Sorry, I meant monitor eq.
KPA through amp
- Stevoe
- Closed
- Thread is marked as Resolved.
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What's wrong with the monitor eq?
The four controls have nice frequencies for general tuning of the sound. But I would love to have also at least one full parametric band that could help me
1) cure sharp spike frequencies that some shitty backline amps have. These are narrow band resonance peaks in the upper mids. I can't explain where they come from but I had it often on old, badly cared for amps in clubs. It sounds like a nasty metalic tone but it actually is just one howling frequency. Rusty silberface Twins really like do do this and a little bit of narrow band attenuation can do magic to the sound.
2) iron out some booming low frequency resonances in the room that appeare some times on narrow, crowdes clubs when the amp can only be placed in an awkward position.
3) maybe it also helps to find a better way to connect to an instrument input with the cabinet switched off. In my Litte-Big-Amp setup with a real Champ > DI-box > Twin I used an Empress ParaEq between a fullrange DI-Box (no cabsim) and the Twin to attenuate the 3000Hz at a narrow band. That often did the job quite well.
But I still don't really understand how the KPA is able to take out the cabinet from a profile that is recorded with a mic and speaker. Seems like a kind of reverse engineering. Need more time to try out different setups with different monitor amps ...
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If you are that accurate about your amp sound, you should be as picky about the PA your band is presented to your audience. Does your front singer sound any good with these PAs?
If backline amps are the problem, you should have your own power amp (maybe solid state).I don't want to make the Profiler a complex tool to correct the individual flaws of the surrounding equipment.
We will not go beyond the four band eq for main and monitor eq.Recently I tried to adapt my sound to a cabinet by our 8 band graphical eq.
I reached my goal, but it was not fun or intuitive, and I know this does not fit the needs of a vast majority of our customers.You could solve all these problems by playing your Profiler studio sound FRFR, or PA or in-ear, as the majority of pro's do. Singers and keyboarders have always done that. Your FOH guy will love it!
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Here's an idea.
A friend of mine took an old Roland Cube 60 that he wasn't using, changed the speaker to a V30.
Plugs his KPA straight in, cabs off, says it's the best gigging tone he's had in years. -
You could solve all these problems by playing your Profiler studio sound FRFR, or PA or in-ear, as the majority of pro's do. Singers and keyboarders have always done that. Your FOH guy will love it!
It is always a wise to avoid problems instead of solving problems later. On larger gigs the PA or a FRFR speaker is certainly the way to go but I sometimes have (want) to play also in smaller venues where there is no PA and they just have any kind of amp for me. I could use my Empress ParaEq between the KPA and the monitor amp but why carry hardware (and another power supply) when it already is all there inside the Kemp?
I guess what I will do is to use only one rig. I could be happy with just one ampsound for a gig if it is really sensitive and expressive. Then I would use the studio EQ in the X position.
I don't want to make the Profiler a complex tool to correct the individual flaws of the surrounding equipment. We will not go beyond the four band eq for main and monitor eq.
It also helps a lot if your equipment is able to sound good in tougher environments on the road. Maybe a solution could be to stay with the four band EQs on main and monitor and add a second page with just one full parametrical band? Or a button to choose between four band and Studio EQ? Press the button: Studio EQ, depress it: regular four band EQ.
BTW: this is my fourth day with the KPA. The more I play it, the more I love it!!!
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I don't want to make the Profiler a complex tool
Well when there will be a power amp to fill that hole in the back, all these monitor problems will probably be solved (i.e. avoided).
BTW: Today I found a Tweed Twin setting that sounds better than any real amp I played until now. That Kemp is scary!!!
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Was that the 57 Twin that came in AND44's first pack?
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Was that the 57 Twin that came in AND44's first pack?
Yeah!
I don't know which is the number of the pack - I got it from >> here >> .
It is a great profile! And, most important of all, it is really dry and tight. I am still new to KPA but I think this is decisive, that the profiles don't bring you another "room" into the room that you play in.You need a good profile to start with. But that is not all why I am so fascinated about the KPA. If you have a great ("real", hardware) amp standing before you on a stage at soundcheck that does not mean that you will have a good guitar sound later in the concert. There is always the volume problem of dimed amps and even with the best of the best attenuators you still have one fixed volume setting for the hole gig. And so many other settings, that all in all can bring you very far away from the tone you like...
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yes, that's the one. It's a good'un. Andy's second pack is also excellent. A third one is imminent, so my wife's going to be wondering why she never sees me in the evenings.
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Man, I should be sitting on the computer working for some of my freelance jobs - instead I spend the whole day playing guitar...
And I just now tried out to plug the KPA again into the instrument in of my Twin Reverb Reissue.
- Software updated
- that new profile from Andy
- cabinet switched off
- your proposals for settings (mostly presence and treble down a bit did the job)
and you now what: it is amazing!!! Just ridiculously good tone!!!
That Kemp thing scares me more and more!!!
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It is always a wise to avoid problems instead of solving problems later. On larger gigs the PA or a FRFR speaker is certainly the way to go but I sometimes have (want) to play also in smaller venues where there is no PA and they just have any kind of amp for me. I could use my Empress ParaEq between the KPA and the monitor amp but why carry hardware (and another power supply) when it already is all there inside the Kemp?
I guess what I will do is to use only one rig. I could be happy with just one ampsound for a gig if it is really sensitive and expressive. Then I would use the studio EQ in the X position.
Hi,
I think what Eng. Kemper is suggesting is to use a flat amp (for the smaller venues), since as a professional you can't possibly rely on what you find on the spot. Of course a crappy PA is something found on the spot, but this is a different issue.
While I feel you, I agree that owning such an advanced piece of technology as the KPA and expecting it to take care of the not-so-advanced rest of a rig could not be a winning approach
In the end, you'll end up sounding like your rig's weakest component.There are excellent stage monitors/wedges which will make your KPA bloom in all its qualities! See for example some of the RCF products: a single NX12-SMA, at half the cost of a KPA, is one of the best things you might deserve. 700 W of undistorted, professional sound is enough for most applications, and it's light and versatile. But there are cheaper options as well.
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a single NX12-SMA, at half the cost of a KPA, is one of the best things you might deserve. 700 W of undistorted, professional sound is enough for most applications, and it's light and versatile. But there are cheaper options as well.
This is the truth. This monitor is killer. You should do you a favour and switch to this awesome monitor and kick your amp/cab. I am an old style classic rock player and was never ever satisfied with my Axe 1 and 2 for live gigs using FRFR as monitor. I always had my trusty old Marshall and at least a miked 2x12 with me on stage. With the KPA this is another world.
For the very small venues I use a RCF NX12SMA as my backline. My band mates and me are very happy with this solution.
Give it a chance and try it.
