They’ve stated - repeatedly - that they have no plans to support Android.
The argument that the install base is so much larger ignores the *ridiculous* amount of fragmentation in Android. Not to mention the lack of long-term support.
Posts by Ruefus
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I’m pretty sure those at Dunlop Tortex around 1.0mm.
If not, they’re dead-ringers IMO. -
Following the kemper logic after the kone I could imagine a power amp sim with the most important power tube,rectifier etc simulations. Who knows..
At that point, where you’re profiling individual components - that’s modeling and you may as well use a Fractal or Helix, no?
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The Dunlop DVP3 has been excellent for me. It's in a 10" housing compared to the 8's 8 inch.
I came from and Ernie Ball VPjr because I was tired of replacing the string. I was concerned the sweep and feel wouldn't match up, but I was wrong.
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You are correct and incorrect at the same time. How is that possible?
Are you kidding?
That's one way to spell marriage. -
LOL. I would never confess to that with this group.
That's not a "No."
Nobody here will care either way. From lurking on the Fractal forums....the reverse isn't necessarily true.
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could you explain better?
You don’t want to use all caps when posting.
In text, it’s the same as shouting. -
The likelihood someone is going to gain access to your Profiler, have the knowledge (and time) to perform a backup, have a USB stick available AND know that it needs to be properly formatted???
So small I think you’ll hit the Powerball first. -
Never mind.
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At the moment (unless I'm missing something, which is certainly possible), the 16 imprint tones are not available to the cab.
The amp in the room sound is what’s missing.
You cannot get that without the imprints mated to the Kone speaker.The problem is that the Kemper can separate the amp from the cab when Profiling. What it can’t do is remove the mic from the Cab equation.
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If you want the Kone to sound like FOH you simply run it in full range mode instead of imprint mode. The ability to have an imprint was a response to user requests and give another option but users can still monitor a sound similar to FOH if they want. That’s a win/win rather than a flaw.
^ This
(Makin’ my life easy!!!🤣) -
- Better synchronization between the speaker imprints available thru monitoring, and what goes to the house (this is a very unintuitive area within Kemper - you can make monitor out sound totally different than the main outs... what's the point of that? Don't most people want to accurately monitor what the rest of the audience is hearing? Perhaps I'm missing something but this is a very confusing part of the platform... Why would I model a jensen in the monitor out, and then send a celestion 4x12 cab model to the PA?)
There is a misconception here.
The reality is that no matter what you do - what you hear on stage is *never, ever* what the audience hears. You can't tune the FOH sound using your monitor and get good results in the room. Even if you're getting the same signal as the main outs. Why? Because they don't sound the same.
FOH speakers are never the same as what you monitor with. Even if its the house system. The location in the room, proximity to the speaker.......they sound similar but never exact.
The Kone provides you with the amp-in-the-room sound.
The Kone and imprints remove the microphone from the equation. That is a different sound - and what anyone using a traditional tube/valve amp hears on stage. It is a more immediate and (at least to me) inspiring sound. Every Cab or IR has some of its own inherent 'room' sound. You can hear it with Mod/Delay/Verb disabled. Its subtle, but also significant. You're hearing the amp and speaker - through a mic (or mics).This is not what the amp and speaker sound like on their own. To me, this is a key advantage over other digital amps. Others claim to accomplish the same thing....but with very mixed results. The Kone and imprints aren't perfect. But they're *really, really* good and give you the benefit of picking a multitude of speaker types on a per-rig basis if you choose.
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The culture of "The Next Big Update" is something we've become accustomed to. We expect it.
Apple's iOS and Android is forever incrementing. Major releases annually, point releases throughout the year.
At the same time, the lack of updates recently indicates a stable OS. We haven't seen a chronic run of "Is anyone having 'this' problem?" threads for some time now. My thinking right now is "If it ain't broken....don't fix it. I need to focus on other aspects of my playing and gear right now. Not horsing around with a new Whatever."
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Thanks, Ruefus, for the helpful link, as I am just a couple hours away from Nashville. I'll be touching base with British Audio ASAP.
Even with Kemper support trying to help me on this issue, nothing we tried worked, so I can only deduce that the USB-B input is bad since the A input works fine.
When my gig schedule allows, I will hopefully be able to get the toaster serviced and will let you guys know what the issue is. Thanks again! 🤘🏻🔥👍🏻
Glad I (might) have helped. Hopefully you can get it sorted without too many headaches.
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The reality is - Kemper is not going to create a workaround. This question has been asked and answered in various scenarios for years. When I first got my Profiler in 2018....it was a thing. I know (and don't disagree) that it's a reasonable request.
With that said - It ain't gonna happen.
As for your broken USB port, you're the first person I've heard of with this problem. You certainly can't be the only one who's had it happen, you're just the only one I've encountered.
Making the assumption you're in the US - shipping to one of the three US service centers for repair will probably run 30-50 bucks, depending. They'll fix it send it back and you're golden. They're listed at the very bottom of this page: Dealer and Distributor Network | Kemper Amps (kemper-amps.com)
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The KEMPER delays and reverbs follow a similar concept. You won't find discrete reverse, ducking nor tape delays, but versatile delay types which allow to combine these features and go beyond traditional limits.
This idea of memorizing the preset name as starting point of the effect search journey opens other questions and randomness. What if you loaded a Phaser preset first followed by a Flanger preset? Or what if you started with a Phaser preset followed by just loading the effect type Flanger, which maintains all other common settings?
I'm afraid most users with this request look at this label as if they had loaded an 808 type and whatever they dial it's within the limits of the 808. And it's not. The truth is they could have left the range of the 808 already and be within the range of a Horizon or another legacy overdrive or have virtually created their own unique overdrive pedal. Don't trust the label, trust your ears!
You've got your thinking behind it - and that's that. It's clear nothing will change here.
Reverbs and delays aren't anywhere close to as distinctive and central to a guitar tone as a dirt pedal. Echoplex and Phase 90s aside, I believe you're missing the point of users wanting to know the origin point.
What I dislike the most about the Drive and Fuzz is being able to reference a custom setting to....anything. Any popular drive circuit you care to name has 'baseline' settings people suggest starting out with. These are easy to recall because a Tube Screamer, a Klon, a Rat, a Muff, FuzzFace, KOT, BluesBreaker all have extremely limited controls. None have more than three.
As ingenious as the Kemper Drive and Fuzz are - six parameters exist. With no visible reference points. That's double the number of many (most?) of the original drive circuits while leaving the user without any sort of reference to something they know.
I may take another look, but I got so frustrated trying to dial in the sound I wanted with the Kemper Drive....I grabbed a KOT and a Tumnus, stuck them on a board and put them in the effects loop. -
What a fantastic recording. That drummer is in the pocket. Nice.
The whole band is both *really* tight and together.
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You need to distinguish between an effect type and a preset. The effect type Kemper Drive is the algorithm. This algorithm is so variable, that it can emulate a whole bunch of original overdrive pedals and can even go beyond and in between these. The story is: These original pedals are techncially so similar, that four parameters (plus Volume and Mix) in our algorithm are sufficient to cover all the sweet spots of all these pedals plus more on the left, more on the right, and everything in between those pedals.
Example:
Kemper Drive with Drive = 5.0, Tone = 5.0, Definition 5.0, Slim Down 0.0 emulates 808 in mid position
Kemper Drive with Drive = 3.3, Tone = 5.0, Definition 5.2, Slim Down 0.0 emulates an Horizon Precision Drive in a particular position.
Kemper Drive with Drive = 5.0, Tone = 5.0, Definition 6.3, Slim Down 0.0 emulates a Timmy Overdrive in a particular position.
You could select the effect type Kemper Drive and dial in these settings manually to get there without the use of any presets.
Presets are just a vehicle to rationalize the dialing and memorize specific settings.
Now let's say I load the effect preset "808 Mid". It loads Kemper Drive in on-state with the settings of the upper line above. Then I tweak Drive to 5.5, Tone to 4.0, Definition to 7.1, and Slim Down to 1.2. What is now the value of the information "based on 808Mid"? It's completely meaningless, because the current state deviates from what is the whole nature of a effect preset: the settings. The result of my dialing is not "based on that preset", but it has wiped out the settings of that preset.
I see some temporary value in that information, but only until the user starts to modify any parameters. The request for this information is to a large extent based on a misinterpretation of what effect presets are. Presets are no algorithms. The algorithm is Kemper Drive and you can see that at any time.
I understand your point. The Drive and Fuzz algorithms require a shift in perspective. The concept fundamentally differs from anything the approach Line 6 or Fractal employs. Instead of calling up a Green Scream and tweaking inside the limits that make a Tube Screamer a Tube Screamer - you can go from an 808 to a Klon within the same algorithm. You can morph an 808 into a Klon, KOT.....or what an 808 stacked with a KOT might be...... It's kind of crazy.
Like it/believe it or not - that requires a shift in the expectation and perspective of the person using it. Powerful - but unexpected. Which also makes it easy to become confused about how best to utilize it. Pedals are easy and dead simple by comparison. At least for me, the Kemper Drive and Fuzz are good. But are they easy to use? "Ehh....no, not when compared to what they emulate."
The request for a history of the sound may seem pointless to you - but it sure isn't to some of us. Are there enough of 'us' to warrant an update?
¯\_(ツ)_/¯
From this User's perspective, it can be frustrating not knowing where you started, even if the final sound has nothing to do with where you started.
At least for me, I'll come back to a Rig with a custom Drive or Fuzz and ask: "Where did I start with this?" or "What was my thinking when I made this?"
Tweaking settings move you away from the base preset. That doesn't mean knowing where you originally came from is pointless.
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I’d suggest something like an indicator that says “Edited (preset name)” or “Source: (preset name)”
Something to indicate where the current sound started. Perhaps a different colored dot on the dial in RM similar to how a morph is presented. -
If I sound like a jerk....that's not intentional.
I'm not sure why we needed to know of your impending departure. If you feel uninspired and think a change in digital amps will help then........best of luck.
