Posts by Wheresthedug

    i believe ckemper has said many times that he doesn’t believe in copying the undesirable effects of traditional analog effects. An example would be the gain control on the KPA

    “The "Gain" parameter always compensates for loss in level, no matter how much you reduce it by. You can turn the gain value to zero for every Amp PROFILE, and the result will be a totally undistorted and uncompressed sound that has the same perceived loudness as the fully distorted version.”

    i think the distortion pedals work in the same way. So although the gain hitting the front of the amp or the following distortion pedal does change when you turn the volume up or down the actual signal level in the chain is compensated to maintain a consistent perceived volume.

    Yes, that is the intended behaviour when using the Kone function. If you are not using the Kone function then this doesn't happen even when Monitor Cab is Off and main out Cabinet Section is off.

    Before the Kone became available it didn't matter whether the main cabinet section was on or off, as long as monitor cab off was ticked for the monitor output. However, you need to turn on Kone to use the imprints. As soon as you turn on imprint mode the Main Outputs must have a cabinet on or the monitor output will automatically switch to FR mode. This is to allow you to use a acoustic guitars etc.

    You can still get the old behaviour if you have Kone turned off in the output menu and just use a regular guitar speaker. Nothing should be any different for this use - but you can't use imprints thins way.

    I know it can be hard work getting your head round the convoluted Kemper logic sometimes as there are so many double negatives in use. I still have to stop and question myself every time I use these functions to make sure I have followed the logic they use. It is frustrating but it is worth it as the results are amazing.

    sounds like the problem is the Wah effect settings rather then the pedal itself. There is an option for the way sweep to be reversed in the effect it self. I would suggest searching the forum for the Wah presets thread and download those presets. That will give you a great starting point for all of the main Wah pedals out there which will help you learn what each control does.

    i know, but it is assumed that if you are using a gainy sound as a DAP then you will need a cabinet to send it to FOH. Whereas an acoustic wouldn’t need a cabinet. The logic clearly states that if the Cabinet block is switched off it should switch the Kone to FR mode. It looks like a bug at the moment unless the logic has recently been updated.

    as far as I am aware he had someone help him make the profiles. The point is he released them as something that he believes is the best representation of how his amps should sound. As an amp maker he clearly has good ears so he should be able to identify whether the amp and the profile so as close as possible.

    If we could get the amp makers to sell profiles their amps, I think that would be huge. I for one would expect that is the best way for them to ensure that their profiles sound as close to what the amp can do in their eyes.

    DrZ did that for that very reason. He said he wasn’t happy with the way other people made his amp sound so the only way to truly capture them was to do it himself. I bought the pack. I have to admit I prefer most of the othe folks profiles to the official one.

    Hmmm, that's interesting and strange. Definetly not what the manual says.

    If you load a true DAP with literally no cabinet loaded but the Cab Section switched on it does indeed perform as you stated.

    I'm pretty sure it didn't do that previously. In fact some people (including myself) asked for it be changed so maybe it has been updated. Previously I think I had to manual load N/A as the Cabinet Type for DAP profiles to get this behaviour. Or maybe I'm just loosing my marbles and never noticed before ^^

    it shouldn’t do.

    From the manual

    “You probably use Direct PROFILEs in your live set, such as acoustic guitar sounds or bass Rigs.

    Such Direct PROFILEs are marked by having the Cabinet Module set to “Empty” and feature a full-range sound that will be very unpleasant through a traditional guitar speaker. Therefore, in Speaker Imprint mode (Monitor Cab Off active), when switching to a Direct PROFILE, KEMPER Kone will automatically switch to full-range mode for that Rig. No

    preparation required!”

    the intention is that unless there is a cabinet of some sort load in the stack section the KPA will automatically bypass the imprint and give you full range.

    i’m not an expert on this stuff by any stretch of the imagination as my approach has always been Guitar into Amp with no (or at least minimal) efects in the chain so while I know a bit of theory I general don’t personal suffer the option anxiety you face. However, here are a few pointers.

    regarding the guitar tone pot - it is practically out of the circuit (spigot fully open) at 10 and is applying max attention at 0. It works by rolling off high frequencies by sending them to ground using a capacitor. The value of the capacitor determines which frequencies get rolled off.

    Tone controls on a regular valve amp also work by reducing the amount of a frequency being send to the next stage. They can never boost a frequency. Therefore, your spigot fully open analogy occurs with all controls as 10. There is a common misconception that setting all controls at 5 is flat. This is far from the truth. No guitar amp has a flat response at any tone setting. They all have a scoop in the mid range. The question is only how severe that scoop is. For example the closest you can get a Mesa Dual Rectifier to flat is something like Bass 0, Mid 10 Treble 2. I can’t remember the exact values but you can check them on the Duncan Amps tone stack calculator. The Kemper tone controls are totally different and work like an active tone stack wehere you can both cut and boost frequencies so 0 is flat in Kemper land -5 is full cut and +5 is full boost.

    The position the tone control in relation to gain stages (distortion to us guitar players) makes a huge difference. If you attenuate a frequency before the distortion stages it will affect the tone and the amount of distortion. It will alter how much certain frequencies are distorted. It will have relatively little effect on the overall tone but will change the distortion character considerably. This is why Mesa Mark series amps with the tone stack before the gain stages are usually set with the bas close to 0 as it stops the distortion getting flubby and farty. If you alter the tone after the gain stages it will have a much more dramat Effect on the tonal change but will not alter the distortion characteristics.

    i hope that is of some help. I’m sure others with more knowledge will be able to add more.

    I hear you.

    There are obviously no wrong and right only what works for you. If it sounds good it is good. I would definitely experiment with using a higher gain profile as the base level and rolling the guitar volume back for cleaner sounds rather than starting clean and boosting. This still has the ability to have the clean and dirty in one rig but gives infinite control rather than on/off.

    i’m still a bit old school in that respect. I can’t see the point in an overdrive for something like a Dumble. I have that pack as well as some others from the usual names and find that the reason for buying them is to get the Dumble overdrive tone. I grew up on Ford, Carlton, SRV, Santana etc so the Dumble overdrive is really the holy grail for me. If I want more gain I just use a profile with more gain to start with. Guys like those mentioned typically would set the overdrive channel as gained up as they want and then clean it up from the guitar volume and picking dynamics rather than start cleaner and add a pedal when more gain was needed.