Good trade. Welcome!
Posts by dmatthews
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OK - but unless you are feeding that signal to more Kones the results will not be as intended - the non-linear response of the Kones will be missing and so the imprint of a Greenback or whatever will no longer sound like a Greenback (or whatever imprint is in use) without further correction of some kind.
Yes, as I agreed with paults above^^^
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The imprints are only applied to the monitor out(s). The Main Outs get the cab section from the profile in use - or whatever cabinet is locked on the CAB part of the Stack section.
That's true, but I have my monitor out in stereo with the direct out. They go to the inputs of my SD700, and the outputs to my Kabs. Therefore the XLR out of the SD700 has the imprint sounds as well.
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But, the Imprints are designed to sound like traditional guitar speakers when connected to a specific speaker (Kone). My guess is they would sound quite different with FOH Horns and Drivers.
Fair point. I've used imprints on the XiTone MBritt, and through my mixer to Yamaha HS80-Ms and they sound pretty good. Have yet to try on my Bose L1 or DXR10.
That being said, they're designed for the Kone/Kab and that's where they're always going to sound best.
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An IR that is completely flat could not be used to connect the Main Outputs to the FOH, or listen to the Rig with headphones.
The Kone cannot be miced like a traditional guitar cabinet. The ONLY way to record or connect the Kemper to a PA when using the Kone and Imprint Mode without using external IRs, is to use the SPIDF, Main Outputs, or the Headphone Outputs. and including a speaker Cab in the Rig.
One way would be to use the XLR outputs on a Seymour Duncan Powerstage 700. Just turn the Cab Sim off. That way you get Imprints to the Kones/Kabs and to FOH.
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Mine has the black piping. Purchased through the Canadian store March 19/2020
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You can use Rig Manager to copy a performance to a location, then paste it into another Kemper
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I don't have any music there, but if nothing else you'll get your tunes heard by a much wider audience. There are lots of people who discover new tunes that are in a similar category that you're in.
I really like the service, and pay for it, but from what I've heard/read the monetization to the artist is pretty thin.
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This is why the Kone is a game changer for me. Amp in the room with different speaker sounds. ?
Yup...
Been through old Fender PA, DXR10, XiTone MBritt, and Bose L1 MII.
All sounded good or great, but the Kabinet/Kone is brilliant. I'm done looking now.
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I have the stereo version Stealth Pro, and the larger SD700, so not really a direct comparison. I feel that the SD is a more robust/better made product. The fan is not something I ever hear.
The ISP is way lighter, but that's mostly because the power supply (large laptop size) is outboard, but also because the housing is thinner/lighter.
The ISP is class A/B and the Seymour Duncan is class D. I like the fact that the SD is using the Icepower modules just Like Kemper does.
They both sound good, no issue there, but my personal vote is for the SD.
I think you'll be happy.
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I use a cheap tablet with the Bandhelper app. It sends Midi info to my Kemper with a Bluetooth to Midi adaptor.
I create setlists in Bandhelper. Then every time I pick a song the Kemper jumps to the correct performance/slot.
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So, I finally got my Kabinet and ended up going with the Bam200, but I'm not all that impressed with the sound. It doesn't sound like an amp to me, it just sounds the same as it always does, just loud, that is... a mic'd recorded cab. Maybe my settings aren't right, or are there only particular profiles this works well for?
In Output I have Kemper Kone enabled, Monitor Cab Off, the Master Ouput is set to Master Mono, but I've tried the others as well.Is that how it's supposed to be set?
Have you tried changing imprints? You should hear significant differences.
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Maple fretboards are difficult to get your hands on at the moment.
Depreciation on the Silver sky is around 20% from new.
I dont ever see myself selling mine though, its way too good for that.
There are some maple boards on Reverb at the mo...
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Curiosity question...
How important is knowing what amp is being profiled? Is it vital to know what amp is making the sound you are hearing or is just hearing a great sound enough? I mean, most profilers already change the names so as not to infringe on copyrights. Is it just in the "knowing" the amp brand/model or do you just listen to the tone with no care about what amp it is?
I think there are lots of people/players that have a particular amp in mind as a basis for the type of tone they are chasing or needing. As an example, I am a cover band player and like the fact I can see it's a Vox or whatever that gets me into the ballpark I can start with.
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OMG guys! I had no idea PRS made a Strataclone ;).
I own a PRS SE Custom 24 with bare knuckes pup's and a blonde american strat with Lindy Fralin PUP's.
What I can say is that I much prefer the Custom 24 neck for feel and playing; however, the strat radius is fine after a few minutes of adjustment.
I have played nearly every strat ish guitar made, but now need to locate one of these new PRS's ;). For "strat e ness" I have never heard the equal of the Fralin pup's. Super bell like sweetness out of those pups.
PRS made 5 different stratty axes:
EG, versions 1 - 4
305
DC3
Brent Mason sig
Silver Sky.
I have a 305 as well as the Silver Sky. The neck on the 305 is a wide/fat and the guitar has that typical PRS carve. The Silver Sky edges it out in tone, and every switch position is extremely usable.
305
https://i.postimg.cc/nVDm705k/IMG00114-20101017-1252.jpg
SS
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I have a Silver Sky. It's one of the first 500 with the hard case/plaque.
It's one of my most played guitars, and of all my PRS it's my lead players favorite.
I can easily move between it and many other neck profiles with no problem. Although the radius is 7.25 as Alfahdj says I don't really notice it at all compared to 10". No fretting out either.
It's a great guitar that I'll never sell.
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From the manual...
Auxiliary Input
The Auxiliary Input function allows you to feed a stereo signal, such as an mp3-player, into your PROFILER to play along with it. In the Output Section, the Auxiliary Input function is equipped with three mix controls: one to feed the aux signal to the MAIN OUTPUT as well as S/PDIF OUTPUT, and two others to feed it to the MONITOR OUTPUT and HEADPHONE output. This allows you, for instance, to add an additional monitor signal to your HEADPHONE output, while the MAIN OUTPUT stays unaffected.
This hint is for all PROFILER variants other than Stage: With the activation of “Monitor Stereo” MONITOR OUTPUT and DIRECT OUTPUT get paired as one logical stereo monitor output. The Aux In signal will also appear on both and its mix gets controlled via “Aux In >Monitor”. The auxiliary signal will not be affected by any internal effects.
You will need to purchase a special cable which provides the stereo signal via two separate TS jacks. Plug the left jack into the RETURN (RETURN 1 of PROFILER Stage) and the right jack into the ALTERNATIVE INPUT (RETURN 2 of PROFILER Stage). Use the "Aux In >…" soft knobs to adjust the level.
The PROFILER Stage allows you to use Aux In along with one mono or stereo effect loop.
For all other PROFILER variants, the Auxiliary Input cannot be used while you have an Effect Loop active in your Rig, or while you are in PROFILER Mode, as the physical inputs are needed for a different purpose.
✓ To prevent unwanted hum and noise, please remember to turn down the Auxiliary Input Mix when you are not using it.
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I usually throw it in a performance and tinker with it there
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I bought a pair of used Yamaha HS80-Ms a few years back. Predecessor to the new ones. Extremely happy with them, and of course the venerable DXR10.
Good stuff.
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Taking over the lounge for the weekend, having a blast with the Michael Britt 57 Deluxe Reverb profile and Jensen Vintage C10R imprint. Chewy goodness!
^^^It's easy being green^^^
