Thank you so much for these profiles! I think they are really good individually.
However, if you compare them to each other, they sound quite similar to me. More like different EQs based on one amp than real differences in dynamics, gain structure, saturation....etc.
To be honest, I don’t really get the problem here. Sure, a lot of distortion happening so it comes at no surprise that there is a harsh pick attack. I canˋt here any digital clipping effects.
When I am enabling "Single Rig" on the Stage, the 1-5 switches are disabled and without function. I can only use the up/down switches to skip profiles.
But I would like to use the 1-5 switches (like in "group of five") and up/down switches (like in "Single Rig). Maybe this works with the Remote, but not with the Stage.
Thanks, this helps! However, with the Stage this setting disables the 1-5 row. In my "perfect" world, I would like to have the functionality of both the 1-5 row and switching rigs one-by-one with the up/down switches.
Hi,
I am looking for a way to reassign the up/down switches on my Stage to quickly flick trough my profiles one by one and not in “banks”. Any ideas?
Cheers
Rolf
Good to hear you found the problem. Maybe just a short troubleshooting for similar issues: Hearing via headphone out at the Kemper usually means “Stereo Signal” and “Space” enabled. However, both attributes are not your typical recording settings (mono; dry). That often leads to a recorded sound that is rather different to what you might be used to via headphone out.
I actually find it quite amusing how people are nitpicking about really minor differences, assuming that a perfect 1-to-1 copy is the best sound. Is it really? I mean, shifting the mic 1 cm or using a "famous" pre has more impact and would lead to an equally desirable result.
In the end it should be about the sound itself - the feel of it under the fingers. Why bother wasting time with A/B scenarios?
And for those who still are looking for an ultimate copy, as many already pointed out: Sure, the QC seems to be the better plug-and-play capture, but does anybody of you really think that with all the adjustable parameters in a Kemper you could not get to an equally perfect match?
For me, this issue is still not resolved.
That might actually do the trick. I had the Cirrus reverb in the chain.... since I replaced it, I had no issues anymore.
Switch is working fine. What I noticed today: If I hit "stop" instead of the "play/pause/rec" switch after i have recorded a loop, I have no issues overdubbing. However, thats not exactly how a looper should work.
Hi, I am also running in that problem once in a while. Was not able to pinpoint it to some combination of effects though. Would be great to hear back on that from Kemper.
Scumback M75
Fane Crescendo 12A
...those would be great!
The Kone is great. I have played it at gig volumes and don't seem to exceed 25 watts on the meter. Any I am using the celestion K12H-200 TC which is the non kemper version. It didn't sound good until the new software for the Kone arrived. It is an 8 OHM speaker and the kemper powerhead is plenty loud for me.
Have you had the chance to compare them directly - meaning the Kemper and non-Kemper version of that speaker? Any audible differences besides the technical ones?
besides the Kemper logo and 4Ω impedance, are there any other differences between the Kemper Kone and the Celestion K12H-200TC?
+1
Not if the Kemper uses a neodymium magnet.
...doesn`t look like neodym to me.
I actually think that the price tag of the Kone is a little off. Considering that the base is a Celestion K12H-200 (89 Euro)... I might just give the original K12H a shot, DSP flattening should work with that one, too. Hope to see some specs on the Kone to compare it to the K12H.
Although I am quite thrilled about the new Cab and Kone, I think that the price tag of the Kone is a little steep. Considering that the base is a Celestion K12-200 (89 Euro), I am wondering about the differences.
