Posts by pippopluto

    Effects in the KPA are modelled, not profiled.
    You can profile effects based on gain, levels, EQ, but then that is a whole profile, that has to be played by itself.
    Many profile their favourite OD or DS pedals embedding them into their clean amps, for example RigBusters specialises in this.
    Also the user Bommel here makes a large collection of fuzz'ed profiles available on the RE.

    It seems that new DS and ODs are about to be worked on.

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    Yep. I never understood why they went with the form factor. Just make this thing twice as long, but flatter. The internals would easily fit in a normal 40cm, 1U rack unit. Make it 2U for the powered version. But the 3U form factor is just impractical.

    I like the Profiler's UI. A lot. It's also the reason why many users love it :)


    It's not a request for the exact same functions we already have. A computer only editable device for gigging musicians that don't need to adjust anything for a couple of months is what i'm looking for :)

    He was responding to a post from mybyte, that seemed to refer to the current form factor.



    I wonder if the ability for the device to be able to profile rather than just play profiles has a legal/copyright angle to it.

    ... Wrong thread? :D

    I have already written on the matter, but this thread seems the right place to discuss it.

    The KPA might be showing the preset's name until it gets tweaked, and then add an asterisk to the name which would of course mean "based on xxx".

    Burkhard , I know you don't agree with this, but believe me the option would make life much easier (and would make a lot of sense) for a lot of users (OTOH, when many of them ask for the same feature, it means that it makes sense, somewhere ;) ).

    Valid point. Just that the possibilities reaches farther than traditional amps so it would be nice to use it :)
    I still tweak my performances at gig-level, and it's mostly as easy as dialling back prescence and bring in some more mids, just like on a tube amp. But it would be a timesaver if the device helped out in the process when you have 20 songs to play, and 6 of them are new :)

    I hear you PG, but all the sounds of the universe will be perceived by mammals according to the same laws! :)
    If you make your sounds at room level with a tube amp, when you go louder you'll have the same phenomena happening. That's why we always say that sound must be made at volume and in context and, if possible, in the venue.

    From the video linked here I see something that I would like to be different.

    When Burkhard turns the second knob from left in order to go through the different available types for a certain main cathegory effect, we see that when he reaches the end of the list the leftmost cathegory shifts to its next entry as well.
    I'd much prefer that the (n+1)Th knob did not make the nTh list shift, and rather started the (n+1)Th list back from the beginning (basically cycling among the elements of the same subgroup only).


    In the video, when scrolling to the end of the Pitch Shifter types list, the main list (column 1) shifts itself to its next item (Flanger in the video).


    I really hope this was just the way the Alpha version worked. What do you think?


    As a lighter note, it's funny how Kemper continue with their custom view about the "Up" and "Down": when List 2 reaches its end by scrolling down, then List 1 scrolls... Up ^^^^^^

    A reason why CK included green scream is due to some combinations of amp and such pedals not working well due multiple distorting stages. To the best of my memory, he's talked about that.


    As mementomori mentioned, clean-ish boost tend to work better -- even though I've had cases where even a classic ts pedal with the settings of drive 0, tone max, volume max brought up the issue to a degree.

    I am aware of that, and the combination of non-linear gain stages is certainly tricky to profile.

    GJ's post I responded to, however, was generally about using an OD with a profile: "it sounds much better than any profiles with baked in OD".
    This, IME, might well be part of the more general issue of not liking profiles made by others (because you only know the tone you are after). There are for example many clips from RigBusters (they specialise in embedding pedals into profiles), that I like a lot, but of course I am aware that tone is totally subjective, apart from depending on the instruments you use. Hence my suggestion/observation, and my merciless accusations towards GJ :D:D:D

    I've never said I'm no satisfied with other's profiles. Did I? All I said was about baked in OD's and distortion and nothing more. Please read properly before you accuse me of something that's not true.


    First of all, chill out, for goodness' sake :D
    People are accused by courts...


    You wrote "I wish the existing kemper, profiles with distortion/overdrive pedal baked in with the amp, would sound a little better. When I put my OD in front of kemper for profiles without OD, it sounds much better than any profiles with baked in OD."


    In my (granted, second-hand) English this equals not being satisfied with those profiles. I am convinced that you would find the sound and tone you like if you profiled OD+amp by yourself (from a combination you like, of course).

    I'll leave you now, since it seems you are not interested in exchanging experiences with others.

    F-M's curves are anyway an average sampling over a big population. I agree that a Loudness function doesn't have to be any "accurate" in order to be "effective", since the curves depend on the individual other that on the signal level.
    My Yamaha hi-fi amp has got a Loudness control that depends on the output volume, and while this kind of control is nothing but "high-fidelity" I've found it to be pleasant to use in many occasions.


    Coming to the KP, the real question would be: why should it have such a control, if we have used any sort of gear for decades that had not got any? The perception of a tone function of its level affects any kind of sound, regardless the way (or the means) it gets produced, and a tube amp doesn't behave any differently.

    I don't own any hw amp anymore and hadn't done it before I purchased the kemper so I depend on others profiles. But it doesn't matter who made the profiles and how good they are. This is a kemper issue.

    Mhhh... I would disagree.
    It's a common experience with the KPA that people unsatisfied with how the unit sounds have changed their mind after profiling their own amps.
    Your (negative) experience may well fall under the same general issue of not being satisfied with others' profiles.

    Piezoelectric technology is probably the most common amplification method currently used for acoustic stringed instruments.
    Some love it just because its sonic character, many hate it. Most musicians just live with it.


    Of all the devices meant to improve the sound of piezo acoustic guitars, the one that most impressed me has been TC-Electronics' BodyRez both because of its simplicity and its effectiveness.

    For those who don't know it, here's a simple demo.


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    BR has been implemented since then in several devices.

    I am not sure whether there's just EQ and compression going; this is definitely possible, but they seem anyway optimised and tailored in order to make a guitar sound better, closer to mic'ing it.


    It would be great if such a concept was available in the Kemper ecosystem. There are lots of acoustic guitarists that rely on the KPA for their performances, to not mention other kind of instrumentalists.


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    Maybe I'm a bit sensitive, but am I really the only one getting snowblind when using Rig Manager in a dark environment? :/ Would be so easy to implement. Look how Youtube did their dark mode for instance, just one simple switch.


    I appreciate the request :) I'd just comment that IME this effect is given by an excess of contrast\brightness on the screen.
    I mention this because the eye gets quite tired at staring at a screen set such way for several minutes in a row: you might want to give up a bit of "high end"?
    HTH

    I wish the existing kemper, profiles with distortion/overdrive pedal baked in with the amp, would sound a little better. When I put my OD in front of kemper for profiles without OD, it sounds much better than any profiles with baked in OD.

    Even the ones you profiled yourself? With same hw/mic position/settings and everything?

    I just shut it off and take the power cable with me.

    Not practical if, as I described, you have to set your gear before the show and then have to get onto stage and play in 2'.


    If this is a realistic concern, I suggest being more selective about the other bands you have onstage with you.


    As if you could always choose? ;)



    I am sure, that a software lock would generate a lot of annoying support requests for Kemper: "Please help, I forgot my lock code."


    Not if, as I suggested, your code is stored on your control panel in this very forum, or the device's S/N is used as PUK

    I had a look and it is a physical usb shaped piece of metal with a key to release it. You could protect someone taking your rigs, but not tampering with the Kemper controls I guess.

    Well, this was my impression too. If this is the case, it is not a solution re: the feature the OP has requested.


    Ther are circumstances where you can't decide how to manage your KPA, for example in festivals, open mic nights, shared stages, where the soundman wants all the performers to set their stuff and soundchek before the show, and then you just have a couple of minutes for turnarounds when it's your turn.

    So, definitely +1 for a lock code.
    It might be kept quite simple, for example after 5 attempt you have to input the unit's ID: this would be enough in normal circumstances in order to avoid accidental editing or a fast attempt at "playing" with the unit. The most complete option would the that the owner has the option to create a proprietary pw, which could be automatically retrieved by inspecting own user profile on this forum.

    The issue has been there since forever. It used to be much worse with earlier FW versions tho, luckily such impulsive noises have been tamed down.
    The suggestion of switching cabs on only after the KPA is on (and the other way round) makes definite sense; OTOH there are many electronic devices where the audio signal is gated off until the ON/OFF transitory is over. I wonder why Kemper did ton think of this when designing their unit.

    Boss OC3 effect basically.


    I've done a gig using one on all the time (when we didn't have a bassist) and it worked well, however, I did have to be much more careful with my playing.

    I agree that it's not meant to be on for the whole performance, but there certainly are applications for this.
    I for sure have many nice arrangements where it would sound quite good on the low strings (I use some Octaver, but then I have to be very careful in order to not turn the atmosphere into a sonic mess :p ).