Hi!
I just got my KPA a couple days ago. What I can say is that it's really amazing, but something I really miss and think would be useful is to have a highcut and lowcut filters. Right now I'm using the studio parametric EQ for this, but it doesn't allow to set the hardness of the cutoff (shelf). Any plans for including this in some of the future updates?
There are both already in the stomp box area... high and low and 2 gates...
Use the Type knob to navigate the fx, the Browse one takes you through the presets only. 
I know that you are talkin about different stuff, but have you tried with higher settings for clarity and definition while lowering tha bass on the EQ to solve the boomy-ness issue? Even a studio EQ in front of the stack might help.
Anyway I know what you mean and I believe that a full parametric (with the option for shelving filter) on the outputs would be great solution, but I think that CK prefers a easier solution for users.
Please let me be polemical in this aspect. I apologize in advance.
Why adding deeper features when many users do not exploit the features we already have?
The Lowshelf of the Studio EQ is steep, not decent. Same is the bass control in the Output EQs. Other professional EQs set to maximum steepness give you the same result. This is not documented, but you can hear it, when you are familiar with EQs. If you are not familiar, no problem, you will still get the best result. That is the ease that we are trying to accomplish: Avoiding dozends of deep parameters that will carry you away from optimal results. If we had a parameter for the slope of the filter, it should be set at maximum position. Turning it down would make it shallower, creating less precise sounds.
It is made and proved for controlling the boomines of an amp sound. You should achieve excellent results, especially with the Studio EQ, were the frequency is adjustable.
The shelving filters gain goes down to -18 dB. If you bring the Lowshelf this way down, you have virtually created a Lowcut or Highpass filter (which is the same as you know). The only difference is that you still have the "cutout" signals sounding at -18 dB, which is very low.
I am sure that you want to attenuate the boomy frequencies, but not totally kill them, so you will probably end up in attenuating them by less then 18 dB.
Lowpass and Highpass filters are used for killing frequency components in the signal that are absolutely not wanted. They can be considered as Shelving filters with gain at minus infinity. If those unwanted signals are low anyway, shelving and cutting filters don't make a big difference.
But Lowpass and Highpass filters are great for artisticly modifying a signal, since they work pretty radical.
Metalhead,
Our Lowpass and Highpass in the Wah section are ready made for Sci-fi effects. Still they are studio quality filters with an even higher steepness and perfect to shape your signal in a constant fashion. This is why we gave it the names "Lowpass" and "Highpass" and not some Sci-fi names.
Set all parameters to zero and use the Manual parameter to tune the cutoff frequency to shape your signal.
Please remind me, if I am to harsh.
CK
Haha, well I'll admit, it was a bit harsh, but everything's true what you said 
After playing around with the studio EQ i realized I can pretty much achieve what I want. It indeed is better this way, rather then having it as a separate effect. You might wanna include the steepness adjustment though.. it would be a nice feature to have.
Thank you very much for your help.
EDIT: oh and, a more precise control over low/high frequencies would be nice, since right now you have to very gently turn the knobs. Again, not a big deal, but I personally feel like it would be easier to use. Thanks again
i disagree that the studio eq can achieve what a high pass and low pass filter does. in mixing guitars it is VERY common and VERY necessary to do these two things with varying slope, not shelving. it would be greatly beneficial to have an HP LP filter that is its own effect.
Sorry for the stupid question...but.. As you said, that is something you do while mixing, not tracking. Why dou you need it in the KPA? Every DAW can do that...
Lo and high pass would be of substantial use if we had more routing options, to e.g. split the signal and pass only certain frequencies through certain effects, especially when recording bass through the KPA.
But we don't so then it's more a case of it being useful in a live situation where you don't have a decent desk and so have to depend on the raw output to sit in the live mix using only volume to balance the feeds, for then a hi pass can be invaluable on guitars to help with quick fix separation without having to go deep into the KPA's eq. Personally I only record, so I just use my daws hi/lo and it's not a big deal as the KPA's prime focus for me is just raw amp sound, but it could be useful for others and much more user friendly than the alternatives.
When playing live in a different locations/with different real cabs it is the reason to have enough EQ parameters to tweak output of KPA.I still miss parametric eq or particularly low-hi pass filters to outputs to reduce boomines etc. because the existing output eq is a little too rough to me. Just my opinion... 
