gnoleb wrote:One thing to add here that might be helpful. Initially I just used the Kemper through headphones at home, and then later into a mixing board. It was pretty good, but when I finally hooked it up through a power amp (EHX Magnum 44) and through my Avatar 2x12 (with an Alnico Blue and G30H Anniversary), the sounds became just...fantastic. I mean, I've never played through the '65 AC30 that M. Britt did making his profiles for it...but I can't imagine getting a sound much better without spending thousands of dollars. Obviously not the best cab for authentic Fender-y amp style stuff (I'll remedy that in the future), but man does it sound fantastic.
I've hear of a lot of people putting the KPA direct into things and some being of more mixed opinion than others. Don't discount the effect of great speakers on tone. They really matter, and the KPA though my cab is actually the best sound I've every achieved.
This is a matter of getting the "amp-in-the-room" tone. Basically, the Kemper nails the sound of a mic'd amp - so when you send to FOH live or record with it, it sounds the way you're used to amps sounding.
Most guitarists are not used to practicing with a mic'd amp played back through a PA or in-ears - they're used to the way an amp sounds in the room with them, which is quite dramatically different. Disabling the speaker cab in the Kemper and running through a power amp and speaker like you did will re-create that familiar amp-in-the-room tone, and a lot of people enjoy using it that way.
The only trick is that patches tweaked for in-the-room tone don't translate to direct tones for FOH or recording, so for ease of translation between settings, many opt for FRFR solutions where they can rehearse with the same tone the FOH or mixing desk will hear - but it isn't the exact same experience as playing with an amp in the room.
For anyone who has owned a Twin, Hiwatt or Sunn, though, it can be a relief to no longer have to be in the same room as their amp
The artist formerly known as mbene085.
