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1. to name just a few When you change the algorithm of an effect using the TYPE knob the values of these mutual pa rameters will not be changed This allows for effect types that share a mutual parameter set to keep these values For example you can create a great flanger effect with your desired rate and depth setting Then STOMP SECTION select the phaser by turning TYPE to check the same settings with the phaser algorithm that is somewhat relative to the flanger Some generic parameters common to most of the stomp effects are Mix Controls the amount of effect in the signal At the default setting of 100 you get the most intense effect With some effects such as Wah or Compressor only the effect signal is audible at the 100 position to give the strongest effect With other effects typically modulation effects like flanger or phaser the dry sig nal is still in the mix for maximum interference with the effect signal When MIX is at 0 you will hear no effect The MIX control is scaled to perfection individually per effect so there is no volume drop or boost at the 50 position Some effects such as the Air Chorus don t offer a MIX control as this would contradict the character of the effect Volume The Volume control allows you to change the gain for driving the next distortion stage The output vol ume of the stomp effect can be boosted or attenuated by 24 dB which is much more than in the real world This w
2. Attack value the longer it takes for the compressor to kick in This will let the first peak of the signal pass unaffected when you hit a string thus increasing the percussiveness of your pick Squash This gives you control over the dynamic behavior of the compression At the center position the compres sor will work as you expect When you turn Squash towards zero the compressor will emphasize the first phase of the strings decay resulting in less squash When you turn it more to the right the first phase of the strings decay gets squashed and the volume sags You will notice that the compressor recovers from squashing when you let the strings decay further even boosting the sound a little compared to when you hit the strings Now the compressor becomes really noticeable Squash does not change the compression ratio The compression ratio is always infinite on vintage stomp compressors Noise Gate In addition to the noise gate in the input section see Basics and Profiling manual there are two new noise gates available as stomp effects developed specifically with the hi gain player in mind Whereas the noise gate in the input section is designed to preserve the guitar s dynamics exactly the stomp noise gates behave like classic downward expanders Downward expanders attenuate a signal once it has fallen below a certain threshold and are often used to tighten complex metal riffing This is b
3. Each band can be boosted or attenuated by 12dB You can control the mix of the original and the equal ized sound by using the Mix soft knob Studio Equalizer The Studio Equalizer is a full 4 band parametric equalizer similar to those found in professional mixing desks or digital workstations It offers one lowshelf one highshelf and two peak equalizer bands All four bands have adjustable frequency and the two peak EQ bands come with adjustable bandwidth or Q fac tor AD KEMPER PROFILING AMPLIFIER Metal Equalizer This can be thought of as the little brother of the Studio Equalizer It s a 3 band half parametric EQ in spired by the equalizer of the Boss Metal Zone stomp you can find a model of this among our stomp dis tortions The Metal Equalizer is perfect for creating the mid scoop that characterizes the typical metal sound but since it is also a regular equalizer it is also suitable for many other sounds and genres Stereo Widener Not an equalizer in the traditional sense but it does use equalisation to work its magic By emphasizing certain frequencies on one stereo side while attenuating them on the other it creates a subtle stereo ef fect This is done symmetrically so that when the signal is summed to mono the effect is completely can celed out with no coloration to the sound Use Intensity to control the impact to the sound At higher values of Intensity you can actually drive
4. KEMPER PROFILING AMPLIFIER The deeper view amp reference manual 1 5 Legal notice This manual as well as the software and hardware described in it is furnished under license and may be used or copied only in accordance with the terms of such license The content of this manual is fur nished for informational use only is subject to change without notice and should not construed as a commitment by Kemper GmbH Kemper GmbH assumes no responsibility or liability for any errors or inaccuracies that may appear in this book Except as permitted by such license no part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical recording by smoke signals or otherwise without the prior written permission of Kemper GmbH Kemper Profiling Amplifier is a trademark of Kemper GmbH All other trademarks contained herein are the property of their respective owners All features and specifications subject to change without no tice Rev October 5 2012 12 27 PM Copyright 2012 Kemper GmbH All rights reserved www kemperamps com 17 22 Table Of Contents Reference Manual The deeper view Volume Master Output Section Volumes and Volume Link Output Sources Stack Section Amplifier EQ Cabinet Stomp Section Wah Stomps The Wah Parameters Compressor and Noise Gate Stomps Noise Gate Distortion Stomps Chorus and Modulation Stomps Vinta
5. Remote pedal 45 Reverb 36 Rig 39 Rig Autoload 43 Rotary Speaker 26 S Snapshots 40 Speed 27 Squash 19 20 Stack 9 Stereo 15 27 Stereo Loop 32 Stereo Widener 31 Stomp 14 Studio Equalizer 30 Switches 44 T Tagging 39 Talkbox 16 Tap Delay 33 Tap Left amp Tap Right Tempo 39 Time 37 43 Tone 20 Tonestack 12 Touch Attack 18 Touch Boost 18 Touch Release 18 Treble Booster 21 Tube Bias 12 Tube Shape 12 V Vibrato 25 Vintage Chorus 23 Volume 8 15 Volume pedal 41 Volume Pedal 22 40 41 Vowel 16 W Wah 14 16 Wah Comb Filter 16 Wah High Pass 16 Wah Low Pass 16 Wah Phaser 16 34 Wah Vowel 16 Wah Wah 16 White Balance 42 X X Over 24 78 KEMPER PROFILING AMPLIFIER 79 80 KEMPER PROFILING AMPLIFIER Copyright 2012 Kemper GmbH All rights reserved www kemperamps com
6. Y Note There is a similar phaser in the group of Wah effects that can be controlled by the wah pedal Rate Determines the rate or speed of the Phaser modulation When the Tempo is engaged the rate will be dis played in musical values Depth Determines the modulation depth of the Phaser in relation to the Manual value Manual This parameter defines the center frequency for the modulation in other words it is around this fre quency that the Phaser will sweep With Depth set to zero you can use Manual to create a constant or static Phaser sound Feedback Intensifies the Phaser effect as peaks get higher and notches get lower 22 KEMPER PROFILING AMPLIFIER Peak Spread You cannot find this parameter in any vintage phaser because it would have been too expensive to realize inthe analog domain With Peak Spread you can control the spread and width of the phaser peaks and notches in the frequency domain over a wide range At a narrow setting more to the left you can hear the phaser peaks being focused to a narrow field At a wider spread the phaser seems de coupled and dominates the whole sound spectrum Stages You can select the number of phaser stages from 2 to 12 in steps of two The more stages you select the more complex and diffuse the phaser sound becomes Stereo Offsets the phaser modulation of the left and right signals With extreme left or right settings the modula
7. thinner sound Mouse DS A clear powerful distortion that s perfect Use the Tone control to soften the sound for making leads cut right through the mix with a lowpass filter Fuzz DS A classic fuzzbox overdrive No tone control just in your face fuzz Metal DS A sharp sounding high gain distortion Use the 3 band EQ to shape the tone optimized for metal music Linear 3 32 KEMPER PROFILING AMPLIFIER Recti Shaper This is the characterictic curve of the Recti ee Te ee ER EN E I lie Shaper Regular Distortion This is the characterictic curve of the regular distortion Soft Shaper This is the characterictic curve of the Soft Shaper Hard Shaper This is the characterictic curve of the Hard Shaper Wave Shaper This is the characterictic curve of the Wave Shaper Treble Booster A classic sound shaping stomp pedal that doesn t feature a built in distortion Instead the Treble Booster is made to shape the high frequencies of your guitar so that they improve the distortion as well as mak ing it more transparent especially when being used with old amplifier models that were not originally de signed for distortion Use the Tone control to shape your sound STOMP SECTION Before you reach for the Treble Booster please try the Definition parameter in the AMPLIFIER menu first This will also modify the distortion resul
8. tion will go in opposite ways At the middle position zero the phaser will be mono Use small deviations to the left or right of zero to achieve a gentle stereo effect Flanger The Flanger effect shares the same heritage as the Phaser and the resulting sound is somewhat related too This is why we put both in the same effect family with color code Magenta Purple However the Flanger is not based on analog filter technology but on very short bucket brigade delays The parameter set for the Flanger is almost the same as on the Phaser only the parameters Peak Spread and Stages are not available Thanks to the overlapping parameter set you can switch back and forth between Phaser and Flanger with out altering the basic parameter values STOMP SECTION A1 V Note You can find a similar flanger called Wah Flanger in the group of Wah effects that can be controlled by the wah pedal Equalizer Stomps This group of Stomp effects offers you a nice selection of high quality equalizers They can be placed ei ther before or after the stack section as each configuration has a different impact on the sound The Mix parameter is common to all the equalizers and controls the impact of all the EQ bands com bined Graphic Equalizer An 8 band octave equalizer with fixed frequency bands ranging from 80Hz to 1OKHz Very often this will prove to be the easiest way to control the frequency spectrum of your sound
9. Bypass Heel The Wah pedal is active The stomp effect will smoothly fade out when you park the pedal at the heel position Bypass Toe The Wah pedal is active The stomp effect will smoothly fade out when you park the pedal at the toe position Touch This mode resembles the classic Touch Wah behavior where the depth of modulation is controlled by the picking strength and is available for all Wah effects As with the regular Wah pedal the Range param eter controls the intensity of the Touch effect When Touch is engaged three more parameters are added to the effect that you can access by pressing the right Page button Touch Attack Controls the speed of reaction to the guitar attack Touch Release Determines the rate at which the effect falls back to its rest position Touch Boost Use this to extend the scale of the Range parameter You will also notice when Range is low but Touch Boost is high you can push the intensity up to a ceiling that can be useful for certain effects y3 KEMPER PROFILING AMPLIFIER Compressor and Noise Gate Stomps Compressor A compressor for guitar is mostly used for clean sounds as the strings of the guitar decay pretty fast On distorted sounds the distortion itself adds compression as a side effect this means the compressor could even be in the way as additional compression will kill the dynamics an
10. Chorus is a subtle kind of chorus as it doesn t mix the direct sound with the processed signal in stead it modulates the pitch of the left and right sides of the signal independently from each other The KEMPER PROFILING AMPLIFIER resulting chorus sound happens in the air between the speakers where both signals are added together hence the name This is actually how the famous Jazz Chorus amplifier works Depth In most circumstances as with the Hyper Chorus the Depth control will be the only control you need for achieving the sound you want Higher values will give you a noticeable but delicate chorus whilst lower values will create a subtle stereo widening of the soundstage but without the typical beating effect you often get with a chorus X Over The X Over parameter enables you to position the bass and middle frequencies of your signal to a stable mono position between your speakers while the highs still float around Vibrato The Vibrato effect modulates the pitch of the sound using a sine modulation Rate Use the Rate parameter to adjust the speed of the modulation Depth Use the Depth parameter to adjust the intensity of the modulation STOMP SE CTION X Over Use the X Over parameter to blend out the vibrato effect for the lower frequencies of the signal This will result in an old school modulation effect quite similar to a scanner vibrato of aHammond organ Rotary S
11. Rig Tempo Enable Input Address Page 9 3 Noise Gate Intensity KEMPER PROFILING AMPLIFIER 4 Input Clean Sense 5 Input Distortion Sense Amplifier Address Page 10 2 On Off 4 Gain 6 Definition 7 Clarity 8 Power Sagging 9 Pick 10 Compressor 11 Tube Shape 12 Tube Bias 15 Direct Mix Equalizer Address Page 11 2 On Off 4 Bass 5 Middle 6 Treble 7 Presence Cabinet Address Page 12 2 On Off 3 Volume 4 High Shift 5 Low Shift 6 Character Stomp A Address Page 50 NO RW O 10 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 30 31 32 Type On Off Mix Volume Stereo Wah Manual Wah Peak Wah Range Wah Pedal Mode Wah Touch Attack Wah Touch Release Wah Touch Boost Distortion Shaper Drive Distortion Booster Tone Compressor Gate Intensity Compressor Attack Modulation Rate Modulation Depth Modulation Feedback Modulation Crossover Modulation HyperChorus Amount Modulation Manual Modulation Phaser Peak Spread Modulation Phaser Stages Rotary Speed Slow Fast Rotary Distance Rotary Balance MIDI PARAMETER DOCUMENTATION 70 KEMPER PROFILING AMPLIFI m 33 Compressor Squash 34 Graphic EQ Band 1 35 Graphic EQ Band 2 36 Graphic EQ Band 3 37 Graphic EQ Band 4 38 Graphic EQ Band 5 39 Graphic EQ Band 6 40 Graphic EQ Band 7 41 Graphic EQ Band 8 42 Parametric EQ Low Gain 43 Parametric EQ Low Freqency 44 Parametric EQ High Gain
12. archive will carry the actual time stamp in its name You should add this backup archive to the backup folder on your Mac same folder as in step 15 All this should be done with caution and conscious that these files do contain your precious data You should always keep a copy of the original backup file before you even start to manipulate content Don t modify file names Renaming of rigs or local presets needs to be done on the KPA If you should delete rigs which have a Midi Program Change assigned this won t cause any inconsistencies because these assignments will be reset automatically during the restore on the KPA If you stick to these rules it s safe you won t lose any data and the KPA will perform well EXTERNAL STORAGE 66 We strongly recommend not using a hex editor or similar tools to manipulate content within any of these rig or local preset files e g for tagging purposes This can cause file corruptions which could force hangs of your KPA Stay away from these tools By the way the main reason why we are packing all user data into one backup archive is that it speeds up the transaction significantly The time to write data on USB sticks is primarily scaling with the number of files 67 KEMPER PROFILING AMPLIFIER MIDI parameter documentation The Kemper Profiling Amplifier features over 400 different Midi Parameters Those will not fit into the 128 possible Midi Controller This is why we support the ex
13. are separated from the non reverberant effects X and MOD Please take care that the cabinet for the Monitor Output is not switched off MonitorCabOff not en gaged Also the volumes for Monitor and Direct Output should be the same If you want to control the volume of this setup then link all participating volumes to the Master Volume knob by the link buttons described above Volume Link You can also setup an individually controllable stereo output separately from the Main Output Set Monitor Output Source to Master Left and Direct Output Source to Master Right Link both volumes of Direct and Monitor Output to the Master Volume Knob and unlink Main Volume Now you have a stereo monitor signal controllable by the Master Volume Knob independent from the Main Output that goes to the main mixing desk Please be aware that you cannot disable the virtual cabinet for the Direct Output as well as this function is reserved for the Monitor Output only Monitor Output The Monitor Output is dedicated to deliver a signal for your own monitoring on stage unless it is not abused for other purposes described above in the Chapter Output Sources You can connect the Monitor Output to a linear speaker or a side wedge on stage If the speaker has no power amp you willneed a separate power amp to drive the speaker The Monitor Output is also made for connecting it to a guitar speaker cabinet Also in this case you
14. assigned when you create a new rig these are based on the information you provided when you first switch on your KPA such as your name the date and the time In addition to the Tag button in the RIG menu we also provide a soft button in the AMPLIFIER and CABINET edit menus for entering tags You can create additional tags for the brand and model of amp that you profiled the location where the profiling took place as well as other things such as the microphones you used or the type of pickup the sound was optimized for etc You don t have to fill in all of the tags but the more you do the easier it will be to find a specific rig later on To use the tagging function you simply navigate through the list of available tags using the soft knob Scroll or press the Edit soft button to enter a name Use the page buttons to navigate through the text and then select a character using the soft knob ABC to switch between upper and lower case Character Use the Character soft knob to select a character Insert Use the soft button Insert to insert a space to the left of the currently selected character Delete The soft button Delete clears the currently selected character and closes the gap Done When you finished inputting the text press the soft button Done to complete the procedure Snapshots Back in the RIG page the soft button Browse Snapshots allows you to browse snapshots with t
15. button labeled Assign Use the soft button labeled Unassign to unassign a rig On the next page you can set the MIDI Channel that you want to use for communication between the KPA and your other MIDI devices using the soft knob labeled MIDI Global Channel Date and Time On this page you can set the date and time using the soft buttons Edit Date and Edit Time Make sure the correct date and time is entered as this will help you to organize your rigs and profiles Version Information On this page the Firmware version of the KPA is displayed KPA Version is the version of the KPA operat ing system KPA Date is the date the version was released DSP Date is the date the DSP version was re leased The soft button labeled CPU ID will display the CPU ID 56 KEMPER PROFILING AMPLIFIER Pedals Program Changes and MIDI The Kemper Profiling Amplifier features two jacks for the direct connection of expression pedals or switch es Expression Pedals An expression pedal works just like a wah or volume pedal but is made for digital devices It only needs one cable with a stereo jack connected to one of the dedicated pedal inputs The PEDAL 1 INPUT is routed to the wah stomp effects as well as a few others including the phasers and flangers Pedal 2 represents the Volume Pedal that can be found in the RIG menu You can configure both pedal inputs on page 3 of the SYSTEM menu If you use a regular expressio
16. parameter for them Unlike other digital reverbs our reverb time does not change with the room size This makes it easier to choose the appropriate room size by character alone Pre delay In a natural reverb there is a silent time period between the dry signal and the first reverb reflection You can adjust the length of that period using the Pre Delay parameter Generally speaking you should use a short pre delay for small rooms and a longer one for large rooms Increasing the pre delay on short re verbs can give the impression of a bigger room Also a long pre delay will separate the dry signal from the wet thus making it sounding more direct but without losing the room character The KPA offers an unusually long pre delay You can even try to match it to a musical timing such as an 1 8th note If you like this idea you should actually set Pre delay back to zero and use the Delay effect for that purpose The way this works is described in the Delay Reverb Balance parameter section above EFFECTS 19 Damping The reverb tail of a natural room gets darker over time because the high frequencies decay faster than the lower frequencies As sound waves travel through the air the oscillation of the air causes friction that attenuates the sound as it travels because high frequencies oscillate faster they cause more friction per time resulting in a faster attenuation This effect is simulated by the Damping parameter With zer
17. switch In BROWSE MODE the default assignment for Double Switch is Rig Up Down In Profiler Mode it switch es from Kemper Amp to Reference Amp and in the Store Menu it will navigate the cursor to the left or right Alternatively you can create your own Double Switch set up by assigning any combination of the available functions with the Soft Knobs Operation of a MIDI remote pedal The Kemper Profiling Amplifier connects easily to MIDI remote pedals from any manufacturer Simply con nect your MIDI pedal to the MIDI IN jack of the KPA There are three groups of MIDI messages that the KPA can receive Program Change You can assign up to 128 program change numbers to your Rigs The assignment is done in the SYSTEM Menu Program Assign KEMPER PROFILING AMPLIFIER Expression Pedals The two expression pedal destinations can also be played by MIDI controllers Pedal 1 Wah Pedal re sponds to MIDI controller 1 Modulation Wheel Pedal 2 Volume Pedal responds to MIDI controller 7 Channel Volume Effect Switches Some MIDI pedals allow you to assign control change numbers CC s to individual foot buttons These can be used to switch stomps and effects in the KPA Here is the list of the control change numbers 1 Wah Pedal 7 Volume Pedal 16 All Stomps Invert 17 Stomp A on off 18 Stomp B on off 19 Stomp C on off 20 Stomp D on off 22 Stomp X o
18. 45 Parametric EQ High Freqency 46 Parametric EQ Peak Gain 47 Parametric EQ Peak Freqency 48 Parametric EQ Peak Q Factor 49 Parametric EQ Peak Gain 2 50 Parametric EQ Peak Freqency 2 51 Parametric EQ Peak Q Factor 2 52 Wah Peak Range Stomp B Address Page 51 Same parameters and Address Numbers as Stomp A Stomp C Address Page 52 Same parameters and Address Numbers as Stomp A Stomp D Address Page 53 Same parameters and Address Numbers as Stomp A Stomp X Address Page 56 Same parameters and Address Numbers as Stomp A Stomp MOD Address Page 58 Same parameters and Address Numbers as Stomp A Delay Address Page 74 O Type 2 On Off cuts tail 3 Mix 4 Volume 5 Time 6 Ratio 7 Clock Left 8 Clock Right 9 Feedback 10 Bandwidth 11 Center Frequency 12 Modulation 13 On Off keeps tail MIDI PARAMETER DOCUMENTATION KEMPER PROFILING AMPLIFIER Reverb Address Page 75 OANA U1 KRWNO i Type On Off cuts tail Mix Volume Del Rev Balance Time Damping Bandwidth Center Frequency Pre delay On Off keeps tail System Global Address Page 127 ww ND 12 13 14 15 17 18 19 20 Main Output Volume Headphone Output Volume Monitor Output Volume Direct Output Volume S PDIF Input Enable Main Output EQ Bass Main Output EQ Middle Main Output EQ Treble Main Output EQ Presence Monitor Output EQ Bass Monitor Output EQ Middle Monitor Output EQ Treble Monitor Ou
19. AMPLIFIER Stereo Use the Stereo parameter to adjust the angle of the two virtual microphones relative to the speakers If you want the effect to be mono set the Angle to O center position Negative values will reverse the ro tation direction Only the high rotor is tapped by two microphones the low rotor is mono with one micro phone a regular practice of recording a rotary speaker whether live or in a studio Low High Balance Use the High Low Balance parameter to adjust the balance between the outputs of the bass rotor and the tweeter horn Lower values result in a sound that is darker and duller while higher values will result in a brighter thinner sound For a faithful emulation of the classic Leslie sound leave the parameter set to the center position Distance Use the Distance parameter to adjust the distance of the microphones from the cabinet from 4cm up to 50cm The closer the microphones the more intense the amplitude modulation tremolo will be At the maximum setting there is no noticeable amplitude modulation Mix Use the Mix parameter to adjust the balance between the input signal and the output of the Rotary Speaker effect For an authentic sound this is best left at 100 but it can be very useful if you want to achieve less conventional sounds STOMP SECTION Phaser and Flanger PP Phaser Our Phaser is a huge filter bank comprising up to 12 filter stages for each stereo side
20. O KEMPER PROFILING AMPLIFIER Y Note Linking or unlinking a volume never causes volume jumps So it s save to change the link settings even live on stage Output Sources In the second page of the Output menu you can modify the routing to the physical outputs or in other words select the signal sources for the outputs If you feel that every output delivers the signal that you need then feel free to skip this chapter The factory settings for the signal sources cover most of the regu lar applications Each output can tap many different points in the signal flow Here is a summarized description of signal sources that the outputs can tap Not that not all sources are available for all outputs The following listing is not necessary the order of appearance but the best order for description Off Self explanatory the output is muted Git Analog Only available and default setting for the Direct Output The pure and clean instrument signal is sent to the Direct Output by an analog splitter no AD DA conversion is taking place The analog signal level is the same as on the instrument input Useful for reamping or running a second amp in parallel Git Processing Not available for Spdif Output Similar to Git Analog but AD conversion is taking place This puts the noise gate from the input section and the volume pedal in the signal path if volume pedal is set to Pre Stomps Note The volume control of the r
21. Output section are not stored per rig but stay global settings In the Profilers ter minology They are locked and cannot be unlocked Volumes and Volume Link In the first page of the Output menu you find individual volumes for different physical outputs V Note You will not find a volume for the Spdif output because it is a good habit to keep the digital Spdif signal at its full level When you press the correspondent button on top of the display you can link or unlink the respective vol ume to the Master Volume Knob Any volume that is linked will be controlled by the Master Volume Knob without having to enter the Output menu again You can link more than one volume to the Master Volume Knob If you turn Master Volume these volumes are adjusted relatively to each other All Volumes can still be controlled individually by the soft knobs in the Output menu An obvious live application is to unlink the Main Output that is going to the main mixing desk of the venue Now you can change the volume of your Monitor signal or Headphone while the important main signal re mains unchanged V Note When more than one volume is linked to the Master Volume Knob and the highest volume has reached its maximum then softer volumes cannot be increased any more by the Master Volume Knob This is a necessary technical rule to preserve the relative volume settings If one volume stays too soft then change the setting individually in the display J
22. The sound you get is not the raw pre amp or power amp sound of the profile Instead the impedance curve of the original cabinet that has been used for the original profile is retained That means you can use a solid state power amp or a digital class d power amp to drive your cabinet It is not necessary and would be a bit contradictionary to use a tube power amp even though you can This might require some more explanation There are two main differences between tube power amps and solid state power amps While solid state amps try to optain a linear frequency response tube power amps often create an artistic nonlinear frequency response Solid state amps offer a low output impedance that dampens the resonances of the speaker Tube power amps don t dampen that well and let the speaker act out their resonances thus creating an individual fre quency responce in addition to the tube power amps responce This is sometimes called interaction of the amp and the speaker by whatever reason But technically spoken a solid state amp interacts to a higher degree with the speakers by actively dampen the individual resonances of the speaker This behaviour makes the sound of solid state amps and digital amps more predictable since they do not recolour the sound It allows the Profiler to colour the sound by the original impedance curve of the origi nal virtual cabinet bringing the sound very close to how the original amp used to sound in
23. Vi you want to modify the overall volume of your Kemper Profiling Amplifier use the MASTER VOLUME in stead The KPA is designed so that every profile distortion or compression will produce approximately the same loudness thereby avoiding any extreme volume drops or peaks when you browse through the rigs All the factory rigs come with VOLUME set to the center position which is the unity or default volume If you feel that clean rigs sound softer or louder than distorted rigs please don t try to fix it by adjust ing the volume of the rigs Instead you should readjust the Clean Sens parameter in the INPUT menu to match your guitar to the KPA Try using the VOLUME knob to adjust the level of each rig to suit a particular song in a set list rather than to balance the level between all the rigs Be sure to store the rig afterwards if you want the volume change to be permanent for that specific rig THE DEEPER VIEW Master Output Section Inthe Output Section you find all settings that control the physical audio outputs of the Profiler You can set individual volumes and route different signals individually to several outputs The whole Output section settings can be stored as a local preset in the way you have learned already with the stomps and effects V Note The volume level settings are not stored with the local output presets as switching the presets would result in dangerous volume jumps v Note The settings of the
24. acteristics of the actual speaker the individual distortion behavior creates the fingerprint that identifies the amplifier 17 7 KEMPER PROFILING AMPLIFIER Power Sagging Power Sagging models the interaction between the guitar signal and the distortion stage Increase the amount of power sagging to emphasize the velocity and energy of crunch sounds The guitar sound gains additional energy and presence without raising the perceived volume of the distorted signal When you turn Power Sagging beyond 50 you go beyond what can be achieved with an analog tube amp but without losing any of the natural characteristics of the sound At full force power sagging can make spar kling clean notes sound louder than distorted ones so you can use it to expand the dynamic range of the original sound With Power Sagging set to 0 the original dynamic range of the profile is maintained Power sagging is a phenomenon that occurs when the tubes draw a lot of electric power at high distor tion rates thereby weakening the supply voltage Under such load the tubes will change their distortion characteristics and sort of shut down then as soon as the load lessens the tubes catch their breath again What might at first seem like a technical limitation of the tube amp design has turned out to be a real ben efit for the musical expressivity of the guitarist The KPA masters this technical behavior without degrad ing or changing the basic cha
25. ally controlled by the Mix parameter However when Feedback is above 100 the de lay s volume increases with each repetition until its caught and compressed by the tape saturation In this state the delay has turned into a sound generator the level of which cannot be controlled by the Mix parameter any more In this case the delay Volume parameter will give you instant control of the overall delay level Reverb Our reverb offers studio quality algorithms and works closely with the delay effect It comes with 5 differ ent types that allow you to determine the room size ranging from Matchbox to Large Hall Mix Reverb Mix works exactly like the delay Mix parameter and can be controlled with the dedicated knob in the upper half of the panel Delay Reverb Balance Delay Reverb Balance is a unique parameter that allows continuous control over the routing of the delay and reverb For this parameter to work as expected you will need to have both delay and reverb Mix set to a value other than zero At the center position the delay and reverb are simply set in a serial configuration this means the reverb comes after the delay and both the dry and delay signals are fed in equal amounts to the reverb This is pretty much what you would expect in the first place Now when you turn Delay Reverb Balance more to the left you will notice that the delay reflections will vanish from th
26. ameter you can achieve different Wah characteristics Wah Low Pass An alternative Wah pedal effect derived from the Access Virus synthesizer It s a 4 pole lowpass filter with the Peak parameter emphasizing the filter resonance Wah High Pass Similar to the Low Pass Wah but it will cut the low end of your guitar sound when you move the pedal up Wah Vowel A vowel filter that simulates a talkbox effect The vowels are extended to a broader range compared to existing vowel filters as it includes some european vowels as well The range is U O AAA E I I U 6 OE O U Choose the desired range using the Manual and Range parameters Wah Phaser A huge phaser effect that you can control using the Wah pedal The Wah Phaser is derived from the regular phaser effect that is described in detail later In addition to the common Wah parameter it has inherited two additional parameters from the regular phaser Stages and Peak Spread Wah Flanger The Flanger is a special version of the flanger based on a delay with feedback that creates a pitched resonance or ringing effect Use the Manual parameter or the pedal to control the delay time or pitch Use the Peak parameter to control the intensity of the resonance Rate Reducer This effect reduces the sampling rate of the audio signal passing through The sampling frequency is controlled with the Manual paramete
27. an import all rigs from the shared folder or export your current rig or all rigs using the soft buttons When you download rigs from the internet or receive them by email simply copy them into the Shared folder on your USB stick in order to import them into the KPA The Format Device soft button will take you to a page where you can format the USB stick that is insert ed to the back of the KPA Please be aware that formatting a USB stick will delete all the data on it Managing large amounts of rigs If you are a rig collector you might be looking for a convenient solution to delete selections of rigs from your KPA While the KPA itself supports deletion of individual rigs deletion of many can be time consum ing and cumbersome Let me share a methodology using your PC or MAC to clean up your data KPA backup archives are based on a standard file format which is called tar These archives can be un packed with standard freeware like for example 7 zip Zipeg GuiTar GNU tar and others We are recom mending 7 zip for PC and GuiTar for MAC Unpacking a KPA backup archive on your PC or MAC will give you free access to the folders containing the individual rig snapshot and local preset files included in the backup The folder Stomp for example contains all your local presets for stomps but obviously not the program code for the KPA stomps In this unpacked state of a KPA backup on your you can easily select and delete rigs or l
28. athing of the tubes becomes most apparent with dynami cally played semi distorted or so called crunch sounds With fully distorted sounds the tubes are always under full load while clean sounds don t put any load on the tubes at all With sounds such as these pow er sagging has only a minor effect Pick The Pick parameter allows you to control the level and sharpness of the pick attack independently from the sustained portion of the sound The result is also independent from the amount of distortion You can use this parameter to make clean sounds even more percussive without having to use a compressor With fully distorted sounds you can revive the attack phase of any notes that get drowned in the natural com pression caused by distortion If you set Pick to a negative value it will soften the attack resulting in a more fluid sound Compressor This compressor is different from the stomp compressor because it is a part of the simulated amp circuit In other words it allows for completely different sounds compared to compressors that are inserted before pre or after post the amp section Distorted signals are not affected by compression so only clean signals will be boosted The dynamics of your playing are fully retained so purely by the strength of your picking you can go from a crunchy sound to a compressed clean sound The volume knob on your guitar works exactly as you would expect for instance reducing the vo
29. ckup archive in a safe place on your PC and avoid conflicts with the new cleaned up backup archive which will carry exactly the same filename Select the original backup archive on your desktop for example 2012 07 13 17 27 25 kpabackup cut and paste this into a folder on your PC where you store all your KPA backups Should you accidentally delete a rig during the clean up process you can always restore this backup and recover all your data 63 KEMPER PROFILING AMPLIFIER Double click on the unpacked backup folder on your PC desktop e g 2012 07 13 17 27 25 Select all the files and folders contained Amplifier Tonestack MIDIAssignments Right click select 7 zip and Add to an archive A new 7 zip window will pop up suggesting name and format of the new archive You can leave everything as suggested e g archive format tar but you need to change the file extension in the first row from tar to kpabackup so that the file name is identical with the name of the original backup archive that you stored at step 15 You will now find a new backup archive e g 2012 07 13 17 27 25 kpabackup amongst the folders Cut and paste this backup archive into the Backups folder of your USB stick Plug the USB stick into your KPA Restore this backup on your KPA Congratulations You just cleaned up your KPA Now is an excellent time to create a new backup of your clean KPA This new backup archive will carry the actual time stamp in i
30. d touch sensitivity of the distortion Still there is always the nice trick of compressing the guitar to the max then gently driving it just into the distortion of the amplifier so that every tone of the guitar gets the same decent amount of distortion Clean sounds benefit from compression as it helps to lengthen the sustain of the strings Another typical application is to emphasize the attack of the picked strings with the attack time parameter In the KPA you should use the Pick parameter in the AMPLIFIER module to achieve this effect It has been optimized for controlling the energy of your pick and does this job much better than a regular compressor The Stomp Compressor is a faithful recreation of a vintage stomp compressor We also added a new pa rameter called Squash to make our compressor even more versatile There is no immediate need to readjust the compressor s volume on clean sounds as its volume is auto matically adjusted to the unity volume of the rig Intensity Controls the amount of compression applied to your instrument At zero position there is no compression In the first half of the Intensity range the effect will be fairly subtle as the compressor will only cut the loud attacks of your instrument Then as you increase Intensity past halfway you will start to hear the soft notes getting boosted as well STOMP SECTION 2 Attack Adjusts the reaction time of the compressor The higher the
31. e reverb at fully left position only the dry portion of the delay gets reverberated Now the 48 KEMPER PROFILING AMPLIFI m delay and reverb are working in a parallel configuration You will hear delay reflections and a reverb tail but the delay signal doesn t feed the reverb As you turn the Delay Reverb Balance more to the right the opposite happens the delay reflections keep their reverb tail but the dry signal loses its reverberation and becomes completely dry This will em phasize your instrument as the reverb will not appear until after first delay reflection With Delay Reverb Balance set all the way to the right you can also get an interesting fourth configu ration set reverb Mix set to maximum and instead of hearing a repeating relay reflection you hear a repeating reverb tail These reverb repeats can then be controlled by delay Feedback and Time So in this configuration the delay module becomes a pre delay to the reverb offering all the features of the de lay such as feedback or tap tempo V Please note Since the reverb offers a pre delay parameter of its own it is a good idea to set it to zero in this configuration so it won t offset the timing of the reverb tails Time Determines the decay time of the reverb from very short to infinite While the different room sizes of the reverb types determine the density of the reverb reflections reverb Time is a sort of feedback
32. ecause a palm mute will still retain all of its chunk but will also become more percussive thereby preventing the dreaded mud The two noise gate stomps feature different expansion ratios that were deemed the most musical 30 3 KEMPER PROFILING AMPLIFIER Gate 2 1 This noise gate is a soft expander with an expansion ratio of 2 1 That means when the guitar has decayed to half its level below the treshold it will be attenuated even more resulting in a quarter of the original level It is triggered earlier than the 4 1 gate and the effect is more subtle Gate 4 1 This noise gate is amore aggressive expander with an expansion ratio of 4 1 That means when the guitar has decayed to half its level below the treshold it will be attenuated even more resulting in one eighth of the original level It is triggered later than the 2 1 gate and with a more aggressive effect As with the existing noise gate there are no attack or release controls as we have selected the shortest possible times without introducing any signal degradation The attack time is 0 05 ms that s 50 microsec onds or one twenty thousandth of a second while the decay time is 50 ms You can use the Noise Gate Stomps in combination with the noise gate in the input section to benefit from the different noise gate characters Distortion Stomps The KPA offers a variety of distortion stomps that have been modeled on vintage guitar distortion p
33. edals Every one of these classic pedals is famous for its distinctive character and has been exploited by some of the greatest guitar heroes of all time We have carefully modeled the distortion curves and tonal character istics of these legendary effects including the original tone controls Drive Use this to boost the gain of the signal as it comes into the distortion stage the higher the gain the more distorted the sound Tone STOMP SECTION Some of the original distortion pedals that inspired this collection are equipped with tone controls Green Scream The sound of this one just screams tubes a very special kind of overdrive which results in a wonderful smoky tone Good for achieving a subtle distortion effect whilst still retaining headroom for dynamics Use the Tone control to soften the sound with a lowpass filter Plus DS A more extreme distortion Like in the original this does not feature a Tone control One DS The orange one A very harsh distortion The bipolar Tone control allows for great popular with the grunge movement versatility by combining both a low pass and a high pass filter turn it down for a warm dark tone and up for a harsh brittle sound Muffin A big distortion effect famous for its fuzzy This effect uses a dual filter array similar character to One DS Use lower values to soften the sound with a low pass filter and higher values for a brighter
34. eft or Right for Direct Output Delivers only one side of the stereo signal of Mod Stereo This will sound similar to Master Mono but often less dense depending what stereo effects are used Delay Reverb wet Only available for Main Output and Spdif Output Only the wet stereo effect signal of the Delay and Reverb are sent to the Output If no Delay or Reverb is active the output will remain silent The following three settings are only available for the Spdif Output It allows you to simultaneously record the pure instrument signal for reamping purposes as described in Git Studio and amono amplifier signal on your digital audio workstation The pure instrument signal appears on the left side of the digital Spdif signal the amp signal on the right Git Stack The left signal is the pure instrument with noise gate and volume pedal if volume pedal is set to Pre Stomps The right signal side will carry the Stack signal and does not include any post amp effects Git Mod Left The same as above but with the right signal taken from the left channel of the MOD section Git Mod Mono The same as above but with the right signal taken from the mono mix of the MOD section KEMPER PROFILING AMPLIFIER Now after the straight explanations of the output sources here are some useful applications and com ments for your inspiration The Direct Output acts as an analog bu
35. elay saturation we use the softest saturation algorithm possible The modulation will even give a mono delay a full stereo width creating an airy effect on stereo delays and adding wow and flutter to a typical tape delay sound All this will happen separately or simultaneously when you use the following parameters EFFECTS Mix Determines the volume of the delay signal relative to the direct signal It works like a send control on a mixing desk At three quarters of the range the delay signal is as loud as the direct signal beyond this point it will start to attenuate the dry signal Eventually with Mix turned all the way to the right you will only hear the pure delayed signal v Delay Mix is always accessible via the row of knobs in the upper half of the panel Tap Left amp Tap Right Only in Tap Delay These two parameters set the delay time of the left and right delay taps in musical values creating a nice little delay pattern Setting both taps to the same value will produce a mono delay while different values will create a ping pong delay Only the left delay will feed its signal back to both taps so it s a good idea to set the left to a bigger value than the right this will result in a true ping pong effect Swapping the values will result in a different pattern The settings are mostly in multiples of a 16th notes including odd values like 5 16 or 7 16 To create more complex and interesting rhythm patter
36. espective outputs will have no impact on the source settings Git because they are made to reproduce the original instrument volume Git Studio Similar to Git Processing but here the instrument signal is sent out at studio level which is much louder as the original level Thus no separate DI box is needed to record the pure instrument for reamping purposes Since the instrument volume is high the recommended leveling of Clean Sense in the Input Section is important Stack This signal is tapped directly behind the Stack section and does not include any post amp effects THE DEEPER VIEW Mod Stereo Not available for Direct Output and Monitor Output as these are mono outputs This stereo signal is tapped directly behind the MOD section and contains the whole signal but without Delay and Reverb Mod Mono Delivers a mono mix of the Mod Stereo signal Mod Left or Right for Direct Output Delivers only one side of the stereo signal of Mod Stereo This will sound similar to Mod Mono but often less dense depending what stereo effects are used Master Stereo Default setting for Main Output and Spdif Output not available for Direct Output and Monitor Output as these are mono outputs Represents the full signal with all effects in stereo Master Mono Default setting for Monitor Output Delivers a mono mix of the Master Stereo signal Master L
37. ffer amp for the instrument input when set to Git Analog the default setting It qualifies well for reamping purposes as it provides a ground lift switch as well as the other analog outputs Try different combinations of ground lifts for best hum and noise suppression One ground lift switch should always be off that means grounded Often you get best results if the Direct Output is the one connection with no ground lift The Output Source setting for Direct Output is only active when not in Profiler Mode and no analog ef fects loop Stomp Loop is active This can be used for a trick when you are profiling amplifiers When you set Direct Output Source to Off you can mute the reference amplifier by simply switching from Profiler mode to Browser mode Back to Profiler Mode your reference amp will play again Tip the reference amp can also be muted while you stay in the Profiler mode Simply press the ON OFF button while you listen to the profile setting Kemper Amp to mute the reference amp This way you can listen to the pure profile by your monitor speakers without having your reference amp play along But be aware that a valid A B comparison of the original amp and the residual profile is only possible when your reference amp is playing even when you listen to the profile because muting the reference amp will change the acoustic environment Use the Direct Output or any other output at setting Git for connect
38. ge Chorus Phaser and Flanger Phaser Flanger KEMPER PROFILING AMPLIFI 44 50 53 56 60 Equalizer Stomps Graphic Equalizer Studio Equalizer Metal Equalizer Stereo Widener Effect Loops Effects Delay Reverb Rig Tagging Snapshots Pedals System LCD HW Setup Pedal Settings Date and Time Version Information Pedals Program Changes and MIDI Expression Pedals Switches Double Switches Operation of a MIDI remote pedal External Storage Managing large amounts of rigs 67 MIDI parameter documentation Index 6 KEMPER PROFILING AMPLIFIER Reference Manual Q KEMPER PROFILING AMPLIFIER The deeper view Welcome to the reference part of the KPA documentation We assume that you have already read the first part of the documentation The Basics by now and therefore know your way around the product fairly well Most of this section is dedicated to the description of all the parameters for the Stomp modules and effects however we will also provide additional details about certain aspects of the product and try to give you a deeper understanding of how things work in our amplifier Volume The VOLUME knob on the right side of the lower panel is the individual volume of the currently selected rig Note that this parameter does not drive the sound into any power amp distortion so it will not change the character of the sound only the volume The setting is stored with the rig
39. go into distortion much earlier in the dynamic range yet still retain a lot of dynamic headroom At maximum value the distortion characteristics mimic those of a Tube Scream er EQ Holding the EQ button will bring the equalizer into focus Use the soft knobs to control the frequency bands of the equalizer We assume that you will have set the equalizer of the reference amp to your pre ferred setting before profiling Effectively the equalizer in the KPA is a recreation of a generic passive tonestack but it is designed to have more impact on the frequency bands When all soft knobs are in the middle position you will hear the unaltered sound of the profile Cabinet The CABINET button brings the cabinet section into focus You can freely combine cabinets and amps from different profiles to create new stacks The cabinet has three parameters to tweak its character in an artificial way ACK SECTION 2 High Shift Low Shift Both of these parameters influence the characteristic formants of a cabinet profile thereby simulating a change in size High Shift will make the higher formants more prominent whereas Low Shift does the same for the lower frequencies Character Use this parameter to change the overall character of the cab Turning the knob to the right of center will enlarge the peaks and notches in the frequency response curve This will emphasize the character of the cabinet and may sound too penetrating at ext
40. he BROWSE knob Snapshots are backups of entire rigs and are automatically generated for everything that would otherwise be lost For instance a snapshot is created when you store over an existing rig This way you can go back to what you ve overwritten at any point in time You can also take snapshots manually by using the soft button Store Snapshot in the regular play screen After pressing Browse you can use the soft button Delete to delete a selected snapshot and the soft button Load to load a selected snapshot On the next page of the RIG menu you can determine the location of the volume pedal to be pre stomps post stomps pre effects or post effects as well as set the range of the pedal Pedals The Kemper Profiling Amplifier will easily work in combination with two expression pedals one to control volume and the second as the Wah pedal that works with the family of Wah effects 52 KEMPER PROFILING AMPLIFIER The Volume pedal does not have its own effect type as this would block a stomp or effect slot every time you wanted to use the pedal Instead you will find two parameters for the Volume Pedal in the RIG menu Volume pedal position Selects the position of the volume pedal in the signal flow Off The volume pedal has no effect Pre stomps Directly before STOMP A Post stomps Right after STOMP D At this position you control the gain of the amplifier Pre effects Right before STOMP X At
41. ill reduce the need to switch to a different rig if all you need to do is boost a solo sound just dial the stomp effect that you need for the solo and boost the Volume control By activating this stomp you engage the effect and the boost at the same time Stereo The Stereo parameter is only available for the X and MOD modules in the EFFECTS section It controls the stereo intensity of these effects With modulation effects this is done by offsetting the LFO modulation phases of the left and right side For other effects parameters such as filters frequencies are shifted in op posite directions for the left and right sides That way even the Wah Wah can create a stereo effect when dialed up in the effects section The recommended value for most effects is 50 or 90 which will often produce the nicest stereo im age At the middle zero position the effect will be fully mono With negative values you will get the same KEMPER PROFILING AMPL stereo effects as with positive values but the left and right sides are reversed With extreme settings of the stereo parameter you can exaggerate the stereo width Wah Stomps The Wah effects are a versatile collection of different effects that can all be controlled by a Wah pedal Alternatively you can switch from Pedal Mode to Touch Mode and control the effect using your picking strength Wah Wah This is the classic Wah pedal effect By modifying the Peak par
42. ing an external instrument tuner The Monitor Output allows to run the amp sound without virtual cabinet while other outputs still contain the virtual cabinet Engage MonitorCabOff to switch off the cabinet Any Output Source can be applied to the Monitor Output with MonitorCabOff Of course the Git settings remain unaffected by Monitor CabOff Read more about the Monitor features in the chapter Monitor The Main Output at Source setting Delay Reverb wet will deliver the wet stereo effect signal of the Delay and Reverb only If you set the Direct Output to Stack or Mod which is the complementary dry signal than you can send your amp signal through three cables to the front mixing desk Your front mixer now has the ability to mix the effect signal to the dry signal according to the actual room ambience of the ven ue This method is called the Wet Dry Wet setup Your mixer will love you for that And still you can use the Monitor Output separately from all that for your individual stage sound THE DEEPER VIEW If you don t need the Monitor Output on stage you can expand the Wet Dry Wet setup to a four cable Wet Dry Dry Wet setup Set the Monitor Output to Mod Left and the Direct Output to Mod Right Both Monitor and Direct Output form a new stereo sum containing everything but Delay and Reverb Now you can send two stereo sums to the front mixing desk where the Delay and Reverb signals
43. ing desk Now here is the crux We have met many users of the Profiler that have a hard time to get used to the sounds of our rigs as they are taken by microphones Many users are not familiar with these sounds be cause they have been using their existing tube amps at home in the rehearsal room or on small stages without a monitoring system They feel the miked sound is not the real guitar sound But we have to state The miked sound IS the real sound It is the sound that you hear on every record and on every big concert This is the sound that you will present to your audience There is no other way to get the sound of your amp on a recording or a big PA than by using microphones It is standard since decades to use close microphones in front of the speaker to capture the sound Have you ever had the chance to listen to the pure amp sound of your guitar heroes Probably not because you needed an invitation to their home or rehearsal room What you have heard is their great sound through a perfect microphone set ting the only way they can present their art to you You hopefully understand now that it s a good idea to get familiar with and care about the miked sound because this is what your audience will hear You will get better results when you run the full profiles and rigs through the monitor system of the live venue as the singer and keyboarder use to do This gives you a better control about the sound in relation to the other instrument
44. it uses a sine wave to modulate the signal but in such a way as to produce only the sum or difference frequencies of the two signals In contrast to a pitch shifter which preserves the dependencies of the harmonics the frequency shifter bends these dependencies resulting in a bell like spectrum It s not unlike a shortwave radio that hasn t been tuned correctly Use the Manual parameter to determine the pitch of the sine wave This is a bipolar parameter where the centre position O will result in no audible frequency shifting Turning Manual clockwise results in a linear frequency shift upwards while turning it counter clockwise results in a downwards shift Note how the shifted signal loses its harmonic structure When Manual is adjusted to the far left you will notice that the pitch starts to rise again This is the result of frequencies being shifted past OHz which causes them to be mirrored upwards The Stereo parameter allows continuous adjustment of the phase of the left and right channels thereby creating a subtle or blatant stereo widening effect v At the lowest pitch or longest delay it willresonate on an E major chord KEMPER PROFILING AMPLIFIER The Wah Parameters Manual This is the base value for the Wah effect It determines the zero or hee position of the pedal When Pedal Mode is set to off Manual controls the static pedal position Pea
45. k This parameter controls the intensity of the effect The actual choice of the physical parameter depends on the effect type for Wah Wah and other filter effects the Peak control varies the Q factor or resonance of the filters On other effects it controls the feedback of the effect which is quite similar to Q factor or resonance Pedal Range This parameter determines the maximum impact of the pedal as an offset to the value selected for the Manual parameter Negative values of Range will reverse the swell direction of the pedal or touch ef fect so the effect will go down when you push the pedal forward Peak Range Determines to what extent the position of the pedal influences the Peak intensity Many original wah pedals have a dependency between the pedal position and the Q Factor of the wah filter This can be con trolled by Peak Range Pedal Mode Selects how the Wah effect responds to the Wah pedal or to touch response STOMP SECTION Off The pedal has no effect The effect will be static and can still be controlled by the Manual soft knob Touch Uses the picking strength to control the effect as described below On The Wah pedal is active Control the impact of the pedal by the Range parameter Bypass Stop The Wah pedal is active The stomp effect will be smoothly faded in when you start moving the pedal and smoothly faded out when you stop moving it
46. lows you to use the QUICK button as a shortcut to get to often used pages like MIDI Settings or Browse Snapshots directly Rig Autoload On the same page you can use the soft button Rig Autoload to activate the Rig Autoload function This will automatically load a rig when it is selected in the rig browser The Load button in the rig browser will disappear when you activate Rig Autoload Direct Edit The soft button Direct Edit will change the behavior of the section buttons on the front panel Instead of holding them briefly to enter the edit page for a module or section clicking on a button like AMPLIFIER EQ or STOMP will immediately display the edit screen Pedal Settings On this system you can determine the kind of pedals that you want to use with the KPA with the soft knobs and initialize them using the soft buttons You will find more detailed information regarding pedals a little bit further down in this manual MIDI Settings On the next system page you can assign up to 128 MIDI program change numbers to rigs in the KPA to switch between them by using an external MIDI pedal or by sending program changes from your com puter To do so first select the rig you want to assign a program change number to and then press the SYSTEM button Navigate to the MIDI Settings page using the right page button select a desired PrgChg slot using the soft knob labeled MIDI PrgChg and then press the soft
47. lume of your guitar will transform a dy namic crunch into a clean compressed sound with full energy Clarity Clarity changes the sound of the distortion in a new and unique way Turning the Clarity soft knob to the right will bring the clean character of the sound into focus without lowering the amount of distortion The distortion itself will become less forward in the mid frequencies and sound far more transparent KEMPER PROFILING AMPLIFIER Tube Shape Tube Shape controls the distortion characteristics of the tubes ranging from very soft to very hard All kinds of crunch sounds can be dialed up from warm blues to singing metallic to harsh Depending on the gain setting or the playing style the resulting effect can be rather subtle completely distorted sounds are mostly unaffected by this parameter as are clean sounds Set the value to 3 o clock to simulate the typi cal sound of preamp tubes To achieve a power amp tube character try setting Tube Shape to 9 o clock Power amp tubes produce a much harder distortion because the negative feedback in the power amp cir cuit linearizes the tube amplification making the distortion curve edgier Tube Bias Tube Bias influences the overtone structure of the distortion While the effect on the character of the sound is fairly subtle you should feel a quite a difference in the distortion dynamics as you increase the amount of Tube Bias the guitar will
48. modulation since it works in 34 KEMPER PROFILING AMPLIFIER stereo This is because there is a separate chorus for the left and right sides modulating in opposite ways If you prefer the original mono sound set the Stereo parameter to the middle position V Note If you happen to own an original chorus unit from the analog era you may notice that our choruses don t feature a volume boost when you switch them on This is because our philosophy is to always main tain the same volume level no matter whether effects are being used or not This makes it easier for you to choose the best effect purely by its character and not to favor one effect over another simply because it sounds louder Of course if you still want the volume boost you can always use the Volume parameter for this Rate Use the Rate parameter to adjust the speed of the chorus modulation Depth Use the Depth parameter to adjust the intensity of the chorus modulation Y Tip For the original Chorus Ensemble sound leave the Depth parameter at exact middle position and use the Rate parameter to create your favorite sound the original devices did not have a depth control X Over Each of the chorus algorithms feature the X Over crossover parameter By raising the value of X Over you can protect the lower frequencies from being influenced by the chorus modulation thus giving the sound a stable bottom end This featu
49. n off 24 Stomp MOD on off 26 Delay on off cuts tail 27 Delay on off keeps tail 28 Reverb on off cuts tail 29 Reverb on off keeps tail 30 Tap 31 33 68 69 70 71 72 Tuner Select Rotary Speaker slow fast Delay Mix Delay Feedback Reverb Mix Reverb Time Gain PEDALS PROGRAM CHANG ES AND MIDI The respective effect is engaged by a value greater than zero and bypassed by a zero value If you use CC s 26 or 28 to bypass the Delay or Reverb you will cut the effect tails abruptly the same happens if you bypass them from the front panel of the KPA To bypass the Delay Reverb without cutting off the effect tails you should use CC s 27 and 29 respectively this is the recommended approach for live per formance C 59 60 KEMPER PROFILING AMPLIFIER External Storage In the regular play screen of the KPA you can press the soft button labeled External Storage to create or restore backups import or export rigs or format a USB stick Pressing the soft button labeled Backup will take you to a page where you can either backup all of the rigs and presets in the KPA using the soft button labeled Backup or restore a backup from an USB stick into the KPA using the soft button labeled Restore A USB stick that has been formatted by the KPA will contain a folder called Shared Using the Import Export soft button will take you to a page where you c
50. n pedal e g Roland please select Pedal Type 1 with soft knobs 1 or 3 If you use an expression pedal with reversed polarity e g Yamaha please select Pedal Type 2 You can monitor the changing swell value of the pedal on soft knobs 2 and 4 If you find that the pedal does not cover the full value range press Pedal Init on the respective soft button then perform a full swell on the pedal to re calibrate it v Note The two expression pedal destinations can also be accessed by MIDI controllers via the MIDI IN jack Pedal 1 Wah Pedal responds to MIDI controller 1 Modulation Wheel Pedal 2 Volume Pedal responds to MIDI controller 7 Channel Volume Switches Besides the expression pedals the two jacks can also be used to connect switches or a combination of both Switches can be used for all kinds of tasks such as switching effects engaging the tuner or to tap the tempo Simply select the desired destination by soft knob 1 or 3 AND MIDI V Note the Profiling Amplifier expects so called momentary switches These close the contact when you step on them and open it again when you lift your foot off Channel switches for tube amps are not com patible with the KPA as they use a latching mechanism instead Double Switches The Double Switch selection is special it can take a double or stereo switch from a single jack so the other jack is still free to use an expression pedal or even another stereo
51. ns try using a mix of odd and even values Y To create swing or shuffle rhythms try using the triplet values Delay Time amp Delay Ratio Only in Free Delay and Analog Delay The Delay Time is set in milliseconds The Delay Ratio deter mines the ratio of different delay times between the left and right delay taps The Delay Time always represents the longer delay tap the other Delay Time is just a divider of the displayed time As with the Tap Delay the feedback is only taken from the left delay tap thus swapping the ratio of the left and right delay tap will not only reverse the stereo sides but also produce a different rhythm pattern Feedback Feedback determines how much of the delayed signal is fed back into the delay to be repeated again KEMPER PROFILING AMPLIFIER When Feedback is at zero there will only be one audible repeat As you increase the feedback the num ber of repeats increase until at 100 center position the delayed signal will continue repeating infinitely As you push the values above 100 the delay is slowly driven into the tape saturation You will notice that the first values above 100 have a very fine resolution this allows for very subtle control over the amount of tape saturation Y Delay Feedback can be controlled with the dedicated knob in the upper half of the panel Bandwidth This parameter gives you access to the delay s bandpass filte
52. o damping the reverb sounds somewhat artificial so you should consider this parameter to be as important as Reverb Time Bandwidth amp Center Frequency You may have seen this before that s because this is the same special bandpass filter as in the delay In this case however the filter will not change the color of the sound over time this is the job of the Damp ing parameter but instead create a constant coloration for the Reverb Use Bandwidth to narrow the frequency response of the reverb from soft to artificial Adjusting Center Frequency will change the main focus of the coloration from low to high frequencies Again you can set the frequency to a specific musical note The reverb will resonate around this note when you set Bandwidth to higher values 50 KEMPER PROFILING AMPLIFIER Rig This button is used to access all rig related parameters that are not covered by the knobs on the front panel Tempo The Tempo enable soft button enables or disables the tempo for a rig When tempo is disabled all tem po related values in the KPA fall back to a default tempo of 120 BPM and the values are displayed in mil liseconds and hertz The Tempo soft knob sets the tempo in beats per minute Tagging Show Tag enters the tagging mode Since the KPA can literally store thousands of rigs and organize them in several ways it is crucial to tag them Several tags are automatically
53. ocal presets EXTERNAL STORAGE 61l Let me explain this process step by step for PC first Please scroll further down for MAC instructions If you should be using different tools this process could vary slightly 62 KEMPER PROFILING AMPLIFIER PC Windows Instructions Download and install 7 zip on your PC http www 7 zip org Create a backup of your KPA data on your USB stick KPA User Manual page 36 Remove the USB stick from your KPA and plug the USB stick with the backup into your PC Open the USB Stick using the File Manager on your PC Open the Folder Backups which contains your KPA backup archives e g 2012 07 13 17 27 25 kpabackup The archive name indicates the time when it was created on the KPA Select the latest backup cut and paste it to your desktop Now right click on the backup archive on your desktop chose 7 zip select unpack file A pop up window will ask you to confirm the path where the unpacked data should be stored Press Ok Now you find a normal data folder on your PC desktop with a name like 2012 07 13 17 27 25 Double click on this folder Now you see the various folders for rigs and different kinds of local presets Double click on the folder Rigs Here you find one file for each rig on your KPA Now you can start your clean up work and delete rigs that you don t need anymore As soon as you are done with your clean up work close all folders Now is the right time to store the original ba
54. our Mac and avoid conflicts with the new cleaned up backup archive which will carry exactly the same filename Select the original backup archive on your USB stick and copy this into a folder on your Mac where you store all your KPA backups Should you accidentally delete a rig during the clean up process you can always restore this backup and recover all your data GA 64 KEMPER PROFILING AMPL 71 m Go back to the unpacked backup folder on your MAC desktop e g 2012 07 13 17 27 25 backup Select all the files and folders inside that folder Open the GuiTar program by double clicking on its icon in your applications folder and click on Compres sor Drag all the selected files and subfolders from the KPA backup to the GuiTar window and select tar as the compression type Click on Compress and give the archive a name like 2012 07 13 17 27 25 kpabackup and save it to the Backup folder on your USB stick Locate the archive in your Backup folder on the USB stick and control click on it and select Information from the pop up menu Click on Name amp Suffix in the Information window and delete tar from the filename and hit Enter Select the Use kpabackup option in the popup window Unmount the USB stick from your Mac and plug it into your KPA Restore this backup on your KPA Congratulations You just cleaned up your KPA Now is an excellent time to create a new backup of your clean KPA This new backup
55. peaker The Rotary Speaker chorus type is a faithful recreation of the sound produced by the legendary Leslie speaker best known for the classic effect it has on the sound of the Hammond organ The Leslie speaker modulates the sound by rotating both the bass speaker drum and the tweeter horn inside a cabinet but crucially they are rotated at different speeds from each other The result is acomplex example of the Dop pler effect and the way it affects the sound is magical something rather like combined vibrato tremolo and chorus Our Rotary Speaker effect won t color the sound instead the coloration will come from the amp cabinet profile By engaging the Rotary Speaker on an amp and cabinet sound that you like you turn your cabinet into a rotary cabinet while maintaining the character of your amp Interestingly you can actually profile your own rotary cabinet If you get the chance to have a real rotary speaker in your studio as long as you can connect line or guitar signals you can take a profile of it Please refer to the Profiling Guide for further instructions Of course the KPA already comes with rotary speaker profiles and rigs that we have captured from the real thing Speed Use the Rate parameter to switch between Slow and Fast rotation You will notice that the change in ro tation speed is not immediate thus recreating the acceleration and deceleration of the rotating speakers in the original KEMPER PROFILING
56. r Lowering the sample rate results in a raspy scratchy quality as well as aliasing Use the Peak parameter to continuously control the quality of the sample rate interpolation which will alter the harmonic content drastically STOMP SECTION Ring Modulator Here the signal is modulated by a sine oscillator The pitch of the oscillator is controlled with the Manual parameter note that the Manual parameter is bipolar therefore a setting of O will have no effect Lower settings produce a tremolo like effect whereas higher settings bend the complete harmonic structure of the instrument into a bell like character by shifting every frequency component either upwards sum frequency or downwards difference frequency The Stereo parameter divides the sum and difference frequencies into the left and right channel The bipolar nature of the Manual parameter can now be used to reverse the stereo panorama As usual the Mix parameter adds the direct signal With Mix in the middle position the ring modulation becomes amplitude modulation Frequency Shifter The frequency shifter is a rarely seen effect and can be thought of as a deluxe ring modulator Even today only a handful of frequency shifters exist in the digital domain It is as useful in creating beautiful subtle harmonic deviations as it is in producing high pitched clangourous noise Like the ring modulator
57. r mentioned above When set to zero there is no sound coloration whatsoever Increasing the parameter will narrow the bandwidth at first you will notice a gentle attenuation of the high frequencies that will cumulate with every delay repetition As you narrow the bandwidth a bit more the same will happen to the bass frequencies When you turn Band width beyond the center position you can clearly hear the character of the bandpass filter after just a few repetitions the center frequency of the filter will resonate more and more Center Frequency This parameter lets you adjust the center frequency of the bandpass filter You will find a nice standard value at the center position perfect for most applications However when Bandwidth and Feedback are set to higher values the center frequency becomes clearly audible creating a distinct musical tone that you might want to tune to your music This is why the Center Frequency is not only labeled in hertz but also in musical semi tones that can be precisely adjusted Modulation This parameter will add slight deviations to the left and right delay independently creating a nice stereo effect and de coupling the delay from the dry signal With higher values you will create a wow and flutter effect typical of a tape delay EFFECTS Volume For regular delay applications you should leave delay Volume at the center position as the volume of the delay is usu
58. racter of the amp model whatsoever The amplifier interacts with the guitarist and reacts to the plectrum and fingers with the highest possible sensitivity The guitar sound gains extra energy and presence without raising the perceived volume of the distorted signal Muted picking gives better results than usual as the plectrum will not be suppressed The realms of clean and distorted sounds move closer together causing the velocity and energy of the crunch sounds to grow The amp doesn t just distort everything mercilessly instead all of the fine nu ances are represented faithfully The overall sound becomes much more alive with more punch and juice It almost sounds as if a compressor has been switched off thereby allowing the guitar to establish itself a lot easier among the other instruments on stage such as the drums or bass As the dynamic range of an analog tube amp is limited by the laws of physics power sagging can only go to a certain level before the breakdown of supply voltage destroys the beauty of the distortion character istics The KPA allows for a much wider dynamic range while preserving the character of the tubes at the same time STACK SECTION 9 Turning down the volume knob on the guitar results in a very natural clean sound with full dynamics and lots of energy Power sagging cannot be reproduced using a conventional compressor but it can be further enhanced with our dedicated compressor circuit The bre
59. re was inspired by specialized bass chorus units we found however that this type of crossover control is not merely an advantage for bass sounds it is suitable for shaping any sound STOMP SE CTION Hyper Chorus The Hyper Chorus is probably one of the most complex choruses ever made it is a six voice chorus with up to three delay lines for both the left and right sides Despite this it is staggeringly simple to use as you only need adjust the Depth parameter to achieve a huge warm sound Depth By adjusting Depth you change the amount of detune and fatness that the chorus adds to the signal everything else is perfectly adjusted to give you the lushest chorus sound with no further tweaking neces sary You can even choose very small amounts of detune without the typical comb filter effect of a regular chorus When you bring Depth down to zero the chorus effect completely goes away even with the Mix parameter at full position Amount If the full sound becomes too complex you have the option to continuously reduce the amount of delay lines You can smoothly fade the numbers of delay lines from one to three on each stereo side So yes even 1 5 choruses are possible this simply means one chorus is at full volume the other is at half X Over Increase the value of the X Over parameter to prevent the chorus effect from modulating the lower fre quencies of the input signal Air Chorus The Air
60. reme values Turning it to left of center will smooth the dif ferences between the peaks and notches in the frequency response curve and flatten the character of the cabinet Towards the leftmost position the sound will resemble that of analog cabinet simulations which often have a very simple frequency response and little character 22 KEMPER PROFILING AMPLIFIER Stomp Section The STOMPS section holds 4 Stomp modules called A B C and D which are placed in the signal flow be fore the amplifier stack The modules represent your choice of virtual stomp boxes The STOMPS section is all mono because the amplifier will only accept a mono signal In difference to that the X and MOD stomps in the EFFECT section work in stereo if desired The Stomp modules offer you all kinds of effects which are identified by eight different colors that are easy to memorize Distortion Red Wah Orange Chorus Blue Phaser amp Flanger Purple Compressor Cyan EQ Yellow Delay Green Effect Loop White Press and hold any STOMP button to bring it into focus If the stomp is active the display will change its color to match the effect The soft knobs will display the parameters available to edit There are two ways to choose a new effect either turn the BROWSE knob to select a new local effect pre set or turn TYPE to change the basic algorithm of the module Many parameters are common to several different effects such as Mix Volume Rate
61. rtup Dialog to enter the Startup Dialog setup where you can enter your name and the current time and date This will be used by the KPA as the default Rig author name and to automatically timestamp any rig that you create This dialog did appear automatically the first time you started the KPA but in case you skipped that step you can enter the information on this page Contrast The soft knob Contrast lets you set the contrast of the display Adjust this settings if you find the display hard to read under certain circumstances Brightness The soft knob Brightness controls the brightness of the display White Balance The soft knob White Balance adjusts the white balance of the display Line Frequency The soft knob Line Frequency lets you choose between a Line frequency of 50 or 60 Hz The Noise Gate will use this setting to eliminate ground hum which frequency is based on the physical location the KPA is being used at Auto 50 or Auto 60 will detect the Line frequency automatically while 50 or 60 can be used if the automatic detection fails Brightness Using the page buttons you can navigate to the next page where you can set the brightness separately for the color LEDs the buttons and the LED collars and the TAP button using the soft knobs KEMPER PROFILING AMPLIFIER Quick On this page you can determine the function of the QUICK button using the soft knob Quick Function This function al
62. s Many professional musicians work like this they listen to the whole stage sound by stage monitors or in ear monitors There are two more drawbacks of guitar cabinets They are heavy and they have a focused sound THE DEEPER VIEW Focused means the high frequencies are the loudest when you listen on the axis of the speakers The high frequencies are damped when you listen off axis Every speaker has a bit of this focus effect but guitar cabinets are really bad The closer you stand by the cabinet the more you get of axis and out of the focus because your ears are positioned much higher than the axis of the speakers You will need quite a loud volume to sit well in the musical mix on stage Guess who are the victims Your fellow musicians and your audience in a small venue who listen much closer to the axis of your speaker Again they don t hear what you hear And this might be the reason why guitarists are suspected to play too loud It s the focus Enough said The Profiler offers the possibility to run a guitar speaker cabinet as mentioned To make it sound perfect you have to bypass the virtual cabinet of the profile by engaging MonitorCabOff in the Master Output menu If you don t do that you will run your sound by the virtual and real cabinet in a row causing the rig to sound muffled and overdone If you switch off the cabinet in the STACK section instead the virtual cabinet will be bypassed for all out puts
63. t but directly in the profile and with less changes to the residual frequency response Lead Booster This is a tunable peak filter that can emphasize specific frequencies of your guitar Set the desired sound by using the Tone control The Lead Booster can neutralize the Treble Booster to a certain extent when they are used together in the STOMPS section Pedal Booster With the Pedal Booster you can use the Wah Pedal to control volume instead of having to use a dedicated volume pedal The parameters are the same as for the Volume Pedal parameter in the RIG menu Chorus and Modulation Stomps Vintage Chorus The Vintage Chorus is an emulation of the 70 s chorus technology based on bucket brigades which can be considered a predecessor of today s digital sampling technology The Vintage Chorus not only covers the exact sound of the famous Chorus Ensemble but also many other models of that era which were based on the same basic circuitry You may notice the somewhat dull sound of the effect signal this is due to the limited sample rate of the bucket brigade When this signal is mixed to the direct sound it will result in a very warm chorus sound because the overall signal gets a low and mid frequency boost When you place the Vintage Chorus in the STOMPS section before the amp you will achieve the well known mono modulation effect When placed in the EFFECTS section the Vintage Chorus will sound more lush with less
64. t of parameters that allow you to change the character of the profiled amplifier in numerous ways using the soft knobs Definition The Definition parameter controls the characteristic fingerprint of the preamp The profiling process au tomatically sets Definition to a value that represents the reference amp You could for example use it to modernize the profile of a vintage amp without having to use additional stomps Alternatively start with a profile of a modern tube amp and use Definition to give it a more vintage sound when driven into distor tion You can also use Definition to align the sound of your guitar to the sound of your amp if required Don t be afraid to keep experimenting until you get the balance that sounds best to you Vintage amps distort the lower harmonics in the guitar signal which gives them their b uesy sound These amps were originally designed to deliver a clean sound so to achieve a creamy distortion these amps need to be driven by a typical transistor based device like a treble booster Modern tube amps use a different approach in which the higher overtones of the guitar strings are the driving force for the distorted sound The expensive boutique amps take this concept one step further by providing an extreme level of top end frequencies and a large dynamic range The distortion has a spar kling quality to it and preserves every nuance of the strings and pickups Together with the char
65. tended Midi Controller format The NRPN Non Registered Parameter Numbers NRPN allow to address 16384 different parameters that is 128 x 128 and even have a parameter resolution of 16384 values 14 bit compared to 128 values 7 bit with regular controllers NRPN messages consists of a set of four controllers being sent in a sequence These four controllers are Dec Hex 98 62 Address Page Is the most significant byte of the Parameter Number 99 63 Address Number Is the least significant byte of the Parameter Number 38 26 Parameter Value LSB Is the least significant byte of the Parameter Value 6 06 Parameter Value MSB Is the most significant byte of the Parameter Value If ahigh parameter resolution is not available you can simply skip 38 and only send 6 as the value THe MRPN has a definition flaw It allows for either sending both 6 and 38 in this order or only sending 6 for lower resolution But the definition does not tell how the receiver would know whether to wait for a 38 following and fine tuning the 6 or immediately perform the parameter change with the advent of 6 This is why we have changed the NRPN definition a bit by reversing the order of 6 and 38 If 38 is received it will memorized until 6 is received both values will be combined to a high resolution value 14 bit If 6 is received without a precedent 38 it will be interpreted a low resolution value 7 bit This is what you send for high resol
66. the room KEMPER PROFILING AMPLIFIER This way you can run profiles of different amp models by the same monitor cabinet even if your cabinet does not match perfectly to certain amp models Of course we cannot anticipate the exact sound of the speaker cabinet you use Some little finetuning on the global Monitor Equalizer will help you to create the perfect amp in the room sound You can use tube power amps too If you own a tube guitar amp with a send and return jack on the back you can connect the Monitor Output of the Profiler straight to the return jack of your tube amp and thus bypassing the pre amp section This guarantees for the least colouration of the sound Still your tube pow er amp will additionally colour the sound You are running a tube power amp and a virtual tube power amp in a row You might need some larger corrections of the global Monitor Equalizer to make it sound right If you own a matching tube amp and cabinet and you want to replace the preamp by the Profiler but still use the cabinet you might get better results by profiling the preamp tap it on the effect send of your tube amp and play the profile to the effect return of the tube amp STACK SECTION Stack Section The Stack section is the heart of the KPA It represents the raw virtual guitar amplifier as defined by the profile Every profile is represented by the 3 modules that make the Stack section Amplifier The AMPLIFIER button calls up a lis
67. the sound out of phase this is not a problem however as the sound still stays mono compatible With Tune you can tweak the effect to your taste by shifting the focus towards lower or higher frequen cies Effect Loops N The Kemper Profiling Amplifier offers a hardware effects loop represented by the DIRECT OUT SEND jack and the RETURN jack on the back side of the amp These are actually the same jacks that you use for profiling You can apply the hardware effect loop in any of the STOMP modules or in X or MOD in the EF FECTS section As you might have guessed you cannot use the hardware effects loop in more than one location of the signal flow So if you try to engage the loop at more than one location the first loop in the signal flow will win STOMP SECTION 43 Inthe X or MOD sections you can even choose an effect loop with a stereo return Stereo Loop In this case the ALTERNATIVE input will work as the right input The Distortion Loop is made for connecting distortion pedals to the KPA and is only in mono The feature unique to this loop is that any volume boost of a preceding effect will be applied to the send jack thus driving the distortion pedal This is actually what you would expect anyway The regular Mono Loop and Stereo Loop do this differently here the volume boost of a preceding effect will be applied after the return of the loop The send level will be unaffected so the connected effect will not be o
68. this position you control the overall volume of the sound but delay and reverb tails will still decay naturally when you swell down the pedal Post effects Right after the reverb At this position you control the overall volume of the sound including reverb and delay tails that can instantly be attenuated Volume pedal range This is a bipolar parameter In the middle position the volume pedal has no effect When you set the range more to the left you determine the minimum volume at heal position while the maximum volume at toe position stays the same At the minimum position the pedal performs the swell from zero level just as you would expect from an analog volume pedal When you turn Volume Pedal Range to the left half the vol ume pedal turns from an attenuation pedal into a booster pedal Now the heel stays at standard volume and the toe swell will give you a volume or gain boost The maximum boost at the top position of Volume Pedal Range is 24 dB SYSTEM System Press this button to access the global settings pages Global settings do not change when you switch to another rig LCD HW Setup On this page you can control the settings for the display and adjust the Line Frequency parameter The soft button labeled Factory Rigs will allow you to reload all the Factory rigs that came with the KPA Please note that your own rigs and profiles will not be overwritten Press the soft button labeled Sta
69. tput EQ Presence MIDI PARAMETER DOCUMENTATION 74 Index 76 KEMP Index A Air Chorus 25 Amplifier 9 Analog Delay 33 Attack 19 B Backups 40 Balance 27 Bandwidth amp Center Frequency 38 Bluesy sound 9 Brightness 42 Bucket brigade 33 Bypass 12 C Cabinet 12 13 Center Frequency 35 Character 13 Chorus 14 Clarity 11 Clean Sens 8 Compressor 11 14 19 Contrast 42 CPU ID 43 Crunch sounds 10 ER PROFILING AMPLIFIER D Damping 38 Date 43 Definition 9 Delay 14 33 Delay Reverb Balance 36 Delay Time amp Delay Ratio 34 Direct Edit 43 Distance 27 Distortion 14 20 Double Switches 45 Drive 20 E Effect Loops 31 Effect Switches 46 EQ 12 14 Equalizer 30 Expression Pedals 44 46 F Flanger 14 29 Free Delay 33 Fuzz DS 2 G Graphic Equalizer 30 Green Scream 2 H Hammond 26 Harmonics 9 High Shift 13 HW Setup 42 Hyper Chorus 24 Intensity 19 L LCD 42 Lead Booster 22 Line Frequency 42 Loop 14 Low High Balance 27 Low Shift 13 M MASTER VOLUME 8 Metal DS 21 Metal Equalizer 30 MIDI 43 MIDI controller 46 Mix 15 Modulation 23 Mono Loop 32 Mouse DS 2 Muffin 21 O One DS 21 P Peak 17 Peak Range 17 Peak Spread 28 Pedal Booster 22 Pedal Mode 17 Pedal Range 17 Pedals 40 Phaser 14 28 Pick 11 19 Ping pong 33 Plus DS 21 Power Sagging 10 Pre delay 37 Prg Assign 43 Program Change 44 Q Quick 42 Quick Function 42 R
70. ts name You should add this backup archive to the backup folder on your PC same folder as in step 15 EXTERNAL STORAGE Instructions for Mac users Download and install GuiTar on your Mac http download cnet com GUI Tar 3000 2250_4 48290 html Create a backup of your KPA data on your USB stick KPA User Manual page 36 Remove the USB stick from your KPA and plug the USB stick with the backup into your MAC Open the USB Stick by double clicking on its icon Open the Folder Backups which contains your KPA backup archives e g 2012 07 13 17 27 25 kpabackup The archive name indicates the time when it was created on the KPA Select the latest backup and drag it to your desktop Add the suffix tar to the filename Select the use tar option in the pop up window that appears You will now see a tar archive on your desktop with a name like 2012 07 13 17 27 25 kpabackup tar Double click on the tar archive and you will see a regular data folder on your desktop with a name like 2012 07 13 17 27 25 backup Double click on this folder Now you see the various folders for rigs and different kinds of local presets Double click on the folder Rigs Here you find one file for each rig on your KPA Now you can start your clean up work and delete rigs which you don t need anymore As soon as you are done with your clean up work close all folders Now is the right time to store the original backup archive in a safe place on y
71. ution values 14 bit B0 62 Address Page B0 63 Address Number BO 26 Parameter Value LSB BO 06 Parameter Value MSB This is what you send for low resolution values 7 bit B0 62 Address Page MIDI PARAMETER DOCUMENTATION B0 63 Address Number B0 06 Parameter Value BO is the Midi Start Byte for controllers at Midi Channel O The Kemper Profiling Amplifier will listen to the Midi Channel that is set as the Midi Global Channel in the System Menu The standard setting is Omni saying it responds to every channel There is two types of parameters in the Kemper Profiling Amplifier and their properties Continuous Parameters like Gain Volume Are fractional numbers and Will always cover the whole value range Will be smoothed upon reception of multiple continuous values Thus high resolution 14 bit values are not necessary for asmooth parameter movement only for accurate target values Switch or Section Parameters like Type On Off Are integer numbers and will start counting from the least significant bit That is the LSBit of controller 38 when sent for high resolution or the LSBit of controller 6 when 38 is left out for low resolution Values out of range will activate the highest value in the range but should not be used due to future compatibility Switches are Off at the value zero and On at all nonzero values Rig Address Page 4 O Rig Tempo 1 Rig Volume 2
72. verdriven The regular Mono Loop and Stereo Loop are suitable for all non distorting effects 14 KEMPER PROFILING AMPLIFIER Effects Delay The Profiling Amplifier provides three types of delays each of which can be found in the DELAY module on the right hand side of the panel Tap Delay The delay time is linked to the tempo as selected in RIG settings or by the TAP tempo button Free Delay Delay time is freely adjustable in milliseconds and is independent from the TAP tempo The delay time can be changed transparently with no audible artifacts which is also true for the tap delay Analog Delay Delay time is adjustable in milliseconds like in the free delay However adjusting the delay time will create those crazy pitch shifts or Doppler effects known from the good ol bucket brigade delays Beside these differences all three delay types work in the same way and offer easy ways to create mono or stereo ping pong delays Only the left delay tap will feed its signal back to both delay taps this simpli fication will help you to create great rhythmic delay patterns without increasing the density of the sound We use a specially designed bandpass filter to control the loss of high and low frequencies with every de lay tap from the softest natural decay up to an artificial tone shaping At high Feedback settings you get a tape delay sound complete with infinite oscillation and tape satura tion effect For the tape d
73. will need a power amp to drive the speaker You can use any power amp from tube amps to digital amps When you use a tube amp please connect the Monitor Output to the effect return of the tube amp This way you only use the power amp portion of your tube amp while the pre amp is not in the signal flow The pre amp would otherwise color the sound KEMPER PROFILING AMPLIFIER Running your Profiler through a guitar speaker cabinet is a special case that needs some more explana tion The guitar speaker is a special speaker as it is only capable of transmitting a limited frequency response Listening to music through a guitar speaker is not fun due to that reason But for guitar playing espe cially for distorted sounds it is a must as it damps the harsh high frequencies of the distortion The lower frequency components are heavily colored by the guitar speaker This is why it is an important part of the guitar sound To record the guitar sound through a guitar cabinet or further amplify it for a live concert it is inevitable to place one or more microphones in front of the speaker to capture the complete sound of the rig The choice and positioning of the microphones will add even more flavor to the sound and is an art of its own but fortunately easy to learn The Profiles in your Kemper Profiling Amp are captured by the same way To have an authentic sound it is as easy as connecting the Main Output of the Profiler to your studio or live mix

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