Indeed you can only use a USB drive for that, it really works flawlessly. I once switched from a non-powered toaster to a powered toaster and I had my exact same settings on the new unit in a matter of minutes. Great stuff really.
I also always save my most recent backup on iCloud so that even if the USB drive gets stolen or busted, I'll always have my latest backup.
It's all a matter of taste and personal preference really. I personally pretty much only use direct profiles I made of my own amps and play them live through either the Kabinet or a 1x12 or 2x12 Two Rock cab. For recording I use one of the built in cab IR's which to my ears sound excellent.
I own a professional recording studio and I have made tons of studio profiles with a mic'ed up cab, using the best possible microphones through Neve preamps. But somehow, for recording, silly enough I still prefer the sound of the direct profile with one of the Kemper's IR's.
Thanks, I'll give it a shot!
Thanks.
Just wondering. This balancing, does it also apply to overdriven rigs which are clean in essence but are being overdriven because of effects in the stomps section?
Hi guys,
I'm having some difficulty wrapping my head around this. Basically, I tend to only use clean profiles and get my effects such as OD out of the KPA. This is basically what I did for years with tube amps, which were always high headroom clean machines, and I used pedals to get OD etc.
I use two performances most of the time: one which contains my own profile of my Ceriatone Overtone without the Bright switch engaged, and the other performance which contains the profile of the same amp but with the Bright switch engaged. The former I tend to use with my Strat, the latter I use with my HB guitars.
The output of my Strat is significantly lower than that of the HB guitars. It has low output pickups. On both performances I use the same effects and the slots, so switching between performances is basically the same as flipping the Bright switch on the real amp. So, in the first performance, I have set the Clean Sens to + 3 dB to account for this difference in level which enters the KPA because I only use my Strat for the performance. Is this correct?
Thanks a lot!
He's been using one live for the last couple of years.His tech spent 6 months profiling his amps before the first tour apparently.
I think he only started using the KPA on the last world tour.
I saw him in Cologne in May of 2019 before it was announced that he used the KPA. I could have sworn there were tube amps out of sight, mic'ed up backstage somewhere. I'm ashamed to admit that I only started taking the KPA seriously after that, but it was the perfect blind test for me. Now 1,5 years later I cannot imagine a life without the KPA.
I have it on good authority that a KPA was used here. Absolutely stunning tone if you'd ask me!
I'm loving the new Kemper Drive. I used to stack two Green Screams in order to get a fat lead tone with my Strat through a D-style amp but Kemper Drive into Green Scream sounds so much better! Especially at the Klon settings. Great work!!
I'm wondering, isn't the signal that's entering the analog amp out of the KPA a lot hotter than what the amp is used to / made for? Could this cause any problems?
Just wanted to follow up that this went extremely smooth. Thanks so much Kemper!
Yes, I do.
I have a Morgan Dual 40, a Vox AC 30 Head and 2x12 cab, and a Marshall JVM 410JS (Joe Satriani) Head. They all get played regularly, and I still have amp G.A.S. from time to time.At the moment I'm debating if I should buy a Marshall Studio Classic Head (Mini JCM 800).
Real amps will always hold their validity to me.
Thanks Ingolf. Could you elaborate as to why you think that is the case?
Well, I for one keep one amp of any kind, can’t imagine to ever sell them all.
Thanks Ingolf. Do you still use them frequently?
I think it depends on how "special" or replaceable they are. I used to run ENGL's which I think I could go and buy again very easily. Maybe not so easy for a Two rock??
I kept a Laney GH100L because its not worth selling and an emergency backup, but never used it since having my KPA ;).
Free up the money and buy more guitars!!!!!
Yes all those Two-Rocks are no longer produced but they have been replaced by (arguably improved) models in the current lineup.
Perhaps it's somewhat more of a vanity thing as well... Seeing that wall of amps and cabs makes my crotch tingle. Don't know if that's reason enough to keep them 
I love the stereo effects, such as tremolo and chorus. I also really like the rotary effect with speed added as a switch to the remote. Spring reverb is great as well although I like to apply a high cut as early as 3500 Hz to make it sound a bit more old / vintage. I also like stacking two Green Screams through a D-style profile for some Mayer-esque lead tones.
Thanks, haha! Yes there are some heavy bastards among them... my first one-walk-from-car-to-stage gig with the KPA is an experience I'll never forget. I am keeping the cabs however, specially a 1x12 Two-Rock, 2x12 Two-Rock and 2x12 Marshall.
I must add though that 95% of the time I play my own profiles of these amps. I have a recording studio so I have made quite some profiles of each of these amps with quality mics and preamps.
It took me 1,5 years to get to this point but now it's finally happening it seems... I'm selling all my tube amps! I got my KPA after hearing Mark Knopfler play through one during his 2019 tour. At that point it wasn't announced yet that he played through the KPA and I was convinced that his amps were mic'ed up somewhere backstage. I could have sworn he was playing through his Komet, Tone King or whatever. At first I could not believe that he played through a KPA so I went to a second show and was equally impressed.
I got my KPA and have been very happy with it ever since. At first I mainly played it through my studio monitors and only recently have I used the power amp for the first time through a guitar cabinet. It seems that this gave me the final bump to get rid of my tube amps. I have four Two-Rock amps, three Marshalls, two Ceriatones and one Tone King that I have acquired throughout the years. The last time one of them got fired up must have been more than six months ago and I play on a daily basis.
I just love the consistency, the reliability, the ergonomics, just about everything this unit has to offer. Of course I'm emotionally attached to my tube amps, but is that enough argument to keep them? I don't think so... these things need to be played, not only loved. I'm still a little bit hesitant as it somewhat reminds me of people selling analog studio gear in the 80s and 90s when Pro Tools etc came into play, only to regret it later on, but all this gear just takes up to much space, not only in my studio but also in my head ("the things you own, end up owning you").
Let me know what you guys think... perhaps you strongly advice me not to sell my amps, who knows 
Awesome, thanks Burkhard! ??
Hi guys,
I'm selling my non-powered Head and getting a PowerHead. Recently I've hooked up the Head to a cabinet for the first time (using an external amp) and I'm so hugely impressed with the amp-in-the-room experience I had that I must have this feeling on stage. Of course, I've spent hours, days, weeks, tweaking my rigs and performances so if possible, I would just like to migrate everything to the new powered Head as easily as possible. This is how I have it in my mind, could you guys let me know if I forget anything?
- Update Rig Manager to latest version
- Perform software update on old Head, if not latest version
- Perform software update on new PowerHead, if not latest version
- Perform full backup on the old Head to flash drive
- Perform full restore on the new PowerHead using the flash drive
- Reset the Head to factory settings and sell it
Am I missing something? Should this work?
Thanks a lot guys! 
That was the point, he got his sound by profiling his rigs...
I have also found that the KPA has made me think differently...that I don;t need to feel my sound on stage, hence I don;t need any analogue stuff, because it took the KPA to make me realise that the most important "consumer" of my sound is not me or even the band, but the audience. Hence my focus is FOH now and monitoring is just for that - monitoring.
Thanks.
That's cool... I guess I'm a bit more selfish in that regard, meaning that I see myself as an equally important "consumer" of my sound on stage, because it inspires me to play better / differently or to enjoy myself more (which in turn might improve playing etc).
Just wondering, and I'm sorry if I have missed this in your replies, but have you profiled your previous analog rig(s) yourself? Because that is where the KPA really shines imo. I never was that impressed with the stock profiles and I personally (almost) always use profiles I made of my own amps with my settings, my own cabinets, my own preamps, my own microphone(s) etc.
Before the KPA I recorded analog amps on a daily basis in my studio so setting things up was fairly easy. I tried to get the sound exactly the way I wanted it to sound by extensive monitoring and A/Bing without having to do any adjustments on the KPA afterwards. I have always been very happy with the results and for recording I haven't used the analog rig in a long time. Just the fact that I can take all my amp tones to recording situations and gigs is just amazing.
Having said that, I must say that I usually bring (part of) my analog rig to gigs because I like to feel a speaker working next to me. My skin seems to have ears as well. I haven't tried the Kabinet yet but I imagine it's a similar experience. If logistics are very poor or if it's a really short set I breng the KPA. So different tools for different situations, I don't think there will ever be a single tool that will work every time.
Cheers!
I'm in the exact same situation and use this:
https://www.ehx.com/products/switchblade
No power required, completely passive, gets the job done.
