Posts by Burkhard

    Many of us want to use a footcontroller to load rigs, switch stomps/effects and shift continuous controllers.


    The Profiler Remote is perfectly integrated with the Profiler. It connects via one Ethernet-LAN cable, enabling complete synchronization between both devices, as well as supplying power to the footcontroller. Display and LEDs reflect detailed and current information at any time. Settings are included in the Profiler's user interface and therefor included in any Profiler backup. It is possible to connect up to four expression pedals to the footcontroller. And a Looper can be perfectly controlled as well.


    Our objective is to offer maximum flexibility, so that users can select the solution that best fits their needs. For example, some users want to integrate the Kemper Profiler into a bigger MIDI environment, and therefore have very specific requirements. Consequently, we have been in touch with multiple footcontroller manufacturers, and have been cooperating with them during the development of their Kemper Profiler adaptations.


    This article is supposed to provide a short overview, as well as be a starting point for your personal evaluation. We didn’t always have the opportunity for intensive testing at the lowest possible level of detail, and as these adaptations are continuously improving, this material is obviously subject to change. The devil is often in the details, so if your needs are particularly special you might want to consult the manuals of these products before making your final decision.


    UnO4Kemper chip-tuning for Behringer FCB1010


    This chip-tuning, as soon as it is mounted, is plug-&-play and specialized to control the Kemper Profiler. UnO4Kemper supports bi-directional synchronization with the Kemper via two standard MIDI cables. The display can, for example, reflect the number of the current Performance, or the Tuning of the guitar. LEDs in the FCB 1010 indicate Tap Tempo, Slot loaded, and on/off-status of Stomps/Effects assigned to the 5 instant access switches.


    The idea of this solution is to completely overcome the complex programming of patches in the original Behringer FCB 1010. Consequently, there is only limited customization available, and all settings are global. The board has all switching condensed in one "scene". The two built-in pedals are assigned to Wah and Volume. Remember - there is a function in the Profiler that allows you to use a Wah pedal to control Pitch effects. But beyond that other continuous controllers like for example Delay Mix cannot be assigned.


    UnO4Kemper automatically detects and supports Performance Mode as well Browse Mode. In Performance Mode you can step and scroll through all 625 Performance slots.


    In newer revisions the response curve of each of the pedals can be configured (linear, degressive, progressive). Since revision 1.3 Uno4Kemper is also supporting Beat Scanner, performance pre-selection (Performance Autoload disabled), and MIDI channel is self-learning. Since 1.4 the pedals can be assigned flexibly, so that it's for example possible to configure one pedal as Morph Pedal and link Wah and Pitch pedal to it.


    This is a low budget solution, even if you include the glow-in-the-dark labels in your order. In the meantime Uno4Kemper is even offering a single cable kit, which allows to modify the FCB 1010 to be connected via one single 7-pin MIDI-cable incl. 9 Volt power supply.


    Here is the link where you can find detailed information:


    http://www.uno4kemper.com/


    EurekaPROM 2.0 for Behringer FCB1010


    The EurekaPROM 2.0 is another chip-tuning for the FCB 1010, but this one has the capability to control one device from a list of many. The Kemper Profiler has been recently added to this list, so the first thing you need to do after mounting the chip is to switch to the mode labelled "PA".


    EurekaPROM 2.0 can also handle bi-directional communication, via two standard MIDI cables, to correctly reflect information such as Performance loaded, Slot loaded or on/off-status of switches assigned to Stomps/Effects. It supports Browse Mode and can access all Slots in all Performances in Performance Mode. EurekaPROM offers 5 modes or scenes built to control Effects, Presets, Favorite Presets, Specials, and Effects Presets.


    One of the built-in pedals is dedicated to control Volume. The other is assigned to Wah by default, but can be changed in the Specials scene to any other continuous controller available in the Kemper Profiler like, for instance, Delay Mix, Gain or Monitor Volume.

    The revision EurekaPROM3 even supports some Looper functionality


    This solution is inexpensive and labels are included.


    Here you can find more information:


    http://www.eurekasound.com/eurekaprom


    FMAC Liquid Foot LF+


    This is a very flexible controller for complex MIDI environments. It supports bi-directional synchronisation with the Kemper Profiler via two standard MIDI cables. It is able to display rig names, as well as the same stomp/effect acronyms used in the Profiler, and reflect their current state. This footcontroller supports Browse Mode. Up to four expression pedals can be connected.


    http://www.youtube.com/watch?v=IOFCLSjaq70


    RJM Mastermind GT/10 and GT/22


    Very flexible controllers for complex MIDI environments. These support Performance Mode as well as Browse Mode. Latest RJM Firmware enables 640 internal patches sufficient to adress all 626 slots in Performance Mode. Both models support bi-directional communication via two standard MIDI cables. So for example the Profiler tuner status gets displayed on the Mastermind main screen. There is a learning function, which is downloading some names and configurations from the Profiler, but adjustments in the Mastermind settings might still be required. An editor software is available. With its song list feature you could display song names corresponding to performance names on the main screen, while the displays at the 5 slot switches display the corresponding rig name or slot name. Instant access switches can be configured globally or by patch. Up to four expression pedals can be connected and their functions can be assigned by patch or globally.


    http://www.rjmmusic.com/wp/201…the-kemper-profiling-amp/


    Gordius Little Giant


    Complete footcontroller offered by the Uno4Kemper developers, which supports two-way communication via two standard MIDI cables. It is able to display Rig name, tempo and tuner status, as well as reflect the current on/off-state of stomps/effects. Up to four expression pedals can be connected.


    http://www.gordius.be/midi-footcontroller-support.php


    Keith McMillen SoftStep


    This universal footcontroller is very flexible and powerful, but doesn‘t support two-way syncronisation. While one expression pedal can be connected, each of the ten built-in keys is not only able to switch, but also control via vertical and horizontal moves and pressure. We have prepared four example scenes to load rigs in Browse Mode, load Slots/Performances in Performance Mode, as well as switch and control effects. As this one connects via USB, the optional USB-MIDI-adapter is required to connect to the Profiler.


    http://www.keithmcmillen.com/p…-for-kemper-profiling-amp


    All product names and company names are (registered) brand names or trademarks of each respective holder, and Kemper GmbH is neither associated nor affiliated with any of them.

    A solution would be a setting to have the values in bold, or alternatively increase their size

    Are you aware, that as soon as you touch one of the soft knobs, the corrsponding value gets displayed big and bold in the middle of the screen? Isn't that sufficient assuming that you are usually checking particular parameters?

    It's true, as soon as you move to another performance your modifications are scrapped, if you forget to save the performance before you leave.


    While changing slots within one performance it makes a difference, if you are loading slots manually (using the rig navigation cross) or via MIDI.


    When you are preparing and fine-tuning your arrangements, you might do this via the Profiler's front panel. In this case all modifications are maintained. So for example you could activate and tweak Stomp A of the rig in slot 1, move to slot 3 to load another rig from Browse Pool, come back to slot 1 and Stomp A would still be active. All modifications are maintained while you are moving between slots manually until you leave the performance.


    On stage you might load slots via MIDI. Let's assume you load slot 2 and activate Stomp X. If you now move to another slot using MIDI program change or control change, this modification will be scrapped. Therefor next time you load slot 2 again it will return in it's initial state (Stomp X off), which is much more predictable for your live performance. Otherwise any temporary modification of for example Delay Mix via pedal would 'infect' the rigs in the slots and you would need to change performances to get the performance back into its initial state. Or worst case - you decide for example to adjust the gain in slot 2 a bit, store the performance to make this change permanent, and by doing so store all these 'infections', which were meant to be temporary. All modifications are scrapped, if you are leaving a slot via MIDI program change or control change.

    This firmware introduces the following fixes compared to 2.2.0 Public Beta.


    User Interface


    - fixed: Compatibility issues with older output presets are fixed. Output presets created under 2.2.0 need to be recreated.
    - fixed: Copy/Paste of Cab and Amp doesn’t cause hang of user interface anymore

    ok, we will discuss this internally. I personally think, the value add of such a preference would be very limited while introducing opportunities for user misunderstandings and errors.


    Value add is limited, because you could only adjust parameters in this 'sound check mode', which can be remotely controlled via MIDI CC, which is a fraction of all available parameters anyhow. And you need to have a switch or pedal assigned to the parameter in your footcontroller. You could for example adjust Delay Mix remotely, but only if you currently have a pedal assigned to CC #68. Therefor practically these adjustments might be limited to switching Stomp A, D, X on/off, which could also be achieved by storing another version of the rig in another slot. Let's also not forget, that the only restriction of current firmware compared to earlier firmware is, that MIDI adjustments are now lost during Slot change, while they used to get lost during Performance change. You need to store any adjustments anyhow.


    Again, we are already planning a Performance wide tap tempo.

    I do understand the request related to a 'performance tempo' - meaning a TAP tempo, which is maintained across all slots within the current performance. This makes a lot of sense and is already on our list of things to do.


    Related to your other example I'm not convinced to be honest. It appears, you have already conceptually designed two different sounds: one with delay as well as distortion and another one without. Why not storing these in two different slots and loading these slots as required. You couldn't perform any fine-tuning via MIDI anyhow, e. g. adjusting Drive or Tone of a Muffin has to be done manually. I think, keeping a slot in the state as it had been left last time introduces a big element of unpredictability. Let's take a concrete example. I have been playing with the new 'Pedal Vinyl Stop' effect in order to pitch a solo down to 0 at its end - impressive effect by the way - which effectively means signal is completely muted in the toe position. If I switch and come back to this slot at a later time, I don't expect to start with a muted signal, but with the rig in it's initial state. I wouldn't even know, when I would have the time to reset the 'Pedal Vinyl Stop' into heel position otherwise.

    This didn't change in 2.2.


    The challenge is, how to distinguish between modifications of settings, which are intended to be temporary (e. g. switching rotary speed from slow to fast) and those, which you might want to maintain permanently (e. .g balancing the volumes of your slots within one performance).


    Before we didn't distinguish and all adjustments were kept as long as you didn't leave the performance. This led to unintended 'infections' by adjustments of temporary nature (rotary speed, delay mix, gain, and so on). For example a slot intended to start always with rotary speed slow, suddenly started with rotary speed fast, because it had accidentally been left that way. Even worse, if you stored the performance in order to maintain a few permanent adjustments, you would also have stored all temporary changes. This example slot would now always start with rotary speed fast instead of slow. I'm wondering, if you ever experienced that issue.


    As permanent changes require a store of the performance, which cannot be done remotely, we have now applied the following logic. Modifications can be done from both front panel or via MIDI, but as soon as the slot is changed via MIDI these modification are forgotten. This is basically the usual behaviour like moving to another performance or another rig in Browse Mode. Switching slots via MIDI follows the same logic now. Users intending permanent adjustments might be close to the frontpanel anyhow, because pushing the STORE button requires their physical presence. In that case slots should be switched manually using the left and right rig buttons and modications are kept until the performance is left. This is the practical approach for permanent adjustments.


    Should you still not buy into this concept, perhaps you could provide a concrete example: What is it, what you try to adjust remotely, want to maintain while staying within the current performance, but loose as soon as moving to another performance?

    Looks like the noise gate is no longer a part of the input section, but a separate thing that's not affected by the rig changes. It's a nice sensible change

    No change in this area. Noise Gate has always been part of the Input stage and still is. It's part of any rig like Clean Sense or Distortion Sense, however can be fixed by locking the Input stage.

    Let me try to clarify.


    I had to adjust the position of the red LED related to the printed foil strip within my FCB 1010 in order to achieve sensitivity across the whole pedal range. Calibration alone didn't do it. Since then the FCB 1010 pedals work reasonably well for Volume and Wah as well as for this new Pedal Vinyl Stop Effect. Just used it yesterday during a rehearsal and impressed my bodies.

    But when in Performance mode the preset changes to the corresponding preset in the bank I'm change to. Ex. when on preset number 2 in bank 1 it changes to preset number 2 in bank to when I press bank up. Someone having the same problem?
    Havnet tride that much to find out whats causing it. I only use 10 presets so I run the KPA i browser mode for the moment.

    This is by design. If any footcontroller is sending a MIDI CC#48, the Profiler immediately executes this. We are planning a preference in one of our next firmware versions, so that the Profiler would wait for another comand to adress one of the five slots within the selected performance and not load anything automatically.

    I would truly source other MIDI cables first as it would be very rare an unlikely that its the kemper.


    +1
    I cannot remember, that we ever had a defect MIDI connector. At this point we don't know yet, if the FCB 1010 isn't sending, the cable isn't transmitting or the Profiler isn't receiving, but there is high probability it's a cable-problem and it's the easiest to fix.


    As soon as the Profiler detects Uno4Kemper you will see a confirmation on page 6 of the System menu.


    Assuming that one cable is defect, you could perform the following test: Just test ONE cable after the other to connect the FCB 1010 MIDI Out with the Profiler MIDI In. No cable should be connected from Profiler MIDI Out to FCB 1010 MIDI In. This should enable a backup mode with limited functionality. The Profiler doesn't recognize, that Uno4Kemper is connected, but receives and executes MIDI commands. You should be able to control Volume and Wah via pedals, if the FCB 1010 had been calibrated before. If this should work with one cable and doesn't with the other, you will have identified the defect cable.

    perhaps I can provide a few useful hints.


    The number of characters that fit into the various display fields is depending on the width of the characters. Generally it's probably not ideal to put the most relevant identifier at the end of any long rig or preset name, because the rig screen in Browse mode might not be able to display it completely.


    In Performance mode we need to distinguish between slot name, rig name, and even performance name.


    The rig name gets displayed below the performance name and has got plenty of space there - actually even more space than on the rig screen. The rig name is automatically initialized, when you select a rig from the Browse pool for the slot. However as rigs in Performance mode are stored separately and are independent from their parent rigs in Browse mode, you can change all settings incl. rig name. Like in Browse mode rig names get changed in the Rig Menu selecting 'Show Tag' and then 'Edit'. Again, such modifications don't affect the parent rig in the Browse pool.


    The slot name gets initialized, when you load the first rig into the slot and is then frozen. However you can change the slot name in the 'Arrange Slot' menu independently from the rig name. So Rig name could be 'TAF XYZ 777' while the slot is named 'Chorus'. Obviously the screen offers less space for slot than for rig name, however you have got both to organize you sounds.


    Performance name gets defined while you store a performance and can be modified on the Arrange Performances screen.

    This firmware introduces the following new features, improvements, and fixes.


    User Interface


    - added: soft button ‘WahPedal to Vol.’ available in System menu and Rig menu (Volume Pedal Settings)
    - added: soft button ‘WahPedal to Pitch’ available in System menu as well as Pedal Pitch effects
    - added: current state of pedal values displayed on page 6 of System menu
    - added: backup name includes owner name
    - changed: new boot and shutdown screen layout
    - fixed: old rigs and presets starting with ‘!’ don’t get lost during restore anymore


    Audio


    - added: two new Input Sources especially for reamping
    - added: New Reamp Sense parameter
    - added: new effect ‘Pedal Vinyl Stop’
    - changed: Clean Sense and Distortion Sense now scaling in Decibel
    - changed: Main Output Equalizer also affecting Headphone Output
    - fixed: occasional loss of sound triggered by fast rig browsing


    Factory Content*


    - added: the following rigs are included in firmware Ola Englund signature Rig Pack (August 2013)
    - added: two new Factory Presets for Pedal Pitch ‘PPTC Two Oct Down’ and ‘PPTC Two Oct Up'
    - added: two new Factory Presets for Harmonic Pitch ‘HARM Octaver’ and ‘HARM +3 +6’
    - added: new Factory Preset for Pedal Vinyl Stop ‘PVST Vinyl Stop’
    - changed: many factory rigs revised to improve volume levels


    * Factory rigs and presets included in this firmware can be imported via ‘Factory Rig’ import function in the System Menu or selectively by downloading ‘Factory Content 2.2.0’ from our web-page.

    Lasse Lammert is an engineer from Luebeck, Germany, who is known for his distinct trademark guitar sounds, that manage to combine power, clarity, and aggression.


    You most likely heard his work in one of his internationally successful productions or in one of the many clips on his Youtube channel.


    Now he has compiled some of his trademark guitar tones in his very own Signature Rig Pack.

    This firmware introduces the following new features, improvements, and fixes compared to 2.0.1 Release. It also fixes an issue related to preamp gain, which was slightly lower in 2.1.0 in comparison to previous versions.


    User Interface


    - added:Input Source selection (Front Input/Alternative Input/SPDIF Input). Please read related Notes.
    - added: Monitor Volume can now also be controlled via directly connected expression pedal
    - added: analog stereo switch set to ‘Rig Up/Down’ steps thru Slots/Performances


    Audio


    - added: Aux In Volume can be controlled separately for Main and Monitor/Headphone Out
    - fixed: noise affecting clean sounds
    - fixed: Pitch Shifter tracking lack immediately after rig change
    - fixed: Wah Lowpass and Hipass signal levels corrected
    - fixed: clipping of guitar signal on Direct Out and SPDIF Out - changed: New ‘Initialised Rig’ is now based on Christoph Kemper’s first profile ‘CK 0’


    Performance and Stability


    - improved: generally faster Rig load
    - fixed: ‘Initialised Rig’ doesn’t appear accidentally anymore in Performance Mode after restart
    - fixed: noise immediately after loading a Slot/Rig of another Performance
    - fixed: Restore selection list can handle more backup files on USB-stick
    - fixed: accidental jumps of rig pointer when changing views


    Factory Rigs

    - added: the following rigs are included in firmware*


    Gundy Keller Rigs (July 2013)
    Bill Ruppert Rig Pack (July 2013)


    * Factory rigs included in this firmware can be imported via ‘Factory Rig’ import function in the System Menu.


    Notes


    Unlike the other parameters of the Input stage the parameter Input Source is global and not rig-specific. Alternative Input on the rear panel can now be effectively used in rack setups, however is more noisy than the front instrument Input. When Input Source is set to Alternative Input, the Alternative Input won’t work as long as a cable is connected to the front Input. While Input Source is set to SPDIF Input, the front input is still active, if no SPDIF cable is connected or no SPDIF signal is detected. The front Input has got the ‚right-of-way‘ in order to avoid unintented loss of the guitar signal.

    Mit Verlaub Burkhard,


    aber das ist eine Vorgehensweise die nicht sehr anwenderfreundlich ist.
    Hier wäre doch ein Librarian mehr als wünschenswert, damit man endlich komfortabel seine Rigs, Performance pp. verwalten kann.

    Ja, natürlich ist das mit einem Librarian eleganter. Und ein solcher ist ja auch in Arbeit. Andererseits - mit etwas PC Kenntnissen - ist das wirklich schnell gemacht.


    VORSICHT! Das stimmt so nicht!
    Die Performances werden beginnend mit der Ziffer 0 aufsteigend gespeichert, nicht mit der 1 wie der Performance Index im Display dargestellt wird.
    Die Performance 19 ist also das File 18.kipf. Ein echter Design-Fehler, der sich hier leider eingeschlichen hat.

    Ja, das stimmt, alles ist um 1 verschoben! Danke für den Hinweis! Die Performance 1-125 sind in den Dateien 0.kipf bis 124.kipf abgelegt.


    Ich vermute, das ist programmiertechnisch auch so gewollt. Bei MIDI Program Changes und Bänken ist es ähnlich. Während wir die Program Changes von 1-128 anzeigen, werden die Werte von 0-127 geschickt bzw. empfangen. Unsere MIDI Bänke von 1-5 ruft man auf mittels Bank Select LSB 0-4. Funktional fängt die Reihe mit 1 an, programmiertechnisch mit 0. Viele Gerät setzen das automatisch um.