Is a Kemper Morally ok with you?

I do indeed have a problem with someone buying an amp just to sample it and return it. That's unethical in my mind.

As for the Kemper's ability to sample, or profile, a sound and recreate it? I have no issues with that. It's not actually copying anyone's circuit, just essentially recording a sound and recreating the tone, to some degree.
 
BlockInlay said:
You’re dead to me
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I've been a systems admin for the past 20 years and have hated every second of it. If I could find a job making my same salary and not having to look at a computer I would take it in a second. Playing guitar is my escape from computer bullshit, so plugging my guitar into anything resembling a computer is off the table. It's part of the reason I can never really get started with recording, mixing what I love with what I hate is hard to do. I'd have probably gotten a whole lot further with a tascam porta studio cassette rig than I have with recording on a computer.
 
Chad said:
I've been a systems admin for the past 20 years and have hated every second of it. If I could find a job making my same salary and not having to look at a computer I would take it in a second. Playing guitar is my escape from computer bullshit, so plugging my guitar into anything resembling a computer is off the table. It's part of the reason I can never really get started with recording, mixing what I love with what I hate is hard to do. I'd have probably gotten a whole lot further with a tascam porta studio cassette rig than I have with recording on a computer.
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I can understand that. My line of work has completely ruined the enjoyment of fishing. And I wouldn’t be caught dead on a cruise ship unless it was a charter. Or a rusty old tug.
 
Chad said:
It's part of the reason I can never really get started with recording, mixing what I love with what I hate is hard to do. I'd have probably gotten a whole lot further with a tascam porta studio cassette rig than I have with recording on a computer.
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Go on you know you want to:
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I only used modeling amps for a number of years. There's too much tweaking. I'd spend hours messing with settings. Nevermind the effects. The Kemper looks like my worst nightmare.
 
The Kemper and other companies with software based amp emulations, ie UA’s Fender 5e3, Fuchs, Amplitube, etc have caused an upward trend in purchases of classic and even new amps that the buyers werent previously exposed to. Happened to me. Played the UA Fender deluxe and the bought one. The world is a big place. Amp builders’s sounds are now available globally. But software isnt really the same.


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BlockInlay said:
The entire guitar industry is driven by immitation, cloning, copying, borrowing, and stealing. From the music itself down to the instruments, effects, and amps. Not saying that justifies anything but let’s not pretend this is a unique phenomenon limited to amp modeling or to even just kemper.
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The entire music industry is driven by copying & borrowing. “Good arts borrow, great artists steal”


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I'll be curious to how the Kemper folks will react when Behringer reverse-engineers its algorhythms and puts out a profile at 1/3 the price...
 
reverend1 said:
I’m just asking. I find it interesting people get all upset about people copying a Klon, but copying and amp builder’s intellectual property is completely fine. I don’t see a difference.
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Harder to copy a tube amp line considering all of the circuits started with Leo Fender using surplus parts and circuits within an RCA Tube book. Jim Marshall began by copying the Fender Bassman. Much of the circuits are all copies. What really separates things is what a builder would offer versus the other in terms of cabinet, type of speaker, tubes used and component quality. Another differentiator is voicing. The tone control circuits may be tweaked to the builders taste.

I believe that the klon was different when it came out only because they used a voltage multiplier to give more headroom to the circuitry within a box. Most pedal manufacturers rarely went beyond nine volts for its op amp design where a Klon used a multiplier to bump it to 18 volts. If you have an Xotic EP Booster, use their external Voltage Multipler and the EP Booster becomes a beast of pedal!
 
Deep Eddy said:
Yes, I am referring to the physical sound (tone?) of the amp. Sound trademarks exist but I don’t think they are easy to get - Harley Davidson was probably the most high-profile one. HD attempted to trademark the sound of its motorcycles but was unsuccessful.
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That sound sucks anyway. I hate that harsh, overly loud sound rolling through my little town on a tourist loop.

I do not have a problem with people attempting to mimic sounds. So I am not having a huge moral issue here.
 
Modern Saint said:
Harder to copy a tube amp line considering all of the circuits started with Leo Fender using surplus parts and circuits within an RCA Tube book. Jim Marshall began by copying the Fender Bassman. Much of the circuits are all copies. What really separates things is what a builder would offer versus the other in terms of cabinet, type of speaker, tubes used and component quality. Another differentiator is voicing. The tone control circuits may be tweaked to the builders taste.

I believe that the klon was different when it came out only because they used a voltage multiplier to give more headroom to the circuitry within a box. Most pedal manufacturers rarely went beyond nine volts for its op amp design where a Klon used a multiplier to bump it to 18 volts. If you have an Xotic EP Booster, use their external Voltage Multipler and the EP Booster becomes a beast of pedal!
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And that Bassman transitioning into early Marshall sound is probably my favorite. My brown Fender comes pretty close, and gets there with pedals. Specifically, my Catalinbread.
 
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