Posts by Wheresthedug

    I just can't point out what it is. The difference is increasing further with added effects as i said. The sound stage is way better on the Kemper. Its like you can hear a wider spectrum. I don't know what causes the differences.

    I didn't really hear any really difference in the effects it was just that the levels were different and also that the Kemper had a generally warmer or fuller sound.


    As for sending signal back through the Kemper to monitor. Yes you can do it. I'm not sure if it works over SPDIF but you can send a mix from your interface to the Return Input and Alternative Input then mix these with the guitar sound using the Aux levels in the Output section. You control the level of the mix input from the Aux In>Headphone volume .


    There is a video about how to do it on the Kemper website.


    https://youtu.be/d5p-ZB2_8MQ

    OK, just done a short very unscientific test with the three headphone amps mentioned. I used a set of 250ohm DT100, 38ohm ATH-M50X and 22ohm Shure SE425 for comparison


    The first thing I noticed is that the "space>HeadphoneOnly" feature on Output Menu Page 5 makes a significant difference at anything other than minimal values. If this is ticked then the signal going to the KPA headphones will clearly sound different than that being sent to the SPDIF or XLR Main outputs. I set it to 0 and unticked the box to take that out the equation completely. I also sent both SPDIF and Main XLR outputs for completeness. I didn't notice any clear difference between the XLR and SPDIF signals.


    The most obvious finding is that the Kemper has a pretty powerful headphone amp. Which becomes even more noticeable with higher impedence headphones.


    Using D100, the Focusrite at full volume was only a fraction of the level of the KPA. I had to turn the KPA down to between -6 and -8db to get a fairly similar volume. The two did sound slightly different. To me the KPA sounded a little fuller and smoother but it was fairly subtle. With the Mackie I could drive the headphones even harder than the KPA but nothing close to destruction. Again, there was a slightly different sound quality (in fact I think even though the Mackie is designed specifically for high impedence phones, the sound was noticeably harsher than the other two).


    It is almost impossible to accurately match the level of all three exactly so some if not all of any difference in sound quality might simply be the slight differences in volume; I can't say for sure. Our ears can often interpret imperceptible differences in level (a fraction of 1db louder) as being better or fuller even though we don't think it is actually any louder. It is entirely possible that is all that I was hearing.


    With M50X all three amps were able to drive them to a reasonable level. I still had to turn the KPA down to get close to matching the Focusrite at full blast but the difference was probably a little less than with the DT100. The Mackie was capable of pushing much louder and even overloading the headphones with the lower impedence of the M50X. In this case I thought the sound difference between headphones was pretty much negligible and again may just be a slight difference in volume.


    When I switched to SE425 the KPA was able to go almost painfully loud. Focusrite was still quieter but also pretty loud. The Mackie was in danger of making the SE425 explode at way below maximum output. Again in the is example any sound differences appeared minimal other than the obvious differences in volume.


    In summary, I think there might have been a slight difference in sound quality with high impedence headphones where the KPA sounded better than the Focusrite interface. However, it could just be confirmation bias. In either case any difference was small enough that it wouldn't bother me either way and I would be happy to use either KPA or Focusrite. I would also be happy to use the Mackie with any of the headphone but with caution for lower impedence sets as they can get dangerously loud. Any differences is no where near as extreme as when I tried the DT100 with the headphone out of my Mesa Boogie Mark V:25. In that case the amp couldn't really drive a decent signal level at all. However, with the M50X it was plenty loud enough.


    Not sure if any of that helps or not ;-)

    I’ll go and check in a moment and report back.


    I have Kemper, Focusrite Safire (pretty standard headphone amp) and an old Mackie 8 bus mixer which is designed for hi impedence headphones. Although not great cans for moniting i havea couple of pairs of DT100 which are either 250ohm or 600 ohm versions so should at least be able to tell what difference the amp/impedence match makes.

    As Michael_dk said, the SPDIF out could well be the problem. It needs to be set to "Master Stereo" on page1/7 of the Output menu.


    If that is set correctly, check the settings in the Focusrite interface.Also, check the settings. I'm using an old Saffire which is configured via the Mix Control interface. Make sure that isn't set to mono on the channels that the Kemper is going through and/or the main outs.


    Finally, if you are running through a DAW like Logic etc make sure you haven't set something to mono accidentally in the DAW itself.

    Are you trying to pan the DI signal in logic?


    You need to send the signal from its normal position -if you recorded on a mono track keep it center of you recorded on a stereo track panned left then keep it left.


    The full fignal should hit the Kemper then the output from the Kemper rerecrded on a new track. Once you have the reamped track recorded back into logic you should be able to pan anywhere you want.

    Hi Jason


    As you have 5 high end tube amps, a couple of Suhr guitars and are doing a recording course at school you have all the tools you need to get EXACTLY the tone you want out of the KPA.


    Set up your amp(s) the way you like it. Stick a mic in front and make a profile. It isn’t rocket science so you should be able to get great results in no time. I know you said you don’t like reading dictionary thick manuals but you should definitely download the the detailed reference manaul and the short profiling manual before starting.


    You don’t need to go into the studio to make the profiles. The actual profiling phase where it sounds like a space ship landing in your room only lasts less than a minute.


    Although it probably sounds counter intuitive to someone doing a recording course, but the room you profile in seems to make minimal difference to the profile itself. I’m no expert on this but I think the profiling algorithm disregards time based information which is what the room would add. Maybe someone with more knowledge and experience can confirm/explain this better.


    Anyway, I whipped out my old Mesa Studio .22 yesterday and made some quick profiles (both studio and direct versions) to do some A/B comparisons. I have a pair of Mesa EVM12L Thiele Cabs so I plugged a DIrect version of the profile into one and the real Boogie into the other. I carefully level matched them with a DB meter and switched back and forth between them. There was virtually no difference at all. Any difference there was may actually just have been down to the slightly different positions of the cab relative to the room walls. In fact, if I had to pick one I would say the Kemper profile was very slightly better than the real the thing but that could just be a placebo effect / confirmation bias trick.

    I don't envy your dilemma!


    I haven't played any of the Fractal stuff but did spend a lot of time testing the Kemper side by side with the Helix before deciding to buy Kemper. I had similar thoughts about that choice. They both had definite pluses and minuses. For me the Kemper always felt and sounded just a little more amp like whereas the Helix had "better" FX and the ability to run multiple signal chains simultaneously. In the end I had to make a choice based on how I would use the units and my own workflow. I wanted something that was as easy to use as my tube amps without the need to delve into lots of editing (definitely something that could be used without software editors) and where I could actually profile my own amps rather than try to create the sound from a model or depend on other people's idea of what my amp should sound like. I don't really use effects much and I live in the low to mid gain gain world where I ride the volume knob on the guitar. Kemper seemed to react better for me in that respect.


    I have no doubt that the sound quality of all the leading digital solutions is now so good that I could happily use any of them.


    Anyway, the best way to decide is to completely rip up your objective list of strengths and weaknesses. Then draw up a new list of NEEDS and WANTS. Start with what are your must have features/options/workflow etc. Then move to nice to haves. Make the list based on how you intend to use the device. Always remember it's a tool to get a job done. The job may be noodling at home without wakening the wife and kids, recording film soundtracks or gigging etc etc. None of that is any form of value judgement. None of the jobs is better than the others. However, some of the jobs might be more important to YOU.


    If you start with the end in mind instead of trying to rank them on features you stand a better chance of making the right decision for your own personal needs.


    Good luck.

    I have to say, that while I respect others' desire for a software editor, one of the MAJOR advantages for me of the KPA over much of the competition is the easy to use physical editing interface. It definitely isn't a case of pros need software and "hobbyists" are fine with hardware. The current hardware version is an efficient workflow for the kind of on the fly tweaks you often need to make on stage or in the studio.


    I wouldn't complain about a software editor but I would be seriously pissed if I didn't have access to the current interface.

    As Monkey-Man said. unless you are experienced with mic technique using multiple mics is asking for trouble. You need to be very careful with phase relationship and placement of BOTH mics.


    I would suggest recording a short loop of DI guitar (SPIDF is easiest) if you don't have the Kemper Remote. If you have the Remote you can just use the looper function. Play this back through the real amp. Put on closed headphones and move the mic in front of the cabinet until you hear the sound you are happy with. Lock the stand there and you are good to go.


    Also, if you plan to use the KPA with a traditional guitar cab, make Direct profile too. That way you literally get the amp sound without any mic placement issues.

    I’m not aware of any specific way.


    I would start with the Kemper volume totally off and raise it to a level no louder than you are used to with the Fender itself. As you will have the Fender amp with you at the time you could set a room level that sounds good with the Fender (which should be well within limits) then switch over tho the KPA and rais the level gradually until you reach a similar percieved loudness. I would expect you to be safe enough with that. The only thing to be aware of is that double the power isn’t double the volume. It actually takes 10 times the power to double the perceived volume so I wouldn’t want to push 60w of speakers to anything that sounds louder than the Fender itself.

    Others have already given you the answer.


    I would simply add that many of the posts about ohms and watts that you have ready online and are causing confusion probably relate to valve (tube) amps.


    The class D power amp in the Kemper is very forgiving of impedance mismatching. In fact the manual says you can leave the power amp on permanently even with no speaker connected. I turn mine off when not in use simply to conserve power etc but I don't believe it is necessary. Try doing that with a valve amp you will have a very expensive repair as you will fry the output transformer.


    Valve amps are susceptible to damage from impedance mismatches where the speaker load is less (lower) than the amp is designed to feed. Basically the amp will keep pushing power unrestricted unless there is a load on it. Think of it like a car engine if you push your foot to the floor in 1st gear. You are likely to exceed the rev limit and blow the engine. However, if you change up gears the engine won't need to rev as hard. The speaker resistance (impedance measured in ohms) acts like the gear box in this example and, as long as the speaker load (impedance) is higher than the recommended amp rating it also acts as a rev limiter to stop the amp blowing up.


    The speaker itself doesn't care what impedance your amp is outputting other than the same wattage at lower impedance means you will be driving it harder so there is more chance of giving it too much power. As long as you keep the volume low enough you should be fine.

    You speak the truth unclemar ;-)


    Gain and eq sound totally different at low volumes. That is also why so many metal tones are massively scooped in the mid range and boosted beyond usable in the lows and highs. It sounds absolutely massive and EVIL at low volume but dosn't translate well to stage volume or band context.


    Another thing to bear in mind Guy is that you are probably used to listening to tones from your valve amp with the speaker well below ear level. However, when auditioning and tweaking tones on your studio monitors your ears are right in line with the high frequencies. Highs are very directional so we guitarists very often have a different concept of the amp in the room sound than other people standing further away from our amps. I'm sorry if this is stating the obvious and you have already tried out different listening postions but it is amazing how many people don't realise that the kemper profiles (studio profiles at least) are capturing a full signal chain like a recording or the miced amp going to FOH which is VERY different to what we normally listen too as player.


    I remember making my first few profiles and thinking that they didn't sound like the amp in the room. The amp was way less harsh and bright. Then I realised that my 1x12 cab as sitting on the floor. I lay on the floor with my ears in line with what the mic was getting from the speaker - bloody hell that was bright :-) Lesson learned!

    The Git signal over SPIDF is suitable for reamping without a DI Box. Differences in level between the two should be irrelevant as you will need to set the input level on your Interface/DAW to match the signal coming from the KPA. If, for example the Git Studio is a higher level signal than your interface can handle you will need to back off the level in the interface. If the level coming from the Git Analogue isn't strong enough you will need to increase this at the interface.



    EDIT: I have just run a test and I get the same exact signal from Git(Left) and Studio(right) over SPIDF into Logic. When I reamp over SPIDF and record the Main Outputs to a new track the two are indistinguishable and even the levels match. Anytime I have recorded over SPIDF previously I have always used Git/Stack or just used Master Stereo and send the Analogue guitar signal out the Direct Out to your interface if you want to record the full Rig in stereo plus have a DI for reamping.