Posts by HankLinderman

    I only want to connect to one of the speakers in the onstage combo amps, prob an 8 ohm 12, was hoping I could use the DI instead of a female to female 1/4" connector. (The speakers in their combos are either direct wired or connected via a 1/4 " male that I would connect to the output of the DI, which is being fed by the powered toaster.

    In this case, I will just bring the combo with a gold 10" 8ohm in it, works great.


    I have a gig today, there are amps on stage, the speakers of which I'd like to connect my powered toaster to, but I need a way to connect 2 male speaker connectors. I'm worried that the Kemper DI should only be used with a tube amp, which is indicated in the lit but I can't find a definitive answer.


    I use my pedals including delay in front of the KPA, simpler setup and it sounds more old school that way. Also, I'm a fanatic about latency, using the loop would have to add some time. I think the KPA already has a system latency of under 3 ms.

    But I may try the loop again...


    Locking a Rig in terms of avoiding that another Rig could unintentionally get loaded via BROWSE knob or foot button is easy: Simply select a View that is either empty or just includes that one Rig. Load the Rig in question and change View to "Favorites". If there is no (other) favorite Rig, you cannot accidentally switch to another Rig. The same applies to View "Just Bass" if there is no other bass Rig.

    I had provided this suggestion in the other thread already. Have you tried? What is wrong with this simple approach? Takes three seconds.

    Yes, that will work, great suggestion.


    I'm wondering, if this application is really the domain of Remote or Stage with their given foot button concept as these are designed around Rig switching. Effect Buttons can assume different functions by Rig and so on. Even the display seems meaningless, if you only play just one Rig and your effect chain and button assignments are always the same.

    If somebody intends to use just one Rig and switch all effect modules within that Rig plus perhaps some Action&Freeze, why not using a cheap MIDI controller without display and just 8 or 10 buttons, no program change at all, but only control change assignments. Done!

    I really like this idea, but I haven’t found the right midi controller. I am probably going to try using an iPad running Rig Manager with my Stage, a version with sliders would be better for live tweaking. Might be a cool accessory - a dedicated hardware Kemper midi controller to allow live tweaks.

    Or, a way to hardwire the iPad to the KPA via usb? Wireless is cool but the iPad needs to be available to adjust my monitor mix as well,

    Any midi controllers to suggest? Thanks!


    This is my opinion - and that's all it is. It's your money.

    If one rig/performance and their associated effects are all you're going to use, why bother with a Profiler?

    It's like buying a Ferrari and only driving it in 25mph zones, once on the third June. You can do it....but what an incredible waste of capability.

    I own a bunch of vintage and boutique amps, a bunch of pedals, rack fx, various cabs and so on, but the KPA is:

    Smaller by far than any pedalboard amp combination I have.

    Easier to set up.

    Faster getting sounds in a session.

    So far, it’s more reliable. Far fewer patch cables to fail, no tubes.

    More sonically consistent.

    Generally more versatile although I still occasionally use some pedal fx that seem better than the digital KPA versions.

    The only things I’m not switching around are my current fave amp/cab profile, and if/when I change my mind I can find a new profile. The big thing is, I want to *play* the KPA, not simply switch to a new patch for each song.

    As far as a Ferrari, that would be my Sampson era Matchless HC-30 and 2x12 cab. High performance, high purchase price, high cost of maintenance, but nearly pointless as a daily driver, especially if volume and hearing loss are issues.


    I'm prepping for a new gig, in the past I would use a Princeton Reverb with a high quality analog pedalboard. It was set up to allow multiple levels of volume and distortion, and I would *play* the pedalboard during the set. No presets in other words, except for a favorite switch on the El Capistan. I had multiple dirt boxes, each set up to do a little bit of dirt that could be combined with the other pedals, meaning I could go from 3 flavors of crunch to multiple versions of distortion. I wanted to be able to quickly react on stage to whatever happened musically, and the system works well, still does. One of the best parts is being able to grab a delay parameter on the El Capistan and make creative changes on the fly.

    So, rather than a patch inside a performance for each song, I'm working on a master patch that allows the same idea, that I can play a gig with one patch more or less. (There will be exceptions based on specialized fx like a ring mod where I'll need a modified patch.) So, I have a compressor that gives a healthy boost, a Kemper Fuzz, into an AC20 profile that morphs from low to higher gain. The compressor makes a healthy difference between both gain settings, and can be combined with the fuzz for more variety. My guitar is a Collings 290, and I have learned to run the pickups at about 50% for my basic clean tone, adjusting them up or down depending. Low settings work especially well with the fuzz.

    I have the rotary speaker as a primary mod, makes a big difference to set the mix at about 45%. Speed is controlled by an extra sustain pedal I have. There's also a trem set up in the X location that I manually turn on and off for the one song I need it. I use two delays, both controlled by a foot switch, so I can alternate between them or set them both to be switched on or off. Delay 1 has a lower mix and is set to 1/8th notes, and since the rig is set to maximum tempo (256) it gives a slap before morphing. After morphing, it switches to 1/4 notes and a higher mix. Delay 2 starts with 1/4 notes, morphs to dotted 1/4 notes. Delay 2 also starts with higher mix levels. I have an Ampero double switch that is set to infinity and freeze. This gives a lot of delay possibilities, similar to getting your hands on the delay. I realize I can just grab parameters on my powered head, so I'm considering where to put it onstage.

    I have a Mission exp pedal set to provide a boost level of 5 post stack. I think I need at least one more exp pedal to handle wah and other duties.

    Anyway, I'm getting very close to the point where I can simply *play* the rig as if it were a tube amp and pedal board and it is liberating. I'm sure some of the rest of you have come across this approach, please share your experiences!


    Thanks Alan. Does anyone have any suggestions for such a thing? Is there a particular MIDI controller that would be best suited? I don't want to spend hundred$$, I already have delay pedals I could include.

    Is EuCon another possibility? The Avid Control ap works on almost any Mac program, will try it with the editor.


    One of the things I wish I could do with the KPA is to be able to manipulate multiple delay parameters in real time. I realize I can use morphing, separate patches, multiple instances of delays within a patch, a delay pedal in a loop, possibly even remap an expression via the foot controller, but none of these are ideal. A separate delay pedal is the closest and may be the best solution.

    I suppose I could mount the toaster close to my mic stand but I'd need a dedicated stand and mount.

    Yes, I can use the iPad editor, but for live performing the controls are too small. So, my question is - how about an inexpensive MIDI controller programmed to address mix, time, feedback, modulation, grit, etc? Is this even possible?

    Thanks for your thoughts.


    I have a powered head and remote, recently got a Stage and it is amazing. So, esp for recording, I would go with the Stage and possibly an expression pedal. I would also skip the Kab for the moment - you may find you don't need it.

    A head without the remote - I dunno. There are too many functions the remote gives you - so again I say the Stage. I seldom use a cab with the powered head, I'm completely satisfied with monitors. I even use a Fishman LoudBox as a monitor occasionally, works great.


    I don't think maxing the main out going into a line input is a bad thing at all, that's where my Stage currently lives. I aim to print about -14 to possibly -10.

    If it sounds fine it probably is.

    Also, not sure if there's much difference from a level standpoint if you turn rig or master volume up to get louder to your DAW. I look at the master as the first one I grab for, use the rig volumes to balance rigs against each other.


    There is the possibility of slightly lower latency via spdif since you'll be skipping 2 conversions. I heard no difference between analog and spdif on my rigs, but I swear the digital was faster...


    I found the learning curve to be tough on my own, videos and the forum helped. The FIRST THING I suggest is to get onto Performance mode asap - the Browser mode is not easy to manage, so I just think of it as a big basket of profiles to choose from and put into a Performance.

    Also, you only need a few great sounds to be up and running. My first gig with my KPA I used only one profile with some basic delay, reverb, compressor, dirtbox fx, it was wonderful. Even now, that profile gets used more than any other.

    My third suggestion is to learn the Morph function - even if all you're using it for is to be able to get louder without changing anything else.


    I've wondered if finding resolution is as simple as locating a 2nd kemper in your town and then build a rig with the eq and tone shaping boots and cuts you want and then profiling that with another kemper. ..

    Well there's an idea: but instead of having to find another Kemper to profile yours, let the Kemper construct it's own profile with whatever appropriate fx slots you want enabled... so, a dirt box, eq, and amp, then "Re-Profile" them into a new profile.

    I don't know how technically feasible it would be, but at least in theory this is a very good idea. Sure, you can take out your laptop on stage and copy some performances over, or wait ten minutes while you flash an entire backup from USB, but those are not fun things to do during a fifteen minute changeover between bands. And then there's the uncertainty of what version of KAOS the local Kemper will be running...

    If the boot image could include everything – profiles, performances, system settings and even the operating system – setting up would be as simple as just plugging one more thing in besides your guitar before turning the Kemper on.

    That's the idea - an easy way to be sure the backline KPA is "mine" in only a few minutes - like multiple user accounts on a computer. Log out of one user account, login to another.

    Burkhard's concern about 2 users with 75 performances is possible, but not likely unless U2 and Bruno Mars were to share the same stage and gear. Then again, "Boot from USB" or "Switch User Account" could accommodate even this scenario.

    Or, let us read system and performance data from USB, like the old DX7 and the external memory cartridges. Let's face it, the flexibility of the KPA can be a difficulty when you're in a hurry on a dark stage with someone else's KPA. Did you remember to turn "Constant Latency" on? Are the monitor and main volumes linked? Etc...