Jbl mrx512m.
It’s very good, and i can even play backline only gigs on it (though fortunately i rarely have to). I had a speakon connector mounted on the back so i can place my rack case on top of it
I have two spares in case one breaks, because unfortunately, asfaik, they are not in production anymore.
Well my Mk1 unit will stay on the studio and remain on 8.6.
And for now my Mk 2 will stay on 13.0. It works and the reports i’ve read here that 14 changes the sound of v1 profiles.
I have too many gigs to risk messing up anything.
Not technically possible at present. That does not however mean that they do not need to consider it for the next generation of Kempers. Kemper has been a wonderful and durable product, but this is a world where development cycles accelerate.
Fraktal, Headrush QC already seem to be on the path to implement NAM A2, and if Kemper is looking to stay in the market, they cannot just brush it off. We are here on a product where even a request to have a clean boost as a post fixed efx is categorically dismissed, while the competition is embracing, and quite frankly actually listening to the user base.
I love my Kempers. But Kemper needs to listen to this. (They probably are).
I would have no need for a hm-2, but it is indeed it’s own thing and very unique. So i think it would be a good addition.
I just saw a HUGE thread on a Kemper fb group regarding this. Many users reporting this problem after updating to OS14. Way too many for it to be user error!
This HAS to be adressed by Kemper asap.
There is no way i am even taking the chance untill it’s fixed.
Here it is. Hope you like it.
Sound travel in air are 343 m/sec.The content cannot be displayed because you do not have authorisation to view this content.
0,6 msec latency are the same as moving the soundsource 20cm distance on a stage.
if you have a guitar amp on a stage and you move 20 cm away from it, that is the same as 0,6 msec added delay…Overhead mics on a drumset are often placed more than 50 cm farther away from the cymbals, and the hihat mic are closed miked, do you hear a latency problem when the drummer shift from hihat to ride cymbal groove?? Thats almost a 1ms added latency on the ride cymbal compared to the hihat in your wedge monitor/in-ear mix.
How about you vocal mike? Most digital PA mixers have at least 0,7 ms added latency if you use in-ear monitoring with cable.
A stage wedge monitor placed on the floor 1-2 meters away from your ear will give you 3-6 ms latency.Are 0,6 msec added latency a problem?
Yes if it’s on top of 10ms, and you are playing in-ears and have some Cory Wong-ish tones that are very transient, it certainly is a problem.
Imagine you have a digital guitar wireless, kemper, digital mixer and a digital wireless in-ear system. That WILL add up to something that some people percieve as uncomfortable. And yes, adding 0.6ms will make a difference for the worse.
I am very sensitive to latency. Because of that i run both guitar wireless and in-ear systems analog. And i mix my own guitarsignal into a mix from the board that has everything else, making the Kemper the only digital device in my chain. So in that case extra 0.6 seconds will be managable, but the scenario above with many ADDA conversions would be above my threshold and 0.6ms added would be noticable in “levels of discomfort”.
I am not upgrading untill this has been solved. No way can i show up on gigs and have a nasty surprise.
+1 Great idea. Can be taken even further. Ctrl+alt clickung on a parameter could display the midi cc/nrprn
My rack mk 1 is on OS 8.06 (i think) and my rack mk 2 is on os 13. i think this may reflect what i’ve been saying at least in part. But hold on to the LUFS. Maybe it’s not (just) the output, but also the input? That would explain the difference in breakup between the two models.
A clean volume is unvelievable light on the dsp.
Some of us already use the volume and morph for other stuff.
so i tried it. The change of level using the pure-boost in the fixed FX pre-amp does as i expected- it drives the amp harder but, even combined with the clean compensation does not achieve a simple output level change.
The only way to truly achieve an increase in apparent volume is to do it post-amp or have i misunderstood something?
You haven’t misunderstood. A clean level boost always have to be post amp.Or to be more precise, post drive. Which meant that in an oldfashioned amp setup, if your amp was already on the verge of breakup, some of that boost would indeed be evened out by more drive from the amp.
I agree! It’s taking up a prime post amp slot right now for me.
Exactly. Same here.
+1 Such a simple request, that would make SO much sense to a vast majority of Kemper users.
It’s been requested before, and immediatly shot down.
Will the team PLEASE consider this?
I said this almost a year ago. EVERYONE (except Jonathan from Tone Junkie, who heard the same thing) was desperately calling me everything from a liar to deaf. However it was clear to me within seconds of playing.
I even posted a waveform from a test with a looper pedal in front of a mk 1 and a mk 2 unit. It’s not as much the “eq” of the sound that is different, though it is ever so slightly different. But the dynamic response is noticably different, in that profiles with edge of breakup, has the breakup point feeling different.
Jonathan is one of the top commercial profile sellers. Firstly i trust my own ears/ findings, but i also trust his ears. But then G String popped up in the thread telling everyone that i was wrong and they sound exactly the same, and ofcourse this added a bit of fuel to the stake i was being burned upon. 
But i don’t care. My mk 1 rack does NOT sound exactly the same as my mk 2 rack, nor does it have the same exact response. Note that this is MORE pronounced with single coil pickups. On humbuckers there was really no noticable difference.
Is this a problem for me? No, actually it is a non issue, after a couple of gigs i had adjusted to the slightly different feel, and since i was met with “you are wrong” i chose not to contact support.
How does the difference feel? It’s explained best this way, (and all of you with home or commercial studios will have experienced this). It felt just like when you go from one brand of audiointerface to another with different AD and DA converters. Your sessions sound slightly different in your studio monitors and you have to adjust for a couple of weeks.
And this is actually what i put it down to, and i said it already then; sounds to me as the converters are different in the two units, after all there is approx 10 years between them, so to me it would make sense if the hardware had changed over the years.
I don’t even know why i bring it up here again, since last time was just……not nice….. but hey, i’m probably wrong deaf or lying or whatever you can call me….
Post script: The mk 2 unit brought one HUGE improvement. The midibuffer is better. No longer would i experience errors in wrong loading of rigs when going from one performance to another when snding a midi pc at the same as a midi cc. For that alone the mk 2 purchase was worth it, because this was driving me insane.
Lot’s of clean kemper tones once we get past the first verses. (all my own profiles) and even lead bass through kemper. I hope this will put a smile on your faces.
Do you think it is because it is class D? I have a Fryette Powetstation. Maybe I should try that instead of the Duncan PS170.
Perhaps. Though i have no idea what class that old poweramp is.
I have a mk 1 rack and a mk 2 powerrack. I ran the mk 1 through an opscure old polish poweramp.
I am reverting back to using that power amp. The amp in the powerrack is plenty loud, however it doesn’t have any oomph to it. I can’t explain it better than that.
