Posts by Grooguit

    Didn't Kemper have a 2-button footswitch that could could assign additional functions for? I don't see it on the website. That might be a simple plug and play way to get a two more footswitch functions out of the player. Those you could use other brands per the Player manual where it mentions the KPA one.

    This ist what the manual says:

    The Stack, with its Amplifier and Cabinet modules, is fully compatible, and all types of PROFILEs can be used. The effects in modules A, B, DLY and REV are migrated, if the effect types are available in the Player. Otherwise, modules are set to “Empty”. Exception: Natural Reverb gets replaced by Easy Reverb.

    I think that's a really innovative and convenient idea, converting the natural reverb to easy reverb; I bet it gets you in the ballpark of what you had set in Natural. I use the Natural quite a bit on my Stage. Most of the time though, i think the settings I'm using that aren't all that intense and could be approximated with the Easy. There's certainly no lack of quality in the Easy algorithm.

    Those are good points. I have a a Pod Go which recently got the cab updates that Helix got; at least running one amp and cab, it should be tonally identical to the Helix and Stomp. I so wanted to love the thing but I feel there is a digital harshness that I sense even if I dial in a tone I generally like. While this thing will be compared to the Helix stomp and stomp XL, I think Kemper profiles, especially liquid profiles are in a higher class than the Helix amp and cab models. So just as the Kemper Stage has a niche in the market compared to the Helix that has more routing options, there will be a niche for this as well compared to Stomp users.

    Call me crazy, but I think this Player would be great for those people that own and prefer the Helix work flow and their vast effect models and have the best of both worlds. You could place this in one of its audio loops and have the Helix change Rigs with midi messages (with no audio gap, which is the Kemper's strength). Each Rig on the player could have the KPA's very musical noise gate set just so.

    Any complex EQ you want to do, you could do in one of the Player's four effect slots; these are all settings you'd want customized to whatever amp/cab and gain settings you are using. Kpa's auto volume compensation when you make gain changes is one of KPA's strengths which you now bring to the Helix workflow.

    This would allow you to have audio-gap free amp changes from Kemper within a single Helix preset (you can do that within a Helix preset with their amp models, but you'd run out of Helix DSP for other things) If you make changes to a particular Rig, whether it's gain, EQ, an effect EQ or noise gate, you make these changes once. If you use that Rig in a number of Helix presets, you don't have to go to each and every preset and make the changes over and over like you would if you were using a Helix amp model. The best part is that all this would be done without taxing the Helix DSP, with the very small DSP dedicate to using an effects loops.

    That said, I personally like the KPA effects and actually prefer their approach of having similar controls across many effect algorithms, in particular the ducking parameter on everything.

    If this had the same number of slots as its bigger brothers then, other than their Profiling capability, there would be almost no point in buying anything other than this unit. The loss of morphing and the Natural Reverb wouldn't phase me enough to care. Especially at basically half the cost.

    Did they limit the unit on purpose? I'm sure they did.

    Like a spare tire in case of a flat - backup solutions usually aren't as capable as the primary. If they were....again....why get the bigger unit to begin with?

    The reality is this unit is primarily aimed at a different group of players. Some existing owners may want it and that's great. That's clearly not the real target, though.

    I had thought similar, but even if they made a mini full-featured unit almost identical to the head/rack/stage that saved most of the space by having only 3-5 foot switches, the other units would still be preferred by many.

    If you want the perfect all-in-one, the stage is still the best choice as it has all the footswitches and no external programing that a dedicated footswitch w/ audio loops would have, while still giving you a stereo effects loop and at least some midi functionality for an external pedal or two. The Stage in a nice paced bag is still smaller and lighter than most guitarist's traditional pedal board, even if you can't tuck it your guitar case; any guitarist planning to use the Player on a pedal board is not worried about tucking his Rig into his pocket.

    If you prefer a head/rack format because you don't want your KPA on your floorboard, you have the head and rack, though sitting a small floor shaped unit behind you might be preferable to some of those that like the unpowered head and rack format.

    I think the "limiting" on purpose is more based on competitive price-point than not wanting older products to appear antiquated, as they wouldn't be. If they could have squeezed all the Delay and Reverb effect algorithms into this thing and kept the price the same, they probably would have if the DSP could otherwise handle it.

    What I find impressive is, they managed to allow it to switch rigs smoothly and maintain spillover of wet effects. I’ve liked how they’ve always prioritized that over more options in the same preset like line 6 and QC do. Meaning that in the Kemper universe, you tend to need to do less effect toggling because you have the option to smoothly go to other rigs, which on the Stage meant using the front row of foot switches more than the back row which is easier to do live, especially if you’re singing

    You could use the stereo outputs if you need stereo to FOH, In that case you could use the XLR to use a single power stage monitor.

    It loads any Rigs from the big brother. I'm presuming that whatever effects you have in slots A, B, Del, and Rev would, and the relevant Rig settings would be dialed up on this Player. While anything you have in C, D X, and Mod from the big boys would be missing, and of course any effects the Player doesn't have.

    What seems to me to be the deal-killer is it doesn't not appear to have an effects loop. People have been wanting such a KPA to fit on a pedal board to use WITH OTHER EFFECT PEDALS or a traditional pedal board. Some of those other effect pedals are delay and reverb pedals which generally go AFTER the amp section (a philosophy that this unit implements by giving you some of their Delay and Reverbs effects AFTER the amp) Yet the Player's 5 outputs are meant to be at the END of your signal chain to go FOH, headphones, and stage monitors.

    For my uses, I love being able to plug headphones in my Stage and practice with all my effects. I don't use external effects because the four slots and the Stage/head/racks full list of effects suffices, but before they updated them I used an H9 in the loop in the X slot AFTER the amp section. In both times, I loved being able to plug headphones in and practice with all my effects.

    *To be fair the Tonex also didn't include an effects loop, which I criticized it for.

    This might be one of those things that sounds simple but would be tough to implement and would leave lots of hard decisions that would need to be made, leading to new requests of the new feature. For example, would this be a global setting? You'd need to give the option to have it apply to certain outputs and not others. Would the increase stay on when switching Rigs or default back to off? DSP wise, this would be asking the kpa to do some additional processing, as by definition you want it to not use one of the allowed effect slots.

    A couple work arounds: do you use morphing in a lot of your live rigs? If not, you have two options. I believe you can morph the Rig volume in the amp block, which would provide a clean boost or cut and you could this with an expression pedal. Or, better, you can have morphing controlled by the second press of the footswitches and do the same thing. The best part of using the footswitches, is that it's the closest row of switches on the remote/stage and has visual led indicating morph and regular state. For this you want to set the how quick the morph occurs to zero so it's instantaneous. If you have occasional other uses for morphing, you can have Rigs set up for those specific needs and perhaps in those cases you can save an effects slot for using the clean boost effect after the amp block.

    Another organizational thing I like to do to use up all five Rigs in a performance first before even programing effect toggling, even if the difference between two of the Rigs is nothing more than one effect on or off, because it's always easier to press the bottom row of switches. If more combinations of sounds are needed in that performance, then I utilize instant morph by a second press of the Rig switch. Since almost all the effects have a mix control, I can effectively toggle effects on or off with morphing by setting the mix at 0 or 100% or vice versa. Now I have ten combinations and am never more than a double press of a single bottom row switch away from any of them. If I need more combinations, then I program the back row effect switches to turn things on or off.

    I like triangle picks too. Seem to have a little more control. 3 times the pick wear ain't a bad perk as well, especially when spending premium on picks.

    I assume they could have added this fonctionnality in rig manager for the Stage cause we have two soft buttons to jump from a mode to another one, the problem is that Head and Rack have a physical chicken head knob. So there would be a hardware difference position from the real state....

    You should buy a head (and a remote) ;) :)

    I had a head and remote. I sold and bought a stage because I was tired of setting my head behind the remote for live use, as I've exclusively monitored with IEM'S and therefore had no logical place to sit an unpowered head but the floor. :D I'd think though that this feature could be implemented on the head or rack. Just a setting in system setting that lets Rig manager override where the chicken head is pointing, with the exception of OFF. If I'm correct, this knob it isn't an analogue switch that routes the signal differently through different legs with wires soldered to each. It's just a soft switch, like the digital pots controlling various parameters, but has been given the assignment to it to power on and off and what mode to go to.

    I don't do a ton of recording these days, but need to replace a Scarlett 2i2, or potentially use the Stage for everything. I watched the tutorial video and saw that you use returns 1-2 to record external sources. Am I correct to assume that if I wanted to use a microphone I would need a separate mic preamp? Trying to decide if it would make more sense to buy an inexpensive mic pre or just buy a new scarlett. It would probably be more streamlined for recording purposes if I wasn't jumping back and forth between two interfaces.

    Huge thanks all. Moved the blocks back around to "stock slot positions" ...spillover working perfectly now :)

    Now ... maybe if one day we can get spillover working when going from Performance to Performance that would be the icing on the cake :)

    All the best,


    Not sure we'd get spillover between performances, haven't tried. I suspect that might be available depending on a setting, someone else can weigh in. There is a performance load parameter in system settings, set by default to "pending" in which you can control what happens when you switch performances. Pending means that after stepping on up or down, you still have to then step one of the five Rigs in the new performance to load a new rig. IF kpa's DSP allocation keeps some aspect of other Rig in a performance loaded up for gap free and spillover access, then their is a finite number of additional rigs in other performances that can be transitioned to without audio gap and lack of spillover. However, if my theory is correct, and if there's enough DSP to to allow even one additional Rig in another performance to be instantly accessed, then it is possible.

    The default system setting for performance changes is "pending." You step on the up or down button and then have to choose which Rig you want in that performance before it loads. So while you are in one performance, you need instant access to the other four. But if you bank up in pending mode, you don't need instant access to the other four rigs in the performance you are leaving, you need instant access to the FIVE rigs in the new performance. Thus once you bank up, the kpa could dump whatever info was needed from the four rigs in the old performance, and load the info needed for the five Rigs. Even if this takes half a second to do, it takes half a second to move your foot and start pressing a Rig footswich after pressing the up or down foot switches anyway. If you change your mind before selecting a Rig and bank back the old performance, it could dump the five and load the four again before you'd have the time to move your foot and select a Rig.

    I bet some third party will do this and share it on this site or on a facebook forum or something. Companies that sell products often have to avoid mentioning specific companies and products they are seeking to emulate. Hence why clever nicknames that hint at the original are common in the guitar product industry.

    There might be a misunderstanding about what liquid profiling does. Going back to square one. The reason people used tube amps and continued to use them today wasn't because "wow, the EQ controls on these amps are so powerful and amazing." the controls on some tube amps that otherwise sound amazing at a sweet spot kind of suck and do very little. But people keep using them because of their inherent warmth that the tubes produced. Some even use graphic Eqs in the effect loop or rely on the sound engineer to use his powerful tools to further tweak.

    Prior to Kemper and some current competitors, the only reason people kept their tubes and stayed away from digital devices was digital lack of warmth and harshness. No one had a bone to pick with the robust EQ options on these devices. The original generic tone controls on the KPA are powerful and useful. Once you got a real amp sounding just so, then micing it to perfection, you'd profile it. The generic controls then gave you powerful ways to alter this idealized sound that couldn't be replicated on the original amp's limited tone controls.

    Often, the only reason to go back to an original amp's controls once profiled is if you have a particular need for the amp with different settings than when it was profiled. But if you are using third party profiles of an amp you never owned or even touched, we have no idea whether the sound of that amp, with it's original tone controls set in a different way is a sound we'd even like. Nor is there reason to expect that if we did know what the best matching tone stack is, along with the original settings, that produce sounds we'd like better than adjusting the generic EQ or just having fun experimenting with random tone stacks.

    I've not had a lot of time to dedicate to playing with LP yet. I suspect as I do, I'll discover particular tone stacks that I like using in general, regardless of the amp in question.