Consider it like this:
Be it a Toaster or Rack model, all Kemper's have a feature allowing it to be brought up to it's current performance standard just as a new one.
So, even with a used model (barring any abusive history), will have (and will continue to have) OS, Factory Rig packs, Accessories, Utilities and an ever growing culmination of profile selections available to you. Cool huh? 
Hope you decide to join us.
This side of the fence is indeed fun! 
Unlike MicroSoft, Kemper elects to publish it's documentation first. Bravo!
Yes, there is one, but the Stagg is far superior, more protective and padded better.
+1
If given a choice, I'd again choose the Stagg
cKemper - I do recall the Dirk Baldringer Acoustic A-D profiles from before, but confess I omitted those during a re-amp. 
Knowing now they've been engineered for Piezo's, I'll certainly bring them back into the fold. Thx.
viabcrose - My best success to your recommendation has been typically to keep the AMP active while excluding the CAB. Granted this doesn't make a lot of sense logically, but I've had my best success adjustments this way for a given profile.
What was missing from the suggested approach was the ability of blending clean electronics dedicated to one channel and an acoustic tones the other. Or I perhaps changed the standards mid-way. 
Beginning this thread in the Profiling section now seems more appropriate elsewhere since this has nothing to do with (and certainly no knocks towards) the profiling process.
But, as pure as any acoustic profile currently is or becomes, the practice of mix/blending tones adding that additional vibrant flavor can only be best achieved through separate channels. IMO
Having nothing but admiration for Kemper and it's abilities, I'm only sharing a connection strategy which maintains the benefits of this blending technique.
So, in-as-much as I'd be looking to consolidate equipment, it wouldn't be at the expense of foregoing this blending option. You gotta know, we guitarists want it all.
I've since discovered reproducing acoustic piezo signals via the Kemper isn't really the best approach.
I didn't mention this before. but one of my goals here is to consolidate my stage footprint some by eliminating the acoustic amp out the equation and delivering acoustic tones by other means. But that aside...
Sorry to say, I now believe I've been "barking up the wrong tree" with an acoustic profile approach.
This is not to say this can't be done, there are simply better ways to achieve these sonic results.
I now see the resolution being connection vs. any profiling condition.
Rather than taxing the Kemper profile to deliver these tones, there is much to said about driving an active piezo pickup via an isolated signal to a powered speaker, thereby allowing the Kemper to do what is does best.
Approach: Since powered speakers can handle multiple channels, leveraging a high quality DI dedicated to acoustics using a separate channel of the DXR10 has merit. The other channel dedicated to Kemper electronics.
"Y" cabled from the guitar, this approach better provides the mix/separation/isolation characteristics I'm after, still maintaining control at the guitar level and moreover reducing/simplifying stage equipment footprint.
Regardless of which quality DI is implemented, an isolated wired approach (at least for me) offers more stage flexibility than any acoustic profile summoned via the Kemper. Nothing implied against Kemper here in any way!
Some of the DI contenders I'm currently looking into are:
Fishman Aura 16, LR Braggs Para Acoustic
Some too like the Fishman Aura Spectrum, but that unit seems to have more than what I need for my purposes.
YRMV
yep ep ive got 2 of them for my DXR10's they are very well made and protect the speakers really well.... And to top it off they are great value and half the price of the Yamaha ones
+1 here
Best value for these speakers IMO.
One of the few bags included with a great shoulder strap which only makes transport all the more easier.
Added a sheet of left over poly foam I had had kicking around only because I wanted to and the DXR10 still fits nice.
Update: I reached out to a good friend of mine who happens to use a pair Ultimate TS-90's and he couldn't be happier with them. A close second would be their TS-80's IMO.
I suppose I was kidding myself a little with the TS-50's I was looking into before. (Lulled by cost savings)
By comparison, the offset tripods, wide base, Telelock collar, and overall integrity has now won me over.
As said earlier, nothing is absolute under gigging conditions, but (to me) investing the extra $$ seems negligible given the additional piece of mind they'll bring.
FWIW - Here in the states, Music & Arts is offering and additional 15% off thru the Xmas so I jumped on them.
Once mine arrive, I'll have some better first hand experience, but expect to be fully satisfied and glad I chose quality over cost savings.
Giving all considerations mentioned, it appears there's no substitute for a sound and stable base.
Makes perfect sense to me...
I'm liking models with offset the tripods more and more.
Last point, not mentioned before here would be sturdy and roadworthy clasps.
Hadn't really thought about that before since I'm typically standing for my gigs.
But, clearly you make a valid point to take into consideration.
Weight-wise - the OP didn't specify what he was using. Since the DXR10 is both lighter and smaller than your CLR, cab weight/size might make all the difference in stand selection.
No disputing hydraulic stands helping out with hefty/tall cab settings, but selecting anything like that needs to be well matched to the cab's size/weight, otherwise it'll result in overcompensating causing a hard to control "springing" issue. More of a hindrance than help in that case IMO.
Likewise, I agree broader bases = safety, but some remain interested in leaner footprint options for coffee house type settings. (which I believe the OP was targeting)
I've also seen ballast weights which could help with smaller base stands in closed quarter venues.
I'm currently looking for a pair as well.
Some things to consider:
1) Whether your mounting requirements are 1.5" or 1.375". Some accommodate both.
2) Many have (what I believe to be) overstated weight specifications. But that's just my opinion.
Fortunately, today's speakers (even powered) are pretty light as compared to the antiques of old.
Moreover, I expect I'll only be going ear height or so anyway, so my "wobble factor" should be pretty negligible.
So... I inclined to believe many of the higher cost offerings might be overkill for these purposes.
Right now I thinking a pair of Ultimate JS-TS50's or similar just might do it for me.
Of course there's no substitute for actual experience, so I'd be very much interested in practical usage.
thebrushwithin - Now that's acoustic territory I was looking for.
Thanks for sharing....
Very nice! My favorite part clocks between 1:10 - 1:15 when everything ties in.
Beyond the tones, great and tempered use of space throughout the recording.
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Better?
On stage I actually favor if possible right side positioning for wire management purposes.
Next steps are to get a pair of Ultimate Speaker stands to support the DXR10 and the Shen 60. Santa Baby...
I use an On Stage KMS7927B.
Although mine is used for a rack style unit, I couldn't imagine any reason it wouldn't work for a lunchbox as well.
I chose this unit mainly for it's height capabilities above others. (Easier on the eyes and better reach ability)
It's certainly stable enough to handle the modest weight of the Kemper and Furman conditioner I use.
I really like the rear curve retaining bar and the velcro strap adds just that little bit for stability and security.
I finally took some pics to better illustrate the operating position with the Kemper.
Generally, the "Is it worth it" question is a subjective one.
That said, I do have a small percentage of sounds I use which would really benefit running twin DXR10's.
U2 type stuff.
Personally, I'll say it like this, I'm constantly keeping my eye on another DXR10 should a good deal present itself.
Necessary? Probably not, but I guess I'm simply like that.
I see I created some confusion with my original thread title. So I edited it for clarity.
The previous title was mainly to target an audience using solid body piezo guitars to get an acoustic sound.
Restating, I've found the available acoustic offerings in RigMaster uninspiring and very synthetic sounding.
Mainly since (at least the ones I've found) are sourced from Boss, Zoom and Acoustimax pedal simulations.
I can (still) get a much more satisfying sound patched directly to my Shenendoah 60 or a even a soundboard for that matter. Granted... EQ settings add a lot in capturing the sweet spot.
This led my to question, why wouldn't the profile process be able to capture the character, nuance and dynamics of an acoustic amp profile just as well as any clean amp profile?
Going with the recommended approach, I agree much can learned with EQ, compression and ambient fx settings to keep things simple and I do follow the linear argument.
I am familiar with such techniques and will experiment more using no Amp or Cab trials.
Perhaps a no Amp and select Cab trial(s) as well.
But I still believe there'd be value in capturing the identifiable characteristics between say a Fender Acoustic, Trace Elliott or other like acoustic amp and the Kemper I expect would do a fine job at it.
I recognize Armin from other postings on this board. (with high respect too).
I gather he's done some commercial profiles with such acoustic amps and I have to look into those.
Thanks
In as much as I admire all the great tones Kemper offers for cleans, crunch, overdrives and such, I still (currently) prefer to keep a separate signal dedicated to an acoustic amp for my acoustic needs.
Unless I'm mistaken, there currently doesn't to be too much to select from.
I have tried a handful of acoustic profiles from RigMaster, but they don't seem to compare for (I suspect) these reasons.
1) Several originate from an acoustic Boss pedal patch into a clean amp profile. (If I recall the orientation correctly)
2) The others I've selected I believe were profiled more for a Hollow Body acoustic signal. These (for me) seem to peak out the input signal real easy.
I'm bringing this up this thread since I would expect others might too benefit from similar solid body piezo profiles capturing those sweet spot EQ's from an actual Acoustic amp. Such as Trace Elliot, Fender Acoustic's etc.
That said, I think my next step will be to try (my first attempt mind you) at profiling my Genz Benz Shenendoah 60 which I still have available in my arsenal of equipment. Granted there could be better candidates to do this with, but I'm merely beginning with what I have.
To do this correctly, I suspect I'll be needing two mic's to make this work.
One dedicated to capture the 6.5 woofer output and the other to capture the bullet tweeter.
While my personal guitar preference is a Parker Mojo, I'm sure others using Musicman, Carvin and like guitars would benefit from such profiles.
Thoughts / Suggestions and any Rig Manager solid body piezo uploads are of course welcome.
Whether you use headphones for your Kemper or otherwise.
Evaluating headphone offerings can become a daunting experience.
I discovered the following to be a very cool site in order to "pre-evaluate" headphone choice selections.
http://www.headphone.com/pages…2361&graphType=0&scale=40
Of course there's no substitute to first-hand (ear) try-outs before laying down any cash, but this helped me eliminate a lot of contenders before any store/vendor testing.
FWIW - I use the Audio-Technica ATH-M50's and couldn't be happier.
Hope this helps.
Naw... That's merely 60 years of coveted "character" that we all admire.
[quote='carsnguitars58','http://www.kemper-amps.com/forum/index.php/Thread/17447-1954-stratocaster/?postID=183901&#post183901']He says at beginning it's 54. Then he adds adnotation somewhere in the video that he had mistaken twice saying it's 64. It is 1954 with serial no 0930. LOL Fender assumed to manufacture 9999 guitars then? So it is no biggie? This sound? Just the amp and dynamic playing?
Ooops...Missed that!
IMO it's mainly the feel/action of these guitars that'll make it worth investing in. (if at all)
As others have said, driving it through the right amp makes a world of difference too.
Don't know what he's asking for it, but a pretty nice find in that condition for it's age.
