Posts by Rayosytruenos

    I can's see much difference. My KPA takes uses 1min3sec to boot to tuner. Then add another 14sec before the remote gets connected.

    To me it looks like the NVRAM use to store the firmware must be very slow, but there isn't much to do about that.

    The delay to have the remote connected OTOH is simply unnecessary. Recent versions of firmware delay power to the network port to prevent the remote from booting up before the main unit is ready and sit waiting with periodic retries to connect. The better approach would be to implement both the KPA and the remote as broadcast transmitters and receivers. Then each unit would first ask if the other is present before connecting, and fall back to wait for the other if there is no response within 50-100ms. With no delay on power to the network one would thus have instant connection once both units are ready, with periodic retries only as a fallback in case of wiring problems etc.


    I think mine is much faster. Tomorrow I'll check it.

    I believe that there's a popup that asks if you want to update. Are you seeing that? Perhaps it's suppressed or underneath another window?

    Yes, I see the popup and I accept the upgrade. Then, nothings happens.

    When I click again to search for new firmware, it's there again, so no upgrade.

    Not s big problem. I can do it from the pen drive, but I'll try a few more times

    Thank you!

    I cannot do the automatic update from RM.

    RM detects the new firmware for the Stage, asks me to upgrade, downloads it and nothing else. I've tried a few times.

    It's there any trick to do that or should I go the pendrive way?

    I had the same thing going on with latest beta. It only happened in performance mode. I don't know it is the same for you, but I asked here and timo answered this and I think it's a great idea:

    Quote from Timo:

    A lot of people fell over the default behavior with the Stage and talked about "loosing the edits".

    So for now, when Rig Manager is connected, the "fast slot switch" that discards edits (enabling/disabling stomps is an edit) is replaced by the edits itself. This way, you can edit your performances with RM and have the old behavior in live situations (no RM).

    We will discuss about an option switch for this.

    Used the Stage live for the first time last weekend, with the latest beta OS, playing Main direct to FOH and MON to a Behringer Eurolive 212A powered wedge.

    Couldn't believe the quality of the sound. It was exactly as if I was playing in my room and everything just worked, perfectly. I even had one transpose patch, which also worked a treat.

    The only issue was that it was a big stage and some other band members couldn't hear me clearly - mixing issue or need a more powerful stage monitor?

    Floor monitors is the solution.

    Or In Ear monitoring.

    If you were comfortable onstage, having a more powerful monitor (and pushing it) will hurt your ears and musicians at the other side of the stage won't hear you much better.

    I know. I just want it louder but perceive it being more distorted and I don't know why

    Same here...its nothing to do with the KPA, in fact the KPA and other digital stuff takes some variation out of the equation ( tube temp, mike placement, type of mike etc).

    So you have the same problem?

    I I'd like to be in that situation.

    My "problem" is the IEM always sound different. I use my own earphones, and we ask for the IEM system in our Rider. And that's it: the sound is always different. Sometimes it's incredibly beautiful (if you can say a raw electric guitar rock sound is incredibly beautiful), sometimes it's not that good. Sometimes it's bad. Always our own sound man, too.

    Yes, yes, different gear, different sound, but I've played live with IEMs more than 200 times and I'm sure I haven't used more than a few IEM different systems/brands. AND for little private gigs, I use my (cheap) system. And it also changes depending on, I guess, the rest of the gear.

    So if I don't feel comfortable enough, I try a little EQing. But as long as I know the PA sound is great, I'll be OK (if things are not too bad onstage).

    What bothers me with my Kemper, home Vs rehearsals (frfr in both cases, louder at rehearsals) is that the louder I set the Master Volume, the more distortion I get. That's what I'd expect from a real tube amp, not from my Kemper, so I don't know what's wrong. Any ideas? Maybe that's a thing to comment on a new thread.

    A lot of people fell over the default behavior with the Stage and talked about "loosing the edits".

    So for now, when Rig Manager is connected, the "fast slot switch" that discards edits (enabling/disabling stomps is an edit) is replaced by the edits itself. This way, you can edit your performances with RM and have the old behavior in live situations (no RM).

    We will discuss about an option switch for this.

    Thank you very much, Timo.

    That option switch would be fantastic.

    Just updated to the last OS and find something very strange:

    With rig manager connected to the Stage, in Performance mode: I'm in any slot and switch some effects on or off. Then I change to another slot, and when I go back to the first slot, the effects are not as I saved in the Performance, but in the last state I switched them.

    When I switch Rig Manager off, things work normally: When I change slots, things are the way I saved them.

    I think it would be nice to be able to choose between both behaviours (I've thought about that earlier in time). I don't know it this is a new feature.

    Thank you.

    What you get from current FRFR solutions is the sound of a mic'd cabinet. IRs always include the response from the microphone along with the speaker. A speaker with a SM57 alone will sound different than one mic'd with a 57 and a ribbon mic, which will sound different if you add a room mic. They're all the same speaker, but you will get *wildly* different results.

    The Kone is meant to give you the sound of *just* the speaker in a cabinet. The same as you would with a regular amp and speaker.

    To me, the Kone makes direct profiles more valuable. You can remove the cabinet from a merged profile and it'll work great. But having an amp-only profile coupled with the Kone? That should be epic.

    That all makes sense. Very interesting. Now I think it could be a great step forward.

    What happens when playing live? I guess not a mike to the Kone.

    So what do you send to the mixer? That signal needs some kind of guitar speaker emulation, too.

    Thank you very much, Ruefus.

    I think it isn't that easy. Just raising or lowering the level

    of a performance means a lot of going back and comparing with other performances, rig by rig. And you can find some unexpected behaviors.

    I'm a newbie who is still getting used to the Kemper, so I haven't suffered that, but that day could come soon.

    Maybe it would be a good idea, when creating a performance, to "sacrifice" one of the performance's slots and place there a rig (always the same one, of course) you know well and use it to level the other rigs in that Performance. When it's done, you can put another rig in the sacrified slot.

    I'm sure some people do that long ago, so excuse me (as I said, I'm new, here.)

    45$ is for one hour?

    In case yes, you don't have a lot of time, so setting up your gear, trying "new" cabs, miking them until you are satisfied, checking the new profiles... I'd work with your own cab. The one you know and you like so much.

    Later, with the acquired experience, you can go back and try the cabs in the studio.

    Have fun and tell us about it :)

    Yes, your earlier explanation was very reasonable.

    They also say in the mail that they DIDN'T design the new Comb for the sustain thing but for the buzz.

    I'm also willing to try the new model, but it's supposed to be available one year after the Bass version.