Harry, feel free to let me know if/when you want to buy, I can try and be of help or I can buy them for you.
I am free - not only Thommy 
I could fill the basket but I could not order. Pay pal did not finish the process.
The rest we could communicate via PM
as far as I remember the ordering page has an english version---but i might be wrong
I didn't find an english version, maybe I was wrong
Problem was pay pal which doesn't finished.
performances I'm perdectly able to create for myself
Nothing to be argued with that. A performance is not just a sequence of already-existing sounds tho, IIGIR those are other versions\tweaks\processing of rigs, that Varini uses on a daily base and created starting from the pack's sounds.
I guess this can be assimilated to a pro musician selling a pack of his tones for an Axe-Fx, an Eventide or a synth: you pay for a top-level set of tweaks. Certainly not all the users of such devices are able to\could arrive at the same results, even tho the basic sound is the same and the controls are available to everyone. In this case we have even more, because it would be very hard to put our hands on the hardware itself.
So for me Performances are, in this case, a real added value to the pack.
To not mention that, for Varini's fanbase, it's certainly exciting to be able to access the same identical sounds he uses in his seminaries, lessons, demos, videos, records.
Of course, you ignoring him and his music plays (haha) a big role in how you embrace his sounds: I believe if you start thinking of your favourite performer, teacher or group and imagine ho have at your disposal their sounds made by them (not just a tonematch, or a profile of their amp, but the whole chain of modded amps, custom cabs, mics, compressors, tube preams and the like, something impossible to recreate in practice) this project start making sense IMO.
Nothing to be argued with that. A performance is not just a sequence of already-existing sounds tho, IIGIR those are other versions\tweaks\processing of rigs, that Varini uses on a daily base and created starting from the pack's sounds.
I guess this can be assimilated to a pro musician selling a pack of his tones for an Axe-Fx, an Eventide or a synth: you pay for a top-level set of tweaks. Certainly not all the users of such devices are able to\could arrive at the same results, even tho the basic sound is the same and the controls are available to everyone. In this case we have even more, because it would be very hard to put our hands on the hardware itself.
So for me Performances are, in this case, a real added value to the pack.
To not mention that, for Varini's fanbase, it's certainly exciting to be able to access the same identical sounds he uses in his seminaries, lessons, demos, videos, records.
Of course, you ignoring him and his music plays (haha) a big role in how you embrace his sounds: I believe if you start thinking of your favourite performer, teacher or group and imagine ho have at your disposal their sounds made by them (not just a tonematch, or a profile of their amp, but the whole chain of modded amps, custom cabs, mics, compressors, tube preams and the like, something impossible to recreate in practice) this project start making sense IMO.
Generally I agree with you. Let me add that I don't only embrace performers or artists that I genuinely like tho'.
Actually I'm much of an ecclecticist who tries to grasp different views or concepts without the intention to make them necessarily my own.
For example I recently purchased a mixing course by Slate Digital held by legend mixer Chris Lord-Alge because I was interested in his concepts and mixing approaches.
After working through the course I gained quite some knowledge and at the same time I know that quite a few of his concepts don't apply to my own approach or are not necessarily suitable for how I want my own music mixed and processed.
Still it's a lesson learnt and valuable knowledge.
Sorry for the digression, ragazzo.
People deserve the right to a digression when they feel like
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Generally I agree with you. Let me add that I don't only embrace performers or artists that I genuinely like tho'.
Actually I'm much of an ecclecticist who tries to grasp different views or concepts without the intention to make them necessarily my own.
For example I recently purchased a mixing course by Slate Digital held by legend mixer Chris Lord-Alge because I was interested in his concepts and mixing approaches.
After working through the course I gained quite some knowledge and at the same time I know that quite a few of his concepts don't apply to my own approach or are not necessarily suitable for how I want my own music mixed and processed.
Still it's a lesson learnt and valuable knowledge.
Sorry for the digression, ragazzo.
I almost bought that too, the other day. He's very talented at what he does, CLA, but his sound isn't actually my cup of tea, I realised. I reckon I could still learn more than I could working on my own for the next year, though. Hmmm, I think I just convinced myself to buy the darn thing lol!
And... back to topic. It's an interesting spin on the commercial profile business, for sure. The outlay is steep, but I could certainly see myself being interested if it was Vai, for example.
I almost bought that too, the other day. He's very talented at what he does, CLA, but his sound isn't actually my cup of tea, I realised.
Yeah, he polarizes quite a bit. I have albums he mixed that are much more mellow than the usual upfront stuff, for example 'Closer To The Truth' by Tony Joe White which is a truly great album (and great sounding!!) but boy is he exaggerating with EQ, very interesting for sure!
Aaand... back to topic.
Thanks gentlemen 
And... back to topic. It's an interesting spin on the commercial profile business, for sure. The outlay is steep, but I could certainly see myself being interested if it was Vai, for example.
Yep, I think the author's perceived image plays a big role in general.
Some sound may not be "better" in an absolute way, but if they take you closer to your hero (or to an artist you admire)'s world there's a much stronger emotional feeling pushing you to wish.
^ with an extremely talented FOH engineer, a fantastic PA system, and an extrmely professional mix as well...
im not trying to nitpick here, but I could take practically any profile ( alittle over zealous but you get my point) with all of that going on in that video, and I guarentee you it would sound just as great . But, that really doesn't have anything to do with the kemper or any guitar rig really, but the production at this venue and their crew is who I'm giving MOST of the credit to here, outside the player of course.
that makes sense...
Well I couldn't resist.
Thanks to Gianfranco who managed it yesterday evening. 
I had now 2 hours of fun to play with Massimo's Rigs and Performances.
I do not regret the purchase. I tried with 2 guitars. A Strat with Häussel pick-up and an Ibanez Artist from 1977 with splittable di marzio Humbuckers.
The Strat needed some tweaking to reduce treble and rise mids - the Artist felt in love immediately with the rigs.
Interesting is the way of tweaking in the performances.
This I will study later in more details. All Rigs in the Performance was balanced.
I hope I can try soon the performance with GIG loudness.
I need not to take care so much for neighbours, but if its to loud my family and my dog will protest.
At home, with Studio monitors I would reduce some of the effects and some gains.
Maybe in bigger halls with a lot of people that is not to much. Buts its also my personal taste - less gain and less effects.
Shurely I could use some Rigs for my performances.
... an Ibanez Artist from 1977 with splittable di marzio Humbuckers.
The Strat needed some tweaking to reduce treble and rise mids - the Artist felt in love immediately with the rigs.
This piques my interest - my workhorse is an '82 Ibanez AR305 - please keep me posted on your progress. While the price is a bit steep, when I have the money I don't mind spending it on a quality product.
Hopefully tomorrow more.
Now I'm on the way for rehearsal. Today I 'm not the driver.
I think after that we will drink some, which could disturb my abilitiy to test
with an extremely talented FOH engineer, a fantastic PA system, and an extrmely professional mix as well...
im not trying to nitpick here, but I could take practically any profile ( alittle over zealous but you get my point) with all of that going on in that video, and I guarentee you it would sound just as great .
so you're saying that we should always disregard the way our most loved CDs sound, and stop buying our heroes' guitars, amps, profiles, because with the right production anything can sound the same?
Why are people buying more and more profiles, and cabs, and power amps then? In order to compensate our production skills' lack?
PS: I am just publishing any clip I come across, not trying to make any point!
I'll just remember that more than often when a clip sounds very good people say "oh, he would make anything sound great..."... And when the clip sucks: "how can I judge a tone when it's so poorly sounding?"
Peace
^uhhhh....im not saying ANY of that... You did. Not sure why you are putting words in my mouth? I'm saying that, when Michael Britt for instance showed his profiles live, they are with no band, and no EQ from the board or anything. Just completely raw: not with a million dollar production going on to showcase tones. I realize that was not the intent of the video obviously when filmed, but you are indirectly broadcasting it that way. I'm saying the production vastly outweighed the kemper profile, yes absolutely , I'll give you that as far as word put in my mouth
point: how many of you have played what you consider to be an awesome profile live, only to be outweighed by a shitty PA, terrible FOH "engineer", terrible mix, crap room, or hell crap band, and your profile didn't matter one bit? I know I've been there, this is just the other side here, it's the same thing.
^ with an extremely talented FOH engineer, a fantastic PA system, and an extrmely professional mix as well...
im not trying to nitpick here, but I could take practically any profile ( alittle over zealous but you get my point) with all of that going on in that video, and I guarentee you it would sound just as great . But, that really doesn't have anything to do with the kemper or any guitar rig really, but the production at this venue and their crew is who I'm giving MOST of the credit to here, outside the player of course.
Wow, are we listening to the same clip? This was recorded with a friggin phone and sounds horrible!
I think a FOH engineer can definitely make a guitar sound suck, but there's limited freedom to make a mediocre tone shine - especially given the setting (real time, multiple instruments, however many mics on the drum kit etc etc, where EVERYTHING has to balance). I'd be much more skeptical of a studio recording. Whatever the FOH engineer realistically CAN do to make the guitar tone shine, we can already do on the Kemper I think.
I'm not saying that I think that clip has a world-shatteringly awesome tone at all - I'm just addressing the specific post I quoted
^absolutely, it's definitely not earth shattering from an iPhone. However, I think ( Atleast I feel i can personally) you can tell that this was a great mix out front, extrmely professional etc, even from an iPhone. It's like hearing a CD from a video clip someone sent you on an iPhone or something, you can still tell the quality even in that situation.
