Posts by Burkhard

    About reading the manual:

    ¨   Why do I need my guitar cabinet when I want to capture a PROFILE without a cabinet?

    It's true, the sound of the speaker will not be captured in this case, but the complex impedance behavior of the speaker is still needed to create those oft-mentioned interactions between the power tube amp and the connected guitar cabinet. The DI box will ensure that there are real-life interactions for the PROFILING process to capture. Later, when the PROFILE is played back through the built-in Class D power amp, or an external solid-state power amp, it will recreate the same impedance situation to that of the connected guitar cabinet. This is the key to making our built-in power amp sound like a tube power amp. For this reason, we recommend that you don't use any kind of power-soaks or power-attenuators, either as a substitute for, or in addition to, the DI box and true speaker. Those devices work mostly with simple resistors, which might inhibit the desired impedance interactions, thereby resulting in an inauthentic PROFILE.

    CC50-54 are use to relatively address and load Rigs in Browse Mode and Slots in Performance Mode:

    CC50 loads the first Rig of the current bank/Slot of the current Performance,

    CC51 loads the second Rig of the current bank/Slot of the current Performance,

    ....

    CC#54 loads the fifth Rig of the current bank/Slot of the current Performance.

    So, you are sended stacks of contradicting load comands.


    Resending the status of on/off switches might be meaningful. Resendeing these CC50-54 after you potentially loaded a Rig/Slot via program change is meaningless. I suggest, you load Rig/Slots via MIDI program changes (or MIDI bank select plus program changes) and use CCs just for on/off switching of effects.

    Different output volumes are for different outputs. You can deactivate Monitor Stereo and then use the MONITOR OUT and the DIRECT OUT as two different outputs with different output sources (Master Left and Master Right) and different output volume levels. However, you cannot suppress the cabinet simulation for both and leave it active for the MAIN OUTPUT.

    I found this for you in the Main Manual paragraph dedicated to the Looper:


    By setting the Looper Location switch in the respective System Settings page, you can choose the position of the Looper in the signal flow.

    ¨   Looper Location Input

    The Looper is placed right after the instrument input. It records the pure guitar signal and plays it back before the effect modules. When you change Rigs during the playback of the loop, you'll hear the playback processed by the different Rigs. However, when you perform overdubs, then all overdubs will be run through the same Rig, as if multiple guitars were played through the same amp at the same time.

    ¨   Looper Location Output

    The Looper is placed right after the last effect - the REV module. It records the fully processed stereo signal. When you change Rigs during the playback of the loop, the playback sound will not change! This allows you to play along, or even overdub, with an unlimited number of different Rigs.

    • Consequently, while Looper Location is set to “Output” the playback is inserted after the REV module and can only be monitored on those outputs that have their respective output source set to “Master….”.

    How do you use 2 mics for profiling with Kemper? I thought only one mic is used. Then you have the issues of phasing with multiple mics.

    If you check out the tags related to microphones in our factory Rigs you will find many were captured using multiple microphones.


    You can use a mixing desk to mix these together, which will also provide phantom power as needed. Mixing multiple microphones you need to deal with phasing challenges, but this is standard studio practice.

    If the outputs work in Browser Mode, the issue must be caused by a Rig Setting.

    Effect Loop active in those Rigs and no external gear connected?

    Anything with Volume Pedal - perhaps different settings locked in Performance Mode. Check pedal settings in Rig Settings and level of the pedal on page Pedal Links.


    Other:

    Perhaps the Output Source is set to "DLY/REV Wet" and you use delay and reverb effects in Browser Mode, but not in Performance Mode.

    Or you use a wah effect with extreme filter settings, which practically mutes the signal.

    I cannot reproduce any delay triggering Morphing via MIDI CC# 80 other than the intended ramp times, which you could set to 0. As soon as I send MIDI CC #80 with value 1 (Fall Time = 0) the sound immedediately switches from Base Sound to Morph Sound or the other way around. You just need to send a 0 in between.


    Are you sending the CC together with the PC?

    And is the PC loading a Slot within the same Performance or loading a Slot in another Performance?

    MIDI program changes just load Rigs in Browser Mode or Slots in Performance Mode. To trigger effects - and that includes Morphing - you need to use MIDI control changes instead. There are two ways to trigger Morphing via MIDI:


    1. MIDI control change #80


    Morph Button (value 1-127 triggers ramp from Base Sound to Morph Sound according to selected Rise Time; value 0 closes transaction; next value 1-127 triggers ramp from Morph Sound to Base Sound according to selected Fall Time; if option “Momentary” is selected, value 0 triggers immediate return to Base Sound).


    2. MIDI control change #50-54


    If Rig Button Morph is activated in System Settings, and the PROFILER receives subsequent control changes #50-#54 following the initial Slot load, these will trigger Morphing. So, the same button could be used to first load a Rig, and then act as a Morph Button for that Rig. To support all functions, values 1-127 should be sent when the button is hit, and value 0 should follow when the button is released. The setting of the “Momentary” option in Rig Settings determines whether the Morphing latches the morph sound and base sound, or if it immediately returns to the base sound as soon you release the button.

    Moving from one Slot to another in Performance Mode you normally leave everything behind and load a completely different Rig including the whole signal chain from Input to module REV. Exception: If you lock a module e.g. module B with the LOCK button.

    I'm testing MIDI with a Remote connected all the time and in my band I use Bandhelper to load Performances via MIDI while a Remote is connected. Many people use MIDI and Remote simultaneously.


    Just to get an idea .... how many MIDI comands are you sending? E. g. one CC# per musical scene or two per bar ....?


    Is MIDI clock involved? Are other commads involved e.g. MIDI Notes?


    The "current OS" is 8.0.6 release, correct?


    I doubt very much, that just sending one MIDI CC per musical scene makes the PROFILER hang regardless if the Remote is connected or not..

    From the Main Manual:


    Importing Rigs, Performances, and Presets

    We offer you access to a mind-blowing variety of the highest quality PROFILEs and Rigs. Those and other goodies are available in Rig Manager and can also be downloaded from our website here:


    http://www.kemper-amps.com/downloads


    You can either transfer these Rigs from your Mac or PC to your PROFILER using our Rig Manager application or use your dedicated USB memory stick. In this case, please copy the Rigs to the directory called “Shared” on your USB memory stick. Next, plug the USB flash drive into the USB slot of your PROFILER and switch to Browser Mode. Then press the soft button “USB Stick”. You will be presented with an option to import the content. You can import Rigs and presets this way.

    • Import and export functions are only available in Browser Mode.

    Ja, bei "WahPedal to Volume" folgt der Volume Controller dem Wah Pedal. Also muß das Pedal als Wah Pedal konfiguriert sein.


    Ausserdem überprüfe mal die Einstellungen im Wah-Effekt. "Touch" heißt, dass der Effekt über die Anschlagsstärke gesteuert wird und gar nicht über ein Pedal. Am besten lädst Du mal eines der Wah Presets z. B. "Cry" als Ausgangspunkt. Die Regelbereiche der Filter in den Wah-Effekten sind nämlich so groß und flexibel, dass man sich damit im Extremfall den Sound bei bestimmten Pedalstellungen komplett muten kann.

    I guess, it's a wordwide standard practice across all industries not to develop new software for retired platforms. Otherwise you would constantly limit yourself to the limits of the past.