Posts by Stringtheorist

Quote from nightlight

Did you try out that Gordius foot controller I suggested to you, @Stringtheorist? You could have programmed the expression pedal to switch to a whammy with certain parameters selected within a certain value and switch to a regular whammy with formant switch etc when you were in a different range. Perhaps that would help.

We really need more of those kind of foot controller functions in the Remote, imho. The heavy lifting is being done by the Kemper, we just need a more capable controller.

I agree with your second point. However, on reflection I didn't try the Gordius as I decided the Remote covers all my bases as long as I use Performance mode and assign one performance per song.

Quote from Awesome_Elvis

I just listened to that song for the first time in years and wasn't sure which one it was till the chorus kicked in! Lol

Anyways, I would say try messing with the format shift and the detune on the pedal pitch or chromatic. Try them in small intervals and resort to extreme values later if necessary.

I've noticed to get a good replica pitch shift like a pog or whammy you gotta add some of that "zizzle" in there. Hope this helps! Cheers.

I'm not seeing Formant Shift or Detune in the Pedal Pitch parameters. I can get a more garbled sound by pressing the Freeze Formants soft button but that makes the whammy largely useless for the other parts of the song, although I might save this sound as an extra rig in my performance.

I'm unable to achieve the "garbled" Tom Morello Whammy Pitch sound (as on such tracks as Bullet In The Head) with my Kemper, even with "Smooth Chords" turned off. Does anyone have a solution for this, or do I need to go and buy an old Whammy pedal?

I'm still struggling with this but then I'm really not using the right guitar (a Telecaster) so it's only an approximation.

Quote from Adinfinitum

On The Yes Album, Steve used his ES-175d guitar into Fender Dual Showman Head and 15 in speaker cabinet. The distorted lead tone is a Meastro FZ-1 - the same fuzz box as Keef used on Satisfaction (not the FZ-1a that came out later. Don't forget the wah for middle Dm7 section.

On Yessongs, pretty much the same setup, but he used the newer Maestro FZ1B which was more like a Univox Fuzz box.

Many thanks. At least I know what to look for now.

I'm having difficulty tracking down a suitable rig for the tone to Yes' "Yours Is No Disgrace". I believe a Fender amp of some kind was used, possibly with a treble booster or similar. I've tried many free profiles in the RE as well as commercial packs I have purchased but nothing seems quite right, and adding a Treble Boost just seems to make it painfully bright. Can anyone recommend a rig (commercial or otherwise) that would be good for this?

Support suggested to use oil so I put some drops of 3-in-1 on the shaft of each switch. So far it seems to have done the trick.

Quote from DML

Putting a micro-USB port on a device, other than smartphones, particularly on musical devices, is the most stupid choice of manufacturers.

As expected, I have just had to contact my nearest Line 6 Repair Centre to get my unit repaired/replaced.

Quote from ancientmariner

Having trouble recreating this, when I set the wah in stomp a with pedal mode set to touch, the wah effect is overpowering, how are you getting the transient feel without the wah effect?

What are your settings? I don't hear it as a "wah" effect at all, and because it's operating on the EQ it has a very different quality than the Pick and Definition parameters in the amp stage. Here are my typical settings:

Manual 6.8
Peak 2.5
Pedal Range: - 0%
Peak Range: - 2%
Pedal Mode: Touch
Mix: 63%
Ducking: 0.0
Touch Attack: 0.0
Touch Release: 0.0
Touch Boost: 0.0
Volume: +1.0

You could also try the Treble Booster stomp which produces a very similar effect.

Quote from Zappledan

I'll have to give this a try. For me, I find that using a Treble Boost at a very low setting helps.

I hadn't thought of Treble Booster. This also works well.

So I recently discovered how to introduce more "bite" into some of my rigs which I have found particularly useful with Marshall-esque profiles. I place a Wah stomp in the A-D stomp section and set it to Touch Wah default settings at around 65% mix, with the volume increased to taste. This adds the transient attack that I often feel seems to be missing from Marshall type profiles. However, I would like to know whether this effect is achievable in the Amp/EQ section so that I don't have to use a stomp block. At present, none of the existing parameters in these sections quite seems to get me there (Pick Attack is sometimes useful but can sound a bit unnatural).

So I recently discovered how to introduce more "bite" into some of my rigs which I have found particularly useful with Marshall-esque profiles. I place a Wah stomp in the A-D stomp section and set it to Touch Wah default settings at around 65% mix, with the volume increased to taste. This adds the transient attack that I often feel seems to be missing from Marshall type profiles. However, I would like to know whether this effect is achievable in the Amp/EQ section so that I don't have to use a stomp block. At present, none of the existing parameters in these sections quite seems to get me there (Pick Attack is sometimes useful but can sound a bit unnatural).

Been using one of these for a few months, and I love it. Previously worked with Line 6's G90 rack system which did something weird to my tone, and a Sennheiser analog rack unit which was great but used the standard belt-pack style transmitter (which I dislike).

The only downside, and it's considerable, is the poor build quality. It seems so typical of Line 6 to build something as cool as the G10 system and then try to ruin it by installing a power unit which relies on an incredibly flimsy and delicate micro-USB port. My friend has already had to return his unit for a replacement because his broke during a gig, and I've seen similar reports from many others online. Mine's still holding up but I am absolutely expecting it to just cut out one day when I'm relying on it.

To the OP: If you haven't yet tried the KPA though a FRFR system, you really need to give that a go before you give up and return it. I've felt exactly as you do a number of times on my learning curve with the KPA, but right now I wouldn't trade it for any amp you could offer me. In a moment of doubt I quite recently bought a Friedman JJ-100 and matching cab (I'd been using a JJ profile for some time) as I was convinced a real amp would give me something I felt was missing. The upshot? I couldn't get on with it at all. Now it's sitting in my music room gathering dust.

I will say this: I do not like using the KPA through a guitar cabinet, especially with overdriven tones. I have a nice Marshall hand wired 2x12 cab which I was using for a while and this was good for clean sounds, but it makes overdriven tones sound very flat and boxy, and EQing to try and correct this doesn't produce a satisfactory result, IMO.

My setup is now KPA into a Friedman ASM-12 and for most stage and home use I couldn't be happier. The only thing I miss is the big, trouser flapping stage presence of multiple speakers.

Thought it was worth responding to a couple of points here, although clearly the issues I've been experiencing are not common to everyone and depends how folks are using the system.

Quote from V8guitar

Do you really switch more than 4 effects on and off at once? Wow..I would consider using another slot if its such a big change. Obviously if an effect just stays on you don't need to add it to the switch, releasing a space

You can obviously copy the rigs into the slots in rig Manager which is quicker so is that a big issue? I really don't get the issue with performance mode as I find it a god send. Along with morphing I have plenty of variation.

Anyway, glad you found some of the joys with the remote

I don't have any need to switch more than 4 effects on/off at once. However, the system as it stands requires flip-flopping if I want more than 4 stomps available. How do I turn a stomp off altogether if it simply flip-flops with another?

Re. copying rigs. Yes, this feature is useful but what if I want to copy the amp, EQ and cabinet but not the entire FX chain and Stomps? What I've been doing until now is painstakingly moving from one rig to another copying the amp block, then the EQ block, then the cabinet. For every rig. Perhaps copying the full preset and then deleting all the Stomps and doing FX again from scratch would be quicker? I don't know. I generally find it takes longer to dial the FX in the way I want them than it does to get the amp stage right.

Over a year now. Nothing spilled as far as I know.

I've noticed that a number of the switches on my Remote are beginning to stick when pressed. Is this a sign they need replacing, or would some switch cleaner solve the problem?

Quote from OneEng1

I used the FCB 1010 with the Uno4Kemper chip for about 1.5 years.

It was serviceable; however, the setup was a PITA on stage. 2 MIDI cords .... which you have the chance to get swapped in the wrong direction, and a power drop that you need near your feet. It is also quite large.

I agree.... save up the money and get the remote. It is well worth the cost of admission. After all, you are playing on a ~$2000 state-of-the-art profiling amp. If you do live performances, the remote is a God-send.

I already use the Remote, and I have to say that since I wrote this post I have a new-found appreciation of it.

What I like about the Remote:

• Small footprint.
• Differently coloured LEDs for the stomps.
• Clear text display with good backlighting and high-res image.
• Soft switching action.
• Full Kemper integration: 2-button states for Morphing, Momentary switching option, Performance mode, etc.
• Single cable connection to KPA.

What I dislike:

• Latency using exp pedal ports 3-6.
• Can't program more than 4 stomps without "doubling up" on the switches.
• Must use Performance mode in order to fully benefit from Remote's integration, meaning having to copy each rig in a new performance slot (this is more a criticism of the KPA than the Remote, tbh).

Quote from sercho

Yes, you would. You have 2 main outs. L and R. You just have to go mono on both ;). Anyway if for some reason you want to send a stereo feed to FOH, you'd just need a Jack to male XLR cable to use the monitor out of the kemper.

Sure but I wanted to take this opportunity to use the separate Mon Out feed from my KPA for personal monitoring. I don't care about spending a moderate bit of cash on a proper solution.

Quote from sercho

I think this could actually do the trick, that cable is 2 XLR female (input) to 1 XLR male (output). You would just need to run an XLR cable from both your Main out on the kemper and the FOH mixer to the Y cable in your friedman. You obviously have less control but you have 70€ more in your pocket.

Then I wouldn't have a Main Output feed free to send to FOH.