Posts by sb

    I did tweak all the heavy pack with humbucker a instead of my usual Andersons so that may be one reason they're brighter I also did some custom profiling with Wolf and tried to learn a bit about heavier, edgier tones. Hope they work!

    I picked up most of your new packs and it seems like the quality of almost all of the profiles is increasing. I am totally overloaded with profiles! I gotta get back to playing! :)

    How are the Jube profiles anyone?

    The Jubilee profiles are pretty darn nice, fast becoming my go to Marshall sound, I got caught up playing the Jubilee profiles for a couple hours alone last night to be honest. This set of heavy profiles seem to have a brighter edge to them vs some of the previous Mbritt packs with "heavier type profiles". I am really liking what I am hearing and feeling. I was getting some great sustain out of these.

    Welcome, Angryone.

    I agree with Paults. We've not much to go on, but have assumed the KPA's output isn't clipping 'cause it's so rare it's hardly worth mentioning. I experienced a partial lockup once when fiddling with Artist mode (don't ask - it's hidden for a reason) where my amp and main output levels were cranked all the way. The output was ridiculously hot, and my desk couldn't handle it, but as I said, this sort of thing is practically unheard of. Interestingly, I'm not even certain the KPA's output was clipping as I had no gear to monitor it with that could accommodate the heat!

    I think I have wound up in Artist mode somehow, not sure... Lol.. I never noticed this before but now when I press the system button it displays Artist mode. Everything is working fine, but, how do I disable this ? Am I in Artist mode?


    Do you only use distorted sound? I suspect that you would hear distortion even if you play loud clean tones.

    This sounds like an issue with the gain-setting on the desk's channelstrip. The KPA's output is line-level and by default rather hot for the mic-pres on a mixing desk, while an active speaker is designed for line-level input. There should be no colouring of sound to speak of through a mixing-desk if input gain is set properly and EQ/FX is off for the channel used. You should be able to connect headphones to the desk and hear almost exactly the same as if you plug them directly into the Kemper (provided that you're using a stereo setup with the desk). My recommended setup is to lower the main-out in the output-settings on the profiler by 15-20dB ("Main Volume" on output page 2/6), and also disconnect it from the master volume (uncheck "Main out link" on same page) so that any adjustment to monitor or cab-out on stage does not affect the level sent to the desk. With that reduction a modern desk should be able to pick up a decent signal with channel input-gain at about +4-6dB (still very low compared to microphones). What surprises me about this thing is how often input-clipping on the mixing-desk is overlooked. Any desk designed in the last 30 or so years should have a clip-indicator blinking bright red on that channel-strip. With default output levels the KPA will saturate the mic-pres, but anyone with just a minimum of experience with a mixing-desk should spot that immediately and either request the guitarist to reduce his output or inject an appropriate PAD on the line.

    An alternative to running direct with balanced/XLR is to use the 1/4" outputs through DI-boxes. Those boxes have PADs to reduce the signal from line to mic-level. However, I have not had problems with any desk or soundman with my profilers "Main Volume" at -15dB and disconnected from the master-volume knob.

    I would try lowering the input gain on the mixer and lowering the output of the Kemper. I run my output around -15 to -25 depending on the mixer I am going through.

    This is partly why I use the dxr10. I can double it up as part of the foh system when needed or use it as monitor or back line. The flexibility is good and the sound is pretty good too. I think it's a good product, although am sometimes tempted by other options;)

    The Friedman can also serve double duty, as a monitor and as FOH. Both are great options.

    The only downside would be the size and weight of the Friedman.. But, to me, it's worth the trade off. I just got spoiled with the size and weight of the DXR10.

    Hey SB, would you mind chiming back in, in a few weeks just give us your thoughts after having owned it awhile? I'm deciding between the dxr10 and the asm12. Thanks!

    The Friedman speaker sounded great at the gig.. I have officially made the switch to this speaker.. I will keep my Yamaha's around for backup, and they will get used at smaller gigs for FOH pa speakers as well when we run our own sound.

    Hey SB, would you mind chiming back in, in a few weeks just give us your thoughts after having owned it awhile? I'm deciding between the dxr10 and the asm12. Thanks!

    No problem. I am playing my first gig with it this Saturday.. I think that will pretty much let me know what's up.. But I think I already know.

    I was just playing it again and it seems like controlled feedback (the good sustaining type) is quite a bit easier to obtain with the ASM-12 than the Yamaha. It seems like with the DXR10 it was always on the edge of going into the uncontrolled feedback (bad type)..

    I dunno.. Could be a honeymoon, but I don't think so..

    Is Yammy that bad compared to Friedman? Or it is like honeymoon effect? You know best...

    The Yamaha is not bad at all.. I don't think it's honeymoon effect, and it looks nothing like a guitar cab so that's not it either.. It just seems to sound a little better, bigger and even feel a little better, to me... YMMV.