Posts by Chris Duncan

    I don't know what I find more impressive, the great sounding song or completing 300 of them. I wish I was better at fielding the distractions of life to have that kind of productivity.

    And I fully agree with deadman42 about the epic nature of the tune. Perfect for fighting in the shade. :)

    You need to be aware that the acoustics of your room can make a bigger difference than any speaker change so spending a few quid putting in some basic acoustic treatment is often a better use of funds than buying more expensive monitors.

    I'd like to strongly second this emotion. Just like you can play great at a gig but sound like crap if your sound man is asleep at the wheel, the most expensive monitors in the world will lie to you if they're in a room with poor acoustics. Even the low cost studio monitors available these days are really very good. Spending a few hundred on decent speakers such as those mentioned and then another few hundred on the room will give you much, much better results than spending the whole thing on more expensive monitors.

    Treating the room is actually more rocket science than just throwing up some Auralex panels and calling it done, as every room is different, offering different peaks and valleys that need attention. One size does not fit all. That said, even a little treatment, wisely placed, can make a big difference, especially if you just focus on how it sounds in the mix position.

    In addition to acoustic panels, there are software / hardware based solutions. There's a popular new plugin out there (Sonar Works, or something like that? Can't remember.) that lets you measure your room and then sets up a multiband parametric equalizer on your DAW's mix bus to compensate. You have to remember to take it out of the bus when rendering your tracks and a couple of other things, but it gives you the ability to tune your room.

    Of course, that doesn't do you much good if you just want to plug in the Stage and rock out. In addition to my acoustic panels, I also use a hardware solution, the DBX DriveRack PA2. It's the same concept. You do the measuring thing with a mic, and it then automatically creates an 8 band parametric EQ setup to compensate (editable, of course). Output of your Stage / mixer / audio interface / etc. goes into the DBX, output goes to the speakers.

    Technically, you could do this with a multiband equalizer before your speakers (which many of us did back in the day). In order to do that, you would also need to measure the frequency response of the room so you'd know what to tune, like cranking pink noise through the PA at a gig and running a real time analyzer to do exactly the same sort of thing. The VST plugin or the DBX unit offer the convenience of putting it all in a single package, with some automation. And you also don't have to endure minutes of pink noise, there's like a 5 second sweeping blip on each speaker and it's done.

    Whether you go the acoustic treatment route, use VST or hardware analyzers / equalizers, or a combination of the two, if it was my money I'd treat the room first and then with whatever I had left over buy the best monitors that budget would allow. You can always upgrade monitors in the future, but the room stays tuned forever.

    To expand on what BayouTexan said, I'll give you an example of my workflow. I use Cubase and probably have a different audio interface than you, but the concepts should translate to whatever you're using.

    I have a 32 channel / 8 bus audio interface (a Yamaha TF5 mixer), so the L/R main outs of the Kemper come into two channels. I also have the direct out signal coming into a third channel. So, input from the Kemper is three channels.

    In Cubase, I have a stereo input bus mapped to the L/R outs, and use the L channel of the stereo with the Kemper set to Mono for tracking. (I rarely track in stereo, but if I wanted to I'd just set the Kemper to Stereo out and then use the full stereo input on a stereo track in Cubase.) I have another mono input mapped to the direct out signal of the Kemper.

    As he mentioned, in Cubase I've created a template that has a mono audio track for the guitar that points to the L channel input. I have a second track for DI, and its input is mapped to the direct out channel. When I record, I enable both the audio from the Kemper and the DI. If the sound of the profile sits well once the mix is going, then everything's groovy. If not, I have the DI track that I can use for reamping.

    So, for regular tracking your template can contain as many rhythm / lead / bass / mono / stereo tracks as you want, with each pointing to the appropriate audio input (SPDIF audio or direct out). I'm sure all the DAWs out there have template functionality so I'd highly encourage you to do a little RTFM to see how yours works. I little time up front with templates makes a huge difference in workflow when you pick up the guitar, avoiding a lot of the back and forth that you mentioned.

    Regarding reamping, that's where having a mixer in the loop really helps. My mixer happens to also be my audio interface, but a standalone mixer will get you there as well.

    In addition to the channel that captures the direct output of the Kemper for recording the DI, one of my output busses is mono and connected to the Kemper's reamp input (not in front of it right now so not sure what the exact name of the input is, but you get the idea). So, I now have the outputs I use, as well as a DI input, all hardwired to the Kemper so I never have to stop and change patch cables.

    In Cubase, I have a mono output set up that points to the mixer output going to the reamp in on the Kemper. The DI track in the Cubase template already points to the reamp output. So, when it's time to reamp, I mute any audio tracks I've recorded, unmute the DI track, and turn the knob on the Kemper to change the input from the front panel to the reamp in. I record arm a new audio track that's listening to the Kemper L/R input, press record, and capture a new audio track from the DI performance. The Kemper L/R is coming to those two channels on the mixer, and that's how I hear the guitar whether playing or reamping.

    I'll let more knowledgeable people speak to the challenges of recording multiple tracks in stereo versus mono, but as far as a setup that minimizes your back and forth of unplugging / plugging stuff, here are the main takeaways.

    1. Learn how to use templates in your DAW and set them up (I have many, for different styles of music) so that when you start a new song you're ready to go with no fiddling around.
    2. If you don't already have one, even a mixer as small as 8 channels in / 4 out will make a huge difference in the convenience of your setup. For example, 3 channels in for the Kemper as I mentioned, 1 for a vocal mic, 2 for the L/R out of your DAW and you still have 2 to spare for keyboards or whatever. My example utilizes 3 outputs. 2 go to my studio monitors, 1 goes to the Kemper reamp in, leaving 1 to spare in an 8 channel / 4 bus mixer.

    As I mentioned, you'll have to do some mental mapping of the concepts from my setup to yours, but the basic ideas work no matter what your hardware / DAW setup.

    Hope this is helpful.

    Good stuff, Mats. I agree, very Dan, smooth and polished.

    I've heard good things about Mojo and listened to some demos. I thought they might be a good fit for the kind of rhythm & blues that I do.

    Chaps , you should definitely consider playing the horns by yourself, I bought a trumpet on thomann for 100 € , took 2 lessons and I was able to do my own riffs pretty quick, with a few weeks of practice. Next step is buying a trombone.

    Definitely sounds like a real, live trumpet. I think sample libs typically have lots of processing so that it's a final section you can drop into a mix, rather than tracking your own horns that you then have to do all the eq / compression / yada / yada with. Kinda like the difference between EZ Drummer (ready to go) and building / mixing your own kit in mind numbing detail via Superior Drummer. But you're right, great fun!

    I began life as a trumpet player in junior high & high school, but picked up guitar halfway through high school (guitar players meet more girls than trumpet players. :) ).

    I did a stint on the road in a Holiday Inn band as the utility guy. The leader played guitar & sang, but was an excellent trombone & trumpet player. I did guitar / keys / trumpet. On Donna Summer's "Hard for the Money" I would hold down chords on the keys with my left hand and play the trumpet lines with my right . Neither part was hard. I could train chimpanzees to do either (with no offense to any monkeys we may know and love). The frustrating thing was that I worked hard on my guitar chops back then, but no one noticed a thing I played. Only the cheap keys / horn trick.

    It was from a freak Historic winter storm. South Texas got dumped with sleet, ice, and wet snow. North Texas was dumped with "packed powder". Ice and wet snow on power lines and transformers is always a mess. Add to that, poor planning by power companies and officials and you have a major disaster. So, several factors. The entire state of Texas was under a winter storm warning. Everything about this storm is breaking records going back 120 years.

    Plus the fact that Texas doesn't have the kind of grid agreements with neighboring states that would have been helpful. But that's 'cause, you know, "Texas is a whole 'nuther country." :)

    (Full disclosure: spent many years growing up in Texas)

    Pretty sure that's not an option the way they store data. Is your concern is startup time for Rig Manager due to a large number of profiles?

    One workaround might be to have a folder somewhere in Windows for all your profiles, with subfolders grouping things the way they make sense to you - by amp, gain, favorites, etc. Then you could keep just your smaller profile set in RM. When you wanted the other stuff, you could drag and drop them into RM, then delete them when you were done.

    Of course, that's a bit clumsy in terms of workflow because with the full install every sound is just a click away, but that's the trade off you need to consider. Is it worth the longer start up time to have the convenience of everything being right there, or do you want RM to start faster at the expense of having to drag in sets of profiles when you want to work with them?

    I saw a comment from either CK or one of the support guys once saying that powering off without a shutdown wasn't a problem because they designed it for musicians (we're not always the brightest of creatures). Nonetheless, as with all things computer oriented, paranoia is your friend. I always do a shutdown, but sometimes you don't have a choice.

    I live in the country north of Atlanta, where the power company has a rather casual relationship with reliability, so I'm no stranger to power outages. Like all my other computers, my Kemper is plugged into a UPS. That gives me time to do a shutdown if the lights go out.

    When I was in the Atlanta 'burbs years ago, power was down a couple of days due to a winter storm. I thought no problem, I'll just play acoustic. Yikes, those strings are cold, not to mention stiff fingers. So much for that idea. That's when I realized that my entire life pretty much revolves around electricity.

    If the batteries ever die, this civilization is screwed. :)

    This is a question mostly for my own illumination, hope it isn't OT.

    I have a Yamaha TF5 mixer which is also my audio interface, so a) I don't use the Kemper headphone output and b) I run the Kemper main XLR into the channel of the mixer. Because the mixer is the audio interface, then all backing tracks (via Cubase), the Kemper, tracking vocals, etc. comes through the same audio path. My question is regarding relative latency.

    I don't own any Focusrite gear, but all digital audio gear generates at least some degree of latency. I would expect the headphone output to introduce zero additional delay, and that an audio interface would have latency of x milliseconds. I'm perhaps more sensitive to that than some in terms of comfort level, so I was wondering if those of you who use a USB audio interface but monitor the guitar through the headphone output notice any significant delay between the two signals, i.e. hearing the audio interface x milliseconds later than the guitar.

    You know, always something new to learn...

    When considering headphones, it's important to remember that they each have their own personality, much like a microphone. For instance, the Sony 7506s have a certain signature on the low end. Others have more high end and less low end, etc. No matter what the frequency response charts from the manufacturers say, each will sound different.

    Also, though sometimes people forget this, "FOH" is a vague and moving target. The room acoustics, PA speakers / subs, mixer, and the way the sound guy dials it all in are huge variable that not only differ from PA system to PA system, but venue to venue (and even night to night depending on the crowd, humidity, etc.).

    If your budget is around the $70 of the headphones you linked to, I wouldn't consider IEMs. The generic type that come with a transmitter, ear buds, and a few different foam cushions (or some such thing) to fit to your ear aren't going to be anywhere close to studio or FOH sound. The real differentiator with IEMs is when you can get custom mold earbuds. I've had both generics and custom (Ultimate Ears in my case, though any custom mold will give you the benefits) and they're not even on the same planet in terms of comparison.

    So, the first real question is, "What, exactly, is your FOH sound?" Do you hire a sound company to bring in $100,000 worth of gear? Is it a pair of $50 bargain basement speakers on poles? Your guitar is obviously going to sound different in each scenario.

    In truth, the only real way to know how headphones, monitors or IEMs translate to FOH for tuning is trail and error. In a perfect world, you could sit in the rehearsal room with the PA, play through it, then mute the speakers and compare to your headphones. But as everyone has pointed out, it's unlikely to find headphones that are going to sound like a live PA system at volume.

    In my studio I use my IEMs when tracking vocals (great to eliminate the headphone bleed getting into your vocal track). When tracking guitar, I listen through my studio monitors. When I just want to play guitar and feel the hair on my arms vibrate, I plug into the DXR-10, crank it up, and just have fun. Overall, for recording I find studio monitors are a better feel than headphones (inexpensive ATH M-50s) or IEMs.

    Given your budget, you'll find a lot of 5" studio monitors in the $100 -$150 range. While better is always better, honestly the quality of stuff on the market these days is all pretty good. If you can stretch the budget a little, I think you'd be happier with monitors than headphones, and until you can get custom mold ears I wouldn't even consider IEMs.

    That said, even though my choice for your situation would be studio monitors, the real trick is to get something and learn it. You'll hear studio guys talk about this all the time in terms of their monitor choices. They'll have the xyz brand, which may be old or new, expensive or not, but the thing they'll say most often is that they learn what their speakers sound like.

    If, for instance, they're just a touch light on bass reproduction, they learn that the best sounding mix for other consumer systems is when they dial back their bass instead of turning it up to compensate for the speakers' deficiencies. That know what the sound "in the room" will translate to in a portable mix. The venerable NS-10s sounded horrific, but the old guys learned what a good mix sounded like on them, so it then sounded killer when played on a set of good speakers.

    This is where the trial and error comes in. Get something that feels good to you when playing guitar (because if it doesn't, nothing else really matters). Then listen to your FOH system, compare the two, and learn how to dial in your profile in your studio to sound the way you want through your PA system.

    I know people usually just want a simple product recommendation, "Buy this and everything will be awesome!" However, life is rarely that simple, so if you give a little more thought to all the moving parts in relation to what you're looking to accomplish, you'll have a much better chance at finding something that will make you happy. And happy is why we play guitar. :)

    skipping the arm on some vinyl

    In the 70s, everyone played Little Wing. Being a bit contrary, I decided to learn Castles Made of Sand instead. I was a broke musician with a very cheap turntable, but I did what we all did - sat down with the album (Axis: Bold as Love) and went over the song a gazillion times trying to figure out what Hendrix was doing because he never really did the exact same thing twice.

    By the time I was through, my cheap needle had carved a groove of its own from dropping before the song so many times, so every time I played the album after that it got to Castles Made of Sand and just went around in circles in the margin before the song started.

    Collateral damage, but at least I learned the song. Sorta. :)

    People come in a wide variety of configurations. Those who are self-motivated and able to learn things on their own are among the minority.

    This is true not just of music but pretty much everything. Years ago I wrote several books to help people improve their career (in tech as well as for creatives). I additionally did one on one mentoring. What I found is what pretty much any instructional author will tell you. The overwhelming majority of people consume books and media telling them how to improve life or learn a skill, and then take no action. This may sell a lot of books, but it doesn't do much for the people you're trying to help, which for many of us is the entire point. Relatively few people are wired to be self-starters.

    This is where teachers come in. A book or YouTube video isn't going to evaluate your performance, gauge your progress, identify where you're having trouble so helpful tips can be offered, highlight the things you're doing well so you have the encouragement and motivation to continue practicing, and so on.

    Books and videos also offer also no personal relationship. I think in our current quarantined reality, many people are beginning to realize the value of interaction. A two way video call is better than just watching a video. Sitting in the room with another actual human being is even better. That human connection creates a spark that can give you the strength to keep doing hard things (practicing anything is hard), and inspire you to reach for things you never would have believed on your own.

    Make no mistake, there's a difference between someone who can read a textbook or grade a paper and someone who's truly a teacher. Schools are full of the former, and we all remember them being about as inspirational as rock. Then there were those rare classes where the teacher just had the spark and could connect with students in an almost magical way.

    If you're capable of creating that kind of magic, I highly encourage you to go for it. There's no shortage of people who would benefit.

    I've always loved US muscle cars, but in the UK they are impractical ( fuel costs, left hand drive etc) :).

    If you'd known me back in the sex, drugs & rock and roll days of my youth you'd realize that driving on the wrong side of the road isn't necessarily a disqualifying factor since it was likely to happen either way. :)

    But is all that skill even necessary today?

    You just asked a mastering engineer if his trade was even necessary today. I now have a new definition for chutzpah. :)

    All kidding aside, yes, it's much easier today for mere mortals to deliver their own mixes. The software tools we have available are incredibly powerful and relatively affordable. Not the same as hiring the best talent in the business, but you can still get good results.

    As others have said, it's not just about the guitar tone, it's about having a "portable" mix, i.e. one that sounds good in all environments - the studio, a high quality home stereo, a cheap beat box, the car stereo, your favorite phone or pad (using the speakers or just marveling at the massive difference between different sets of earbuds). This is the holy grail for engineers everywhere, and always has been. And conversations about how studio quality doesn't matter because they'll just listen to a compressed mp3 on Spotify are the exact same conversations people used to have about crappy AM radios and cheap cassette decks. Hardly anyone listens to music in an environment as good as a recording studio.

    One standard trick has been the "car test." You do your mix, think it's awesome, burn a CD / tape, and play it in your car. You then throw it out the window while barreling down the freeway at high speeds because it really does sound that bad. Back to the studio, remix, rinse and repeat.

    Another common technique is using reference mixes. If you have a song that's in the vein of AC / DC (for example), play an AC / DC CD on your studio speakers and then compare your mix to that one. If the bass is a little lacking on the AC / DC song, you want yours to lack exactly that much bass, etc. It doesn't matter if their song doesn't sound perfect in your environment. What's important is to make your mix sound like their mix in your environment. They had world class engineers who made their mix portable, so you can reference that to make yours come close.

    Another trick I use relies on the fact that I have an internal website running in my house (I'm a programmer, so that's not surprising). I copy test mix mp3s to the server and put a link to them on one of the web pages. I can then access that page on my internal network, e.g. point my iPhone to 192.168.0.x /Mixpage. In this manner, after doing a mix, I can quickly and easily hear exactly what it will sound like on an iPhone.

    It gets better as you learn how your environment translates to others.

    I am taking a different route now. I started looking at high dollar heads to play through my Marshall 4x12. Reading reviews and watching YouTube videos on a few that I was considering, all of the videos had the guys and ladies turning all the knobs to show how versatile the amp is. Who is going to turn the eq knobs for every song they are playing? I went back to the Kemper and decided that I was going to be an expert on it before I consider selling it! I have spent hours reading about it and tweaking it this week and now I can't wait for rehearsal Tuesday!I came across this thread this morning and it seems like I am not the first one to have mixed feelings about the Kemper. I am even more inspired now then I was when I bought it. If anyone follows sports there is something they call a sophomore slump and I think I had that. Now I'm pushing through, thanks for all the comments and inspiration.

    As obvious as it sounds, I think the key to a good Kemper experience is finding the right profiles. More specifically, the right profiles for the genre that you play. I know that sounds kinda "Duh," but it's easy to get caught up in twisting knobs and overlook the basics.

    When I first got mine and started downloading Marshalls from Rig Exchange, there were a few days when I was considering returning it and going back to my tube amps (which I hadn't yet sold). What I finally realized was the genre thing. Metal and its siblings are very popular these days, so there's a large amount of high gain stuff on RE dialed in for that kind of tone. However, I play classic rock, so what's a killer high gain tone for a metal guy was absolutely awful for me. The quality of the profiles themselves weren't to blame - they were good, and loved by many. However, I wouldn't plug in a Big Muff and expect it to sound good when playing a soft, jazzy standard. And I wouldn't reach for that jazzy sound if I was doing a Hendrix gig. It's all about context and the right tool for the job.

    I eventually found some commercial profiles that were aimed at the style of music that I play, and suddenly it all came together for me. I do almost no tweaking at all. Instead of trying to beat profile A into submission, I just move on to profile B. I might adjust the reverb a bit, but that's about it. Whether recording or playing with a band, my guitar has never, ever sounded this good, song after song, no matter how many different tones I need. And I've been at it since the early 70s.

    If you try high quality, well loved profiles that aren't used for the same thing you want to use them for, the only logical conclusion would be that your Kemper is terrible because the sound is terrible. And yet, load the appropriate profiles into that same Kemper and it becomes a magical experience. At least that's how it went for me.

    This is what happens when you tell programmers to "shelter in place." :)

    I have a suggestion for your project that might make it both more useful and more in harmony with Kemper's own efforts.

    Rig Manager has a gazillion profiles and there's a fair amount of metadata, but it's still difficult to find what you're looking for sometimes. Many people (like me when I first got the Kemper) think of a profile in terms of an amp. So I downloaded all these Marshalls and hated them. Turns out they were dialed in for metal (and awesome for that) but I play classic rock. So it's not about the amp, it's about the tone you're looking for. I don't care if a Marshall can do metal, funk, or jazz. I want the sound that I want, not some specific amp.

    I think your "how to sound like" idea is good because it gives people a known reference point. If you say sound like the xyz song from the abc band, I'll know exactly what that tone is. However, and this is the suggestion, I don't think listing all their gear and settings would be the biggest payoff for the Kemper crowd. Honestly, I don't care if it's a Pignose with a 57 or a Fender Twin run through 14 different pedals. All I care about is getting the sound.

    What if your database was how to get the xyz song's tone, and what I find when I look that up is a reference to one or more Kemper profiles that would give me that sound? They could be free from Rig Manager or commercial. Maybe with some extra notes like use this effect on the verse, turn it off and use the another effect on the chorus, but the main thing is point me to the profile that will give me "the sound."

    This approach would benefit commercial profilers, shine a spotlight on the great free profiles in Rig Manager, and allow the user to find "that sound" by looking it up on your website and then going to find that profile. Everyone wins, and the ease of use factor would be huge because many guitarists are exactly as lazy as I am. I don't care about the 7 pedal settings the guy in the band used to get the tone. Just tell me which profile to use.

    Of course, you'll need to make sure you stay on the straight and narrow legally and not use any intellectual property, pictures, brands, etc. that you don't have permission to use. (Pro tip for the younger generation: just because you say it's "fair use" doesn't mean it actually is.) You'll also want to make sure you comply with any relevant terms of service from Kemper regarding Rig Manager and other such things. But as long as you're diligent about that sort of thing, I think you could build a very useful resource for Kemper crowd.

    Nothing sounds even close to a full blown tube amp next to me - I love this so much!

    But when I try to capture this sound - for recordings, in-ears, direct to PA... it's not so easy to get about the same sound.

    And it's also very unpredictable.

    This touches on a couple of reasons I ended up in the Kemper camp. Master volumes notwithstanding, there are times when the sound you really want out of a tube amp requires it to be just plain loud. Guitarists have been fighting venues (and sound guys) for decades over volume, and it's often required a compromise on tone to keep the peace.

    And as you mentioned, miking an amp, whether for FOH or recording, is a tricky business. Minor movements have major consequences. And that's assuming the bass player doesn't stumble into it in the middle of the second set.

    With the Kemper, I no longer have either of these concerns. If I want a Marshall on 20 (louder than 11 , of course, and an actual setting on my old Marshall), I just use the profile from the guy who was able to turn his Marshall up to 20 and capture it. I can get that cranked sound and then turn it down low enough to talk over. I then simply take the output and get exactly the same thing, night after night. So I'm completely covered for tone and consistency.

    Now, like dmatthews said, all I need is a gig. :)

    Same thing with temperature control. In all my previous cars it was a physical knob which was easy to locate and operate even without looking (i.e. you can keep your eyes on the road and not crash). Touchscreen is a disaster.

    I've been driving Corvettes for a few generations. My first one was a C5 (Corvette generation 5), a 90-something model. No computer screens, just knobs and levers. The C6 series came out and had been updated to a touch screen. The first thing that happens when the car starts is a big "Don't Sue Us" warning saying you shouldn't be screwing around with the touch screen while driving. The heating and air conditioning had no knobs. Just the touch screen. My comment to the salesperson as I was taking the test drive is unprintable.

    Needless to say, I didn't buy the C6 and just drove the socks off the C5. Eventually, after the C7 had been out a couple of years, I gave it a look. Touch screen as expected, but the lights, heating, air conditioning, seat heaters / fans, etc. all had physical knobs and buttons that you could operate by feel. It supports Car Play, so I plug my iPhone in and that's my stereo, but I use voice commands only (when Siri can understand my southern accent). It also has text messages and other such things on the touch screen. I ignore them all.

    When I'm driving, if I can't do it by feel, it doesn't get done. Like you, I see an analogy to guitars and computers. If I can stomp on a button or press a pedal, groovy. But the last thing I want to do on a gig is screw with a computer screen. I'm okay with Rig Manager (and think the new editor is pretty cool) when I'm in the studio because I'm in "computer mode" anyway. But I love the fact that I can operate the Kemper by the front panel or remote without the Microsoft logo anywhere in sight.

    By the way, you should ditch the Tesla and buy a Vette. It ain't electric, but it's way more fun. :)

    2) Enjoy what you have.

    For a great many musicians, GAS is as much a hobby as playing music itself, so I totally get it. Always looking for the next new shiny object is fun.

    Oddly, since the above has been true for me as well, one of the things I love the most about the Kemper is that it eliminated a lot of GAS induced symptoms. Like many of you, I had a roomful of Marshalls and Fenders and Voxes (oh, my!). After a week or so with the Kemper to determine that it really was that good, I sold them all and whistled a little tune as they were carried out the door. Ironically, while I now have less stuff, I have more good tones. And I couldn't be happier about both. I no longer feel an empty space that needs filling.

    Will there be new products that rival the Kemper in functionality and quality? Of course there will. Tech marches on, businesses compete, consumers look for the next new shiny object.

    But what does this have to do with the Kemper already sitting in my studio? Absolutely nothing. Assuming it keeps working (and there's years of reliability history to suggest that it will), then I'll have the same roomful of tones no matter what new products hit the market. And that's assuming no more OS upgrades, an unlikely future at best.

    If I woke up one day and the Kemper suddenly sounded like crap, then what's new on the market would matter to me. In a similar fashion, if it suddenly didn't have the features I care about, I would also go searching. But a great profile of a cranked Marshall still sounds like a great cranked Marshall, and these OS upgrades keep giving me more, not less, in terms of tone options. For free.

    If someone came out with a new gizmo that was able to give me something I care about that the Kemper doesn't have, then perhaps I'd fire up the GAS-mobile again. But I plug in, get the tones I want, and have every feature (and more) that I could imagine. I couldn't possibly care less what new products hit the market.

    If I didn't already own a Kemper, it would be a different story, and I would evaluate competitors accordingly. But I have a Kemper, I have the remote, and I have a ton of excellent profiles that give me exact what I want.

    Is it wrong to just be happy with what I already have?