Posts by HankLinderman

    I expect this is all a work in progress. M Britt and TJ would have to do a lot of work answering these requests for exact settings for the profiles they have made, and for no money. That's an unrealistic expectation.

    My hope is that older profiles are updated and sold as new for those who have never owned them and as lower priced (50%?) updates for those who already bought them.

    I use primarily one M Britt profile, it still sounds f'ng great. An update would be nice but I'm already happy.


    Probably, will try that. On the tours I have been on with well known artists this usually isn't an option. Even so, there is something about hearing the room, not sure having an ambience mic can help enough to make a difference.

    A big part of this is that some band members interact with the audience, and for them the sonic connection is vital. For others, an enclosed & wonderful mix works great.


    Yep, makes sense. Only drawback is that lots of us only use one in-ear so we can keep track of the audience, so only one side of the stereo gtr. And of course this is bad for our ears, but it's a common practice.

    I guess that means having a "mono" switch for the phones out would help as well.

    Thanks again.


    Peace Brother! I read it, and went to the relevant sections on the KPA, I probably explained poorly. The big point is, I don't want ANY of the direct KPA guitar signal to show up in the headphones unless I choose it. But, I want the Main Outs to still have guitar. Currently, whatever is the Main Output source will show up in the headphones.

    The reason this matters is that it means one less piece of gear for the in-ears. Instead of using a wired headphone amp like a Behringer P1 I'd just use the KPA's headphone amp.

    Yes, there will be some latency from the mixer (XR18), but I want the option of a pure signal from whatever source I choose and the ability to adjust. So, it is very likely that I would use the KPA into the headphones, but I'd need to adjust the mix between AUX and KPA/guitar.

    Any clearer? (Thanks for taking the time to consider this.)


    What I have found is I can have just the AUX show up in the phones by setting the Main Output to "off". This means I can send to the FOH via "Monitor Out" but I'd rather have the flexibility of keeping the "Main Out" active, as long as it isn't showing up at the headphone out.

    It looks as though the XLR "Return" input could be used as a source for the AUX - meaning I could send a mono line level send from a mixer with the in-ear mix I need to the XLR.

    OTOH, I can certainly experiment with adding a mixer signal to the AUX and blending it with the guitar signal, as long as I'm not also sending my guitar back in from the external mixer.

    Still, it would be great to be able to have only the AUX show up in the phones.


    If possible, I'd like to be able to choose the external input(s) as a source for the headphones. This would allow me to feed a monitor mix to the external input(s) and run it to my in-ears. Or, to be able to receive a line level mono send into the mic input, and route that to the phones.

    What do you think?


    I only want to connect to one of the speakers in the onstage combo amps, prob an 8 ohm 12, was hoping I could use the DI instead of a female to female 1/4" connector. (The speakers in their combos are either direct wired or connected via a 1/4 " male that I would connect to the output of the DI, which is being fed by the powered toaster.

    In this case, I will just bring the combo with a gold 10" 8ohm in it, works great.


    I have a gig today, there are amps on stage, the speakers of which I'd like to connect my powered toaster to, but I need a way to connect 2 male speaker connectors. I'm worried that the Kemper DI should only be used with a tube amp, which is indicated in the lit but I can't find a definitive answer.


    I use my pedals including delay in front of the KPA, simpler setup and it sounds more old school that way. Also, I'm a fanatic about latency, using the loop would have to add some time. I think the KPA already has a system latency of under 3 ms.

    But I may try the loop again...


    Locking a Rig in terms of avoiding that another Rig could unintentionally get loaded via BROWSE knob or foot button is easy: Simply select a View that is either empty or just includes that one Rig. Load the Rig in question and change View to "Favorites". If there is no (other) favorite Rig, you cannot accidentally switch to another Rig. The same applies to View "Just Bass" if there is no other bass Rig.

    I had provided this suggestion in the other thread already. Have you tried? What is wrong with this simple approach? Takes three seconds.

    Yes, that will work, great suggestion.


    I'm wondering, if this application is really the domain of Remote or Stage with their given foot button concept as these are designed around Rig switching. Effect Buttons can assume different functions by Rig and so on. Even the display seems meaningless, if you only play just one Rig and your effect chain and button assignments are always the same.

    If somebody intends to use just one Rig and switch all effect modules within that Rig plus perhaps some Action&Freeze, why not using a cheap MIDI controller without display and just 8 or 10 buttons, no program change at all, but only control change assignments. Done!

    I really like this idea, but I haven’t found the right midi controller. I am probably going to try using an iPad running Rig Manager with my Stage, a version with sliders would be better for live tweaking. Might be a cool accessory - a dedicated hardware Kemper midi controller to allow live tweaks.

    Or, a way to hardwire the iPad to the KPA via usb? Wireless is cool but the iPad needs to be available to adjust my monitor mix as well,

    Any midi controllers to suggest? Thanks!


    This is my opinion - and that's all it is. It's your money.

    If one rig/performance and their associated effects are all you're going to use, why bother with a Profiler?

    It's like buying a Ferrari and only driving it in 25mph zones, once on the third June. You can do it....but what an incredible waste of capability.

    I own a bunch of vintage and boutique amps, a bunch of pedals, rack fx, various cabs and so on, but the KPA is:

    Smaller by far than any pedalboard amp combination I have.

    Easier to set up.

    Faster getting sounds in a session.

    So far, it’s more reliable. Far fewer patch cables to fail, no tubes.

    More sonically consistent.

    Generally more versatile although I still occasionally use some pedal fx that seem better than the digital KPA versions.

    The only things I’m not switching around are my current fave amp/cab profile, and if/when I change my mind I can find a new profile. The big thing is, I want to *play* the KPA, not simply switch to a new patch for each song.

    As far as a Ferrari, that would be my Sampson era Matchless HC-30 and 2x12 cab. High performance, high purchase price, high cost of maintenance, but nearly pointless as a daily driver, especially if volume and hearing loss are issues.


    I'm prepping for a new gig, in the past I would use a Princeton Reverb with a high quality analog pedalboard. It was set up to allow multiple levels of volume and distortion, and I would *play* the pedalboard during the set. No presets in other words, except for a favorite switch on the El Capistan. I had multiple dirt boxes, each set up to do a little bit of dirt that could be combined with the other pedals, meaning I could go from 3 flavors of crunch to multiple versions of distortion. I wanted to be able to quickly react on stage to whatever happened musically, and the system works well, still does. One of the best parts is being able to grab a delay parameter on the El Capistan and make creative changes on the fly.

    So, rather than a patch inside a performance for each song, I'm working on a master patch that allows the same idea, that I can play a gig with one patch more or less. (There will be exceptions based on specialized fx like a ring mod where I'll need a modified patch.) So, I have a compressor that gives a healthy boost, a Kemper Fuzz, into an AC20 profile that morphs from low to higher gain. The compressor makes a healthy difference between both gain settings, and can be combined with the fuzz for more variety. My guitar is a Collings 290, and I have learned to run the pickups at about 50% for my basic clean tone, adjusting them up or down depending. Low settings work especially well with the fuzz.

    I have the rotary speaker as a primary mod, makes a big difference to set the mix at about 45%. Speed is controlled by an extra sustain pedal I have. There's also a trem set up in the X location that I manually turn on and off for the one song I need it. I use two delays, both controlled by a foot switch, so I can alternate between them or set them both to be switched on or off. Delay 1 has a lower mix and is set to 1/8th notes, and since the rig is set to maximum tempo (256) it gives a slap before morphing. After morphing, it switches to 1/4 notes and a higher mix. Delay 2 starts with 1/4 notes, morphs to dotted 1/4 notes. Delay 2 also starts with higher mix levels. I have an Ampero double switch that is set to infinity and freeze. This gives a lot of delay possibilities, similar to getting your hands on the delay. I realize I can just grab parameters on my powered head, so I'm considering where to put it onstage.

    I have a Mission exp pedal set to provide a boost level of 5 post stack. I think I need at least one more exp pedal to handle wah and other duties.

    Anyway, I'm getting very close to the point where I can simply *play* the rig as if it were a tube amp and pedal board and it is liberating. I'm sure some of the rest of you have come across this approach, please share your experiences!


    Thanks Alan. Does anyone have any suggestions for such a thing? Is there a particular MIDI controller that would be best suited? I don't want to spend hundred$$, I already have delay pedals I could include.

    Is EuCon another possibility? The Avid Control ap works on almost any Mac program, will try it with the editor.


    One of the things I wish I could do with the KPA is to be able to manipulate multiple delay parameters in real time. I realize I can use morphing, separate patches, multiple instances of delays within a patch, a delay pedal in a loop, possibly even remap an expression via the foot controller, but none of these are ideal. A separate delay pedal is the closest and may be the best solution.

    I suppose I could mount the toaster close to my mic stand but I'd need a dedicated stand and mount.

    Yes, I can use the iPad editor, but for live performing the controls are too small. So, my question is - how about an inexpensive MIDI controller programmed to address mix, time, feedback, modulation, grit, etc? Is this even possible?

    Thanks for your thoughts.