you experiences as a FoH in general and regarding the KPA as well as IEM or monitor mixes on stage.
I would subscribe to that thread. Learning is never bad.
You can morph the rig volume or use another performance slot with lower volume.
Cannot speak for metal. I went cabless with KPA from day one. Using IEM. Best thing ever. Sidenote: you do not hear the singers argue during the songs and blaming the FoH for not hearing themselves over the wedges on stage. So I keep smiling during the songs waiting for the drummer to kick in the next song.
If this approach is possible with reverb, it is possible with nearly every stomp. Won't be easy. Probably using very short peaks during profiling in addition to the given approach. Time and modulated FX-profiling should be quite tricky but would be very cool.
