Posts by chu

    Would latency really effect this? Ignore the virtual capo part, if you using it as a whammy bar, do we do so whilst picking? It's when you do stuff with a prominent attack, like a choppy riff that I really notice latency. But I don't do that when grabbing the bar, I'm bending something already ringing.

    Who knows? I won't be getting one either way, not until it looks like it belongs and also comes down in price.

    I use a Famc Liquid Foot midi controller and always use Performance mode unless messing around. I have no midi lag.

    I do get some crashes when connected to Rig Manager and using midi switching but I can live with that, especially as my midi commands also change lighting, mixer and outboard gear too.

    Boogie cab? As in a passive guitar cabinet? You need an amplified signal so either a separate power amp or a powered version of the Kemper ie Power Head or Power Rack.

    You then connect the red speaker output to the cab.

    For the Bluetooth, we'll, the Kemper has quite a hot output. You can use the main outputs and then select -12 dB in the output menu.

    I don't know what to say really, but all of my initial favourite profiles failed with a band and on recordings. It took a while to find stuff that satisfied everything and definitely made me reconsider my ability to identify good tone. Volume definitely plays a part as does context but I think that for a number of years before my Kemper, I only played decent to very decent amps. They usually sounded great with everything set to noon and you could go from there but didn't really change much; almost as if the designer had deliberately made it to make nothing but good sounds.

    But the Kemper has many more variables based on the monitors used and capture technique and can easily sound bad. But, the good stuff is definitely in there!!

    Absolutely, i certainly wasn't saying that you shouldn't use it on solos, only suggesting that it wouldn't necessarily fatten up a lead like the Roeffel asked.

    Should this also be used to fatten up leads ? make them sound les thin ?


    You could try it and see how it works out. But I can't think of a time where I would double track a traditional solo type lead though. Despite the immediate wow factor when double tracking stuff, there are often downsides and that can be punchiness. Like a good, punchy, fat vocal, lead guitar often has the most impact when mono (maybe some stereo effects such as delay though). Double tracking and panning have the effect of pushing it away, creating space and air.

    I would be most likely to use it for massive sounding riffs, chords and cleans.

    Most of the profiles I use are profiled with a V30, or just sound great through a V30 loaded cab...I bought the Kemper cab (..has the Kone..what else would it have??) thinking I wanted all of these different speaker type options, but nope, I like 1 or 2 maybe, so I don't need it. I hear it sounding pretty good for different types of cleans, but for the modern hi-gain stuff, either one of my V30 cabs already sound great (..of course I turn the "Cab" sim button off to monitor.) Again, the profuiles I use are profiled with V-30 or OS Recto V30 cab, so for when I need to be loud and have the air moving, I just plug my Powerhead into one of those cabs, still use the main outs for PA or recording. The Kone/cab just isn't for me. Love the Powerhead tho : )

    I fully understand what you're saying. When I got my Kemper, I assumed that I wanted amp x for clean, amp y for crunch and amp z for lead. Then a few others for certain sections.

    I've enjoyed the journey of finding what profiles produce my preferred sounds and the ability to try new ones whenever I get bored but like you, my preferred sounds aren't all that different and don't require a number of different speakers to produce when one decent one will do.

    I use a pretty advanced MIDI board with semi automated switching. I don't need the bank of five feature but do always use one Performance bank per song, even if I only use one sound in a song. The only two measurable benefits I get are a) having mildly different versions of the same profile for different songs, whilst having a standardised version in Browse (maybe a different delay time for example) and b) Faster switching between sounds.

    If that isn't an advantage to you, I'd say stick with Browse.

    I think most people don't use Windows tablets. They are mostly used in a business enviroment and a lot of people will have an ipad or an Android tablet.

    You are one of very few who already have the hardware to do this stuff that we will hopefully get soon, so i can understand why it's so underwhelming for you :)

    I bought it for £38 on ebay when the editor came out. I use it for controlling our Behringer X18r mixer, lyrics and for the aforementioned editor. So i could use it at rehearsals but don't. I'm not trying to be mean, nor dismiss why someone would think 'ooh, that's handy. Thanks again Kemper' but still, I'm just not as excited as some.

    As cool and welcome as this feature is, I'm not really seeing the excitement. I use my Kemper for home practice, recording, band practices and gigs. I use a large number of patches, loads of effects and it's far from a straightforward guitar-amp-rockout.

    At home, it's connected to a Windows tablet so I create my patches either with the front panel or RM editor.

    At band practice, I'll try the new patches and might have to tweak the volume at the end of the song but I'll just make a note of what needs adjusting when I'm home. I don't want to be the guy that frequently asks the others for a moment to fiddle with their gear as we're paying for the room per hour. The next time we get together, those new patches will be 99% there.

    At gigs, I don't adjust things. Whoever is doing the FOH might tweak the EQ on the mixer but my sounds are well rehearsed and good to go.

    I understand that it's a welcome addition but it's not going to help me do anything I can't already. But each to their own!

    I've got an MEI 1000 system and am happy with it live. It degrades the sound though, i don't care when playing with a band as the benefits of wireless iems are immense but I wouldn't use it at home.

    I remember my Line 6 HD500, it mimicked the model perfectly. The Vox had a cut knob instead of a presence control which (like the original) worked counter clockwise and one of the models ditched the EQ in favour of two gain knobs (again, like the amp modelled). It felt like a great idea but sadly, I spent forever tweaking it to sound right.

    Then came my KPA. Sure, the controls aren't modelled to work exactly like the real amp but they work surprisingly well. Find that great Marshall amp profile but need a little more gain or less treble? Do it. Does it sound entirely authentic? Well, to my ears, I now have a perfect sounding Marshall tone. It's lost none of the character I chose the profile for. It's only my brain that considers if it's authentic or not.

    Give me a genuine valve amp and I don't tend to play with the extremes of the settings, I find perceived sweet spots and adjust it to best suit the guitar. Then it's a minor tweak here and there depending on circumstances. Isn't that essentially what we do with a KPA?

    I had a Mimiq pedal (the full size one)and I tried it in a stereo loop and at the main outputs. It made things sound massive when active but I remember it creating problems with difference in levels when switching it on of off (I forget the full details). I ended up keeping it on all of the time and convinced myself it sounded great but changed my mind after a while. It did sound really immersive on headphones or monitors at home but with a three piece band, direct to the PA, panned hard left and right in stereo it fell apart. The crunch/filthy rhythm stuff sounded really good but there were moments when it detracted; it was really dependent on what riff I was playing. Maybe if you could send one output to a different amp or profile it might work, but less so for use with a KPA with its single profile. On cleans it felt like you'd scooped the mids and on leads, it destroyed the cut and aggression completely.

    I honestly though it was going to be a great solution for me but it created more problems than it was worth, even with a PA controlled entirely by me. I sold it within a month I believe which is the opposite of my tendencies.

    Sonar 8.5 with Windows 7. No crashes and I know the system fluently.

    I've just had to buy a new (used) interface and went with a cheap M-Audio Ultra 8r. I can't notice any sonic difference from my previous interface. I wanted spdif as it makes reamping so simple but it has no influence on the sound quality.

    Latency is irrelevant. If you're playing through a Kemper, either direct monitoring or a second input to the monitors makes it meaningless unless you're playing midi keyboards to a vsti.

    In terms of power, it depends how loud 'really loud' is. For most purposes, it would likely be ok for rehearsals but once that volume starts rising, it can be increasingly hard to achieve separation in a confined space. Having multiple sounds coming from one source can lead to frustration and arguments; that's effectively why individual mixes are preferred.

    But it's all very subjective, I've rehearsed in tiny rooms with just two small powered wedge monitors and full rock band. Sure, the rest of the band don't hear the vocals so well but the singer can.

    This is getting a little bit impolite, there's no need for any of us to be so.

    I appreciate the OP's desire to have the profiles automatically select an imprint to match the cab used during profiling. But not only would that require either a reduction in the profiles available or for Kemper to come up with a massive number of Imprints immediately. It simply isn't viable.

    We can already store Imprints against Profiles so that we can achieve just this, but that requires us to do so. With the vast variation in miking positions and differences in personal taste, we will always require lots of profiles. The majority of us are entirely satisfied with the route taken by Kemper to give us some of the guitar speaker sound.

    If you consider that for any live performance with decent PA or studio recording, the drums, voice, guitars, piano, strings etc have been captured through a mic. If you were able to remove the sound of the mic from the guitar, you'd have a hard time making it work in the mix. It's really about the monitoring for the Kone.

    So yes, maybe there is a compromise to be made by having to assign an Imprint to the sound you're making, which may not be entirely the same. But you can flip from FRFR to V30 to whatever and still get close. The alternative compromises will disappoint far more people than this method.

    Instead of changing Imprints and the main outputs not changing to suit, I consider it the opposite way round. I am changing the Imprints to match the cab used in a Profile that I like. If I want a different IR for recording or playing live, I select a different Profile. I then make sure the Imprint sounds equally as good for me on stage. The priority for me is still the Profile used. If I'm dialling in the perfect tone for the Imprint without considering the main output, I'm neglecting some of the Kempers best attributes ie reliable, authentic sounding mic'ed guitar tones. No worries about the engineer dangling some cheap vocal mic over the cab. Same every time. That is my priority but the Kabinet allows me to play with the familiar sound of my guitar speaker au naturale.

    There's no magic, one click solution when using FOH. All mixed guitar sounds are captured through a mic, the same as drums, vocals and keyboards. The audience's ears expect that but us guitarists don't due to years of playing beside an amp.

    If the Kemper automatically changed the cab on the main outputs to reflect the imprint applied to the Kone, you might not get the desired result. You could get a sound that doesn't work on the FOH system you're using on that occasion and would have to adjust it after being told by someone else.

    The best way to us the Kemper, Kone and FOH is to dial both in to suit. I'm entirely happy with the concept that with a well dialed in FOH, I can still change imprints to find my own tonal mojo. It's a monitoring solution that covers all the bases but accordingly will at be slightly less intuitive to some.

    It's not an oversight. It's not a flaw. It's a feature that suits the majority of users.