Posts by scratch17

    Universal Audio has two native tape emulation plugins, the Oxide and Studer A800. The Oxide is a basic, easy to use tape recorder with only a few adjustable parameters. The A800 is a full reproduction of the entire multitrack recorder with tape type, speed, etc., available for tweaking. There are also UAD2 versions of the plugins for ultra low latency while tracking through a UA Apollo.

    I use a lot of my UAD2 plugins with my Apollo X6 with my Kemper rack. The two make a killer combination.

    Kieth McMillen Instruments has a fret wired neck system called Stringport 2. They have some demo videos out. I have been waiting for it to become available but they haven’t gotten the funding they need yet.

    Check out the videos on the KMI site. You will be impressed.

    All programs (including the program that creates and implements profiles) rely on a translation of an algorithm into machine code. Most often the machine code is translated from a high level language by another program called a compiler.

    If the author of the algorithm cannot refine it to improve the device’s function, the product cannot be improved.

    Physical assets such as more memory and DSP might provide the algorithm a greater functional level. But only the author knows the requirements for those needs to be met. You can bet that Mr. Kemper knows the limits of his algorithm and what assets it needs to function optimally. In fact if I remember correctly I seem to remember hearing him say that adding memory and more DSP wouldn’t improve the profiling process.

    Of course more memory and DSP could potentially allow for more and better effects processing. Based on Mr. Kemper’s statements however, a hardware revision simply will not improve the profiling process. That doesn’t mean a Profiler V 2 won’t be built. Just don’t expect it to make ‘better’ profiles.

    I’d like to point out that Mr. Kemper decided to stop development and driver maintenance of the Access Virus, his first really successful product. He might do the same at some point with the Profiler considering his statement that the profiling process has been developed as far as possible.

    There is a UK made guitar (BOB O’reilly Expressiv MIDI Pro 2) with wired frets. It tracks very well. It has a lot of on board controls including an X/Y pad, switches and pots. It is also expensive, retailing for $2990 €.

    Alternatively, the Sonicsmith Convertor E2 + Midvertor system seems to track well based on the video Sonicsmith has released. It not only does pitch to MIDI it also does pitch to CV with all of the necessary I/O to connect each string to a different modular synth. And each E2 module has a built in mono synth. It is also expensive ($430 per E2 module x 6 + $290 for the Midvertor module = $2400 after 15% discount). And you need a modular case with power supply, a guitar with a hex pickup, and a breakout box. So figure about $3,000.

    I am waiting and hoping for Keith McMillan Instruments to release its Stringport 2 guitar which will be a wired fret design.

    I won’t buy an expensive high tech solution from another continent from a small company that may not be able to do fast service.

    For now, I use an FTP and Melodyne Studio with a hex pickup. FTP is the best live tracking I have experienced. But it does make mistakes and has some noticeable latency.

    Melodyne does excellent pitch to MIDI after I have recorded each string to a separate track in Logic. The program can do polyphonic pitch to MIDI but it isn’t as accurate as doing mono conversion.

    The KPA won’t get alternate tuning feature anytime soon. But a Roland or Boss GK device can do the trick.

    A Roland VG-99 will do this easily and accurately. And much, much more. You can dial up any alternate tuning you want.

    I suggest the VG-99 because a used one is a relatively inexpensive choice compared to a Boss SY-1000. But VG-99 still has great sound quality and even some features not on the SY-1000. The Boss does work in a limited way with a mono input from a standard magnetic pickup. I’m not sure if the pitch shifting feature works with the mono input though.

    Yes, the VG-99 requires a hex pickup. I have a Brian Moore i213 which has a built in RMC hex piezo. I also have an external GK-3 on my Hamer Duotone. It will soon be replaced with a Cycfi Nu2.

    I feed my unpowered KPA with a mono signal from my VG-99 for alt tunings all the time. The GR-300 built in is a really accurate model. Wanna sound just like Pat Matheney? Here you go…

    There is no noticeable latency, And there are all kinds of HRM sounds that add synth like tones to your guitar. It is really easy to create instant 12 string guitars, too.

    I plan on adding a Stage soon to my Kemper rig. The VG-99 can output a stereo signal. So I can feed each KPA its own signal. That will be really cool.

    Top section is a rectangle. It, or the same size bottom section should have the jack plate. Use a rectangular middle piece that is wider than the gap between the top and bottom sections. The middle section should have two thin vertical cleats at the sides of the opening.

    A gasket should form a ring to seal the opening. It should cover the vertical cleats with horizontal strips along the top and bottom sections. That will seal the back when the middle section is fitted over the opening.

    I’d use threaded inserts in the top and bottom sections with bolts to connect the middle section in place. Use knobs on the bolts to enable quick close / open changing.

    The sections must be cut with precision. Otherwise air gaps will be caused due to poor fit. Use a table saw or a track saw. These are not tools that should be used without caution and safety instructions. I’d pay to have the job done properly. It’s cheaper than losing a finger.

    Wired fret guitar to MIDI has been around for years. Keith McMillen (KMI) has a fret wired MIDI controller that he is ready to produce. He showed a prototype at NAMM a few years ago.

    Richard McClish (RMC) sold a fret wired guitar to MIDI controller in the 90’s called the Zeta Mirror 6 that was really expensive ( > £3,200 ). It worked but the fret / string contact had issues over time.

    It looks like Bib O’Reilly has overcome many of the issues of fret wiring used as a switch to (almost) instantly determine pitch. I saw mention of the contact degradation issue on his web site.

    Also, the pitch bending function seems to work really well.

    Having said that, I have some big issues with this product.

    1. I won’t consider an instrument that must cross the Atlantic for service. I see no mention of a warranty, what it covers, and what the return time expectation might be.

    Further, the site says that there is a 6 to 12 month wait once you place an order. And that the guitars are ”hand built”. So how long will I be without my guitar if I have to send it for service.

    And I hate the “hand built” description. That is great for a standard guitar; it’s silly for a guitar based on specialized electronics. A human is far more likely to create a production flaw than a robot when it comes to complex electronics. And humans cost more and take longer to do the job.

    2. Why do I have to have to pay for all of the extra switches, joystick and X/Y pad? Why can’t I have a basic guitar with fret wiring? At half the price. And as a far less complex instrument, I’d expect less chance of failure.

    3. Where is a full operator’s manual? How can Mr. O’Reilly expect a potential buyer to buy his instrument without knowing its specs, MIDI implementation, and a complete description of the software it comes with?

    4. Mr. O’Reilly is terrible at demonstrating his instrument in the online videos. He misses key points about MIDI guitar controller requirements like matching pitch bend range to the target. And he never explains the need for either a Mode 4 or MPE target if you need polyphonic pitch bend.

    With the potential of this technology, it seems that it could be a home run. But I suspect that the company is woefully under funded based on my above observations. I can’t see it surviving long.

    I will be getting a Mac Mini M1 now that Universal Audio has released drivers for my Apollo Twin X interface. I haven't heard any news as to whether Kemper software runs on Big Sur under Rosetta 2. Is there anyone on the forum who's tried this?

    Does Kemper have any plans to release updated versions which run natively on M1 Macs?

    am overwhelemed. For those that use the Apollo line, How many plugins do you use when actually profiling, which ones?

    If you're talking about additional plugins, like the VSTs that they give you, zero. You want the clean signal of the amp

    I plan on using 2 mics during profile. So i guess that doubles the number,,, I realize some plugins are more processor hungry than others.

    ndross475, I can see why you are overwhelmed.

    You seem to think that profiling on the Kemper involves capturing tones with effects in the chain. That would be incorrect.

    If you read the Kemper manual, you will see that time based effects should not be on while profiling. The manual also indicates that fuzz effects should be avoided.

    Yes, you can put a distortion pedal in front of your amp and make a profile that combines the two. But why do you think that professional profilers don't sell profiles with effects included? I've experimented with profiling a distortion pedal (my Wheebo PlexFace) by itself. But that's not the same thing as profiling it in front of my Fender Bandmaster.

    In fact, until you have some experience creating quality profiles, the only sound that a profile should capture is that of the actual amp. That may or may not include a speaker cab. Whether you profile the amp with a cab depends on the type of profile you intend to make. Different profile types have different strengths and weaknesses.

    I have both a Kemper (non powered rack) and a UA Apollo system with over 60 UAD2 plugins. Technically I could have profiled any of my amps with a Roland RE-201 Space Echo. Or a Lexicon 224 reverb. Or a Tube Screamer or RAT. The results would have been horrible.

    The main reason to use a UA system is that the on board DSP and plugins are a fantastic near zero latency tracking system while recording.

    I do use my Apollo and plugins with my Kemper as an outboard multi effect device. But not as part of a profile.

    Now I have done some experiments with profiling my Mesa Rectifier Recording Preamp feeding some of the UA amp sim power amp and cabs sections. But I highly advise you stick to creating profiles with just one of your amps to get started. Making a good profile is not just about plugging things in and hitting start.

    Point two. Why do you want to start out making a profile with more than a single microphone? Doing so will add complexity that is unnecessary for the process to succeed. Start with a single dynamic mic, like a Shure SM-57. Don't add a mixer. Don't worry about phantom power. Get the mic placement right with a single mic before you start having to deal with potential mic phase issues.

    Point three. RTFM. If you study the manual, you will understand the differences between profile types. That subject alone is fairly complex. So take your time. Start with a Studio Profile. That's the profile type where you use a mic to capture the sound of the amp and speaker combination.

    lespauled , There are no Universal Audio plugins available in VST, AU or any other native format. They are proprietary and require a UA hardware device (Apollo or Satellite or PCIe card) to run.

    Having looked further at the pics on the Kammler web site I no longer think a cab can be converted from a 12 inch to 15 inch driver. The front baffle doesn’t seem to be removable so the cut out for the driver would be fixed at either 12 or 15 inches.

    I do wish the web site had more information including cabinet dimensions. A video on driver installation with tuning instructions would be a plus, too.

    I understand that the tuning of the cab is dependent on the cabinet’s casing design. But I would like to see a removable closed back option for a Mono-Kai with a Kemper Kone. Of course it should be an easy to mod for the standard open back cab.

    Finally I’d like to be able to buy the Tunator as a separate part. That should make it possible to use multiple drivers in a cab a snap. Pre-mount a few drivers and I’d have a really excellent platform for getting various sounds in my studio.

    The Mono Kai is a 1 x 12 OR 1 x 15 cabinet that can house the Kemper Kone driver.


    Our ‘first one’ and the ‘primary rock’ of Kammler Tunator® Cabinets.

    Now available for ‘Kemper’ Profiling Amps with ‘Kone G12G-200’ speaker.*

    This is where a 12″ or 15″ speaker can unfold uniquely and fully, i.e. without competing and overlapping vibrations.

    The mono-modular design allows for maximum precision of the sound/tone. At the same time the sound is ‘transparent’ and differentiated. It allows you to perceive playing behaviour (the attack) incredibly quickly and offers many additional combination options:

    • greater flexibility in terms of requirements (Club/Hall),
    • which makes for easier and lighter transport.
    • stereophonic or polyphonic set-up options by separation.
    • sound mixture by using different speaker types in each case.
    • Expansion of the sound spectrum by combining with the Bi-Kini.

      * With the Kemper® Kone-Speaker available only in ‘black on green’ Tolex. Open cabinet housing is prepared for a optional rear panel.

    See it here:

    The cab uses an truly innovative driver mounting system using what Kammler calls the Tunator.


    In the Kammler Tunator® Cabinet, the individually dampened and framed speaker is connected to the surrounding housing casing. The magnetic driver is additionally fixed by the Tunator® and set into the middle of the housing casing.

    The individual fine tuning, the ‘tuning’ of the vibration characteristics of the cabinet, can be done mechanically by the tension unit.


    I am speculating that the Tunator allows you to change driver size from 12 to 15 inch quite easily. This looks like a great way to house a Kone.

    I have the UAD Classic Effects bundle. It has the Dimension D emulation ( now called the Studio D). It is an excellent reproduction of the original hardware.

    You would need a UA hardware device (Apollo or Satellite) to run the plugin. There is no native version of any UAD plugins.

    The UA system affords near zero latency when tracking through a plugin if you have an Apollo audio interface. And the UAD plugins are awesome.

    Their plugins cover almost any type of classic studio effects, channel strips, mic preamps, mastering tools, as well as guitar devices (amps, overdrives, modulation, reverbs, delays etc.).

    And the Townsend Sphere microphone has two emulation packages not available anywhere else.

    That is the good news.

    As for the bad news, the price of entry is high.

    And you have limited options for MIDI control of plugins.

    Is it worth it to you? That depends on your budget and needs.

    I love my UA system (Apollos and over sixty paid for plugins). The hardware’s audio quality is excellent as are all of the plugins. So for me it’s a bargain.

    Not just pedals.

    1. I want a stereo profiler rig for my stereo guitar.

    My Hamer Duotone has a pair of Fishman Fluence Open Core humbuckers wired as dual mono. So I need to be able to have two completely separate chains to remain in stereo.

    That’s not to say I must exactly duplicate each chain. I just love my KPA enough to want it on both.

    Each pickup feeds a Radial JDV Mk3 DI. Each JDV feeds my DAW, has a bypass which feeds my KPA, and two Hi Z outputs for analog amp(s).

    I use the direct DAW feeds for re-amping and also as a continuously variable mix of the neck and bridge pickup. This provides me with what is a unique tone control. The natural differences in each pickup’s tone is blended producing a tone that is impossible to obtain with a simple pickup selector switch.

    With two KPAs I can place a pedal or even different pedal profiles in front of two analog amps.

    And don’t forget that profiles have presets and some have parameter controls. Few overdrive pedals have any MIDI control. I see a pedal profile as a super set of the pedal I have profiled.

    I also am putting CycFi Nu2 hexaphonic pickups on my Hamer. I will set up the CycFi pickups in stereo. In this case, the pickups will split the top three strings from the bottom three strings. Each side will get a KPA.

    2. I want to be able to use a foot pedal to morph smoothly from one profile to another. In this scenario, I need two profilers connected in series.

    3. Two KPAs in series with the first having a preamp profile feeding a Studio profile.

    4. I want two KPAs so more than one guitarist in my studio can play with one.

    I am not thinking about a second profiler just to profile pedals. I see the KPA as a piece of a puzzle that fits together with other pieces in my studio to create new options for sonic creation.

    Actually, that is what I want; a profile of just the pedal.

    At some point, I will have a second Kemper. I plan to connect them serially. The Kemper with the pedal profile loaded will go into the one with the amp profile. Just like a normal pedal / amp setup.

    For now, I have profiled my Weehbo Plexface. It is a two stage overdrive with a Plexi side and a Blackface side. You can think of it as two overdrives, with a fixed routing path.

    You can run the sides individually. Or you can run the Plexi into the Blackface. But you cannot run Blackface into Plexi.

    With the Plexi side profiled, I can run it into the real pedal running the Blackface side. Or I can run the pedal and the Profiler in parallel. So I have far more flexibility.

    Or I can run the Blackface at low gain into a profile of the Blackface at a higher gain level. I place each device into a loop on my Voodoo Lab GCX, switching between them as needed.

    The increase in flexibility doesn’t end there. As with any profile, I can have various presets of the pedal. That is something the real pedal doesn’t afford.

    And of course a profile can have pedal control over a parameter such as gain or tone. While the profile doesn’t have a linear relationship with the pedal parameters, this can be a real advantage over the real pedal.

    In all cases I run the Profiler and/or pedal into one or two of my tube amps. So until I get a second Kemper I can use this method with a single profiler.

    Try this:

    Make a Direct Amp profile of the left or right output of a home stereo receiver. Set its tone controls to flat or bypass if available. Put the pedal where Alan says.

    That will create a profile whose tone will be based mostly on the pedal.