That takes up even more space...And it's more luggage costs when going on flights etc. More risk of individual units getting lost...
I put mine in an SKB shallow rack and take as cabin baggage. There is even room for cabling and underwear in the back for a few shows
The guitar can go checked, as my Kemper is more important.
Now we have digital wireless systems they are more vulnerable to multiple signals on stage. I never had dropouts with the older Sennheisers, but have on several of the 2.4ghz units at busy stages. As soon as you introduce people using phones, iPads for monitor control, in-ears systems and other bands setting up their own wireless, the units struggle for distance.
So more wireless would need better bandwidth and also I'm not totally convinced what the long-term affect is of all the signals we are in touch with health wise.
For me, the Kemper has cut down the amount of cabling because I have everything in one unit.
I guess that some bass players use a compressor before an amp in a normal playing situation, so use your ears and see if it sounds good really. I sometimes use automation to boost single note sections on a DI track before a guitar re-amp, but have not resorted to a limiter before.
More likely that the interface used is not up to the job.
Also, keep in mind that the audio interface's converters themselves are not necessarily to blame. There's a whole analogue circuit before the signal hits the actual converters.
He says no matter what converter you use, so that would assume all recordings of vocals and acoustic instruments are equally poor.
I doubt you could sell expensive converters and preamps if they imparted a harshness to something that is mainly midrange. Imagine the mess on a complex sound with more dynamics and bigger frequency range.
I am amazed that some can't hear the difference between the digital out (pure therefore the reference) and the analog (two additional conversions, unpure?) no matter what convertors are used. I can only conclude the listener is using very distorted "amplifier/speaker rigs".
The analog out (dual converted) track has an addition of raspy hash or harshness (distortion) added to the upper mid/high end or put another way, lacking of clarity or purity that is there in the reference digital recording.
Does this all add up to a claim that the Kemper output converters are not up to the job? I will certainly have a go at comparing again though.
OTOH, like many audio professionals I have a high quality master clock on my system and it made a massive difference in the sound quality of my converters.
So the chances of my using the Kemper as master clock instead are, lemme think... nil.
I honestly wouldn't worry about this these days. In the times of Pro Tools mix systems I bought an Apogee Big Ben and it did, as you say, make the difference. With more recent converters I cannot hear anything. In fact the Big Ben is a pain because you have to manually change sample rates.
Being as guitar is mainly a midrange instrument, the analogue seems fine to me. You'd have to possess some bad quality converters to see the difference. The previous limitation to SPDIF meant that on 48k albums I could never use it anyway.
I don't think you can change the order of slots in the effects section, but the next update will allow you to assign any effect to any slot (including reverb).
I wish that the alt input, in the back, would function the same way (in regards to passing an uneffected signal out of the Direct Out to a tuner) as the front panel input.
So far that’s my only minor “complaint”.
Especially on a rack mounted unit, a rear panel input is highly desireable.
I saw your rack pictures on the other thread. Could you get hold of an angled jack and then you wouldn't have to remove the cable when the lid is on?
No mate, as @Deej09 said, it'd simply be a way of combining multiple snapshots instead of just employing a single one in a Rig. Modelling is a different kettle of fish altogether.
Capturing the interactivity of EQ bands is IMHO something that'd have to wait - it'd logically be further down the development line than the initial move to the combining of multiple Profiles.
I think we all know that the profiler is probably about 85-95% accurate. If you rely on profiling many elements, that would simply multiply the inaccuracies, should you want to be true to the original amplifier. Creating interaction between the tone controls would be difficult at best, because some have an impact on gain. My preference would be to improve the basic profile before any other bells and whistles, if that is possible.
When I bought the Kemper, it was all about being able to recreate a multitude of different products, but soon I started to think of the Kemper as a unique amp and only use profiles as a starting point. Using the EQ, it I don't think was this the way a Mesa treble control would work; I simply want more or less top end and then start playing. In any case, many amplifiers sound very similar at high gain and tone is more to do with the cabinet from what I hear.
The main problem moving forward for Kemper is that the users all seem to have different needs and wishes. Maybe the best thing is for them to forge ahead with their own agenda, as that was successful with the original product.
That sounds more like a modeller really. I look at the Kemper as saving a sound I really like from a setup and then it can be tweaked by the controls I have come to understand. It never occurred to me to try and replicate every feature in the amp profiled.
The EV is what I borrowed to see if I could get on with FRFR and it put me off the whole idea. It sounded distant and submerged in low end. I should have tried other speakers really, but ended up with in ears anyway.
I just ask for a bit in the wedge, even though I am not using it for monitoring.
The latency is just more norticable on clean because the transient is clearer.
I believe the alternative input was not designed to be used that way when the Kemper first came out and is a noisier source?
I think that's what I was trying to say.. i.e. agreeing with Sharry that things are progressing but that the basic needs may not go away quickly.
I hate tap dancing, but I also I can;t see myself playing to a click track just yet - my timing is too bad :). In the same way I think ( but don;t know 'cos its not gonna happen) I would ever rely on a guitar tech to change sounds for me...sometimes you need a bit of flex...but hey, I'm an old duffer
BTW Evertune concept is great...who would not want to stay in tune...
If only Evertune could make an adjustment between standard and drop tuning.
At least the treble and presence can be heard when used; many traditional amps have tone controls that barely change anything at all.
I can just hear the outcry from Kemper users with thousands of rigs after they change they characteristic of those two controls.
It's amazing how much of the string sound you can hear, even at a reasonable volume. The best way to check if it works is record something directly from the Kemper and listen back. If you still hear a mix of the pitches, then you have a problem.
The difference is more marked on some high gain profiles for me. Sometimes the treble deals with the harsh element and presence sits above that.
Pretty sure that the main guts and design of the X32 was done before they bought Midas. They just had Midas tweak their preamp design a bit and afterwards the biggest selling Midas desk ever was born the M32 which basically is an X32 in black with upgraded preamps and faders.
Anyway I agree it's silly to bash other products unless you are learning from their mistakes. Based on history it would be a mistake for Kemper not to be working on V2. It's great many of you are still super happy with it as is. Personally I sold mine because even though I admit with M Britt profiles the Kemper has the best amp sound of the modelling/profiling world but I didn't care much for the effects or lack of computer editing. I also would like the ability to stack amps, iRs and have more I/O so in a hotel room on the road I don't need anything else. Also 96k is desirable.
So many Kempers have been sold that R&D costs were recovered years ago and really the price should halve without an update. Additionally the pedal, like fractals, is also way over priced and under developed. Adapt, evolve and survive. History has taught us this is necessary. Of course they are working on V2 but they will not tell you until it's ready to go because clearly they are milking V1 for all it's worth.
For me it is all about tone and the rest is window dressing, even if it can be inconvenient. When you play live or record, who is thinking about how you put your sound together.
