Do you know if the 'Black Shadow' cones fount on my ex boogie subway blues are actually some EVM12L ?
Unlikely. The subway is a low power combo and is pretty portable. The EVM12L take 200w and weigh about the same as a baby elephant. ?
Blackshadow is Mesa's name for all their speakers but the usually have an additional part like Blackshadow C90 which is their tweaked version of the Celestion CL80. Never looked but I suspect even their V30 might have a Blackshadow label on it.
Kind of related question I guess: does power boost work only with a Kone or any speaker?
any speaker
I’m not sure the KPA can do it. It might be able to but I have not really spent much time with the harmonizer.
The reason it could be difficult is because the melody starts with a 4th between the low and high voices and immediately switches to a third.
Even those kind of changes can be handled but it is often more work than it is worth. You would need to morph between the two intervals with an expression pedal. As an experiment for fun I managed to get the harmoniser to do Hotel California but I definitely wouldn’t want to try playing it in front of an audience with all the tap dancing required ?
Do you mean you cant hear the FX or the presets for each FX type are no longer visible?
I suspect you mean you can’t hear them in which case, as wiegersma said, it is probably a setting on the output menu. I would guess that you have changed the signal being sent to the output you are using from Master Mono or Master Stereo to Stack. Stack taps the signal right after that cabinet which is before the 4 FX blocks.
It affects the LED but has no effect on the actual dirty sounds. Clean sens only affects the balance between clean and dirty sounds the LED is irrelevant in this situation.
the input LED is relevant to both clean and dirty sounds and Clean Sens is the control to set the input level but don't worry about clipping.
ckemper has said several times over the years set clean send to level the volume between clean and dirty sounds but don't get hung up on the colour of the ur input light as it is very difficult to actually make the input clip. Even if it does clip it is a gentle soft clipping that shouldn't cause any problems.
Something to be aware of when doing this. If you leave the name field as default it will automatically change each time you load a different rig in that slot as the default name is Rig Name. Once you change the name to something else the slot name will remain as named by you until you change it again. This is probably exactly what you want but it confuses some people sometimes as they can’t understand why the slot still shows an old name even after loading a new rig. They then start posts about bugs with performance mode names not updating when it is actually normal behaviour. If you ever want to have the slot return to default behaviour there is an option to do so either on the the KPA or RM though.
slateboy I have no idea whether your theory is correct or not. What goes on inside the Kemper is a mystery to me. It might be musical elfs singing for all I know ?. However, in this case the Op is getting the feedback when using a regular 212 with V30s so it can’t be an issue caused by using FRFR speakers while being closer and on axis than a traditional rig. In this case there must be something else going on.
Anyone experienced volume issues? I use imprints and used the amp boost in the output section. Maybe I am wrong but I have the feeling that the distortion sounds are way louder compared to the clean profiles since the update.
have you checked if Clean Sense setting has been changed by the update. The behaviour you describe is common if clean sense is set too low.
I like the Oxford too but I have used EVM12L in my Boogies for 25 years and am used to how they sound so I tend to gravitate to them with the Kone much of the time.
Can the powered Kabinet be used with Helix/Fractal etc. units as well? I’m talking about just the FRFR mode of course.
The Kone is not Flat Response by itself. The Kone DSP in the Kemper adjusts for this. Therefore, running the Kone speaker without the Kone DSP will not deliver a true FRFR sound. Some people have tried it and some even like the results so it is worth trying if you feel adventurous but be prepared for disappointing results.
I have a powered head and just leave the power amp on without any issues. Yes there is a little pop but nothing I am worried about. Maybe I'm just too lazy to turn the amp on and off or turn volume down when powering down.
If you are using the same guitar and cab with both amps (and are standing in the same spot relative to the cab and the cabinet is in the same spot in the room) then the cause must be in the KPA.
The KPA doesn’t cause microphonic feedback if the profile is the same as the reference amp. Therefore, there must be something in the settings or the actual rig (such as more gain or different EQ etc). My guess would be that the profiled rig has more gain.
Start by making sure all FX are turned off and check the Input menu settings in the KPA. Is distortion sense set high which would have the effect of a global gain boost?
If everything is OK there, move through the signal chain. Look at Amp and Cab settings in case something is strange there but it seems unlikely this would be the cause.
If the feedback isn’t present with just the Stack block enabled, start adding back FX one at a time until you find the culprit.
Main Outs with Space enabled should be the same sound.
Hmmm, that’s strange. With a regular guitar cab it should behave the same as a regular amp.
how are you monitoring the KPA? Is it a regular guitar cab, Kabinet or FRFR. My guess would be the issue could be related to the speaker dispersion.
why do you think that?
Because that's what you told me when I was having problems ?
What part of the editor is missing? Are you looking in the Profiler manual or the dedicated Rig Manager manual?
The Kabinet can’t be close miced because it has two separate speaker cones in it so there would be phase issues and other anomalies when a mic is placed in front of it.
The Kemper is designed to capture the full sound of a signal path including the speaker AND mic, pre amp EQ etc. There is no need to mic the speaker AGAIN as it is already captured in the Rig.
This full studio quality sound is sent to the FOH PA or recording interface with absolute consistency via the Main Outputs.
It can be monitored on stage via a full range speaker/monitor or in the studio via studio monitors or headphones.
However, some people complained that they missed the feel of a traditional guitar speaker for their personal monitoring (aka Amp In The Room sound). They felt that the full range (FRFR) sound which included the contribution of a mic in the profile itself was too produced and didn’t feel the way a real amp did on stage.
The Kemper has always allowed users to have the amp in the room experience by using a regular guitar cabinet. The downside is that every profile may end up sounding very similar because the speaker plays such a large role in the overall sound.
As a result the Kone/Kabinet was designed specifically to fulfil the on stage monitoring needs of these Amp In The Room users without the limitations of only having access to a single speaker model. It does a great job of this.
The audience still receive the full Kemper experience through the FOH PA using the Main Outputs so there is no problem with not being able to share your glorious tones with the audience. In fact, it is quite the opposite. Simply give the sound engineer either one or two XLR cables to send to the desk and the job is done. The tone will be the same every night too. In contrast, Trying mic a cabinet on stage is fraught with danger as you are relying on the engineer having your preferred mic, placing it in the best spot on the speaker hoping it doesn’t get moved during the gig (how many gigs have you done where the singer or the support band tripped over the mic stand and you mic was pointing at nothing for most of the night?), EQ the sound to your preferences etc, deal with spill from other instruments as high volume. The Kemper direct to FOH removes all of these problems and gives a consistent experience while making the engineer’s life easier. The audience gets a better sound, the engineer gets any easier life and (with the Kabinet) you still get the traditional on stage experience you are used to; what’s not to like ?
