Posts by HowardBrown

    I think you best option is SHIFT + MOUSE:
    "You can change the value of a parameter with the mouse by grabbing the control and dragging the mouse. Hold the : (shift) key for micro-adjustments. Alternatively, change the parameter in question on your PROFILER and the editor will follow."

    I saw this post a little over a week ago, been doing some editing on effects on quite a few profiles and utilized this about a dozen times since then, that's about a dozen aggravating moments avoided thus far, thanks!

    Disconnect Rig Manager and it will do it. While connected the system assume you're editing and keep temporarily the changes

    No need to delete - this is useful info. 🙂

    I dabbled with Performance mode a couple of times but because of this perceived issue on my part I just leave the profiler in Browse mode. Wasn't really that big of a deal to me though as I haven't played out in many, many years and figured if I decide to go jam with someone I can get by in Browse mode. But after seeing this I'll crack open the manual, learn more about it and set up some performances I could then utilize if such an occasion presents itself in the future.

    I pick up little jewels like this quite frequently just perusing the forum so the posts are most definitely more useful than one might think and leaving them up is a valuable resource. Reading and referencing the manual is a must to move around comfortably within the profiler but it is still easy to overlook tidbits such as these, I think that's common for all of the mere mortals such as myself scrolling about here.

    Monitor out will let you control your on-stage volume......but only use that if the cabinet is NOT mic'd. Otherwise FOH gets a variable signal.

    Sound engineers tend to pop a vein or two in their forehead or temple when that happens. :)

    I'm fine when musicians adjust volume here and there to get comfortable so they can hear better, it usually makes for a better show overall and it's just a quick fader adjustment at FOH and maybe monitor feed. FOH is supposed to be interactive, adrenaline, change in the size of the audience, type of song being played and many other variables contribute to the overall sound, I really don't like to see someone out front who feels set it and forget it is adequate for the job.

    But you are correct about veins popping in some instances. I ran sound last year for a band and the guitarist reached back and changed his master volume 2 or 3 times a song, by the sixth or seventh song he was louder that the mains so outta the mix he went. I asked during their break if he might turn down some so we could get a better overall mix out front and he was happy to, by the third song in the second set I realized it was a lost cause though. They were really nice people to work with, including the guitarist, but the poor guy had severe master volume OCD, he just couldn't help himself🙂

    I happened to be perusing the forum this morning and ran across this post. I've been using my current setup since last summer without Kemper Kone enabled (Kemper to sd700 power to eminence em12). I tried a Kone for a year in my 112 cabinet, then a passive Kabinet and a powered Kabinet plus a couple of powered pa speakers but I just didn't like any of them. I tried my setup with Kemper Kone enabled yesterday just out of curiosity and it really surprised me, it opened everything up but without the harshness or fizzy sound I felt was present with the other monitoring solutions I had tried, I plan on leaving the Kemper Kone function engaged.

    HowardBrown - Thanks, appreciated your personal insight....If ever I go stereo, it'll be with another 112, Kone-loaded setup.

    From my understanding, as open back projects sound from both the front and rear of the cabinet, this allows more of the room to become part of overall sonics. Not sure if Kemper Kabinets had a specific design requirement to go with closed-back only?

    Also, is it true that the Kabinets are not made out of solid wood like most traditional cabs are? Read that somewhere, and want to factually confirm.

    I would venture to say the best scenario might be to buy a Kabinet as it was specifically designed to work with the Kone. That being said they do state the following on the Kemper store site:

    No specifications are listed for what type of cabinet the Kone can be loaded in. There is nothing noted on the site to indicate what material the Kabinet is constructed from and I never opened mine up to see before returning it. This is pure speculation on my part but given the weight I'd guess it to be a light weight ½" MDF. Maybe another user could share that information if they know the specific details. Staying with the Kemper made products may remove unwanted sound reproduction variables for the majority of users, I've stated this previously in other posts but I am in a small minority of users and my opinion will be different than the majority.

    Finally - So true....around 2 years ago, I bought the Kone and put it into a regular 1x12 guitar cab (open and closed back options, multi-ply birch). As the Kemper Kab is smaller (closed back), I wonder how much sonic difference there really is between the Kab and mine? As we know, it's more cost effective to have a stereo rig with 2 Kones in two separate 1X12 regular guitar cabs.

    Personal taste will account for more difference in this particular case than the cabinet differences, at least in my opinion.

    I have an open back 112 pine cabinet with a ½" birch plywood baffle. I had a Kone loaded in it and did a side by side comparison with a passive Kabinet switching the output from my power amp back and forth between them. Bought a powered Kabinet and did a side by side comparison with it switching between my 112 and it by swapping back and forth from the Monitor output. I preferred the 112 open back in both cases, but most of my amps over forty years have been open back so that might have been what made it a little more appealing to me, it was closer to what I am accustomed to.

    I use the Kabinet all the time and love it for its size and lack pf weight. Unlike many people though I run it in Full Range mode almost exclusively.

    Just out of curiosity where do you set the High Cut filter when running it this way?

    Though it appears, few have clicked on the only card I have actually posted, thereby missing its good-humoured content.

    I did, and admittedly spent about 90 seconds on the yellow dot trying to focus and see the number, then I happened to notice that there was an instruction header above the colored dots. Though the illustration itself was somewhat humorous I had a really good laugh at myself after realizing the little yellow dot got the best of me🤣

    The only snag was that it wasn't the QSC K12.2 but the old one QSC K12 and can't find a dealer who sells that old model, so that I'll come back to the music store and ask them to try the QSC K12.2, I hope it will sound the same (fingers crossed...).

    Once again, thanks everyone for your comments and recommendations ;)

    Consider the K10 and maybe even the K8 also if they are available to try. I've used all three with subs while doing FOH in small to medium venues and the K12 with subs outdoors for a Bluegrass Festival. To be honest, in 75 to 250 seat occupancy rooms there was very little difference in sound between the three. With amplifying a guitars processed signal all three may provide more than enough low end and the K8 or K10 might give a slightly better mid range response, but again that's purely from a FOH perspective. The monitoring solution search can get very frustrating, I hope the QSC works for you!

    I do very little tweaking in the profiler but have familiarized myself with the functions of the settings through the menus so that I can navigate through it if needed. One setting I never touched in the first five years of ownership was the screen color, or colours for fellow users dwelling on other land masses across the globe. A year ago I thought to myself "This may be more aesthetically pleasing with a different color", ....... wrong!

    There's a reason why I don't change my phone or desktops theme or background picture, for some reason it completely throws me off and makes it hard for me to navigate within the OS, even when I'm familiar with it. Same with the Kemper, I had to do an Init Global reset to get back the factory color after a couple of days of fumbling around just so I could navigate through the menus comfortably again. But this only applies to me, everyone's workflow and needs to facilitate that workflow varies and can evolve over time. I've moved on to using RM most of the time in the past year, even with bifocals my eyes can't be more than 12"-15" away from the Kempers screen, any further distance away and I can't read it🤓

    And... what was your solution? Maybe dxr or headrush 112?

    I tried QSC CP8, EV ZLX12P and Headrush FRFR-108, none of these worked for me but I believe that puts me in a very small minority of users, I went an alternative that probably limits me in tonal range difference from one profile to another but it sounds very good to me, better than anything else I've owned in 40 years, now I spend more time playing than changing settings 👍

    dmatthews will chime in to answer the question directed at him, but I'll throw the following in. If you prefer your studio monitors the closest to achieving that with the Kone is #3 (see manual below), but the Kone is it's own beast and I don't think it will be close to the sound your looking for as a speaker such as the dxr10 would be.

    From the manual page 96:

    The KEMPER Kone is fully controlled by the software of your PROFILER. Please activate its “intelligence”, navigate to the "KEMPER Kone” page in the Output Section and press the soft button labeled “KEMPER Kone". You will find three familiar parameters that we have mirrored on the KEMPER Kone page for your convenience: Monitor Volume, Monitor Stereo and Monitor Cab Off. When Monitor Cab Off is not highlighted, the KEMPER Kone works in full range mode.

    Wheresthedug gave a good explanation for why the Kone doesn't behave or sound the same as your studio monitors:

    There are probably several issues at play here.

    First the room itself. Small rooms and square(ish) room like most home studios have very unpredictable acoustic response.

    Next, small speakers like Rocket 5 has significantly reduced bass response. KRK in particular are also famous for their bright aggressive highs.

    The Kone isn’t a Full Range speaker like studio monitors but rather a wide range speaker. The higher end rolls off quite a bit faster than studio monitors.

    Ruefus and others elaborated further

    Let's not forget - the Kone and Kabinet should not sound like the main outs. What it gives you is the sound of an amp-in-the-room, without a microphone in the signal path.

    If you want the exact sound you get out of the studio monitors, placing them in full-range mode is the closest you'll get.

    Unfortunately, you won't have the same sound.

    Yes, a DXR10 would do an excellent job of reproducing what you hear from monitors. A Headrush would do as well.

    The Kone isn't going to emulate the sound from FOH or studio monitors and I don't think that was the intention when designed. To me they are a personal monitoring solution for the musician only, for that individuals enjoyment, more responsive interaction with their instrument and hopefully it inspires them so they play better. It's closer to a regular guitar speaker and much more versatile, but it definitely isn't a pa speaker nor a studio monitor, I believe many people (myself included) initially had expectations that the Kabinet and Kone might replicate those two sound sources.

    I'm so desperate that I'm seriously considering to sell the Seymour Duncan powerstage 700 and the 2 non powered Kabinets to buy 2 powered Kabinets, maybe then the sound will be closer to the one I get at homestudio.

    Just my opinion but I wouldn't do that.

    I have the sd700 and had 2 Kones, wasn't a fit for me. I also purchased a powered Kabinet hoping it would sound different, it really doesn't. If you like the studio monitors get something powered like the dxr10 as recommended in the posts above. Or, since you already have the sd700 you might consider a good passive cabinet, and if at all possible, try before you buy.

    Even at its widest, the stereo field is still narrow. They'll sum stereo signals at the board and feel no need to tell you.

    I made the move from stage to FOH 30 plus years ago, never have ran stereo. It's enough of a battle getting decent coverage and an overall good balance of a live band in a room with all the elements that are already in play without adding an extra obstacle. You do your best to accommodate the talent so they're performance isn't hampered by you and a mix that can be enjoyed by the audience. Just a side note, I also keep dead channels that are labeled for those that like to offer their assistance, 99 percent of the time moving those faders will resolve whatever problem they perceive.

    But at home, I sold my mono power amp and got a Powerstage 700 along with a second 112 raw cabinet and speaker (still in the box) a few months ago, I can't hardly wait to have glorious stereo in the house! But alas, to many home improvement projects are interfering with completing my dream rig🥴

    I think trying Kellerblues suggestion with the High Cut filter might really help from what I can hear in tour samples, running mine between 5,500hz and 6,500hz helped with pa speakers and with the Kone on eliviating some high end fizz and keeping Pure Cabinet on a little at about 1.5-1.8 also seemed to help in conjunction with the High Cut filter. I played with the Low Cut filter between 75hz-110hz until I found a sweet spot where it filled out the tone without being boomy.

    Excellent advice, thanks.

    Also, I guess I could always drop a Kone into my Katana later on. Would I need some kind of D-Class power amp as well for that?

    Which studio monitors did you end up with?

    Unfortunately when I downloaded the manual for the first generation Katana it states it is not compatible with speakers that the input impedance is less than 8ohms, Kones are 4ohms so I'd advise against dropping one in.

    If you have an interest in the Kone I would recommend a Kabinet, since you have the stage there's two options, a class D power amp plus an unpowered Kabinet or make it easy and get the powered Kabinet.

    If you already have an empty speaker cabinet and power amp then putting a Kone in that would save money, if not I think a Kabinet is the best option. One thing I found with the Kone, it sounds better with some volume, at lower volumes it didn't sound as good to me but that's just a personal observation, others may have different experiences and opinions concerning this.

    As far as studio monitors, I have a cheaper small pair that i use for some video editing, the Kemper sounds terrible through them but I have no intention on doing multi track recording again as I once did so I see no reason to spend money at this time for a better quality pair of monitors.

    I also have no intention of plugging my Kemper into a pa system so I went in another direction for monitoring, I have it setup more like a traditional amp but one that is more versatile beyond anything else I could imagine using, but that is conclusion I reached based entirely on personal taste.

    Most of the users on this forum have reported great results using good studio monitors (and a good recording interface) as well as with the Kabinet or powered pa speakers, I'd say my experience is in a much smaller percentile of users. But looking at your original post of intended use I would focus on studio monitors, there are multiple discussions on the forum on this subject,. Take some time to read through them as you'll probably find answers to questions you have concerning them already answered, if the information you need isn't found then fire away with your question, the members on this forum are not only helpful but very knowledgeable.

    I'm just a few years older than you and my situation is somewhat similar, I plugged into the effects return of a Mustang III for 4 years prior to trying other monitoring solutions. I had two Kones in my own cabinets and also purchased a powered Kabinet and tried working with them for about a year but they weren't my cup of tea, I also tried several different powered pa speakers and they weren't for me either, the trial and error can get costly.

    If you don't plan on playing out live I'd suggest a decent pair of studio monitors might be the most logical investment, especially since you plan on moving towards recording in the future. If you ever decide to go jam with someone you could always take your Katana and plug into it's effects loop input or even at home for an occasional change.

    Kempers video also answers part of your question, since you are using the stage and powered kabinet only an instrument cable is applicable for connecting the two.

    Wattage Meter: page 98 Main Manual

    As soon as you activate Kemper Kone mode a Wattage Meter appears. If you are afraid of damaging your KEMPER Kone speaker, then use this Wattage Meter to monitor exactly how much power is being delivered.

    The scale matches KEMPER Power Kabinets-with VOLUME on the Kabinet set to maximum-as well as unpowered Kabinets connected to the SPEAKER OUTPUT of PROFILER PowerHead or PowerRack models.

    The Wattage Meter cannot provide accurate information if you are using external 3rd party power amps.