Posts by Wheresthedug

    I hear you about getting better results with Studio than Direct or Merged sometimes, It may be a personal taste thing or just the way some profiles come out. At the end of the day, whatever sounds good is good :)


    I rarely, use direct profiles myself so it isn't really something that bothers me but I can see why the system is set up the way it is.


    In my opinion the Instrument tag is unlikely to work. If you look at the 15,000 rigs in rig exchange there are only 13 that show Acoustic in the name. Other than that you have Bass or Guitar. There is a reasonable possibility that some of those "guitar" rigs could be "acoustic guitar".


    For this to be a viable selection method for Kemper Imprints v full range you would need to make sure that all existing profiles included the correct information in the instrument column. There is a reasonable possibility that many profiles don't include the correct data as this use wasn't envisaged when the profiles were created. There is also the issue of people just not filling in meta tags properly. I have never updated this field when making a profile. It is pulled over automatically from the reference rig so in most cases it should be right but you never know for sure.


    As there is no specific tag for direct or merged profiles it isn't possible to identify these reliably. Even if a field were added now it wouldn't automatically update existing rigs so someone would need to go through the existing rig pool and tag these manually.


    The existing logic seems a viable methodology which may or may not be better than the alternatives but certainly doesn't seem any worse.

    2) Why does selecting a direct-profile force the Kemper to use only the linear fullrange mode? I get that it makes sense to do that for acoustic and bass profiles, but most vendors offer both studio- and direct profiles. To me it would make much more sense to only enforce the linear mode if the profiles are tagged accordingly in RM and still enable the Imprint mode for standard guitar direct amp profiles.




    I personally think that it is a chance missed out on. The workaround of creating your own merged profiles based on direct amp profiles works, but it is a rather inconvenient hassle. If anyone wants to read the original (german) support answer I'll put it below

    i think they got it right to be honest.


    there is no specific tag for Direct profiles for the software to identify. However, you don’t need to create a “workaround” merged profile but simply load an empty cabinet. If you are going to use only direct profiles then the empty cabinet can be locked.

    Firstly, don’t use distortion sense that’s not what it’s for and it won’t make tour lead sound louder just more or less distorted.


    Assigning any Overdrive pedal before the amp will change the character of the sound in the same way as it would with a tune amp. If the amp itself is relatively clean you will get a volume boost along with the extra grit and tonal changes. However if the amp itself is already dirty and compressed you won’t get much volume boost just more distortion and compression.


    Compressor before the amp does the same as overdrive but without adding additional clipping. Which explains why you hear almost no difference.


    Assigning a Boost to before the amp will also hit the front of the amp harder so the results will depend on the actual Amp profile.


    How are you adding volume under input? Again, anything before the Amp will change the character as well as volume (which may be what you want or may not) but the amp of volume lift will depend on how much gain the underlying amp profile has.


    If you are happy with the tone and just wand to make it louder to jump out for solos add the boost/volume increase after the amp or with the amp volume itself.


    I would try:


    a pure boost pedal after the amp


    morphing the rig volume


    morphing the amp volume


    if you want more gain and a level increase then morph or add an overdrive PLUS increasing rig volume.

    Just put a louder solo sound in a separate performance slot.

    i’m not bothered by tacky I just want to be able to tune quickly ?


    i find even the small font distracting as it draws my eye away from the strobe display. I find it much quicker to use the strobe than get hung up on the cents figure. However, I fully appreciate that some/many others will find the large cent display helpful and will really like the feature. This is why I am not complaining about the feature and asking for it to be removed but the ability to turn it off would be nice to have.

    Here’s a good simple explanation. Although it relates to Logic, the concept is the same in all DAWs.


    Adjust the I/O buffer size

    The I/O buffers temporarily store some of the incoming and outgoing audio data to protect against audible dropouts, clicks, or pops. You can change the I/O buffer size at any time to minimize latency.

    In Logic Pro, smaller I/O buffer sizes reduce input monitoring latency. However, smaller buffer sizes require more processing power, which can cause system overload alerts. Larger I/O buffer sizes require less processing power, but increase latency.

    When recording, set the I/O buffer to the lowest setting. If you encounter system overload alerts, increase the I/O buffer size to the next setting. Projects with many tracks or a lot of software instruments require higher I/O buffer sizes, depending on the amount or RAM and the speed of the processor in your Mac.

    To change the I/O buffer size:

    1. Choose Logic Pro X > Preferences > Audio.
    2. Click Devices.
    3. Choose the buffer size from the I/O Buffer Size pop-up menu. If you're using a USB interface, set the I/O buffer size to no less than 128 samples. For Thunderbolt interfaces, you can set the I/O buffer size to the lowest setting.

    Logic Pro shows the resulting latency under the I/O Buffer Size menu. Roundtrip latency is the total amount of input monitoring latency you'll experience from audio input to audio output.

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    Turn Low Latency Mode on to manage plug-in latency

    Certain plug-ins can contribute to input monitoring latency, particularly dynamics plug-ins with look-ahead functions. If you're using these kinds of plug-ins in a project, you can minimize the latency they produce while recording using Low Latency Mode.

    Low Latency Mode bypasses plug-ins as needed, so the amount of latency doesn't exceed the Limit setting in the Plug-in Latency section of the General Audio preferences of Logic Pro. Low latency mode is especially useful when you want to record a software instrument in a project that includes latency-inducing plug-ins.

    To turn Low Latency Mode on, choose Record > Low Latency Mode.

    Its designed that way for max flexibility.


    Kone Disabled + Monitor Cab Off Disabled = normal FRFR mode so works with DXR10, Headrush etc


    Kone Disabled + Monitor Cab Off Enabled = traditional guitar cab


    Kone Enabled + Monitor Cab Off Disabled = FRFR optimised for the specific character of the Kone speaker


    Kone Enabled + Monitor Cab Off Enabled = Imprint mode.


    Therefore, all bases are covered.

    2 - you can adjust the imprints if Kone is enabled and Monitor Out Off is active. If Monitor Out Off is not active (or there is no cab in a profile) the KPA assumes you want full range mode on the Kabinet so the Imprints aren’t appropriate.

    as others have said already the wah needs to go before the amp and ideally very close to the start of the sognal chain if you are looking for a classic wah sound. The only exception is non wah effects that Kemper has lumped in the Wah group because they arw controlled by the Wah pedal. An example would be Wah Vowel which is really a Talk Box. This needs to go after the amp as thats where a talk box would go in the real world.


    back to your own issues. You say you have two TS9 but the screen shot shows a Green Scream (TS) and a Mouse (Rat) which are different effects. Do you stack these running both at the same time? If not then I would just set up two different Rigs. One with the green Scream and the Other with the Mouse.


    on the other hand if you are using two Green Screams m is this to stack them one onto the other or two have two different options which you switch between? If you only use one at a time then just put one Green Scream in the Stomp Section. Set it for your first sound. Then change the morph state and set it for your second sound. Now you will have two different Green Screams while only using 1 slot.

    yes, I would also like the ability to assign any number of Stomps/FX before and after the amp (effectively the same thing) or in relation to Parallel path. For example, I would like to have Parallel path handle my Piezo pickup with using Loop as Input, Compression, EQ and Reverb, (that’s 4 slots) while still having say, compression and Vibe before the amp then delay and reverb after.

    I apologize if this answer is available somewhere else, I can't seem to find it.


    Can you have a different imprint set per preset? As in, when I change presets, the imprint can change as well?

    not yet but Kemper have said it will follow in an update.

    sorry, i misread your problem and interpreted it the wrong the way round.


    When you save a rig it should save the effects settings exactly as they were at that point in time. If you change them in another rig and save them you should have two different sounding rigs.


    Are you making the changes in RM or on the KPA itself.

    once you have set the effect the way you like it. Drag the effect block to the preset library. It will now become a preset that you can drag and drop into any rig/performance you want from now on.