Posts by VoodooJef

Well, it is in fact called the Kemper Profiling Amplifier. It's pretty much the technology the device was engineered on, and brought to the market to do.

All sarcasm and snark aside, I see your point. What you're asking for is basically a device that only loads profiles. I don't know that the profiling section is what makes the device cost what it does. It's the immense processing that allows it to maintain the audio integrity and sound and react the way it does, and that processor is the golden egg of the device (more accurately the process by which it accomplishes that, not necessarily the chipset itself).

Think of it like this: The Nissan GTR is an incredible vehicle. All wheel drive, twin turbo...and so on. I have seen a couple of them in excess of 2,000 horsepower. I bring my case to Nissan and say "hey, I can't afford a GTR. How about you guys make a cheap version". Their response is the 370Z. Sporty, fun to drive, NOT all wheel drive twin turbo, NOT a GTR.

The KPA was designed to occupy a specific place in the music gear market, and it does it remarkably. As good as the Kemper effects have gotten I could see them doing an effects only device but I just don't see them being remotely interested in a stripped down KPA.

The Truth monitors are way above their class (they sound better than they should).

I picked up a set of Event TR8 monitors a while back, well kept for $200. If I recall they were $700ish new (making finding them pre-owned a great deal). They sound pretty damn amazing.

Andy is one of the good guys. Been watching him play in my back yard for 20+ years, way back to Blue Cat Blues (and before). The night Steve Vai handed off his guitar to Andy out in the crowd (AT was a spectator!) and giving him the reigns for a bit was second only to getting to see Vai and Satch sit on barstools next to each other and just jam together for half an hour. I've always had enormous respect for Andy.

I've got the 1010 with the uno4kemper chip. Works like a champ.

I have a particularly unique perspective to offer here.

I endorse a tube company. Sure, ok....and? Well, our tubes are a cut above (hang on, I'm getting to the good stuff). For one, they're $100. Each. Yeah, a hundred bucks a pop. Are they made for the guys slugging in out in smokey bars who aren't concerned with the last 1% of subtle tone difference? Nope. I even told Don (the guy who owns the company) I'd never pay that much for tubes, even if they sounded better. I was convinced they wouldn't sound $80 a piece better. To make a long story short, they DO sound better. Maybe not $80 better, and that isn't worth it to 99.8% of the guitar players out there, but they will make a difference nothing else will and it can't be replicated. I had two identical amps, and I did a true, honest to god A/B with them, one loaded with JJ tubes, one with the Wathens. The difference was in fact audible, and it could be captured on a recording.

With that said, some amps respond more dramatically than others. Fender and H&K amps are quite sensitive to them, Marshalls don't seem to be so.

It's not dramatic, but it's a subtlety that once you hear you can't un-hear. It brings a certain organic presence to an amplifier that nothing else will. And I toured with the same set of tubes in my GM36s for two years, playing Lord knows how many shows, most of them here in the Texas heat. I have found that JJs or Groove Tubes or most other decent replacements will sound better than stockers but the Wathens are genuinely an honest improvement.

I can't afford to outfit my amplifiers with Wathen tubes, and would opt for JJs any other day. I'll also be the first to say that yeah, our tubes DO make a difference.

(they make a bunch of other audiophile level products as well. Studio monitors, amplifiers, and a wicked sweet tube conditioned AD converter).

Fellow Texan, fellow cowtown-ian

Welcome aboard. This is a pretty cool forum, why they let the likes of me in is anyone's guess.

I have one with SD Pegasus/Sentients in it, which I'm not particularly fond of but I don't hate. Another has a Dimarzio D-Sonic and a Liquifire. I am quite fond of that combo.

Certainly give it a go. I distinctly recall the day I got mine. I was at guitar center picking up my 2nd Digitech 2101LE (a legend in its own) and the salesperson said "have you heard the BBE Maximizer on this? it sounds amazing". No, I had not, but the instant the dude clicked the "active" button I was blown away and bought it on the spot. There was a certain sizzle to the sound that I loved (me and everyone else back then). But as dramatic as the effect was it didn't translate well in the real world and we all learned that ultimately it did the opposite of what we wanted and it thinned out the sound. I guess you could say it sounded great but there was no way to actually capture that sound on tape, no matter mic nor placement nor black magic could get it to translate properly. A fun piece for sure though.

Ok, I'm a little short on time but if I recall it's like this: route a channel insert to the spdif out (KPA spdif in), KPA dry signal to main, wet to monitor and record the new reamped track to its own track on the daw via the monitor out (the specific routing would be up to you, ie; wet to main instead if you preferred). It basically puts the KPA in the effects loop of one channel but routes the output to another open track so you don't record over the dry signal track.

That's the quick and dirty version, there may be another but that was the on-the-fly solution.

I use Studio One 3 pro. I'll take a look later and see how the routing goes and see if I can offer anything useful. I've also got access to PT and Logic at work.

The very first sentence I typed in my reply covered what he asked for in stark simplicity. The follow up was superfluous and voluntary. Much like every sentence in yours.

It's ok to let conversations have a little personality without riding in on a white horse, polishing your armor. ?

Nope. It's made to use a line level signal (effects loop is an option).

And TBH, most folks who have used the Maximizer have eventually retired it with no intent of looking back. It's a fancy "loudness" button, like on car stereos. It does what Line 6 is really good at.....sounding great at bedroom volume but losing all of its balls as it gets turned up. They were all the rage in the early 90s (and yep, you bet your behind I had one ).

I don't mean to disparage the device, if it gets you the sound you want then what difference does it make anyway? lol.

I have a PreSonus Audiobox USB I'm not doing anything with that I'd sell for $50. It's great for recording just a guitar and works well with the KPA. Very simple and boldly reliable. I'm also a Mac user and my new interface uses thunderbolt. Didn't notice a difference.

That may be all that's on it. If it's not connected to a network the factory presets won't be on it (barring a factory reset I'm guessing). There are several threads on here about owners deleting all but the profiles they actually use, perhaps the previous owner of yours did the same. It's not a tragedy if so, just connect to Rig Manager and have at it. (not sure if the factory presets are available standalone or not)

Thanks. Recording was easy enough, really. What I ultimately wanted was a simple solution to get console audio to the feed for live streaming. Kind of a PITA with a Mac, so this just made all of my video efforts easier and one step less work

Yeah I know, the lighting is next on the list. Right now I'm making tiny adjustments to get the audio in the video as close to the audio that comes out of the monitors as possible. What you're hearing is 100% direct from the console with the KPA going direct.

Well, I finally got a camera that does what I want it to. Picked up a Zoom Q4 (I really wanted the Q8 but I couldn't pass up the deal). All I did was run the audio from the headphone jack of my Firestudio into the mic in of the camera so that it gets the same audio that the console sees. This is literally the very first thing I plugged in and recorded, improvised a bit just to get a feel for how the tones translated. I'll post some more as I polish the process and detail whatever changes I make in the event it starts to sound good

No betas for me. I'm right in the middle of recording an album and I can't risk potential bugs. I keep a USB drive with a backup velcro'ed to the inside of my rack just in case but inviting a higher than normal possibility for glitches just isn't something I'm on board with

Ok, despite my resistance I went ahead and clicked the ol' update box. So far nothing at all has changed with what I currently use. Now I feel more comfortable. Maybe I'll find myself twiddling knobs (or parameters, as it is) like I did when my KPA was brand new to me

This one