Posts by JRusidoff

    Thanks guys...I like to know it's not just me. My "real" job entails working with a huge system for pre-employment screening, and I am forever dealing with people who simply do not take the time to learn what they need to operate it, and start whining that "the damned thing doesn't work!" I don't wanna be one of those people! I always assume that it is a problem with me, something I am not doing or doing incorrectly. While I hate the fact that it does not work correctly, at least I'm not changing my name to Stu Pitt!

    I updated to the latest software for the Rig Manager and my Kemper Stage just last night. Can't remember the numbers, since I'm at work. I really love the editor, but to me it's still a bit goosey.


    I have two performances, Super Reverb and Plexi. I am in the "Plexi" performance noodling around with various settings and actually building the performance. I have a Plexi rig I tweaked to use as my standard from which to start, and I have stored it in my local library. I go there and copy this rig and paste it into Slot 1. Everything's fine. But then when I go to paste it into Slots 2-5, I get my Super Reverb profile pasted in there! I did this probably three times, thinking I was losing it.

    Anybody run across this?

    The question is if the Laney electronic circuits include any sound correction for the original speaker even in its full-range mode and if you can really fully disable that.

    I had thought about that....but you know I tried 3 FRFR's before I got the Laney and they all sounded different. So what really is "FRFR?" I don't really worry too much about that...even if the Laney does have a button that boosts lows and highs, which I never use. Just thinking, before I go butchering up a device trying to "improve" it....not that I have ever done that, mind you....:saint:

    Well, you may be right about that, but I have a "few" years of experience and also I pretty much like my Laney. At least I can turn the tweeter off, as it seems to make profiles a bit too harsh. I'm just intrigued by the Kone, and since I already have powered cab in the Laney, was just pondering...

    Would the Kone work as a replacement speaker in the Laney LFR-112?

    I have been trying to find the impedance of the 12 that's in my Laney, and so far I can't. I suspect that if a 4=ohm load would work, you could do it. But you would want to get around the crossover and ditch the compression driver.

    What do you guys think?

    Yes; mine just did this the other day. I unplugged it, then when restarting I held down the button for several seconds and so far, I've been good.

    So far, I haven't used the transpose live for anything, but as I mainly play a Strat with a floating trem, and I tune down a half-step, it is really great when working up covers that are in standard.

    I am a first-time Kemper user, receiving my Stage from British Audio in Nashville some three weeks ago. Last night was the first chance to see how it would stack up as a live tool.

    My plan was to keep it simple the first time, and while it is really easy to get side-tracked with all the choices the KPA provides, I knew I had to pick the few profiles that would get me through this first gig (a single one-hour set) and tweak them until I had what I liked and then keep my hands to myself, or sho' nuff I would catch dreaded Overtweaker disease.

    My struggle with FRFR or regular guitar cab is documented in another thread. In the end I decided to ditch my Headrush 112 for the Laney LFR 112 . I had only one rehearsal to burn that one in, but it was really easy and I believed that I found the right combination.

    Setup was of course quick and easy, and I have a battery backup UPS that I run with the Kemper. The band is a trio of the guitar/bass/drums variety, and in this club it is okay to let it hang out a bit with the volume. The band we were opening up for only mics the kick drum and the vocals, so all the noise had to come off the stage. Old school all the way.

    Our set it mostly my original stuff, with some Jeff Beck, ZZ Top, and a Scott Henderson tune thrown in for good measure. The only sound check we had was bump-bump on the amps, testing 1-2-3 on the mics then it was time to count it off. People I trust in the audience thought that the overall sound was balanced and that the guitar sound was fantastic. Up on stage, I could hear everything very clearly, and all my stomp queues and morphs went off without a hitch. I was loving not having to dance over a bunch of pedals and being able to control some of the delays with the morphing ability was a revelation. I absolutely loved the sound of the profiles I was using and the way I had them configured. My only gripe is that I need to tweak my wah sound a bit, as it was not really to my liking.

    As a guy who has ...ahem...been around the block more than a few times, I really have to say that I just can't see myself playing through "real" amps anymore. I am sold. And if you knew me, and what a traditionalist I am, that says a lot. My number one guitar is a beat-to-crap 58 Strat I have had since 1974, if that tells you anything!

    So Kemper...I'm here to stay. Thanks for a great, ground breaking product. Thanks to the folks on this forum who have taught and schooled me, even before I joined. Keep on rockin'!

    After working at rehearsal and at home with the Headrush FRFR 112, and after some intense "research," I decided to send the Headrush back (thanks, great guys at Sweetwater!) and I went and bought the Laney FR 112. Played the holy crap out of it last night at rehearsal without tweaking any of my profiles, and my bandmates immediately though it was so much better, as did I. Night and day, actually. Gigging with the Kemper for the first time Saturday, I will post how it went...

    Sometimes, when I switch on the Tuner, the part of the screen where the Tuner should be is all black. If I hit the "bubble mode" button, it works correctly. Then I hit the button again and the strobo is there again.

    I have noticed that, too.


    Best of both worlds, or near-enough IMHO:

    KPA monitor out: Cab off, route to your favorite 'real' cab on stage. You get to 'hear it' your way.
    KPA main out: Cab on direct to FOH, the audience gets to hear it their way.

    The cab on stage is your personal monitor, the DI is for everyone else. It's worked great for me.

    Yes, considered this, but some of my gigs there is no FOH except for kick and vocals.

    First, a bit about myself.

    Although I am new to Kemper, I am not new to the rock guitar world. I am an old school and verifiable "old guy" who has come up playing through Fender, Marshall, Soldano, and the like in live situations all over the USA. Fame and fortune did not come, but boy I had fun! And I have partially deaf ears to prove it...

    When the Stage came out, I had to get one. Besides the problem (?) of too many excellent choices in sounds, I am struggling with the issue of using the profiles live through an FRFR, or ditching the cab profiles and playing through one of my decent cabs I have.

    My first thought is: this is what you buy something like this for, to get the profiles of the cabs as well as the amps and effects. I agree with the whole idea that you have never heard the "amp in the room" of your favorite guitarists, but either pushed through a PA live with EQ or on a record with Lord knows what tossed in the mix. I want to get the sounds like I hear on records, and the Kemper allows me to do that.

    But...personally over decades of playing everything from tiny clubs to large concert halls, I have never experienced anything but the "amp in the room." The closest I have come is the last band I worked with that had the luxury of the in-ears, which I absolutely loved, but I was using either an AC30 or my Plexi clone on stage. And loud!

    With my current band, I took the Kemper to rehearsal along with my FRFR this week. Now, I have a Headrush FRFR-112 and I know people either love or hate 'em, but please look at it from my perspective of my virgin voyage into FRFR-dom in a live situation. The FRFR sounds great at home, pretty cranked but with the band (trio: bass and drums) I was less than stoked. I did a bit of fast EQ-ing and it improved somewhat, but you know how when you have that perfect sound and your fingers feel like they can do no wrong? I didn't get that.

    I guess my main question is: is it me? Am I too set in my ways as far as live sound? Is this normal for someone like me using a setup like this for the first time? If I was in a situation where I always went direct into the board and had in-ears, I would not worry, but at some of my gigs, the sound I generate on stage is the sound that the audience will hear. Small clubs, only vocals and kick miked. I know that I will ultimately do what I need to do to get what I want/need to make me love what I am doing. If it is to ditch the FRFR and use a real cab, so be it. But I kind of feel like it would be a waste to not use those wonderful cab profiles.

    So, I seek advice. Please don't bash the Headrush; I am sure something else sounds better...and costs way more. I am talking about the whole experience of amp-in-the room vs full profiles live.

    Thank you for any advice you give!