Posts by Foresten

Hi Bert,

thank you for this pack. Unfortunately I don't have too much time at the moment to check everything out extensively but I played around a little bit with the performances and really love the 1960 performance, these five sounds alone are inspiring. Great sounding and nice dynamic interaction with the guitar volume pot.

And for me you have found the perfect way for liquid profile packs with your four folders. Most important are the real RAW rigs with cabs. One profile per channel with gain on 100% (maybe like you did one additional at 50% when it makes sense) and all other knobs on 50%, and this raw setting with different cabs - perfect. From here we should be able to dial in our perfect personal sound to our liking. Nevertheless it is nice to have some "ready to go" sounds like you did in the tweaked folder and in your performances. So for me the amount of profiles is absolutely ok. I personally will probably not use the DI profiles but I guess if you want to use a real guitar cab or an IR of your choice it is a great idea to have one real RAW DI rig per channel.

So again: The perfect way to do liquid profile packs - I wish all the other profile vendors would follow your example.

And please: Do not only burn some liquid into the existing Friedmann profiles but redo it from scratch the way you did the SLO, and then the JCM800, 5150 and the Bogner. And maybe you can get your hands on a Mesa Dual Recti!?

Cheers

Tom

A big "+1" for this.

I also understand it, that a "real" LP should be profiled with full gain , all other settings at noon and no overdrive/boost pedals or the like. So even an existing profile where you noted all the settings (if you really did) wouldn't be a "real real" LP unless you randomly profiled with those full/noon settings. I'm with you: It would be more than fair by the vendors to clearly state which method was used when they offer LP.

I would really appreciate if the vendors catched new LP from the scratch with those recommended settings, one per channel/setting of switches etc and clearly flag them as the "scratch-position". Ideally we would then have one "original" profile per amp-channel from where we could dial in our personal tone like using a real amp.

If the vendors like, they can add 50 more profiles from their sweet spots or effects creations if they still think that one profile isn't enough to sell. But I always hated to switch through 80+ different profiles of one amp only to find that there are only small differences, some are absolutely useless with one or the other guitar or many have the same base sound only with different effect settings -> one good base LP profile would be enough for me to start from and dial in my tones.

Sure this would bring a new challenge to the commercial vendors: Of course one real Fnda Baseman from 65 doesn't sound like the other, but they should sound really equal at the same settings - and so should the profiles from vendor A and vendor B. If I'm not wrong, the biggest difference should be the question which speakers/boxes and mics were used and how they were positioned. So you would probably not buy the same amp model from different vendors (hoping there might be that 1 sweet rig in 80 that sounds even better than the ones you already have), but instead you would probably find your favorite seller even easier (whereas I'm sure, most of us have one or two already).

I understand the copyright problem in naming the profiles the right way, but sometimes it is really hard to find out, which amp is hidden in a profile.

My suggestion: Wouldn‘t it be possible to include a pdf with an additional „information“, that this amp was built?

That means: Do not say „ this tries to copy a XXX YYY amp“, but instead name your profile e.g. MB_Street_Queen_2_C2_xyx“ and add an information in the pdf: „For those who are interested: Mesa Boogie once built a great amp called Road King II“.

This information would just be an information which should not implement any copyright violation, should it?

That's funny. By chance I looked up his Rokpak yesterday and also found, that his link to the RokPak doesn't seem to work any longer, got some strange error messages. Nevertheless I lost interest when I browsed the net for info and found prices from at least 140 bucks for the small pack. Reading your post I just browsed some more and found the following link. BritshAudio seems to sell it and even the price looks good: 95,00 USD for the big ÜberPak

https://britishaudio.com/produ…legendary-rokpak-uber-pak

Same here, saving the rig doesn‘t help. „Save as“ under the same name lets the „E“ disappear, but then the original isn‘t replaced though, instead you now have two rigs with the same name and can only identify them by the save date.

I've always had this "problem" as far as I can remember, so it's not a new bug. Anyway, would be nice if this could be fixed.

Hi all,
I've got an issue with assigning the switches on the remote after upgrading to the latest FW.

Example: I have a (new) rig with delay and reverb, where delay is switched off and reverb is switched on. I want to assign delay to footswitch III and reverb to footswitch IV. Before updating to the latest firmware everything went as supposed to be: Press FS III and delay button on the Kemper -> delay is assigned to FS III with STATUS OFF. The same with FS IV and reverb button, reverb is assigned to FS IV with STATUS ON.

After the update I experience the following: Press FS III and the delay button -> delay is assigned to FS III but the STATUS changes to ON. The same with reverb, assignment works but at the same moment the STATUS is REVERSED to OFF.

Never noticed that before. Am I missing something? New feature or a bug?

Has Nobody else experienced this?

So, nobody else has noticed this strange behaviour?

Hi all,
I've got an issue with assigning the switches on the remote after upgrading to the latest FW.

Example: I have a (new) rig with delay and reverb, where delay is switched off and reverb is switched on. I want to assign delay to footswitch III and reverb to footswitch IV. Before updating to the latest firmware everything went as supposed to be: Press FS III and delay button on the Kemper -> delay is assigned to FS III with STATUS OFF. The same with FS IV and reverb button, reverb is assigned to FS IV with STATUS ON.

After the update I experience the following: Press FS III and the delay button -> delay is assigned to FS III but the STATUS changes to ON. The same with reverb, assignment works but at the same moment the STATUS is REVERSED to OFF.

Never noticed that before. Am I missing something? New feature or a bug?

Hi Nikos,

ich habe heute zum ersten Mal in den Rig-Manager geschaut und mal versucht, dein Problem nachzuvollziehen.
Allerdings habe ich den Kemper aktuell nicht angeschlossen, aber das mit den Performances scheint bei mir zu gehen.

Du scheinst ja schon zwei Fenster geöffnet zu haben, Nummer eins mit den Rigs, Nummer zwei für die Performances (wenn nicht, dann mach das mal).
In dem zweiten Fenster habe ich bei mir links unten im Menübaum den Punkt "All performances" und darunter den Unterpunkt "Local Library".
Klick mal den Unterpunkt an, dann müsstest du die "New Performance" sehen, die du über "Files" erstellt hattest (die wird auch vorher schon angezeigt, wenn du auf "All performances" stehst, ist aber dann wohl nicht editierbar).
Klick die an, dann sollten im rechten Fensterbereich im Inspector die Performance Settings sichtbar werden und darunter die 5 Slots.
In die kann ich problemlos einzelne Rigs aus dem ersten Fenster ziehen.

Wie man die Performance dann allerdings auf den Kemper kriegt, weiß ich auch (noch) nicht, weil -wie gesagt- heute zum ersten Mal damit beschäftigt und der KPA steht im Proberaum.

Hoffe das hilt dir weiter
Gruß
Tom

Thanks for your quick replies, deadpan and lightbox.

Yeah, of course I I would have to tame myself and keep the volume down. Well, if I forgot, my neighbours would remind me for sure

But it seems it might give decent results, so maybe I´ll try.

My aim is not to have fun at home and noodle for hours, I just want to get a close as possible impression of the "real" sound of a rig (close to the sound it would deliver if I dragged my CLR home after each rehearsal).

Maybe some other guys, who have tried this solution, can chime in and Report their experience/Impression.

Quote from Booyah

You could try skipping the remote connection on the Pre-Effect Pedal and connect it Guitar>Volume Pedal>Kemper. Set the other pedal Post Effects and you're in business.

This is exactly what I do. I have the volume pedal of my FCB1010 set to control the overall volume of the Kemper (post effects).
In addition I use a Boss FV-500-H volume pedal between the guitar and the Kemper input to control the gain of the guitar.

What I like especially about that Boss is:

• it is built rock solid
• it doesn´t change the sound of the guitar (especially no treble cut, like even most guitar volume pots do)
• it has a separate volume poti to set the lowest level when the pedal is heel down.

If you want, you can set this poti to zero, so the guitar volume can go from 0 to 100 and you can do that swell effects. I personally have set the lowest volume to a level that the amp (rig) sounds clean. So I can use a Marshall rig at "11" for example when the pedal is full up. When it is at heal down position, I get a clean sound with that same rig (like turning the guitar volume knob down), but always at the same defined level - and of course any crunch/distortion inbetween is possible by smartly moving the foot, without having my right hand stop to play and search that knob position, that gave me that nice clean sound last time.

Hi all,

my problem is: I´m looking for a solution to use my KPA powerhead at home with a most authentic sound, especially to try out new bought rigs and filter the ones that I might like.
In the rehearsal room I have my CLR wedge, but I have no time to go there and try e.g. the 250 rigs from SSP`s Artist packs. It would be great to use some spare time inbetween at home to test them one by one.
Up to now I´m using the speaker of a self built combo amp I have at home, but this of course changes the sound drastically, be it with cab-sim on or off. Rigs that sound good with this speaker very often give a completely different Impression with the CLR in the rehearsal room.

So I came to this -maybe odd- idea: Shouldn´t it be possible to use a (good) old HiFi-Box at the power output of the KPA at "bedroom" level? Of course, each HiFi box sounds different and there is a great range in quality and hence in sound. But, basically any HiFi box should sound more "original", straight and linear (hope you get what I mean) than a guitar speaker, shouldn´t it?

So, my question is: Has anybody tried this before and can share his experience before I go and try to shoot a good used box at the bay or somewhere else?

Thanks
Tom

• If you want to change strings, don't do it right before the gig. Chances are you spend half of the gig tuning.
• Make sure you hear yourself everywhere on stage. It's really annoying when you run over to the bassmans side to do a guitar battle and suddenly find that you don't hear what you're playing.
• Don't worry too much. Just get on stage and have fun. If you have, the audience will have, too.
• Of course, there are always some guys from the "musician's police" who hear every mistaken note and can play everything better. Simply forget them. Believe me, most of the audience doesn't realize it. As already said, they come to have fun.
• Be prepared that your drummer and bassman will play double the tempo they usually do
• And remember Syre's tips, they are really essential

Quote from sambrox

If you didn't sign up for Early Bird status, then your ETA will be whatever the estimated shipping time was as stated in the webshop when you ordered. Eg. if it said 105 days when ordered on 21st January, you'll have to count 105 days from that date. As far as I am aware, only Early Birds have gotten a concrete shipping date estimate aside from that. Hope that helps.

Cherubs,
Sam

Well, I'm afraid it's not that way. I ordered on Jan 17th with order number 3447115. The shop said something around 70 days delivery time then, that would have been nearly 3 weeks ago.
I'm not a big poster in this forum, but I read it nearly every day. Except during the EB signup period because I was off for work then without Internet access.
Of course I cannot blame anybody for that, but still it is kind of disappointing to see that orders placed later than mine are already fulfilled, only because someone put an email way before the real order. Even worse for guys that did already pay via PayPal.
I'm aware that Kemper can't give an exact shipping date, but a bit more than something like "You're not on the early bird list, we can't give you an estimated date" would have been a nice answer from sales support.

If it is not possible to leave the choice to the user which mode to use, then please leave it as it is.
Performance mode was originally thought to be used as a "per song" mode, wasn't it?
And for this purpose it would be more useful to start each performance and hence each song with slot 1.

Watching the video it seems to me that there is no latency when switching rigs.
Is that really so?
Remembering all the other threads about latency while switching rings and experiencing exactly the same problem with my FCB1010 this might be the solution!?

I want to leave a short message about the customer service of Atomic Amps.

About one weak ago my active CLR wedge unfortunately died during rehearsal. Started with a hissing sound and ended up with no sound at all. Well, sad that this happened anyway. And I still hope that the reason was only a wedge "produced on Monday" and not a fault in construction.

But how good to know that you have a perfect customer service in these cases.
Although being on the road Tom King replied immediately and he really did everything to help me as soon and uncomplicated as possible.
So it took only about a week until the spare part arrived in Germany via FedEx, self-repair was easy and I luckily have my CLR up and running again.

Just wanted to spread the word, because Tom's great customer service really deserves it.

So finally we know where the KPA comes from.

Looks like a Flux-Compensator, so: Back to the future

Quote from skyhighrocks

I'm using the uno4kemper.

That Uno4Kemper is your problem, Skyhighrocks.

I haven't tried 2.3 by myself, but from reading the info about the new firmware it seems you have to keep the switch pressed, which you assigned to the delay function, until the tempo is recognized by the KPA.

And you will not achieve this with the Uno4Kemper, because it goes into programming mode when you keep a switch pressed for more than 3 (?) seconds (from my feeling it is even shorter). This is the one thing about this PROM I really dislike: I had the situation more than once, that I pressed a switch a bit too long and suddenly was in programming mode. Tapping a button again suddenly assigned a completely different function to that switch. The first time this happened I thought the FCB or even KPA had died, because my Reverb and my Delay switch on the board both switched the Delay on/off, but there was no way to switch the Reverb
Took me some time to find the reason for this.

So, I'm afraid that this function will not work with the Uno4Kemper unless Xavier releases a new version, where you have to press a switch for a (much) longer time to go into programming mode or where you have to press two switches simultaneously to go there.

Also frustrating for me, I just recently (some weeks ago) ordered the latest version to replace the older one because of the better pedal support. I didn't even find the time to install it, and it seems, I would still have to buy another one again to use this new tap function.

As I also have a EurekaProm and this seems to work according to lightbox's post, I guess I will go on with this one (which also means: get used to it after having used and being used to the Uno4Kemper).