Working with Kabinet or cab

    Kemper Stage -> Powered Kabinet.

    I am a bit confused about when is Kemper using Kabinet vs using IRs…….or both?


    SCENARIO:

    Imported a rig from Exchange.

    Using Rig Manager.

    When I click on the Cabinet (in the stack beside amp) it shows Use Global Imprint.


    1. I guess it is using global imprint only, disabling the imported cabinet? Correct me if I am wrong.

    I can click on it (Use Global Imprint button) and select other imprint on pop up list, Global Imprint, or Full Range Mode.


    2. If I select Full Range Mode is it using the imported cabinet instead of Kabinet imprints?


    3. How is that affected by Monitor Cab Off? (in OutputPage1)

    1. I guess it is using global imprint only, disabling the imported cabinet?


    You are correct. The imported cabinet is still heard at the Main Outputs


    2. If I select Full Range Mode is it using the imported cabinet instead of Kabinet imprints?


    Yes.


    3. How is that affected by Monitor Cab Off? (in OutputPage1)


    CLARIFICATION: See the below post from Ruefus

    Quote from paults

    Monitor Cab Off in the Output Menu is designed to be used with a conventional guitar cabinet, not with Kabinet/Kone.

    Monitor Cab Off can be confusing.


    From the manual:


    “You will find three familiar parameters that we have mirrored on the KEMPER Kone page for your convenience: Monitor Volume, Monitor Stereo and Monitor Cab Off. When Monitor Cab Off is not highlighted, the KEMPER Kone works in full-range mode.“


    Meaning - if you don’t check cab off, the imprints will not function. You want to tick/enable monitor cab off.

    “Without music, life would be a mistake.” - Friedrich Nietzsche

    Like 1
    Quote from paults

    ... The imported cabinet is still heard at the Main Outputs….

    That’s something to keep in mind because FOH will be receivng different tone than my stage monitor.

    Are there imprints that are exact replica of those “built into” the Kabinet?

    I would like to apply those so they could be used in Main Out to have the same sound in FOH.

    The key is to get the best "complete profile" including the profiled speaker into the PA. That's what the paying customers hear, so that's the most critical to get right.


    Then for your monitor (Kab) just pick the closest one that matches.

    This is an ongoing debate with no ‘right’ answer, just what you prefer. I fall on the side of “since when was matching FOH the goal? It never been that way in history. Not even high-end in-ears do that.”


    With tube amps, you don’t hear what the FOH gets on stage. You hear the amp and perhaps a monitor mix from a wedge. No matter what you do -those sounds are different to FOH.


    The Kabinet and Kone’s major feature is providing and amp-in-the room sound to the player.


    The Kone emulates that.

    “Without music, life would be a mistake.” - Friedrich Nietzsche

    Like 3

    It’s good to know otherwise I can spend hours getting that perfect tone (even at full volume) just to hear after the gig that my guitar did not cut the mix, or that it was sounding horrible.

    Either testing FOH before gig or forget i prints and go Full Range only.

    In real life the latter is more practical/safe.

    Thanks for the info everyone.

    I think this is a misnomer. If I'm wrong, please tell me.


    Just because something cuts through the Kab or monitor in your practice space or even in the same room as the gig does not mean the same will hold true for FOH. It's almost guaranteed not to.


    Tuning the mix for the room is the job of the FOH engineer. Why would a guitar player even attempt to do that themselves?

    “Without music, life would be a mistake.” - Friedrich Nietzsche

    Quote from Ruefus

    I think this is a misnomer. If I'm wrong, please tell me.


    Just because something cuts through the Kab or monitor in your practice space or even in the same room as the gig does not mean the same will hold true for FOH. It's almost guaranteed not to.


    Tuning the mix for the room is the job of the FOH engineer. Why would a guitar player even attempt to do that themselves?

    There are sound engineers and there are “guys behind the mixer”.


    The cabinet (IR) affects the tone hugely.

    If I dial in the tone with Kabinet and it uses an imprint that does not sound like whats coming out of the Main Out…..that’s a problem.


    I think that Full Range is the way to go.

    I don’t disagree that the IR matters.


    I’m more inspired by the feel of the imprints on stage.

    Horses for courses. :)

    “Without music, life would be a mistake.” - Friedrich Nietzsche

    Like 1

    You are of course right but I tend to think in a similar way to Rufus.


    My main focus is FOH sound - that is the most important sound as its what the audience hears. How do I achieve this? I have refined my sound over a number of years, I ask for feedback from sound engineers so I know that the "input" into the mixer is good and consistent. I have to leave the sound mix/room differences to be managed by the engineer - that was always true with a regular amp as well, but the difference is I KNOW my "input" is consistent. Note: I will not try to tell them how to mix, its a recipe for a disaster so there has to be an element of trust there.


    I think the potential misconception here is, because you are hearing the output via FRFR as a monitor, that somehow addresses the Sound engineer vs someone behind the mixer - it will still sound difference and the dynamics with the band will also be different - the drums miked up will sound different to the acoustic sound on stage. For me that is a constant you can't get rid of so no point compromising to do that.


    My on stage sound is under my control, volume and sound using a Kabinet. I'm Ok with it sounding different because they are slightly detached.


    Does that make sense? Hope I've not mis-understood your point...