Whatever we do, it's always a good ide to go for FRFR (I hate this word).
Only this way you play and react to the sound, that you present to your audience.
Someone should wiKPA this. Maybe create a section of tips and tricks "for optimum use of the Kemper Profiling Amplifier".
I really don't know what to believe. I've talked to people that really should know and they tell me that it's not possible. And now you tell me that it is. Maybe you simply missed something? Of course you can change the sample rate from the Kemper using the Behringer SRC if you continue to use this 'Kemper-Behringer chain' as the sync source for your audio interface. But as far as I understand and know, you can't make the Kemper a slave just by using a Behringer SRC in between.
No, no! See, the Kemper is locked to its 44.1 khz sample rate. It sends this sample rate to the Behringer. Assume some other sample rate is being sent to the Behringer by two/three other devices. The behringer accepts these sample rates, converts these sample rates to anything from 44.1 khz to 96 khz and sends that sample rate to the interface. I think it can even slave to a sample rate set by the interface. So the Kemper is a master all by itself, with nothing slaving to it. It's just doing its job within its sample rate limitations.
Those magic devices are called asynchronous SRCs. Some audio interfaces have it built in (the cheap ones mostly not). And Uncle Uli has a pretty widespread lifesaver for these cases:
http://www.behringer.com/EN/Products/SRC2496.aspx
For those allergic to Uncle Uli, I'm sure there are more expensive solutions out there, too.
Available for the princely sum of $200. Thanks for the heads up, Christian. I don't need one, but it's good information for future studio upgrade paths. 
I think it's a step in the right direction by Kemper. A lot of companies would say, "Your other gear is at fault." They're doing an upgrade that will save everybody else the need to upgrade or make a "lateral" purchase of a FRFR system.
I can see this particularly useful for those of us that might just be at some venue and there's no other option than to play through the house cabinet. No problem with the trusty Kemper! Am keeping my fingers crossed that Mr CK knows what he's doing...
Highly likely that he does more than the rest of us, hyok hyok.
Display MoreWe have no plans to provide sampling frequencies other than 44.1 kHz and sync master. There are technical reasons that prevent us from implementing this.
Since there is some voodoo aspects about sampling rates, I would like to point at some important aspects.
1. We see in this thread that many other hardware units have fixed sample rates as well. The reason for this is, that it is quite challenging to run a system at different sample rates, since countless variables and values need to be adapted to the sample rate.
2. I suspect many hardware devices to use internal sample rate converters (SRC) to fullfull the request for different sample rates. SRCs are suspected to affect the audio quality by many people.
3. Especially the availability of the double sample rates (88.2 and 96 kHz) are often realized by SRCs. Otherwise the hardware device had to have double calculation power available for this case.
4. in contradiction to what is mentioned here and there, todays SRCs have a tremendous good quality. Especially offline SRCs of premium DAW companies should create a 100% perfect conversion result. Offline SRC happens when you change the sample rate of a recorded clip.
5. Running double sample rate (88.2 and 96 kHz) on your DAW is wasting half of your computer power, without gaining sound quality at all. Can someone post a link to a scientific test result that contradicts this thesis? If not, then it's a very expensive myth.
CK
So much for slave-able/ multiple master frequency SPDIF!
I suppose a lot of people will be upset about this, but if you really need to do this, you can always pick up an external converter, which would have been expensive to include in the toaster from the get-go.
Analog is a way to avoid that problem, but then I have to ask myself: Why do you offer digital I/O at all ... or why don't you offer it the right way?
Define "the right way" 
I've read a lot of the arguments on gearslutz and other forums about the benefits -- real or imaginary -- of using higher sample rates. I understand that more data is captured at higher sampling rates, which could be conjectured to mean that a sound is being captured more accurately.
On the other hand, I am an avid collector of music CDs and spend a lot of time listening to them. I can tell a difference between a CD and a "lossless" audio file. Even if the file is at 1920000 khz, it doesn't sound like the CD, which has a lot of elements in the sound, some super- or sub-aural. I can feel the notes that are captured.
This doesn't in any way imply that recording at a lower sample rate is inferior. But it does serve to remind us that higher sampling rates are not everything, imho.
Plus, I dig Engineer Kemper's thoughts on keeping costs down. If there is an imperative to record at a higher sampling rate, an external converter is probably the best option for a studio that records at higher sample rates.
Perhaps you should look into an FRFR cabinet, Tantrum. Seems more than likely the "fault" is on the cabinet end of things.
I can not see what should be wrong with a Marshall 1960 or Rectifier cab with V30 especially when I used the same cabs to record great sounding profiles.
Note the quote-unquote in "fault". The Kemper is specifically designed to replicate a sound. If you put that sound into a cabinet that adds its own characters and frequencies to the sounds, it will not sound like it was intended.
A full frequency-flat response (FRFR) cabinet will have characteristics that allow the most accurate representation of the "sound" of the Kemper Profiler. 
Display MoreWhen you play through a tube power amp, the sound will be coloured in any case. It will likely emphasize the base and presence frequencies and sound pleasant by that. More scooped.
If the Profiler would present this pleasant sound on the monitor output, and you played it 'again' through your tube amp, you might findmit even more pleasant.
The separation of amp and cab can never be perfect. No digital amp can reproduce the sound of an amp a 100% authentic, when an arbitrary cabinet is used.
You can get a very authentic situation by creating a direct profile using a DI box sensing the speaker output, while the original speaker is the load. We have recently made listening tests. The direct profiles are as indistinguishable as a mic'ed profile, when you play it by our power amp (or another SS amp) into the same speaker.
I can reveal a little secret here: we will soon work out a solution, where the direct profile and the corresponding mic'ed profile can be combined to a single profile...
Awesome! 
Any big secrets you're keeping from us, Mr CK?
Hahaha, that was awesome! I'm petrified at the thought of my guitar being smashed in transit.
Apparently they're working on enabling placement of the delay ahead into any of the stompbox slots, either pre- or post-amplifier. No word on when that'll be out. I don't think they'll do it for reverb though, just a hunch.
Also, I don't think Logic is the problem. It's a highly recommended software.
Cristofero80, what levels are you recording the signal at? It shouldn't be too high, otherwise it will distort at the analog to digital conversion stage. I used to make that mistake a lot when I started out recording: you don't want your signal too hot, you can always normalise the volume later.
Another thing to check is that the signal from your mono outputs are not being effected in any way. Check the output screen to make sure that you are not using "space" or some other setting that is changing the sound.
The Fireface will automatically default to its internal clock in the event a lock on the SPDIF input is not available.
There's an option to send out just the dry guitar signal via SPDIF somewhere in the output settings of the Kemper! You can record that, as well as the wet signal from the analog outputs simultaneously. I'd suggest a good reading of the reference manual for good measure, there's a lot of stuff that isn't accessible without a bit of diving through menus 
Perhaps you should look into an FRFR cabinet, Tantrum. Seems more than likely the "fault" is on the cabinet end of things.
Yeah the Rhodes on the KPA must be a killer combination. The fender rhodes specialist/tech in France lives in my neighborhood, when i visit him i always stare at the silverface fender twin (60's era, JBL speakers
The guy has a collection of amps is started in the sixties (like 40 fenders,vox,orange,marshall...) I always try to convince him to the KPA, but he's hermetic to digital stuff, I'd love to profile all his amps, that would be fantastic.
Profile his amps! Profile his amps!
He shouldn't mind, since I'm sure he's convinced the Kemper couldn't create a perfect replica... and then, it'll be too late!
MUWAHAHAHAHA!
They love their "Made in America" products in the US
It's an amazing thing to be a proud nation/region doing your part for the economy(ies), guys!
Waiting to hear back from Glowing_Tubes....
... about his new Kemper Profiler
Am sure his recuperating time is going to be blissful \m/
I thought the profile volumes are generally at the same level. But I'm pretty sure you've got it right, use rig volume to control the volume of an individual rig. It won't affect the sound.
EDIT: 100 posts! That was fast!
I can recommend Dynaudios if you're looking for a significant upgrade from the KRKs. Super-flat monitors.
