Posts by Ingolf

    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!

    Ich verstehe völlig den Nutzen von IEM, und dass es praktisch ist, einfach und platzsparend, rationell eben.

    Ich habe selber lange ein Sennheiser G3 - System benutzt.

    Nur devaluiert dies nicht die Sichtweise derjenigen, die es noch etwas geiler haben möchten, unter gewissen Umständen jedenfalls.

    Etwas geiler geht nur mit Box.

    That could imply parameter jumps. Let's assume: Morph 1 controls Delay Mix between 30 and 60% while Morph 2 controls Delay Mix between 30 and 10%. Current state is 50% and now you move Morph Pedal 2. I guess , a kind of soft catch would be needed OR each parameter can only belong to one Morphing within a Rig. As soon as Delay Mix is included in Morph 1, it cannot be included in Morph 2 and vice verse.

    Sure, but ATM there's already a soft catch in place with the current Morph.

    Imagine you call up a new rig with its base sound while the dedicated Morph pedal is fully toe-wise . Now rock the pedal only a little heel-wise and Morph will catch up from base sound to almost full Morph sound.

    This is no counter- argument to me.

    The way I see it:

    Morphing on one hand allows for very creative sound morphing (as the name implies) which contains any number of parameters that the user sees fit for morphing. Delay mix and reverb mix are only 2 parameters that get frequent use in this scenario.

    OTOH there are many users who ADDITIONALLY need independent specific control over a specific subset of parameters (e.g. delay mix or reverb mix as in the scenario above or a volume control of a certain kind).

    Therefore I would find it most useful if we could control (in addition to what's already possible) another subset of parameters independently from the Morphing as we know it.

    In your example with the delay mix assigned to "Morph 1" another "Morph 2" could control delay mix as well (plus other parameters potentially) but Morph 2 would override Morph 1.

    There would only be one rule:

    IF a parameter is morph controlled by both Morph 1 and 2, Morph 2 overrides Morph 1.

    I look at it the other way around.

    1) Get a FOH sound that sounds exactly how you like it.

    2) Choose an imprint that makes you happy on stage.

    Job done.

    THIS, whenever the circumstances allow for it.


    You'll be fine learning the Kemper paradigms, believe me.

    As for buying the Remote as well: why not consider the Kemper Stage?

    It's not only about Remote access but also about realtime control of parameters (morphing).

    The Stage is the best all-in-one- package IMO, especially when you don't have your gear racked up.

    Und da kommt der Punkt den ich noch nicht so ganz raus hab....
    Zu Hause, beim Üben, kann ich das als Spielerei noch verstehen. Dann hab ich mein Rig mit Imprint und nen fetten Gitarrensound aus dem Kabinet. Das macht sicherlich auch ne Menge Spaß.
    Aber Live? Warum soll ich als Gitarrist mein Signal auf der Bühne splitten und einen Engl XY hinter die Bühne stellen und für den FOH abnehmen und auf der Bühne spiele ich nen Roland JC (mal übertrieben dargestellt).
    Ich möchte doch das auf der Bühne als Monitorsound haben, was auch vorne beim FOH ankommt. Allein der Gedanke daran, dass das was ich höre was völlig anderes ist, als das was das Publikum hört, stört mich irgendwie schon.

    Wenn deine Prämisse die ist, möglichst immer genau das hören zu wollen, was das Publikum hört, dann ist FRFR (in möglichst hoher Qualität) genau dein Weg.

    Wir aber gehen von der Prämisse aus, dass ein abgenommener Cabsound nur der zweitbeste Sound ist.
    Der beste ist ein echtes Cab im Raum.

    Den gönnen wir uns sozusagen mit dem Kabinet (man gönnt sich ja sonst nichts). ;)
    Und das Publikum bekommt den ebenfalls sehr guten emulierten Sound, an dem ja nichts auszusetzen ist.

    Aber ein echtes Cab ist nunmal eine Ecke geiler, da beißt die Maus keinen Faden ab.

    Du hast viel von dem Equipment, das Macca "damals" benutzt hat, mehrfach gelistet. :)

    Macht aber nichts, es sind halt die üblichen Verdächtigen.

    @OP: Es spricht aber ganz bestimmt auch nichts dagegen, den Beatles Bass auch mal über ein Ampeg SVT- Profile zu spielen oder über einen Gallien- Krueger.

    Schlussendlich tragen Bassamps aber deutlich weniger zum Sound in der Kette vom Instrument bis zum Speaker bei als Gitarrenamps dies tun.

    Hi Ingolf, are you still using the Seymour Duncan 170 with one Kabinet? I am seriously considering that option with my Stage but I'd like to use two Kabinets, not just one, to profit the stereo effects. Is it possible? The SD 170 has one single output. Maybe I should upgrade to the SD 700, but it's more expensive. Thanks for your time!

    Hi Toni, I'm still using the Powerstage 170 with one Kabinet.

    If you wanna use two you should upgrade to the PS 700 which is a stereo poweramp.

    I selected master stereo, But reverb is still dead & reverb controls on Kemper do nothing !
    Further assistance would be much appreciated

    Your output settings are not the problem.

    I bet you have a different effect loaded in the Reverb slot (a wah instead?).

    Load a reverb type in the reverb slot and your problem will be gone.

    And please read the manual because these are basic user operations.