Posts by Wheresthedug

    i tried it but found the internal Wah FX to be good enough for my needs.


    if you are going to use it it can either go before the KPA or you can put it in an FX loop in the KPA. The only advantage of putting it in the KPA loop is that you can leave the wah on all the time but turn the effect on and off from the kemper remote when you change rigs. You can also move the position in the signal path to experiment with it before/after other effects.

    i have it’s big brother the 2:ninety for my Triaxis rack. I tried it with the KPA out of curiosity. It works but does add its own colour to rigs. I have a powered Toaster anyway and don’t find any benefit in lugging around a massive heavy beast like my 2:ninety.


    if you want to hear what the power amp is doing to the tone on top of the power amp already captured in the profile try this:


    Load an OD stomp with nothing in the Amp block


    load a cabinet or IR in the Cab block

    Go to rig manager and audition my 2:ninety profiles in the Stack Section. The profiles were made simple as an experiment to see how the Triaxis sounded direct compared to with a poweramp. They are pure Direct Profiles of the 2:ninety and show just how much a valve power amp colours the sound. You may like the way it colours the sound (Many other seem to) in which case go for it.

    Chris, although the KPA does have midi ports the midi implementation is extremely limited compared to something like the RJM. Also, setting up midi is one of the things that an editors is really helpful for. Rig Manager doesn’t do this whereas the RJM editor is a phenomenal piece of kit. If you are going to need to program midi functions anyway it is much easier to do it on a dedicated midi controller and make the KPA one of the slaves rather than master from the Remote.

    i’ve used various midi controllers including FCB1010 with and without Uno4Kemper chip and RJM Mastermind. The Remote blows them all away as a controller for the KPA. If you need external midi don’t even entertain the Remote but if you are only using the KPA nothing beats the Remote. It’s amazing how simple and intuitive it is to use.

    I didn't notice that when I did a quick comparison. I saw in a video that the toaster option even gives you LED feedback on expression pedals. So, that is something to consider.

    One of the reasons I went for the Toaster was the extra knobs and LEDs. To be absolutely honest, I don’t think I have actually ever used them in the two and a half years I have owned it.

    Stereo in a live setting is bad. Don't bother. Only a select few people centered directly between the FOH speakers will get the effect (if they can hear it over all the noise in the bar), and the sound from any one side will not sound as good as mono would have.

    :thumbup::thumbup::thumbup::thumbup::thumbup:


    This!


    I hate hearing bands in pubs and clubs that are mixed in stereo. It isn’t uncommon to have absolutely no audible guitar on one side of stage (usually the side I’m at 😬)

    I would dare to ask for a new logic. For me it would be great if I could route all EQs after the stack section only to FOH and to ignore all EQs post stack for the imprint mode. All EQs before the stack should not be considered at all.


    For me it makes a huge difference.


    So you might not need the Monitor EQ?!

    that would seem a backwards step. The Monitor EQ allows you to tailor the sound to rom/stage on a global basis without affecting the main profile to front of house. This sort of EQ is consistent regardless of whether it is a Studio Profile in FR mode or a guitar cab or an imprint. Therefore, removing Monitor EQ would be a detrimental decision.

    i personally never use stereo on stage as it tends to make the band monitoring too confused. However, I have nearly always played in 8,9 or 10 piece bands. In a trio this might be different.


    as for the question about FRFR v full range PA wedge monitors: in theory they should be the same. However, in practice PA/monitors often have an EQ peak built in to make Vocals cut through. This helps vocalists hear themselves without the volume being so high it causes feedback problems. Unfortunately, this same range can make guitars sound harsh. The only way to know for sure is to try a few speakers side by side and decide what works best for you.

    thanks CelticGibson I couldn’t find anything on the speakers themselves either. i wonder if they really are “Roland” speakers or just Roland branded speakers made by someone else. It would be interesting to know more about them.

    Thanks GearJocke. i’m familiar with the JC120 and have used them many times in rehearsal studios. I just don’t know which speakers are in them. Almost certain that Roland wouldn’t have made their own speakers but rather used an OEM version of a standard speaker from a mainstream manufacturer. Do you know what it was?

    One of the big attractions to the KPA to me was the ability to get the sound of my Mesa amps roaring at low home volume. For many years it had proved virtually impossible to tame the Mesa’s or any other valve amp for home use. I tried low wattage amps, Mark V:25 and Studio .22. Even had a Victory V30 which has a 1/4 watt mode but all were way too loud for home use. Tried an attenuator with the valve amps and it was a big improvement but was a lot more hassle and still wasn’t ideal. Then I tried the KPA and quiet home use with great tone was suddenly not only possible but super easy to achieve.


    I opted for Powered Toaster and studio monitors initially for ultimate flexibility. Headphones still possible, regular guitar cab still possible, powered FRFR or unpowered FRFR all possible.


    I have used headphones and they sound great.


    I mainly use studio monitors and love them.


    Regular guitar cabs sound like a regular amp and cab but lose flexibility and can sound a bit big/loud for my home environment.


    Then I got the Kabinet. Best of all worlds if you like a guitar amp in the room experience. Personally, I still use studio monitors most of the time but he Kabinet is amazing even at low volumes. As others have said, physics plays a bit part in low volume listening for two reasons - Equal Loudness Curves (often referred to as Fletcher Munsen effect) and the fact that you can still hear pick and string noise acoustically on top of the amplified sound.

    1 - one of the contributing factors to my decision to buy the Head rather than Rack was the additional two knobs which I thought I might use a lot. To be perfectly honest I have almost never touched them. You get into the habit of going into the FX to edit and just using the soft knobs under the screen. Its super quick and easy so don’t base your decision on the two extra knobs. For the record, I’m still glad I bought the Head and love it for its ergonomics and design plus it is so transportable in it own shoulder bag that I don’t miss a rack at all. Either would be a great option.


    7 - yes there is an editor and it work well. However, the UI on the Head/Rack (and I presume Stage) is so intuitive and easy to use that the editor is only necessary for managing rigs or editing where the physical unit may be placed out of easy reach. For tweaking during rehearsals or on a gig the physical UI is amazing.