Hello! Thank you for your quick response.
I have tried reducing the clean sence - and no difference. But then I tried the noise gate - and it was not set completely to zero. When i put the Noisegate completely to Zero the problem went away!
Thank you very much for helping me. Now I´m happy again! 
It was just strange that the Noise gate did not completely kill the tone.
Display MoreHello! Thank you for your quick response.
I have tried reducing the clean sence - and no difference. But then I tried the noise gate - and it was not set completely to zero. When i put the Noisegate completely to Zero the problem went away!
Thank you very much for helping me. Now I´m happy again!
It was just strange that the Noise gate did not completely kill the tone.
Good you got it solved. Aliasing does not seem to occur on clean profiles anyway.
To all people experiencing the aliasing: have you tried putting the front noise gate completely at 0? In light of the last post is worth a try....
But have you tried it already?
But have you tried it already?
You should review the thread. It would give you a better understanding of all the tests made. The aliasing has nothing to do with any of the settings we can adjust on the KPA (except for the gain). It occurs when using a considerable amount of gain and it is more noticeable in the high register (last notes of the high E and when doing harmonics). There is nothing you can do to get rid of it. It is a common known issue with a lot of low/medium end modelers. But a high end product like the KPA should not suffer this issue.
I don't see how the aliasing can be a hardware limitation.
Simplified:
Guitar -> Amplifier (amplification set with the Sense Parameter) -> ADC -> DSP -> DAC -> output stage (Volume)
As the aliasing seems to be correlated with the gain parameter it must have something to do with the software running on the DSP. The ADC and DAC don't care about the signal and got nothing to do with the gain parameter.
Correct me if I'm wrong
Did anyone try to find out whether the aliasing occurs with a specific frequency? If someone could name me a rig/settings where the aliasing (I'm no high gain player and never heard this) occurs I could do some tests...
Display MoreI don't see how the aliasing can be a hardware limitation.
Simplified:
Guitar -> Amplifier (amplification set with the Sense Parameter) -> ADC -> DSP -> DAC -> output stage (Volume)
As the aliasing seems to be correlated with the gain parameter it must have something to do with the software running on the DSP. The ADC and DAC don't care about the signal and got nothing to do with the gain parameter.
Correct me if I'm wrong
Did anyone try to find out whether the aliasing occurs with a specific frequency? If someone could name me a rig/settings where the aliasing (I'm no high gain player and never heard this) occurs I could do some tests...
Well, there is a frequency when it begins to become audible, and that is around high G and up--check nearly any high gain rig.
I wonder if the processor can't quite provide the resolution to render a flawless aliasing-free tone at those higher frequencies--perhaps a faster processor is needed. If it's only a matter of software, don't you think it would have been addressed by now?
The problem is most likely related to the magnitude of higher order harmonics present in extremely distorted tones. The DSP and/or software algorithm can't keep up with the data stream when it has a high content of harmonics therefore creating aliasing. This would also explain why extremely high pinch harmonics and squeels don't come through as expected.
I have heard aliasing on the entire range of distortion--even all the way down to clean--the level of the aliasing becomes less and less audible as you decrease the gain, and once you get down to the low-gain/clean zone, you have to listen really close with headphones to hear it--but it's there. No, not something that players will typically notice, but this suggests to me that the aliasing is there regardless of the degree of distortion, and that higher gain just reveals it more.
You make a great point in this thread: "not something that players will typically notice". Coming from an analog world in which players not only deal with but often embrace rather large levels of hiss and hum, ghost notes, rather large resonant peaks, etc. I wonder if this entire thread is kinda splitting hairs?
It´s also depending on style of music you´re playing. Many guitar players do not use pinch harmonics often, or very intense. Zakk Wylde would shoot the KPA in pieces I guess, as he´s a livin pinch man, but other musicians might never get to that point where the Kemper problems come to hear. But that does not mean it is not there. I had some nice song idea coming up, some kinda ZZ Top style, but that was not possible to play with the described problems.
You make a great point in this thread: "not something that players will typically notice". Coming from an analog world in which players not only deal with but often embrace rather large levels of hiss and hum, ghost notes, rather large resonant peaks, etc. I wonder if this entire thread is kinda splitting hairs?
Definitely not splitting hairs--for those of us who love playing high gain, liquid, sustaining leads, the aliasing is very noticeable. You took my quote out of context: I meant, that in the analysis of low-gain aliasing, it is less noticeable than at high-gain. Sure real amps have their own noises, but the KPA is adding an artifact that shouldn't be there.
It´s also depending on style of music you´re playing. Many guitar players do not use pinch harmonics often, or very intense. Zakk Wylde would shoot the KPA in pieces I guess, as he´s a livin pinch man, but other musicians might never get to that point where the Kemper problems come to hear. But that does not mean it is not there. I had some nice song idea coming up, some kinda ZZ Top style, but that was not possible to play with the described problems.
To each their own I guess. I can think of a handful of songs off the top of my head in which harmonics pinched or tapped set of some weird overtones which aren't "pure" sounding and probably weren't planned but work within the context. I would also say that Zack Wylde rarely if ever performs a pinch harmonic and lets it sustain out, its typically used more quickly in passing. But I see what your saying, my preferred playing style leans far less gainy than that of Zack (though the fact the Kemper was used on the most recent Testament album would seem to prove that its totally usable in that context). I'd completely disagree about ZZ Top style tones not being attainable and utterly convincing.
I guess really my question is if the unit doesn't work for you, why do you own it? Buying a piece of gear which has a problem which one views as serious in hopes that the problem will be addressed seems like a setup for major disappointment.
Nope! No one is talking about a major disappointment, but as others complain about the editor/handling of rigs, we do the same about these problems. So what?
hehe almost 2 decades of internet and it still amazes me how dismissive folks become when they don't understand something...
hehe almost 2 decades of internet and it still amazes me how dismissive folks become when they don't understand something...
I just isn't happening on my unit at all. No aliasing.
hehe almost 2 decades of internet and it still amazes me how dismissive folks become when they don't understand something...
Oh yeah. 
To each their own I guess. I can think of a handful of songs off the top of my head in which harmonics pinched or tapped set of some weird overtones which aren't "pure" sounding and probably weren't planned but work within the context. I would also say that Zack Wylde rarely if ever performs a pinch harmonic and lets it sustain out, its typically used more quickly in passing. But I see what your saying, my preferred playing style leans far less gainy than that of Zack (though the fact the Kemper was used on the most recent Testament album would seem to prove that its totally usable in that context). I'd completely disagree about ZZ Top style tones not being attainable and utterly convincing.
I guess really my question is if the unit doesn't work for you, why do you own it? Buying a piece of gear which has a problem which one views as serious in hopes that the problem will be addressed seems like a setup for major disappointment.
In my case, this is something that I did not know when I bought the unit on its release. Since Kemper have been improving and fixing other things, you would expect that this is one they will fix as well. So far we don't know if this will be fixed or not. I guess that most of us that notice it would like to know if they are going to take care of it or not before taking any decisions.
