Feedback request regarding design of a potential second Morphing

  • Do you need two pedals to continuously shift parameters? Or is at least one Morphing layer dedicated to instant (without ramp) parameter switching via button?

    I seldom use a pedal for my morphing, so one would be more than adequate for me. I'm a simple user :)

    Go for it now. The future is promised to no one. - Wayne Dyer

  • I would like to have global Delay/Reverb mix parameters that can be controlled with the Mix Knobs on the front of the KPA.
    Maybe percent values would be better than an offset.

    You have got that as soon as you lock the DLY and REV modules.


    Or what are you exactly trying to achieve with global Delay and Reverb Mix knobs in combination with not locking the DLY and REV modules? Does it make sense to maintain the Delay Mix level while switching from a Legacy Delay to a Quad Harmonic Delay? The whole delay engine changes at that time, only the Mix level sticks. Is that really meaningful?


    Or do you mean global offsets for Delay and Reverb Mix as suggested?

  • I'm in a position where I can already control delay mix or gain with a pedal due to the fact I'm running a Voodoo Labs Ground Control midi controller.

    However, it only allows me to sweep between 0~127 (as far as I know) so isn't really usable in that you probably don't want a pedal that goes from no gain to 10 or no delay to 100%. No fault of Kemper's obviously, but it is a limitation of using certain midi controllers.

    That's the beauty of morph, in that it allows a sweep between whatever min and max values you like.

    I'm with Wheresthedug, I believe a second morph pedal would be the best solution, I picture the settings allowing you to lock morph 1 to allow adjustments to be made in morph 2 with no ability to morph parameters already used in morph 1 and vice versa.

    I know it's another pedal socket being used, but I imagine quite a few users would use this if it were available, I would

  • I just want to reiterate what I would want to achieve with a second independent Morph 2 option which would override Morph 1:

    Let’s assume we have something interesting going on while we morph a chorus, a delay mix, some distortion, and some filter like EQing from base to full and everything in between, in real time.

    Now we realize, while still playing, that some crucial parameter is overrepresented e.g. the signal is too wet (= delay mix is too high).

    Now I could just reduce the morph back to get a more dry signal but I would also lose everything else that I perhaps like as is.

    Therefore it would be great to be able to override certain parameters with a Morph 2 (in this case delay mix).

    But please note it could also be any other parameter that I'd consider crucial instead of delay mix. It could also be the amount of gain, or the speed of the chorus, anything.


    To sum it up: I'd love to see the possibility to either

    - control totally different parameters of a rig with a Morph 2 (when the parameters of Morph 1 and Morph 2 are not the same)

    - control different parameters of a Rig with Morph 2 and override some of them (when there are some parameters different in Morph 2 but some parameters in Morph 2 do exist in Morph 1 as well).

    - override certain parameters of Morph 1 with Morph 2 (when I choose certain crucial parameters in Morph 2 which also exist in Morph 1].


    Thank you for listening!

  • - control different parameters of a Rig with Morph 2 and override some of them (when there are some parameters different in Morph 2 but some parameters in Morph 2 do exist in Morph 1 as well).

    - override certain parameters of Morph 1 with Morph 2 (when I choose certain crucial parameters in Morph 2 which also exist in Morph 1].

    But where do you go when you turn morphing off?

    Go for it now. The future is promised to no one. - Wayne Dyer

  • Introducing three Morphing layers would be a complete overkill and overwhelm the vast majority of users. In such corner cases the solution might be, keep using a universal MIDI footcontroller like your RJM. The number of pedals is only limited by the pedal sockets of that foot controller and the PROFILER supports to control nearly any parameter via NRPN. There is nothing wrong with that.


    My objective here is to identify a "center of gravity" how we can cover some unfullfilled needs with an enhancement, that doesn't introduce too much complexity burdon for everybody and nicely fits into the existing philosophy.

    midi controllers are (or at least can be) incredibly powerful but they need a lot more manual programming than the Remote. I bought a Remote because it is such a fantastic integrated solution. NRPN makes it potentially even more powerful than midi too. I don’t really want the complexity of programming midi for things like having Footswitches control different Stomp/FX blocks per rig when I can simply press the Stomp button on the Toaster then step on the Footswitch on the Remote. This is absolute genius level implementation of the user interface and Kemper have done an incredible job making the Remote so powerful which still being so easy to use 😎😎😎😎😎😎


    You make a case for a Morphing Pedal plus a dedicated Delay Mix Pedal plus a dedicated Reverb Mix Pedal, and you probably use a Volume Pedal. What about Wah? At that point you are running out of PEDAL-sockets.


    the current 4 sockets on the Remote are plenty for me. I have always said that I just cannot understand why such a corner case effect as Pitch is deemed important enough to have its own dedicated pedal type whereas something much more useful like delay or reverb mix isn’t. In my case I might need pitch pedal once every year or two but need delay mix every song every day/night. In those rare occasions where I do need Pitch I would be happy just to assign the pitch sweep to a morph pedal. Therefore, in my case I would have a Wah, Morph A and Morph B. i might also have a volume pedal but to be honest I rarely use this either so wouldn’t necessarily have any more than 3 pedals hooked up. Wah > Volume would get my through any situations where I want a volume.



    If your role model is an analog rig with that many pedals, where every component can be switched on/off and each pedal and switch sticks globally, then the Remote might be the wrong foot controller for you, because it is fundamentally based on a Rig-switching philosophy plus extentions (Effect Buttons, Morphing and Locking). Introducing three Morphing layers would be a complete overkill and overwhelm the vast majority of users.

    I only need two layers - Effects Buttons and Real Time Morphing via an expression pedal. I have never been able to get my head round using the Morph Switch option to toggle changes. If I want to toggle a change I simply select a new preset.


    I change presets and maybe occasionally turn FX on/off with buttons. When it comes to Morphing I see it as a real time continuous control feature so I want 2 different Morph expression pedals rather than a Footswitch and/or Expression Pedal.

  • Morph is fabulous and easy. The prospect of "doubling" its reach is in itself badass. Including the user base in the discourse about what this extended functionality will look like is cool and generous.


    One guitarist's hypothetical dream features and novel usage scenarios shouldn't negate the potential for a different approach by another. Hopefully CK & Co at least begin the process of this latest innovation by using music and the hurdles of guitarists in "traditional" live and recording situations as the driving force behind their team's coding decisions.


    Just like the Kemper itself, the morph feature means one thing to one guitarist and something entirely different to the next. Therein lies the genius of the device. For starters, the simple option to divvy morph parameters up across two pedals versus one will be a great advance.


    Looking forward.

  • Do you need a pedal or a ramp for Morph 2? Or could it be an instant switching of parameter n to level m?


    What if you override while Morph 1 pedal is in a middle position or the ramp is still travelling? Should parameter n stick at level m or keep travelling from level m?

  • ... I have never been able to get my head round using the Morph Switch option to toggle changes. If I want to toggle a change I simply select a new preset.

    ....

    For me the added value are the ramps. I'm for example using it to automatically and precisely build up a Crystal Delay over 8 bars or ramp a Pedal Vynil Stop via Morph Pedal to Pitch.

  • For me the added value are the ramps. I'm for example using it to automatically and precisely build up a Crystal Delay over 8 bars or ramp a Pedal Vynil Stop via Morph Pedal to Pitch.

    I can see how for some "corner cases" this could be a useful function but it isn't really mainstream 😆


    Jokes aside, those may be very useful to some player but for me (I'm sure many many other more traditional players) this isn't something useful. I never use Crystal Delay or Vynil Stop but I do manually control things like delay mix or gain.


    Actually one way I would use morph switching (if it was possible) would be to control Rotory Slow/Fast. It make more sense to me to have this set ad a morph parameter than to tie up an FX switch or set the Looper or Tap tempo switches to permanently trigger rotory speed when the effect is maybe only active in a few rigs.

  • I can see how for some "corner cases" this could be a useful function but it isn't really mainstream 😆


    Jokes aside, those may be very useful to some player but for me (I'm sure many many other more traditional players) this isn't something useful. I never use Crystal Delay or Vynil Stop but I do manually control things like delay mix or gain.


    Actually one way I would use morph switching (if it was possible) would be to control Rotory Slow/Fast. It make more sense to me to have this set ad a morph parameter than to tie up an FX switch or set the Looper or Tap tempo switches to permanently trigger rotory speed when the effect is maybe only active in a few rigs.

    I appreciate that there are some users with special requirements, but I would suspect that most have the same simple needs that I do. As long as the function remains relatively simple and straightforward, then I'm good with it.

    Go for it now. The future is promised to no one. - Wayne Dyer

  • For me the added value are the ramps. I'm for example using it to automatically and precisely build up a Crystal Delay over 8 bars or ramp a Pedal Vynil Stop via Morph Pedal to Pitch.

    This! For me it was one of those lightbulb moment to discover how morphing via a switch can be also really useful to achieve much more even and precise transitions than operating a morph pedal with a foot. For example short pitch dives a la "Lonely Boy" or a note sustain bloom fx (=precise gain+delay+eq buildup and decay) just by pressing a momentary switch. :love:


    For this reason it would be nice to have equal properties for both morphs.

  • ...I

    Actually one way I would use morph switching (if it was possible) would be to control Rotory Slow/Fast. It make more sense to me to have this set ad a morph parameter than to tie up an FX switch or set the Looper or Tap tempo switches to permanently trigger rotory speed when the effect is maybe only active in a few rigs.

    You don't have to assign a global switch to Rotary Speed if you rarely need that function. The first choice are the Effect Buttons I-IIII anyhow, which are Rig-specific.

  • You don't have to assign a global switch to Rotary Speed if you rarely need that function. The first choice are the Effect Buttons I-IIII anyhow, which are Rig-specific.

    But you do have to use one button to turn the Rotary effect on and off and another switch to change speed, or toggle between two Rotary effects (one set to fast and one set to slow).