Posts by Wheresthedug

    It sounds like either a faulty expression pedal, faulty cable or a dirty input socket on the remote. This kind of behaviour can happen when the Kemper is receiving random signals from the expression pedal. Could also happen if you have something sending midi signals to the Kemper on the wrong channel.

    Regardless of what the cranked amp definition is, your logic is unfortunately flawed.

    The passive tone controls on all valve amps are highly interactive. Turning the treble affects bass and mids. Turning bass affects mids and treble etc. The tone controls also affect gain levels in most amps but the effect varies depending on where the tone stack is in the circuit. So there is no way to capture the impact of adjusting the tone controls from a single profile .

    If you want to see just how interactive tone stacks are download the Duncan Amps Tone Stack Calculator and move the Treble Mid and Bass sliders. The frequency response graph redraws on screen as you do it. There are models for Fender, Marshall and Vox already loaded but if you look up the schematic online for any amp you can change the values in the model and see how they work.

    Ouch. That’s weird. Mine definitely doesn’t do that. There must be some setting screwed up or a fault. I would raise a ticket with support and send them a back up file to analyse. It shouldn’t sound like that.

    Thanks Burkhard . Adding Parallel path as an output source would be great. Another useful option would be to allow Parallel path to have it’s own panorama control to pan it anywhere in the stereo field.

    Sorry for hijacking this thread though so I’ll butt out now :)

    The MAIN OUTPUT is one logical stereo output.

    Is there any chance of this being changed in future to allow the main outs to be use individually?

    There are several ways this could be useful including sending Parallel Path to one out and the main path to another which would be potentially useful for users piezo equipped electrics, people who play both guitar and bass etc.

    I hear what you are saying but I think the way most professional profilers see it is that they they are a business so give customers what they want. It seems that there is more demand for those slightly scooped tones so that's what profilers produce - supply and demand at work.

    Having said that, each profiler produces packs that they feel showcase an amp at it's sweet spot which they capture in their own specific style. That way when people buy a pack from profiler X they know it will have a certain type of signature sound. If users don't want that specific flavour then they find another profiler that suits their needs. I tend to prefer certain profiler's tones and really don't get on with others. I don't think that makes the ones I don't like bad; just not right for me.

    If any of us have a specific tone requirement that isn't being covered by commercial profilers the only answer is to profile amps ourselves. Fortunately, profiling is super easy and fun so getting the exact tones we want should be fairly straight forward.

    You mentioned that there are some profiles with enough mids but not of the amps you would want. Which amps are you after?

    I’m not a bog fan of lots of modern very scooped tones. I grew up on Santana, Larry Carlton, Robben Ford etc so I love my mids. However, listening to all those examples all I hear is some really nice well balanced tones. The Freidman sounded great, I was very impressed with the Engl. the 5150 didn’t do it for me as I was too scooped for my taste, and CAE sounded great to me.

    Funnily enough I just had my first full KPA freeze in months. Connected directly to imAc but RM turned off. Jamming over a track in Logic and everything froze. Was still able to play but nothing worked on KPA or Remote. Had to turn off KPA completely ten reboot. Everything working fine again.

    Think of it like a Ferrari and a Fiat Punto. Just because the Ferrari has 500+ BHP and can do 200mph doesn’t mean you need to use it all the time. You have an accelerator pedal to control how much power you want to use. If you have a race track or roads where it is safe to use all the power then you can gun it but if you are driving through a busy city it isn’t going to be safe to use most of that power. So you need to ease off on the accelerator. With the Kemper you have a volume control to do the same thing. just because the amp can put out 600w doesn’t mean you need to use them. If the speaker isn’t able to handle 600w just ease off the volume and use what is safe.

    On the other hand with a Fiat Punto you will frequently need to use all the power available and will still not reach speeds that are suitable for the race track but you will blow up the engine trying. With a clean power amp like the Kemper it is generally better to have power in reserve for headroom ( valve amps are a bit different became se of the way they compress). If you are playing through a 112 cab at the sort of volumes you would normally play at with a valve amp rated at around 50w you won’t be using anything near the full 600w of Kemper capacity. Just be sensible with the volume control. Make appropriate use of the volume control and any speaker should be suitable. Drive it like a madman on drugs and prepare for a car wreck.

    That may be true, but I wouldn't bet on it. When you have created a successful ecosystem for your products, why share the spoils?

    It would eventually result in a fundamentally different business model. Microsoft sell operating systems which can be run on other people’s hardware. Apple sell a complete closed end “ecosystem”. Bothe can be successful bit I definitely see Kemper as the Apple model and don’t see them have any incentive to change.

    Yes I've asked for a more comprehensive Parallel Path feature previously too. In my case I would like to be able to have the same Reverb on both signals most of the time and as Parallel path only has two stomps available that is very limiting.

    I would also want the ability for the main signal and parallel signal to have individual Panorama controls. That way for example I could pan on left and the other right to send each to its own FOH channel or individual amps.

    In my case I want to use it for a Piezo equipped guitar. I use theFX Loop return on Stomp A for the Piezo pickup and the main front input for the Magnetic pickups. However, that only leaves one Stomp A slot available and I would need Compressor, Reverb (and preferably EQ) for the Piezo side. Then It would be even better to output the two signals to their own channel at FOH.

    I really think Parallel path has MASSIVE potential that could be exploited.

    If you can find a used Mesa Boogie Thiele 1x12 with an EVM12L speaker snap it up. The speaker can handle 200w and sounds amazing at any level. If you can blow up an EVM12L you have bigger problems than your cab - like the fact that are going to need a very expensive hearing aid because you’ve iust gone deaf 🤪

    I use Master Mono to FOH and a send from the desk to IEM. No on stage FRFR at the moment. When someone else in the band requires a guitar amp on stage I use the Mesa EVM12L cab but I’me still hearing my main signal through the IEM.

    You can select the Kemper Stack EQ to be pre or post the profile. Potting it pre makes it like a Mesa Mark Series where the tone stack becomes part of the gain character rather than a typical amp or desk tone control. I would definitely try using the EQ pre mode and boost the mids there which will give a very different effect.