Out of curiosity - how much do you expect the bill to be?
And sorry if this is too sorta personal. If that is the case, just ignore the question
The ER visit has a $300 co-pay, the ER doctor bills separately and depending on what procedure they do it to can bill separately.
It's the hospitals demented idea of a Christmas present, until you receive and open the envelope you don't know what your getting. The anticipation doesn't bring excitement but rather anxiety🥴
Wow. you had to have surgery for that. Fortunately a few shots got rid of mine on my ring, and pinky finger, It was getting worse weekly and my whole hand was cramping up. I imagine this in my future. The joys of aging...
No, it was just stitches. I usually will flush cuts with alcohol or lacquer thinner when I'm in the shop or on a jobsite and put electrical tape on them, they've always healed just fine.
This was a ½" deep jagged cut, I couldn't get the bleeding to stop so I figured this time I better let a physician have at it. The electrical tape route is a whole lot cheaper, I'm really not looking forward to the bill on this one.
My finger is going to look the same way in 3 more weeks after Trigger Finger Release surgery.
Maybe we can do a vocal duet.
I'm game! I've considered a career change as a solo artist many times. I figure within a few months I could pack out every comedy club in the states, because when I cut loose singing a song people always die laughing 😅
Are you doing the tuners?
I ordered these and they are a direct drop-in, and are awesome. I didn't like the looks of the PRS ones.
Kluson Locking Tuners
Yeah, I did the PRS locking tuners, they popped up under the guitars picture when I was placing the order, so I just clicked and added them. I know they work well, at least according to a couple of people I know who have had them.
I looked at Kluson tuners from your link, those are like the tuners on my Cutlass, and I really like them. I hope I feel the same about the functionality of the PRS style tuners, only time will tell, but I do prefer the look of the Kluson.
Bought a EBMM Cutlass in 2019, for me it's the nicest and best playing guitar I've owned in 40 years of playing, absolutely love it. Only problem is i don't want to take it out of the house lol!
My wife helped me pick it out, since that went so well I had her help me pick out a guitar for travel last Friday. I'm having the PRS locking tuners put on, swapping string guages and taking advantage of the free plek service, should be here in 10-12 days.
Timing works out pretty good though, I pulled a fast one on myself yesterday and the stitches don't come out for 12 days, so playing is out of the picture for a little while. I hate when I do stuff like this🥴
The Eminence EM12 is working great for me as an alternative. I do use it with the Kone function engaged in the Monitor Output menu and some slight tweaking to the Monitor eq, I do not use the imprints though. It's not an "FRFR" solution, but it does have a more neutral response than a lot of other traditional guitar speakers, and it is rated at 200 watts.
Definitely mono for me. Probably each panned slightly to opposite sides to create a treble/mid hole for the vocals in the middle.
Iron Maidens FOH engineer has a newer video that addresses this subject as it applies to them, a very informative and interesting video to watch. His basic setup is pretty much the same as you mentioned, along with the added benefit of some very nice plug ins and outboard gear that most people probably won't have access to in a live situation.
I tried both methods, using the upload button and drag and drop with a 1.2 MB jpg, a 601KB png and a 165 KB gif with no success.
The attachment states the following:
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Just wanted to drop in and ask if you've made any progress on your speaker journey, and also say thank you very much for this thread!
I've had my unpowered rack unit since 2019 and have only used it live a handful of times. My son has had the Kemper in his room for the past year or so going down the Van Halen rabbit hole and is getting great results using a QSC K10. This has gotten my interest in the unit going again and I'm currently on the hunt for what speaker solution would work best for me in a live environment. Have two separate ideas for this, 1 - use Powerstage 700 in the rack and a 2x12 guitar cab, or 2 - acquiring one(or possibly two) QSCk10.2 or DXR10 and trying this route again. The QSC my son is currently using is on loan as the band uses it for a vocal monitor.
In the past I've used the Kemper rack with the QSC and have also run it thru a Peavey XXX head with a 2x12 cab, both solutions sound pretty good. The Peavey setup is just to heavy to haul around these days and complete overkill volume wise. The QSC sounds great, but when used on outdoor small gigs sometimes it just isn't enough volume for me, crazy I know as its 1100w. When I've used the QSC its on the ground behind me pointed at my head. Maybe it just needs do be further back from me, maybe I need 2, who knows. It is about 11 years old and maybe its just not working at 100%.
I should also mention that at the moment I'm not playing any large outdoor festivals with the luxury of sound techs. Mostly playing small private gigs/partys and we are running our own sound from the stage. The few times I've used the Kemper in this situation I know it sounds good because I'm getting tons of compliments and people asking about my setup. Mainly getting a comfortable stage volume is my issue.
Anyway, sitting here today I'm really not sure which route to go, but seriously leaning towards a powered FRFR solution(QSC, Yamaha, etc.), possibly a pair of them.
I kept the Yamaha CBR10 passive speakers for a week and returned them, I would use them with a pa system in a heartbeat (mains or monitor) but didn't like them with the Kemper and SD Powerstage 700 at all. But reading through my posts it obvious this has been a struggle for me, I've only used one pa speaker that I liked but it is no longer available. If the QSC K series works well for you then I would suggest you stick with what you know, exploration doesn't always yield better results and it can be very time consuming as well as a definite loss of funds.
From the standpoint of a FOH engineer I can tell you this much, though all can be used with great results, the Yamaha CBR10 speakers are not the same as the DXR series, and the QSC CP8 does not perform like the QSC K8 and I assume the results would be the same throughout the CP series compared to the K series . I've used K8, K10 and K12 in different venues and found that paired with a sub they are very similar, the only time I've seen an advantage of one over the other has been when used outdoors the K12 projects better at distance, and in small to medium venues I do prefer the K8 or K10 for their wider dispersion of the high frequency driver for better coverage. The QSC KW series is a different beast altogether, I used them in an installation project in 2014 and they out perform the K series, I would hate to lug them around though as they weigh a ton.
Others here can give much better advice than I can when it comes to pa speakers as a monitoring option but if you like the QSC K series I think the K8 would be worth looking into if you could audition them at a local store. They are less money, lighter in weight by 5lbs and a smaller footprint if you are playing in tighter quarters but have the widest dispersion pattern of the k series. I have a friend who's band no longer use a back line and have went direct with their bass and guitar, they and are running their signals through stage monitors with good results. Again, others who use stage monitors can give better advice than me, but I would think it advantageous to place the monitor in front of you.
As for me, the Eminence EM12 is working out very well since I found a different approach in how I set the monitor out eq. I haven't had the opportunity to play my guitar for over three weeks, so before I replied to your post I sat down and played for about fifteen minutes. Having been away from the Kemper for a while my initial reaction this morning was this, my rig sounds great! But not my playing 
!!
Guys, thanks for the input! I am not feeding a pa system. My current use is live stage rig in stereo via a Power Rack into two 1x12 open guitar cabs (one is a greenback clone), and the powered cab is a Tech 21 Power engine (60 watt celestion 70/80).
This setup is so much easier to deal with in terms of transport/setup/tear down (my primary motivation) than my tube amp/analog pedal board/post power amp time based fx.
The K is incredibly versatile as you know, but so far not as rich sounding as the analog rig into the same cabinets (in my limited tweaking experience). It's sort of like comparing whole milk to 2%. So I have been wondering if the Kone would be an improvement. I don't really care about a very high degree of authenticity in various signature amp voices, ballpark is fine, but do want the same degree of rich fatness that the traditional analog system yields.
Howard I will try engaging the Kone function as you mentioned.
I wouldn't engage the Kone function with the speakers you listed, it not likely to sound very good. The EM12 that I use is a different type of guitar speaker designed with a relatively flat eq response, the purpose is to let more of the tone of your preferred amp to come through with less coloration from the speaker, and by shear luck the Kone algorithm works well with it as an eq enhancement.
Your Tech 21 states the Optimal Output Load is 8ohms, I can't find any more information about it, so I would suggest you research further before trying a Kone in it as the Kone is 4ohms.
With the speakers you mention you should have Monitor Cab Off checked in the output section as stated in the Kemper manual, those speakers are made to provide their own tone in the signal chain.
Did you stay with real guitar cabs? If so, with one of the newer Celestion models built for digital amps?
I have a pair of Eminence EM12's and two 1x12 cabs powered by a Seymour Duncan Powerstage 700, I'm happy with the setup. I do use them with the Kone function engaged and tweak the monitor output eq slightly, no imprints though. They get pretty close to the sound coming from studio monitors, at least close enough to me for monitoring.
Over a two year period I tried several different pa speakers, jbl-qsc-headrush and a few off-name brands both active and passive, an active Kabinet, a passive Kabinet, two of the original Kones and a Neo Kone loaded in my cabs. Only one pair of the passive pa speakers, which I borrowed, sounded really good to me, but are no longer in production.
If I were you, I would start with a Kone if you already have a 1x12 cabinet, and a class d power amp. Closing off the back seemed to tighten everything up with the Kone and was an improvement with the Eminence EM12 also. Something else that helps, whichever monitor solution you are using, get it a few feet away from you if possible.
Howard did you like them in an open back cab? Do they hold their own compared to a regular guitar speaker? I know that some of the top commercial profilers prefer regular speakers.
Gb
The difference between open or closed back with the Kone was the same as you could expect from a regular guitar speaker, at least to me. I did try my cabinet next to a passive Kabinet, switching back and forth between them and preferred my cabinet, whether it was open or closed back. As for holding their own, its personal preference as far as the sound goes, but if you need volume they will deliver.
I really wanted to like the Kone and used them for nine months or so, but to be honest I didn't care for them and went in another direction. My experience with them isn't typical when compared to the majority of Kone users, so take that into account when considering the worth of my opinion about them.
For use in an open back or possibly closed back 1x12, any significant difference other than weight between a Kone vs Neo Kone?
Gb
Had both, switched them out in the same 1x12 cabinet and couldn't hear any difference. Just a side note, the 1x12 cab was open back or closed back (convertible cabinet), tried both ways with each speaker.
I just looked at the list of effects available in the main manual and estimate I have tried maybe 20% of them after six years of ownership. I don't know how long it's been available, but last week I tried the Hyper Chorus for the first time, sounded pretty good 
I'll try the LP once there's an official release for fun and see if it's an improvement on any of the eleven rigs I have loaded in my Kemper at the moment.
Set Monitor Out to Master Mono in the output menu. Go from the 1/4" Monitor Out on the Kemper to the XLR input of the Friedman ASC-12 with a cable like this.
https://www.sweetwater.com/store/detail/PXM110--hosa-pxm110-10-foot
My Kemper was manufactured before 2019 and cannot record digitally via spdif. I just want to record using the USB audio interface function newly added in this update.
If you have a USB audio interface function, you should be able to hear sound even if Kemper and monitor speakers are not directly connected, right?
When it concerns Apple products I won't be much help, I've never used them. You might give a detailed description of your setup, especially since you mentioned a usb hub in your original post, that may be a factor. Someone may chime in that is familiar with a Mac if more detailed information is provided, sorry I couldn't help further. and I hope you get it up and running.
What should I do if I am a Mac user?
Start here: RE: Help - USB/Spdif
Go back through older posts prior to the link above and see if one of them helps with Mac if this one doesn't.
I have a studio eq engaged all the time with HiCut around 2-3k. LoCut as well and then some mid adjustments to get rid of some mud. Have used a matrix cfr12 went on to xitone mbritt (with and without the kone) and then a powered Kabinet. Also used several guitars. In all these combinations I have wanted a lot of cutting. What if i tried a real guitar speaker. Would that give me a natural hi and low cut and I would not need to use the studio eq? I am talking about playing backline at some volume. Cheers
That's what I eventually moved to, an Eminence EM12 and class d power amp. For personal monitoring it's been the best solution for me. Once you've dialed in rigs on studio monitors you can adjust the Monitor Output EQ slightly and get a tone through the EM12's thats pretty close to the studio monitors, but retains the character of a standard guitar cabinet. I do have Kemper Kone engaged in the output section and the HI Cut filter set at 6500 kHz. I just couldn't come to terms with other monitoring solutions but I'm very satisfied with the EM12's.
I probably won't use this function but tried it just for fun. Make sure to download and install ASIO4all for windows users. I had to have a track in my DAW armed to record before I could hear the profiler.
At that point in time I've got a used QSC Q12a that was immediately available. Amp was dead after 1 year and now I use a Catalyst 100 (that serves as well as emergency Backup). Works surprisingly well for the price point. I'll probably give the Kabinet a second chance when I have the time (quite busy in the summer season), the Laney LFR series is also something I would like to try...but weight and size are a bit scary
After a year I gave up on the Kone and went in a different direction, I didn't experience the same results as the majority of users have. After 7 or 8 months I decided to give them another shot but the results were the same as I had previously, it was very disheartening. Maybe you'll have better results the second time around. I did learn something during the process that has yielded very good results for me, I have the Kemper Kone enabled and with some minor adjustments to the Monitor Output eq my current speaker cabinet sounds fantastic, it benefited greatly from the Kemper Kone algorithm in Full Range mode, best sounding amp I've owned in 40 years.
