Posts by Alfahdj

    people, maybe we should look to the future, the editor is the future, yes, but maybe we are being short sighted, I expect to see the Fast Food chain for kemper owners soon enough, or a worldwide rental services of transportation with included toasters to never stop practicing, maybe a 5 stars resort for muscisians, who knows? the sky is the limit :D

    This will be accomplished by two 108's as well. ;)

    And they are definitely not much more expensive than a decent pair of studio monitors.

    As a bonus, yes, you would be able to use them as monitors for mixing, but it should be noted you should not go on using theses as a professional mixing tool, as they are voiced and not exactly "flat", 108 tends to sound great in general, I have used it as monitors for a whole band and works wonders for small venues, plenty clean and nice projection, but they would hide some things in a studio recording, you need a flatter and more revealing treble for that. Anyway, they are a good choice.

    After reading this thread i bought a FRFR-108 and i'm really hapy with it. I have two Kempers, one Toaster from the ancient times when they were only available in white that i play at home. The second one is a rack which i use for rehearsals and gigs. As monitoring solution i started with a Yamaha DXR-10 and after it started to make strange noises I replaced it with a Dynacord AXM 12A. I was looking for a small, portable monitor for home playing and jam sessions and so I bought the Headrush.

    When I compare the three monitors the Dynacord is still the best sounding one, but the Headrush beats the Yamaha for me. ImM not going into details, I just can confirm what others wrote, no need to repeat it.

    Many thanks to Ingolf and the others, this thread really helped me to find a perfect solution for my needs.

    Really, I dont know how can any guitarist go wrong with this product, unless there is some performance issues long term, this is as good as a deal gets. Glad to hear more satisfied users. I just bought the second one last week, stereo sounds awesome.

    I did open my rack before, the only thing I remember is I had to use allen keys (milimetric ones, the ansi wont fit, remember is Germany made, they use all DIN standard), and some torx keys, you can easily find these in any depot or tools store. I did some pretty in deep cleaning, repaired some pots with epoxi, and measured the space to in the future, fit a home made stereo power amp. So there you have it, good luck.

    other than a second usb cable I'm happy with toast me [ not the small font ] but for free, I'm not complaining , thank you!

    Did Kemper think they didn't have to do an editor, or public demand pushed for one? or low priority not being a revenue generator ?

    products that have started out as software first are already there, [ Helix ] kemper himself is not a gtr player ?

    But, something that makes the product more useful and easier to use [ and explore the possibilities of ] is a good thing, so

    i have no expectations other than RM3 will advance the productivity & enjoyability of the kemper.... whenever it comes!

    Consider this, 70% of us guitar players are using their heads and racks in normal situations, so you would dial tones in your bedroom/studio, and then do barely no adjustments in the road. Then comes the STAGE, and sudenly, the presentation becomes a bit awkward to manipulate, as having the STAGE on a table is not really ergonomic, and crouching to do adjustments, then up to hear the changes becomes cumbersome in the seek for perfect tone nirvana (not that kemper does this pretty easy anyways). Considering how the STAGE is designed, a rig editor sounds like a sound idea to bring in more customers. I was about to buy the stage, then I realized I would almost never play live, and went for the rack and a rackbag. Editor would be neat, but not needed....or would it???

    I could just imagine that after the editor is released (if it is not a masterful prank from mr kemper and team), we all will miss this sooo much.

    BTW.... Are we there yet?

    Well, I do hope you are open to writing off your concerns here, that way we can officially support you. Otherwise, prepare to receive trash call on your number, duck pictures in your whatsapp, and spam on your message inbox.

    Any thoughts on the audient Id14, its a bit less budget and more expensive but second hand , people sell them as low as 100 euro occasionally. This company is supposed to be a cut above focusrite I believe ? Anyone using this happily using s/pdif without issues with the kemper ?

    My experience is that in this price range, you should go for features, and procure a low noise floor and great DAC (you wont need more than 24bit/48Khz for recording). Look for wathever has SPDIF, a couple of inputs, and good DA conversion. Audient has good DA conversion and outstanding mic preamps, but to be fair, in the end nobody uses inboard preamps for most of applications (you end up buying a rack preamp, tube or high end solid state). So whatever you find with SPDIF a couple of ins should be fine. Also drivers might be an issue, but this should normally not be of worry. I tried Focusrite, apogee, behringer and mor with my PC and no problems whatsoever.

    Seems that the issue could not be the ground lifts, the ground lifts just are phasing the difference of the reference for the overall output and input voltage, unless they are near absolute ground lifts (that most audio equipment wont have, as they are relegated to lab testing and electric power equipment, and require specific physical construction), ground lifts will be just shifting the noise some dB down/up. It is indeed a grounding problem, and I bet it has to do with the grounding of the 1/4" jacks.

    Although I appreciate that, (and the USB cable doesn't affect the noice in my case), I am not opening my brand new unit and voiding the warranty to perform such a task. The unit worked flawlessly for 20 days, including a gig on day 4, and all of a sudden some sort of ground decided to go rogue. I'm still waiting to hear back from service about the issue. But yeah, I'd send it back before I opened it up and began making ground connections.

    My fault, I am not implying that you open your brand new kemper, but what I mean, is that in any case it should be doable to fix easily. You can try to ground it by yourself without openning by coonecting the shield of one of your cables to maybe one screw, but of course, you should just send it back to kemper. It looks like a quality issue, that most likely will be adressed in future revisions of the Stage. It is strange but ground connections in electronics can go wild for almost any reason.

    Hi there. I see what you mean about this, but then we have to explain ourselves what is "amp in the room" sound.

    AITR is a subjective way to describe the sound we perceive in front of a speaker while performing. This sound is technically impossible to get 100% right because of the next things:

    1.- Physical reverberation from the sound source itself: You can simulate the reverb or response in an specific room, but each cab has an air transmition from its own body, which generates a sense of presence as technically, this is felt rather than heard. You can capture very few of this while amplifying after a mic, but while air pressure can be translated into sound, there are vibrations that can not be organically be replicated through a mic because of how its mechanism works, being a cardioid, ribbon, condenser or whatever. You can replicate this part with an actual mic designed for this, but turns out part of the reverberation already has an audible effect with the mics, which doesnt translate in the "feel" of that, but a "hiss" or high frequency peak (which kemper tried to attack with the purecab parameer).

    2.- Reference mics are not rather flexible when recording: You can take a reference mic, but because of the nature of sound, it would do great on low volume recording of small combos, while having issues with stacks. One of the main issues with mic recording is the strategic distribution of frequency response, cause when you record flat, most reference mics will present some harmonic distortion due to overlaping of frequencies at a flat response and with a different perception of volume (it meas, while higher the volume, it will sound less flat). You can circumvent this getting a reference mic with high spl and compensating the harmonics at high volumes, but still it is an small problem that sounds easier said than done.

    3.- Binaural nature of our ears: Believe it or not, we do not "hear" per se, in stereo, which together with what I described in the first point, determines what we actually feel like is the AITR, we do identify left and right, but the way our body works (specifically ears and head), we can identify up and down, and to a lesser extense front and back. We depend in small differences of sound (micro delays if you want) and the sound pressure on the ambience and our body, to identify the location of objects. This makes music rather difficult to portray in mixes, as we mimic placement with a correct eq placement and spacing of frequencies, but with an amp in the room, your head does this automatically. Now, what happens if you transform a signal to mono (in this case when kemper profiles the amp with a mic or a mix of mics) and then reproduce it on another mono source, is that you already lost the physical caracteristics that represented the presense of the amp itself, and your ears are hearing, theorically, a compressed version of the amp. What I mean, you cannot get a binaural response from a mono source, and even if we record a stereo signal and the profiler would actually make a profile in a binaural fashion, it gets difficult as then again, you are using ANOTHER cab to reproduce a source that originally was binaural. This can be tweaked and I believe that kemper does to certain extent, but the amp you would be feeling now, its the presense of the FRFR speaker cab connected to the kemper, PLUS the mono compressed signal from the original cab amp.

    In short, it is not that easy jajaja, but I hope this is a bit educational.

    Looking into the videos, it seems the 1/4" TRS connector shield ring is not properly grounded to the case of the kemper, but most likely they are grounded together to all the other in/outs. That would explain why when you connect one of the TRS (non balanced) outputs, you create a floating ground in your out, so the case of the Kemper becomes an anthenna, but if you connect your USB to the computer for example, the in/outs would get grounded from the USB cable through the computer (all usb are shielded and grounded by standard). This design might be on order to how this version has no balanced inputs or outputs, but then again, which grounding connection between the in/outs is failing, its out of my reach to say as I do not own a STAGE. But it should be quite easy to fix, just one cable from the shielding of the In/Outs to the case of the Kemper (preferably inside the unit) and that should do it.

    DonPetersen , I am plugging my headphones straight into the KPA. I think I sorted my problem though. I wasn’t using proper studio grade headphones, I was using Bose noise canceling headphones. I picked up a pair of Beyerdynamic DT 770 headphones and everything is sounding really good. Headphones are my only option right now with a newborn at home.

    Oh god, Bose makes some pretty sloppy eq for making their equipment sound good, and their noise cancel algorythm is sloppy in studio situations (say this from experience). DT770 are great (specially if you have 250 Ohm ones), they have wonderful headroom with the kemper out so you will do fine from now on. Also, they are like tanks, last forever. Good luck

    Ok, just to explain, the isophonic curves correspond to an analisys of the perception of volume from a signal to the general human hearing, and determines in simple terms how several frequencies become less or more perceptible to the human ear with the increase of volume, and to certain extent, sound pressure. In your case, you should be aware that no output source is the same, as no ear is the seam, being even yours, left and right.

    Maybe your headphones have a lovely spike in the upper trebble (it is pretty common in mid ends to try to get that area of the spectrum loaded so they "sound" detailed) and that might turn into the sibilance or fizzyness you are hearing, try to get some more neutral sounding headphoes (I use AKG K701 with a G109A amplifier, works flawless and sounds as my mackie pair of studio monitors).

    Maybe your cabinet (as most low end cabs do) kill the top end of all you have played on them, so you dont know how some other cabs or amps sound before the kemper, and you not liking it, is just a natural thing.

    Or in the end, your ears might be too perceptive at low volumes to high frequencies, that according to the isophonic curves, it might not be so far fetched.

    Anyway, you should try mixing things around, find headphones that sound comfortable for you, I bet it is not the profiles, as you clearly have your fun with your cabinet. Try some M50s or something.

    It sounds as if a ground connection suddenly snaped, and you got yourself an expensive anthenna. Most likely it is an internal connection issue, maybe the TRS connections are not correctly grounded, and once you connect the cab, the loop gets lifted from ground and you get all the radio stations on your kemper (Extra feature if you ask me). Should be relatively easy to solve, some wire connected to the shield of the connectors and you should be done.

    I am totally considering into opening a panel with my interpretation on the logic behind the algorythm of profiling, but I think it might bother some people, and to be fair, I might not be able to make it as digestable as I would like to (I would have to talk about math modeling/ control theory and that stuff). I will most likely make a video XD