Yeah - the panels are not cheap, and probably not necessary for recording unless the Kemper isn't easily accessible.
I got it for playing live, and there it's absolutely worth it to make setup fast, easy, and idiot-proof (with me generally being the idiot).
my Kemper Rack uses a rear rack panel that has all the necessary connectors on, including the remote ethercon. Not only is it easy to connect, but it relieves any stress on the Kemper's rear panel connectors (they just run from the Kemper to the rear of the panel), and if somebody trips on a cable it may damage or tear out the panel connector, but not the Kemper side connector (and the rear panel connectors are pretty easy to replace).
if your toaster is mounted in a rack (using a rack tray), perhaps a rear rack panel would work for you.
Kemper have now put the prior OS on the Home Page|Support|Downloads -- so you can install the prior OS (8.7.10) if you like.
Actually I disconnect all the time 🤣 Didn’t think of it. I have everything connected to my hub and I disconnect my Mac all the time from the hub. So there goes that theory 🤣
this is how I run it ... a USB-C hub to my MacBook Air. The Hub has multiple USB connections. I connect the Rack to one, and my Mackie board to another. I typically connect the hub to the Macbook, then turn on the Kemper (usually straight into Performance mode) and the Mackie. Occasionally I have some communication issue with Rig manager so I unplug the USB connection to the Profiler from the hub and reconnect and it connects fine.
I don't think AI in the Kemper would be a good thing ... mine would just flash on the screen "You Suck. Sell Me To Someone Who Can Play."
Mine occurred on my Rack with remote, was primarily in Performance 1 Slot 3 (it's a simple mid gain Marshall profile). I have a Mission EP for volume boost (used only to boost for solos) and a Mission EP for wah (which gets infrequent use because, well, it's a wah). Neither was being used in my case. The signal cut-out was intermittent, would last several seconds, then restore, then do it again. Seemed very random (not on a time cycle nor related to whether I playing hard or soft, guitar volume at 10 or less, etc.). I checked every connection between the guitar and the Profiler, the remote, etc. Nothing about the displays (on the Profiler or Remote) changed when this happened. The signal cut out on the connection to the mixing board and to my monitor. Teh cut out happened frequently and was very noticeable during any songs. Rebooted the Profiler several times but no joy.
I'm downgrading to 8.7.10 today. Berkhard very nicely sent me the prior OS by email when I contacted Kemper (great service). I don't think 8.7.10 was available on the Support|Downloads page last Thursday (see my post above). I wonder if Kemper are getting a lot of requests to downgrade.
The Profiler is a complex piece of equipment, and if there's any kind of glitch in the new OS that's certainly no deal breaker as long as the user can easily reinstall the prior OS. Kemper was very quick to respond my email and support my request, which is fantastic customer support not seen with many companies.
thanks ... that link takes you to very old OS' prior to 7.3.2 because you have to do a 2 step upgrade in many cases with the older stuff.
I'm looking for the immediately preceding OS before 8.7.15, which is apparently 8.7.10.
I installed OS 8.7.15 on my Rack last night. Immediately I started getting intermittent sound cut-out ... like a bad cable. Check, and double checked, all connections and all were good. Rack was working perfectly on the same profiles 30 minutes prior to updating the OS.
First issue: can I get the prior OS and install it? Didn't see where I might be able to do that in the Downloads area.
Second issue: anyone else having this issue? I saw the thread on complete sound cut-out due to slots ... but my issue is different. Sound cutting out while just playing in a given profile without switching effects in slots.
Thanks all.
the issue of transferring the paid profiles implicates copyright law. Virtually all of the countries we are talking about (US, UK, EU, etc.) are parties to a treaty that enforces copyrights allows amongst the signatories. the short version is that the correct answer is almost certainly the "first sale doctrine" mentioned earlier. Yes, the buyer of the profile is only getting a license to the profile, but can further transfer that license (and it does not matter at all whether the transfer is free or for a charge) so long as first buyer does not keep a copy. The second buyer, however, may have no rights to any vendor upgrades and such (which really isn't an issue for profiles).
I think the POE injectors are "intelligent" and supply the amount of power needed. So a short run would not require much or any, and I think the POE injector would not "oversupply" power. Somebody else please confirm or deny.
It's not like phantom power that hits 48v all the time.
I only needed `15 feet, but this one works great, coils like a mic cable. I used a PoE in the back of my Gator rack that the Kemper Rack is housed in. This one come in lengths up to 100 feet.
I got a TP-Link Gigabit Power Over Ethernet PoE Injector Adapter TL-PoE150S off ebay for around US$16. This is one that Kemper said was compatible, and I've zero issues since installation. It's just velcroed into the rear of of my Gator rack.
I got a rear rack panel from BTPA Connectors that has all my necessary interfaces so that the stress on the Kemper is minimized, and it's super easy to connect at the gig. You can specify whatever interfaces you want, and they build a wired 19" rack panel with the connections.
adding another compressor the X Slot did get me a really good tone for the Gretsch 12 string. VERY chimey, jumps out of the mix nicely.
I'm always iffy on comparisons on YouTube ... doesn't matter what he's using to record, the YouTube audio is compressed so much a lot is missing. Also, comparing heavily distorted guitar tones also masks a lot imperfections.
and I'm an idiot. I was looking on the LCD screen of my rack and the remote. I have an "x" slot on the soft buttons on the Rack. Duh.
I've also realized that the 220 page Addendum 8.7 does not include the Main Manual information (another 359 pages). I am a believer in RTFM, but navigating through almost 600 pages of material (even with a search function) is a little daunting.
thanks for the advice and leading me to the answer!
Could someone explain how you put an effect (compressor) after the amp section? I've looked back through the manual, searched here, and the "x slot" is a mystery.
thanks.
I just read an interview with Roger McGuinn who said he got his classic Ricky 12 tone with dual compressors.
Edited to Add: Here's what McGuinn said of how he got his sound: "“The engineer, Ray Gerhardt, would run compressors on everything to protect his precious equipment from loud rock and roll,” McGuinn said. “He compressed the heck out of my 12-string, and it sounded so great we decided to use two tube compressors (likely Teletronix LA-2As) in series and then go directly into the board. That’s how I got my ‘jingle-jangle’ tone. It’s really squashed down, but it jumps out from the radio. With compression, I found I could hold a note for three or four seconds and sound more like a wind instrument. Later, this led me to emulate John Coltrane’s saxophone on ‘Eight Miles High’. Without compression, I couldn’t have sustained the riff’s first note.”
There's been a lot of discussion on whether putting 2 compressors in series, or one at the front and one after the amp/cab, is better. I don't think McGuinn's view answers that since he was talking about recording and compression in series "and then going straight to the board." I cannot tell if he means without a mic'd amplifier (that seems unlikely), or in series after the mic'd amp. I've got a new Gretsch electric 12 string so I'm going to try true "series" compressors in front, and then try one in front and one after the amp/cab and see what's what.
why not an Xvive and use your favorite over the ear cans (most now have 3.5mm connectors and adapters for 1/4")? Our drummer plugs his OTE cans into his receiver of our NADY PEM-04 and it's perfectly fine.
I've had good luck with a couple of the profiles in the Selah pack with my Godin LGX.
If you mean switching between electric and acoustic guitar within the same song, then the only thing I've ever done that always works and works well is to have an electric guitar with piezo bridge (like a Godin LGX or similar), then have a setting within a performance that is acoustic (I like the Selah profiles) and just switch between it and the electric setting. I've never found using just an electric and trying various "acoustic simulation"patches or pedals very satisfying tone-wise and would rather just play the acoustic part on electric ... most folks don't really know the difference. Even Page just used electric for live performance of certain Zep acoustic parts.
In terms of physically switching between two guitars (one electric, one acoustic), my experience is that it's just as fast/convenient to unplug the electric and plug in the acoustic as it is having both guitars plugged into a switcher (and fewer connections to go bad). You can mute using the Kemper tuner (from the remote) while you do that.
Before I had the Kemper, I used a Godin LGX and when I switched to the piezo I also switched to an "acoustic" path on my pedalboard -- that used a LR Baggs Paracoustic DI and a Lexicon to sometimes add a little flanging.
("I wonder if replacing this will give me more amp in the room feel") 🙂
and then we'd be debating current production 2032 vs NOS, and whether "sag" makes any difference.
