Posts by Dynochrome

    I like using a 28 ms delay and panning it hard left and have the other signal hard right. Makes things wider and fatter but doesn't swirl around. Not exactly like 2 guitars because to have that, you have to have the "other" guitarist playing before and after you at random intervals. There are things that can do that pretty close, but to do it for real the 2nd guitar has to be able to play slightly before you too. This could be done post but so far effects can't predict what you are going to play real time I don't think.

    Not everything works together as I learned like a Telecaster into a Friedmen.

    True, although I was surprised how great my Tele (W twang king) sounded with a gained down version SLO 100 that I normally use with near metal sounds! You just never know. I've never been a huge Fender amp fan but they sound great with a Strat/Tele.

    I'm guessing it's because cabdriver is peeling away what it thinks the cab is and sends that out. It's awesome, but likely not 100% so when you completely cut the cab, the cab portion that remains after the cab driver filter gets cut too. I wonder if it would do this on a "merged" profile. I would think it shouldn't unless there was some other routing happening I'm not understanding.

    Michael Britt says his "secret weapon" is UE7. He says it's the only one he trusts when he profiles. I think his profiles are best for all purposes and would love to hear them as he does but these things are like $1,000.00 and I doubt I would buy them if I had a million dollars but would love to see how they compared with the $100.00 sure. I'm not super picky when monitoring, more concerned with what's going down on tape or out front.

    The Shure cords are solid and mold nicely.

    When you say "mold nicely" are they like a stiff wire or just a cord that wraps? I ask because what goes over my ears has to hold the whole thing up ( I usually use stiff hooks) the buds will stay in but they have to have something holding them up. I don't think just a cord wrapping around will work unless it's stiff. I am asking a bit hypothetically because I'm still oldschool and use real monitors/cab but might have to make a switch sometime and I want to have some idea.

    Yeah, my bad. I was thinking that stack/amp volume could effect input levels to the following blocks differently like clipping into the delay or something, but they are the same. I've just always used rig volume by default. You forced me to re-read the manual and Amp Volume is the recommended parameter to create unity levels between rigs while Rig Volume is to create unity volume within setlists. Sorry if I led anyone astray.

    I believe (possibly Wheresthedug) tested this a while back and tested/found that changing the amp volume has no effect on the delay/reverb clipping. I'm not sure how that works, or why it wouldn't, (magic digital routing?) but I haven't noticed it doing anything strange. I always adjust my levels that way and save the Rig volume for boosting/morphing.

    You don't want to use amp volume (located in the stack section). You want to use rig volume located in the rig section which is used to match volume levels across presets. If that's what your using and its not affecting change, you should open a support ticket.

    The Manual does not agree with this:

    Volume page 165:

    This parameter can be used to balance volume gaps between different PROFILEs. The Rig named “Crunch”, which is default in all Slots in Performance Mode, could be used as a volume reference.

    I also one suggested to change the display colour when in morph state instead of just the lit button :) ... should be easy peasy to implement (not for remote)


    Raf

    That might be more difficult to implement, but would be great!

    Disadvantages of a Kemper live: You're going to have to put some work in and give it time. Time with FOH and getting clean/dirty levels correct. Advantages: Once you get things right you can waltz into a gig at the last minute, plug in and everything will be killer and you won't have to worry about a thing, and having that confidence going on stage is a HUGE boon.. My suggestion: Treat it like if you just bought a 4 channel amp. Have your spanky funk/strumming clean, your slight (blues) drive, your heavy drive (80s rock) and your lead tone. Get these 4 leveled using the out put on your "Amplifier" section. Each slot can be boosted with morpf or boosted in level using rig volume from there. Like many people I started out using a bunch of profiles from different sources and figured out the best way to use a Kemper is to treat it like a 5 channel amp and work up from there otherwise you're chasing your tail until you come to this conclusion. Now, I only use a 68, 69(w variac) 72marshall, a Soldano (for "Metal") and a /13 amp that came with the Kemper for cleans. 85% just the 69 Marshall in varying degrees. Keep it simple and build from there.

    I fired up my old Soldano Hot Rod 50 with a Soldano 4x12 with Celestion G12H30s for about a half hour this afternoon. It was my daily driver when I switched to a Kemper. I prefer my Kemper rig for many reasons but I could clearly recall why I dug that Hot Rod so much. It's just big brutal muscular tone. As much as I love the Marshall 2204 this Hot Rod beats it every time. There is something special about a tube amp and a 4x12 cabinet.

    I just got done jamming straight into a small closed back 1x12 with a Lynchback. At low volume this cab isn't that great, kinda dull. Cranking it up to 50W on the meter (actually 25 because it's 8ohm) it roared to life and was just like or better than playing any tube amp through it. I think a lot of what people like about tube amps is the volume and people tend to play their Kempers through IEM or studio monitors at a polite volume which is fine for live but isn't like cranking it in a room through a speaker. When you do that, Kemper becomes an "amp" just like a JCM800 or whatever you pick.

    I saw something today that either wasn't there. or I never noticed before. A Little up arrow @ around 200w. Does anyone know what that signifies? I thought maybe it was a marker to show continuous watt max (I believe 160) but arrow was higher.

    I need to do one song with a talk box. is there a tutorial or is it as easy as just put the wah after the amp stack?

    I used one for Eagles "those shoes" with a expression pedal that worked great. The other guitarist was miffed because he was dragging around the full setup with a hose and I could come so close that nobody could really tell. I'm sure there is likely a tutorial, there is for almost everything else. I put mine in the first slot where my wah usually goes. In reality I guess putting it after the stack might be more authentic to how a talk box operates.