I'm using 184.108.40.20650.
I was trying to work on performances today. The toaster was connected and in Performance mode. When trying to reorder performances via Ctrl up/down arrow, and also sometimes when copying / pasting to a different location, I would start getting duplicate performance order numbers. In the attached image, note the duplication of 3 and 6.
Once things got into this state, there was nothing I could do to get it sorted out (no pun intended) other than shutting down RM and restarting it. When it came back up, invariably I would have lost work.
I bought the green Kemper brand bag for my toaster, which has served me well thus far.
I have to head out Sunday, and the weatherman says it will be raining cats, dogs and small farm animals.
This is my first time out with it in the rain. I can cover it with a trash bag (my standard, high tech rain gear) for in and out of the car if necessary, but I was just wondering if it's actually waterproof. Looking at the material, it's not clear to me one way or the other.
As noted elsewhere, I've always kinda sucked at dialing in basic tones no matter which amps I had, so I really enjoy the ability to just select a profile that's already "there" for me and play guitar. And yet, I'm quite looking forward to the editor.
Where it will be useful for a guy like me is the effects. I'll still just select profiles that have the base tone I'm looking for, but often for a cover band thing I'm looking for the signature sounds from the record. For example, it was easy to find a fat rock profile for Still of the Night by Whitesnake that didn't require any adjustments, but there's also a middle section with arpeggios that has some delay and wobbly bits in it.
I was able to find the effects and tweak the params to match what I wanted using the toaster buttons and knobs. I do usually prefer hardware interfaces, e.g. a Mackie MCU for my DAW, but in this case the small screen means lots of paging around. Of course, that's just a design reality for this sort of thing as there's only so much physical space available on the front panel.
So, even though I'm not what you'd really consider a tweaker of tones - which is pretty much a required talent if you're using a Line 6 or Fractal product - there are times when I do need to dial effects in. It'll be nice to see how much easier that becomes with the editor. From the brief videos I saw from the trade show floor, it looks like it's nicely done.
How about profiling your pedals with a real amp and using that.
I enjoy that approach when available. My default rock sound is a MB Friedman that was profiled with a Klon. I love the simplicity of just selecting that profile and playing.
When you consider the fact that the Kemper is at its heart a guitar amp, there's no reason you couldn't dial up a profile that made for a good pedal platform and do it all through a traditional pedal board. I would imagine there are folks who do exactly that.
Personally, I've been enjoying the fact that I can get what I want without any additional pedals at all. Plug in a speaker and the remote and I'm done. But it's pretty cool that you can go from this extreme all the way to doing a full pedal board, and all points in between.
That said, the one pedal I may eventually experiment with is the Freqout. The Kemper's resistance to feedback is pretty weird, but I've been largely in the studio. Once I get back out into the bars and play at that level, I may find I don't need it.
It's actually a wonderful feature which is extremely useful. You're obviously very new to Performance Mode. Play with it some more, hopefully you'll awaken to it's utility. I rename every rig I save in performances to something useful, like eg. "Frampton" for my rig using talkbox effect.
Same here. With a glance down I can quickly grok Verse, Chorus and Lead.
I don't want to see MbMkIIIK (a made up Mesa Boogie Mark II with a Klon profile, but you get the idea) and have to remember that this is the profile I'm using for the chorus of a song.
But then, I'm a simple creature.
how about this idea? I don't know if anybody thought about this in past...
Actually, one of the things I love about the remote is that it's a single Cat5 cable for control. No power. No audio. Just a single cable.
I personally find it a benefit that there's no audio running out to the remote and then back to the profiler, as was always the case when I ran a traditional amp / pedal board. I don't even have to make an audio run for a tuner because the remote has one built in. That cuts 40 or 50 feet of cable out of my signal chain. That has a significant effect on tone. It also makes setup that much easier since there are fewer cables to wrangle.
If you've never done an a/b test comparing the typical 40 foot cable run (20 out, 20 back) to a pedal board versus setting some stomp boxes on top of the head and patching them in with a few 6 inch cables, it can be a real eye opener.
Of course, everyone has different needs. If you run a pedal board in addition to a Kemper, I can see the need for having audio cables run to front of stage. In that case the Kemper Stage would indeed be the best fit, and still allow for shorter cable runs.
That stand looks great. Is that the HPS 290B or 300B? The 300B seems to be a bit heavier and a bit more stable.
Argh! It's the 290. I didn't even catch the fact that there was a 300 or would have ordered that (packaging already gone so can't return).
Oh, well. I was happy with it before I knew the 300 existed, so I still am. That said, the heavier version is only another ten bucks and that's the way I'd go.
There are basically two groups that use the KPA. The Live and the studio crowd. They can and do intermingle but for the most part and generally speaking, its mostly one or the other. Now the "Live" crowd majority might not see the need for an "editor" as the Kemper is pretty easy to tweak on the fly, and besides most of the time the stage is never big enough for what you need. And, no one likes beer on their expensive Laptop. The "Studio" crowd is the group that will be using the Editor more than anyone else Im thinking, but there are a few that do not like and will not use the editor at all no matter what. Its just not their thing. Since Im not playing out much any more and have a small home studio, I will use the editor almost excessively and can not wait to get it installed. Im so glad that it's finally around the corner- THANKS Kemper! My 2 cents
I've been studio but am looking for another band so hopefully will be both at some point soon. I'll certainly play with the editor when it arrives as I suspect there will be things here and there that I'll find useful in the studio and / or in setting up stuff for the live thing. Of course, I have a toaster, so it's not a critical consideration for me. If I had a Stage it would probably become my primary interface rather than doing the old pedal board touch your toes exercise.
From the brief glimpses I saw it looks like it will be nicely done. And yet, ironically, every time I have a cool piece of software in the studio, the first thing I look for is a hardware controller interface (e.g. the Mackie MCU) so I can touch real knobs and faders instead of wiggling a mouse.
I envision the two sides of my brain hiding behind furniture and shooting spit balls at each other.
Thanks Bob for sharing!! Ah Chris - so I'm not alone Ya please report!!! Those projector stands do look interesting...
Okay, got it in today. It's built well overall, the metal shelf and stand all feel solid, and there's an additional hole / peg system you can see on the joint so that the tension fitting isn't the only thing supporting the weight.
With the Kemper on it I can get a little wiggle out of the the top section if I push on it as it was obviously built for the weight of a projector, which is lighter. However, it's not enough to concern me as it's obviously not going to fall off. Also, because I have the remote, my interaction with the head in that scenario is minimal to begin with. The top plate comes off and it packs down pretty small, which was a factor for me given my small car. It cost me $45.
Thanks to everyone who recommended the projector stand approach. It's exactly the sort of solution I was looking for.
to me it's neck, neck, neck with guitars.
Find a guitar with a comfortable neck and go from there.
That's always been the big seller for me as well, which took me down the path of SGs (could never get comfortable with Les Pauls beyond the 12th fret) and then a long period of hot rodded Strats. I just love the feel of a good Fender neck. I finally made it back into the native humbucker camp a couple of years ago when I found a PRS that I bonded with. Les Paul style tone without the things that didn't work for me.
However, another factor for me is the body of the guitar, and not from a tone perspective. In a rock band I'm fairly physical, so I need something I can move with. A Les Paul felt like it would dislocate my shoulder. I briefly played an Explorer and found that with certain moves I was accustomed to making I was going to break a thigh bone with that pointy back end.
I guess that's kind of a dumb priority, but in terms of rock I'm a rather simple creature.
Kemper isn't set up as well for dual guitars mag/piezo as some other gear
Here is what I would do in your situation
Try to either get a good acoustic impulse and use that as a cab OR do a match eq of your guitar against a great sounding mic'd acoustic and your guitar and convert that to a IR/Cabmaker
If possible use parallel chain (like bass players use) so its a mix of both the pickup and the IR
then delay/reverb (comp at start of chain)
You can get some pretty damn crazy quality sounds this way with at least other gear I've done it with,.....no doubt the same with the kemper
Thanks, man. I actually ended up not far from what you suggested as I played with things last night.
This guitar isn't even a dual pickup system, it's nothing but the piezo on the bridge. It has a particular nasal honkiness around the open A & D frequencies, and efforts to EQ it just seemed to make things worse.
A friend sent some profiles to try and recommended the parallel approach you suggest. I slapped the new large plate on the end and with a bit more tweaking it was something I can get away with in a rehearsal. Not good, mind you (nothing is going to make this guitar sound good plugged in), but enough of the bad masked that it's not a distraction.
If it turns out that I do end up working with this band, adding a quality acoustic with a good pickup system would be in order but at the moment I think I can call this, "close enough for rock and roll."
Thanks, guys! I've been struggling with this issue given my space constraints in the car. A TV stand works, but isn't exactly rock and roll.
Those projector stands look like they fold up nicely, and everyone knows that black is invisible. Unless your my ex-wife looking at the PA speakers I tried to get away with using for the living room stereo...
Just ordered this, will report on how sturdy it is.
I need instant gratification and I need it now! Do you guys think I should just hold out for this, or go with one of the earlier options?
I think you should by one of each.
Sorry. Putting out fire with GAS. Not helpful. I'll see myself out...
Add that to the fact that most of the sound is traveling past us at below waist height and it’s little wonder sound guys are always complaining the guitar is too loud on stage 😆
I suppose I should be thankful, but one of the big selling factors of the DXR10 was that it was the only one that would actually fit in the car, where my 1x12 V30 cab wouldn't. Were it otherwise I would probably be collecting speakers to replace all the tube amps I just sold. But yeah, one of the things I like about the DXR10 is the wedge monitor thing. It's just for me anyway since the audience gets FOH, so it helps keep it out of the mix.
The MBritt wants to run all the way to the back of the room and jump out the window!
I'd pay the cover charge to see that!
Crank & Go demo from his site at 6:24, where the Soldano begins.
This what you had in mind, Alan? Snarly!
Before I bought mine I watched a lot of comparison videos between Helix, AX8 / Axe II / Axe III, and the Kemper. I owned an earlier Pod Pro and then the Pod HD. They were okay but just not quite "there" enough for me. I thought the Helix sounded pretty good but still not enough to buy it.
The Fractal stuff sounded Holy Cow good, and the Helix was clearly not at their level. The Kemper was also Holy Cow good (lots of bovine deities in this crowd). So to me, the Fractal and Kemper were both stand outs in terms of quality. I could absolutely work with the Helix, but the other two were head and shoulders above it.
One of the real differences to me was philosophy. Fractal (and Line 6) are in the business of providing lots of great building blocks, and a powerful environment to put them together. But I hate fiddling with guitar tones. The Kemper approach was to let someone dial in a killer tone, mic it, and take a snapshot of that. It was a perfect fit for me. Choose profile, play guitar.
A lot of people get hung up on the whole "in order for what I like to be good, everything else must suck" thing, but I don't see anything but great choices here. The Kemper worked for me even though the Fractal sounded awesome and the Helix was close enough for rock and roll. But any of the three would be excellent choices. Great time to be a guitar player.
You bought a new product that was just released five minutes ago. Some have experienced hardware issues, and the upcoming editor is not available yet. Also, you've highlighted some design elements that you don't like.
I have a toaster and the remote. It costs more than the stage, but is convenient for both studio and live. And the remote, not having all the Stage / Profiler related plastic stuff, is built like a freakin' tank. I love this thing, and I've been buying gear since the 70s.
Return the stage and buy a head / rack plus a remote. It's clear you're not happy with the stage, and 1600 is too large an investment to be immediately unhappy. As everyone has already pointed out, all of these other products have been battle tested for years and are rock solid. You'll spend more money, but you'll be happy with what you bought.
If you decide to keep the Stage, you'll need a mindset that is willing to deal with 1.0 teething issues. I'm guessing from your post that this sort of thing won't be an enjoyable experience for you. There's nothing wrong with not liking the Stage design, or being unwilling to deal with new product issues. It's only wrong to keep it if you know that's going to bug you, and it sounds like that's the case.
The Kemper is an incredibly cool guitar amp system. Buy the version that'll work for you. You'll really enjoy it.
My previous rig was a 4U rack (Voodu Valve 1U preamp, a 1U power amp, rack wireless and a Furman) and a 1x12 cab. Wouldn't fit in the new car.
Since rack mounted gear was no longer an option I started looking around for an alternative and discovered the Kemper. And there was a toaster-sized head that actually fit in my car. Sold! Never mind the fact that, you know, it sounds incredible. After playing it for a week I sold every tube amp I owned.
I think you guys should invest in a rear projection screen and just put up pictures of the Marshall stacks.
When I quit working, I spent many years as a part of a monthly guitar in the round / songwriter's night with a rotating cast of friends. Drinks were spilled.
I seem to be somewhat aggressive in my approach to acoustic guitar and was wearing down the wood on the sound hole. One night I mentioned that maybe a strip of electrical tape would slow down the wear. A friend looked at me and said, "Man, your guitar doesn't need tape. It needs Band Aids."
Put them on that night and they've been there ever since.