Posts by jfischer518

    Just saw something in the NAMM vid that was an instant turn off.


    3:56

    "Our algorithms are a little bit heavy"


    "We are trying to optimize everything as much as possible so you can run 4 amps"


    Unfortunately they dont say if that is 4 amps at once or 4 amps in a patch. I would hope for their sake that they mean 4 amps at once.

    It was a deal breaker for me, which is why I got rid of mine, and why my interest in the Quad Cortex is minimal. Snapshots drove me mad.

    Not every unit is for everyone. I liked the Helix a lot and if it was not for the stage I would still have the Helix. Now that I have been on the Kemper for 6 months, I dont see myself ever going back. As for the Quad Cortex, I have yet to see anything that would make me even consider it.

    The fact that you can do so much within a single preset means nothing. If I have a couple specialty combos of effects/amps saved to a preset, say a ideal autoswell for ambient stuff, I can't just plop that preset next to a song specific preset and toggle between them in the song, because of the gap. I have to make sure I have enough left over DSP in the song specific preset and copy and paste all of my individual effects from the autoswell preset into the song specific preset, and then set up a "snapshot" to use it. Nor do I want to go back to volume matching hell between presets, when I decide to increase or decrease the gain in the amp section of one rig. The KPA is still the only digital unit that solves this problem as well.

    I used the Helix for several years before coming over to the Kemper in August and the "snapshots" do resolve the issues with the audible gap when switching. I have setup patches with up to 8 snapshot in a preset and had as many as 4 amps in the preset too. While you will not be able to select any 5 amps like in the Kemper without running out of DSP, you can do quite a bit. I enjoyed the flexibility a great deal when I had the Helix and came to the Kemper just for the improved tones and unlimited ability to get any amp and not wait for Line 6 to make it. Of the short comings of the Helix, switching amps/effects and such is no longer on of them.

    I have never used the Katana but I have been using the Orange since it came out both on my Helix and on my current stage unit. I could not be happier with the tones I get out of my Mesa cab and how easy it is to set up.


    Here is a video I made to review the Orange as well. BTW, sorry about the breathing in the vid, I have gotten a new mic since I did this video

    I am sorely tempted. Thing is, I would have to pay more for the Archon, so the MT15 is really tempting at the moment. Of course, you know what they say about buying twice. That Archon 25 was insane, I even liked it more than the 50 watt one. One of the most brutal amps I've ever owned. I part traded it away for a Mayones, and that's a sick guitar and another story. That Archon calls out to me every time I see it in the local gear classifieds though.



    I've heard a lot of good things about the MT15, place of manufacture notwithstanding. But it is really helpful that you think the Archon outshined the MT15. The one I had was really badass, I am sorely tempted to get it back. Of course, once I do, I may remember why I was okay with getting rid of it in the first place haha

    Now I should say that I only sold the Archon because I had a chance to get the Kemper stage. I also only let the MT15 go because I had the chance to pick up the Archon. I did make sure that I profiled the Archon before I sold but I do miss that one, not the weight, the amp. Now that I own my house, I wouldn't mind the MT15 again either.

    I admit that you can get a bad product made in a fabric. That can happen with anything made in a fabric. But still so many believe the marketing bs hype about boutique amps and pedals. Just because something is handmade doesn't make it sound better. You liked the PRS better becuase of the sound and had nothing to do with if it was handmade or not. They same is true with guitars. As soon as it says made in America, and very steep price tag, they justify the price with that. No one can in a song mixed or at a live show with eyes closed hear any difference if it's ridicolus expensive handmade guitar/amp or a cheaper guitar/amp made in a fabric in the East. My point is that so many musicians are lost in a lot of myths and there are those that keep them alive simply becuase they want ppl to pay alot of money. The same is true in studios. You can take a cheap mic and get a really pro sound instead of using a 4K mic.

    You are aware that the MT15 and Archon are both PRS amps, right? Its not like I am comparing a Fender delux to an Epiphone practice amp. I was comparing an American made PRS amp to an imported PRS amp. Not only are they both PRS amps but the MT15s gain channel is reported to be modeled after the Archon as well. I was not making as blind assumption about either of these amps, I have owned them both and within the last year. My opinion was not based on their country of origin but of my own experience. I have played them, heard them, opened them, and poked around inside them.


    IF you have had a different experience buying things from China, good for you. I have yet to see a quality guitar or amp come out of China (except the MT15).

    I'm sorry to inform you but that is totally bs. Build quality has nothing to where in the world it's made. The computer or the cellphone you use is not made in the US. They're all made in China. It's all about how much is invested into something that makes difference.

    So you are trying to tell me that an amp made on an assembly line by machines and people that could care less about the product is going to be as good of quality as an amp that is hand wired by a few guys that live for this? I never said the build quality was bad but dont think for a second that it is even in the same league as the Archon. Like I said I owned them both. The MT15 had to go to PRS within the 1st week of receiving it to have a hum issue corrected, turn out to be a bad tube and a poorly routed harness. My Archon never had an issue and I wish I still had it.

    VESmedic How do you like the PRS MT15? Could you give me an objective review versus your 6505 or JMP? Does it lack low end thump or balls? I had a Mark V:25 and always felt it sounded tiny compared to my full size amps. I did use to own an Archon 25 combo though, and that thing slayed. Thinking of buying it back, but there's also a MT15 available locally that I'm thinking of buying. However, I have no idea if it'll be like the Mark V:25 (great tone, but little balls).

    I have owned both the MT15 and the Archon 50. They are both great amps but if I was given the choice I would take the Archon every time. The MT15 is an amazing amp for the price but the key phrase there is "for the price" The MT15 sounds great and it is way louder then you would expect. The MT15 did require me to buy an attenuator in order to get apartment volumes. There is also the build quality. The MT15 is made over seas and the Archon is hand wired in the US. If you can swing the Archon get the one.

    Does this mean that ev is a better choice than headrush or yamaha DXR?

    I have not played the Yamaha, so I can not comment on that one. I have owned the EV and have a Headrush 108. I prefer the Ev for sure. As for construction, they are both on par with each other, plastic cab and metal grill. Very similar controls as well. The Headrush has a ground lift and contour buttons but the EV has independant input volume controls as well as a master output volume and a digital level screen as well as a clipping light on the front.

    I had that exact unit as a monitor when I first bought my Helix years ago. I did get rid of that when the Power cab+ came out. It is a great bang for the buck option and does sound good. I would go with the EV over the Headrush 112 for sure. I currently only have the Headrush 108 and it has way too much low end but I play mainly through a power amp and cab. I am also currently trying to sell a guitar to upgrade my FRFR.

    I'm thinking of buying the Kemper Stage to use in a live covers band set up where the majority of the time there won't be a FOH system so I would rely on the back line for the guitar. Occasional FOH only. I am the only guitarist in the band and want a stereo set up. I currently use a Marshall JMP-1 through a Marshall 9001 monoblock (backbreakingly heavy) running stereo through to two orange 2x12 cabs, one placed at either side of the stage.


    I'm looking for advice on how to replicate this set up with the Kemper stage. Should I just replace the Marshall amps with the kemper and a mosfet stereo amp running through my orange cabs turning off the cab sim in the stereo monitor output and for the main output have the cab sim set up as the same cab for the odd occasion when I do go FOH or should I go FRFR? And is there such a thing is the best FRFR speaker for this type of set up as reading online everyone has different opinions on which FRFR cabs are best as everybody uses them differently. It would be great if I could set up a tone at home that would require minimum tweaking once playing through the full set up at gig volume.


    Any advice would be greatly appreciated:)


    Welcome to the forum :)


    I'm guessing by your current setup that you need to get very loud maybe? ;) You may want to also consider a powered Kemper and remote instead of the Stage. That way, you can run your own cabs or FRFR depending on your needs at any time.

    I use an Orange Pedal baby 100 to push my stage to my Mesa 212 cab, I just send the monitor out with no cab. That would allow you to still use the main outs for FOH if that is the situation for the night. The PB100 will push an 8ohm cab or 2 16ohm cabs. There is also the synergy 50/50 that is an all tube and that can push 4,8 or 16 through both channels but that is not cheap. The tubes also add color to your tone.