I apologize if I misinterpreted your post.
I did re-read it. Just now and more than once before my original post. You may not have intended to sound accusatory, but that's what it (still) reads like to me. Regardless, no worries. Thanks for replying to clarify.
I went back and updated the post to make it clear I wasn't upset with Michael in the slightest.
For 13 years, keeping a record of profile amp settings served absolutely no purpose. Suddenly liquid profiles exist and after a few weeks the makers are now becoming suspect? With Michael Britt, one of, if not the the most respected profile makers the one called out first?
Please re-read my original post. I'm not "calling out" anyone and was simply wondering why I never received any response. The comment about proprietary was a WAG that in general there may be concerns about working artists detailing their control settings. It's because I have so much respect for Michael Britt that the lack of response puzzled me.
I put in a question to this effect on Michael Britt's website but never received a response. I'm growing concerned that knob settings might be considered proprietary by working players. I have to believe he has a record of control settings. BTW, I am indeed a paying customer.
UPDATE: In NO way am I complaining about Michael, for who's work I have great respect. Was more musing in general whether there might be vendors who consider the exact settings proprietary.
I predict we'll see tone stack profiling in a future software release. It's not rocket science. If you assume the tone stack to be linear in response (a safe bet for 99.9% of cases) then it's a matter of prompting the user through setting changes as frequency response is measured repeatedly. Kemper has already solved the tough problem by being able to capture non-linear behavior.
Even with speaker imprints I roll the low-pass back to around 6k.
A quick Google search popped up a half-dozen hits on G12T-75 IRs and the Oxford speakers. I didn't pursue the others. Are you not interested in using imported IRs (vs. cab section of existing rigs)?
Thanks! I was over-thinking. Seems obvious in retrospect 
I use the Kemper cabinet with the Kone Imprints. For the Main Outs, I always try to find a cabinet that is close to the imprint I'm using, so that the FOH sound is less or more the same as what I'm hearing on my Kemper cabinet. Unfortunately, they're not always easy to find and Kemper doesn't provide them standard. How do you guys deal with this?
That is precisely the way I work. Sound engineers are generally quite happy with a DI from the main outs, so I have to believe it's similar to the imprint.
By now I'd think that every speaker known to civilization was available as an IR. What have you had difficulty finding? Just curious.
Thanks for the response, but my actual question was relative to the (non-imprint) cab model in the rig. You are correct about rig-specific vs. global imprint behavior, but I already knew that bit of the puzzle. In the lack of any other information I'm going to assume the rig main out retains whatever cabinet model it started with before being placed in the performance slot.
I'm quite puzzled. I thought I had a performance slot where the cab model was an imported IR, while monitor was an imprint specific to that slot. However, I cannot verify this since absolutely nothing on the cabinet page in Rig Manager tells me what (if anything) the cab model is! If I use the pull-down to select the cab I want on main outs, the imprint indication always goes back to global - which I do not want. Is there any way to have a specific cab model selected for main out while also specifying a slot-specific imprint for monitor? Something tells me I'm missing something, but what?
Use appropriate metric machine screws and bolt the device to the pedalboard using the existing feet as spacers. Worked just fine for my remote. Just be careful about length. With all said and done, the new screws should not project into the unit any further than the originals.
According to this guy, they're the best, but only for 2 sounds - BB King and Ty Tabor. 😀
Sounds like I just need 2 profiles rather than Liquid. 😉
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I gigged with mine in the early 80s. Well before Ty Tabor hit the scene. Still managed to find nice, useable sounds.
Display MoreI had the same issue with a 2011 Mac.
Two routes to consider:
1. You can update a lot of Macs beyond what Apple supports:dosdude1's Personal Web Server - Software
or GitHub - dortania/OpenCore-Legacy-Patcher: Experience macOS just like before
I updated a 2011 Mac with no issues. Runs fine.
2. Buy a used Mac. I got a 2015 Mac Air for $150. Facebook Marketplace was great for this.
I'll second the recommendation for OpenCore Legacy. It's getting simpler to use and more reliable all the time. No need to buy new hardware.
I regularly gig in a similar situation. We use a pair of QSC K10s for vocal reinforcement only. I play through a powered Kabinet on a small stand at about 3' from the floor. Never came close to needing full gain, even at outdoor events. A pair of Kabinets would be complete overkill unless you need true stereo reproduction.
I would DIE to have the Gibson Lab Series L5 done!!!
absolutely nothing sounds like it, especially with the mid range sweep function
I'll freely admit that my favorite recordings from the past (30-35 years ago) were all from when I used a Lab Series L7. I have three of 'em (head, L5 and L7) .
How old is your Power Head? Unfortunately it looks like my MacBook is maxed out at OS 10.15
I did a factory reset on the Stage and that didn't help either. Good news is that I'm getting to know my way around as far as backing up and restoring on the Profiler itself.
It's possible to install more current Mac OS versions on older hardware. See: https://github.com/dortania/OpenCore-Legacy-Patcher
Quick update: The other guitarist in my band did the same thing with his Tech 21 powered speaker. It's really improved dispersion of the guitars and both of us can hear ourselves better.
Is the Kemper iPad app supposed to keep the host iOS from dropping into sleep or power savings mode? I'm seeing regular problems while using it on stage. It will be fine for long periods of time, then I'll notice the iPad screen has gone dark. When I touch it I'm back at the opening connect screen. I'm assuming a glitch in Wifi connectivity caused it to bail out, but that's just a guess and I wonder if the host is creating the problem by timing out. My rig is an unpowered rack with access point and ethernet power injection built into the case. At home, I can leave it up for days with no issues (iPad connected to charger, obviously). Any input appreciated!
Installed a 1-3/8" mount in the bottom of the box. Works out quite well.
Cry Baby pedals have significant mechanical slop at heel-down position. Regardless of how tight you make the tension band they have a tendency to drop the toe by themselves and trigger the wah when you least want it. If Kemper would add a control to adjust how far the "off" region extends (as Helix has since day one) this would not be such an issue.
