Posts by djazz

Thank You. Hopefully it can be added in the future for the reasons Wheresthedug mentions. I used to have the toaster, switched over to Fractal, still have the FM9, and wanted something smaller even still. Bought and return a UAD Dream. I'm glad I tried this because I still have the profiles I purchased before and it sounds as good as I remember. Glad to be back on board with the Kemper product. The company was always good to me and even after using the Fractal stuff I've had nothing but good things to say about Kemper.

Is it possible to lock the Reverb on Kemper Player so when I audition amps/cabs it stays the same?

Quote from ckemper

It is probably a Camplifier shutdown.

You can check this by connecting the Monitor Out (line level, not speaker) to another monitor system or even plug in your headphones directly into the Monitor Output. Leave the Kone Mode on, even though it will sound weird.

Do the drop outs appear even without or before the Camplifier?

You were correct, No dropouts with another monitor system or direct to headphones. I can turn up the Monitor Volume/Kone Volume to the max and it won't shutdown. Add back the Camplifier and it shuts down. It can't handle the backing tracks, which I guess is suspected at 25 W. It's still a great product for guitar signals, or to power regular speakers or even the Kone/Kabinet but it won't handle music at higher bass frequencies. I think Ritter Amps' Camplifier SHP (140W per channel) would work. I've got an email into them, wondering if they've tried it. Also, as others have said, I think the Seymour Duncan 700 would work well too. Thanks for the reply's CKEMPER and others.

Update: Works perfectly with an older Crown Micro-tech 600, very loud . . . . . . too bad it weighs more than a small car.

I have an issue with my 2 Kones in stereo that maybe one of the pioneers or Kemper can help me with. The speaker sounds great with guitar through it. The guitar can be very loud, louder than I'll need at my smaller gigs where I want to use them at. I want to do this:

• The ultimate KEMPER Kone setup: Play guitar along to the stereo input using the speaker imprints, while the music

  plays full-range, through the same cabinets.

  
  

  I'm feeding the music in stereo to the Return In/Alternative In and the the guitar sounds fine, but the music coming in causes the speakers to "pop" and then the speakers shut down and then come back on a split second later. The guitar can be really really loud through them, so I'm not sure why the music is doing this. I can play guitar through them fine with no issues, but when adding especially bass heavy tracks the issue occurs and it occurs all the time (unusable for me). I've been playing around with the "to monitor out volume" and the "Kemper Kone volume" settings. This is using the Camplifier S2 at 25 watts per side (this is able to work with 4 - 16 ohm speakers). Any ideas? Maybe and probably it's the Camplifier shutting down? If so, are there any recommendations or should I try a different amp. I have an older Crown amp I could try (way too heavy for gigs). Thanks in advance.

  
  

  By the way, while it's working, it's absolutely beautiful and will work great for gigs.

Quote from Finally

You want them to say thank you? I just assume that companies are grateful when I order stuff.

I think this might not be the last delayed delivery you receive given the global context.

I got a Thank You from US Store. It was an automatic response so I'm not sure why you didn't get one.

Me too, 2-pack of the Kemper Kones (USA Store).

I think it sounds great from these videos, perhaps as good as a PRS P22 (or similar piezo equipped guitar). I'm not familiar with the implementation, but if we could blend the acoustic with a clean electric sound that would be great for jazz. Is it an effect plug-in? With the Kone coming, if this could be output in FR while blended with a clean tube amp sound through a speaker imprint, that would be nice. Maybe that's the plan?

I remember seeing this post the other day. I just traded a custom nylon string telecaster for a Fender Elite Custom Shop Prototype Stratocaster. So the first thing I tried to do is get sounds like Robin Trower, Hendrix, Clapton, Rory Gallagher and of course Eric Johnson. I started with EJ's clean sound. I haven't gotten to the lead sound yet, that'll be next. For the clean sound, I watched a video where he described his setup and adds different effects, so you can hear the differences one a a time. The chain, I believe, is Guitar - EHX Memory Man - Echoplex EP-3 (or he's used other effects here like the Boss DD2 but the Echoplex is great) then it goes to the TC Electronic Chorus/Flanger and becomes stereo to two Twin Reverbs (which have Spring Reverbs at 5). So let's mimic that for the Kemper:

Start with a clean profile of your choice. I'm using the bridge pickup like he does, with the tone rolled off a bit (you need the tone tied to the bridge pickup as unclemar stated above). I am using Top Jimi - Med Two High -2 (but lots of others would work too, like Twins, Vox etc.).

Add an "Echoplex" simulator in your D slot. Select a "Single Delay" and Browse to the "DLY - Tape" patch Kemper gives you. You need to turn the feedback down (try to get about 6 - 7 repeats, maybe around 35%). Turn the Mix down too (about 28 %). Set delay time to 400 - 420. Note is has Flutter Int and Flutter Rate and Grit to simulate the tape (adjust these something like 5, 4 and 2).

Add a Memory Man simulator in C slot. Select Single Delay again and set it about the same as the Echoplex, but zero out the Grit, Flutter Int and Flutter rate and add Modulation (about 5). The delay time should be shorter, as you can here this when he adds the memory man (at least that 's what I think he's doing). Try around 340ms.

Add a Vintage Chorus in the Mod slot to taste. And add a reverb of your choice in the Reverb slot. The spring works good, the Fender "FAN" patch, or I like to use a plate reverb via the Natural Reverb algorithm using "Large Plate" patch Kemper provides and tweaking.

There you have it. Sounds almost identical to me. Learn some EJ chords and have fun.

By the way, the delays could go after the amps too and you could have them in stereo. He usually has just the Echoplex and the Reverb on and then adds Chorus if he wants it and Memory Man for the really wet sound (doesn't work good with riffs though to me as it gets in the way).

Let me know if anyone else has some other ideas. I'd love a cross reference guide that told us how to best mimic various hardware devices with the KPA. For example, what Kemper settings align with Echoplex settings, or Roland Space Echo or a Lexicon PCM 81 with Concert Hall algorithm. For now I just used the manual's definitions of the parameter and used my ears. It helps to actually listen to a Youtube video of an Echoplex EP-3 and try to mimic it with the KPA. The KPA has tons of power and the routing is awesome.

V8guitar: Thanks for asking. I rarely play larger gigs. I would put the tracks and vocals, along with the KPA guitar sound through the cabs in stereo so that I don't have to bring a lot of equipment. I play solo gigs in Florida and then more back home in the summer. "Think, the solo guy you listen to while drinking Margaritas at a Tiki bar". Everything goes through one of my PA's. I don't use monitors as they aren't needed in a simple solo set-up. The key is quick set-up and less to carry. I sometimes do 2-3, 3-hr gigs a day and simplicity is key. I normally use a Bose L1 Model 2, which is more than loud enough for these gigs. I've also used a Mackie Freeplay (original one) and it works fine for most gigs too. I still have both of those, but want to go stereo because in my studio, I rehearse through studio monitors (backing tracks, vocals and Kemper in stereo) and it sounds so much better than live, mainly the Kemper effects. JBL is coming out with IRX 12's, then there are the Bose S1 Pro's, etc.. The JBL IRX's at $379 ea. may be the way to go, I just thought it would be a cool simple set-up to have everything going through two cabinets in stereo fitted with the Kone's . . . . if it sounded decent enough. That way I could use the speaker Imprints too.

Deadpan, that's what I understand too. It was stated on the Kemper home page NAMM posting, but I think they removed that statement for some reason. I think I'm asking questions that we do not yet know: "In contrast to the conventional idea of a full-range system, the radiation pattern of the KEMPER Kone has been narrowed towards the physics of a classic guitar speaker chassis, so that even the full range sound carries a distinct guitar speaker character, unlike regular PA speakers or monitor speakers". This guitar speaker character may or may not make normal music playback sound good, that's what I'd like to know before buying. The Celestion F12-X200 has a freq response of 60Hz–20kHz. Does anyone know how that sounds with music playing through it? Maybe that is a better choice. I'm fine with the sound of the Kemper now through PA speakers, I'm just looking for the simplest stereo solution for small gigs with backing tracks without having to buy 2 Bose S1 Pro's for $1200, and without the need for monitors.

Probably not on most people's minds but, I wonder how it will sound with "Backing Tracks and Vocals" through it in addition to the imprints as it was mentioned you could feed the Aux with your tracks and they would be Full Range etc. (I do this today). For smaller gigs I use a Mackie Freeplay instead of a Bose L1 Model 2. I've been wanting stereo though and thought that the Kone or the Celestion might work OK. It would be a simple setup with an iPad an iConnectivity interface a mic, the Kemper and 2 EV slant cabinets with these speakers in it in stereo. I could use the L1 in addition for larger gigs to add coverage. Your thoughts? I would think it would be at least as good as the Freeplay.

Thanks for sharing the story! I just got a Suhr Tele from Soundpure and I'm really enjoying it.

Boomerang III and EHX Freeze and more guitars. I also just received a Suhr Tele, Antiqued, humbucker in neck, Rosewood neck. Having fun with these things at the moment.

In order to record a completely different loop (ie. for a verse, chorus, bridge etc.), you currently would have to tap the stop button 3 times or tap and hold it. Would it be possible within the settings or by assigning another button, to have it Cue up the next section?: When the 1st recorded loop is playing back; touch a switch; this Cues the recording/overwriting of a completely new loop overwriting the currently stored loops/overdubs/reverses/0.5 speeds etc.. The recording/overwriting would begin at the end of the current loop and perfectly synced to start at the right timing. Perhaps within a setting (or with another switch) you could have it begin recording/overwriting "immediately" as another option. I think I've mentioned this before, but as I place my order for the Boomerang 3, I'd like this to be possible. I'm more about floorspace/convenience than the money, I hate adding another device to bring to the gig if I don't have to.

Thanks in advance for considering this.

I would like to see different operational modes for the looper for different ways of using it. Specifically, press Record, record a loop, press again to start playback of that loop, press again to start recording a new loop (not an overdub), press again and the new loop plays. This allows you to create perfectly timed backing parts for different sections of songs on the fly. Here is an excerpt from the TC Electronic Ditto X4 where they handle this with switches (couldn't this be done with a soft switch in the KPA?):

Serial mode is geared toward having 2 distinct parts to a song that are not
meant to be played simultaneously. Therefore, pressing a LOOP footswitch
during another loop's playback arms the loop for recording. After the first loop
finishes its cycle, the first loop stops and the second loop begins recording. This is
convenient for a verse/chorus arrangement, but there may be times when you
don’t want to wait for the first loop to end before recording. Flip switch 3 to the
“up” position to allow the second loop to begin recording immediately upon
pressing its footswitch.

Zap, here is one site with the Seven 3 note per string fingerings.

http://www.fretjam.com/major-scale-patterns.html

I think everyone is good here.

From a Trombone player: Rich Matteson (1929 - 1993)

I didn't know him, but found this writing to be very inspiring even if you eliminate the religious aspect. I thought I'd share it even if it helps one person to work harder towards their musical goals (whether transcribing, self-taught, modes, metal, jazz, folk, pop, rock etc.), hope you don't mind. We are all very similar in our love of music.

From Mr. Matteson:
"Music is an incredible gift. It's a gift that God doesn't give to everybody. He gives them the gift of 'liking' music; everybody likes music of one kind or another. But the gift of being able to learn to play music is an incredible gift. And you people are very special because you were chosen and given that gift. The day you were born the world became richer than it was because of your presence with that gift. That's what I believe.

And so you study and you work hard to develop the talent that God gave you, and the wild thing is that the bucket of talent you were given is so big, that you could practice 8 hours a day the rest of your life and you wouldn't use it all up, you couldn't develop it all.

But as I told the band yesterday, this gift you've been given does many things. For example, you people grant immortality to composers. Bach is not dead, Beethoven's not dead, Mozart's not dead, Duke isn't dead. The body's gone, but what they gave to the world on paper that made the world richer than it was before. They gave the world all this beautiful music and they put it on paper, and because it's on paper it's just a graph. It doesn't mean anything until you come along, and with the breath of your body, you take that musical instrument and you read that music and you change it to sound. And the minute you change it to sound, Bach is not dead, neither is Beethoven. Their music is being heard, and what they represent to the world, because of your gift. That's how special you are!

Whatever band you're in, it doesn't make any difference if you're playing first chair or third or fourth, your part is important and you are special, because you were given that gift."

Quote from Nikos

djazz

Have you ever tried a sus2 while playing mixolydian;

I wonder that most guys just mention the 7th chords for the mixo while the "real beauty" for mixo was always the sus2.Just listen to the opening chord of purple rain..

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Nikos: Yes, the Myxolydian fits it like a glove since it contains all of the notes of that chord and more.

MonkeyPeanutButter: That sounds beautiful especially with effects on the guitar. If I have some time later (I'm not around a guitar), I'll give you a ton of clues for improvising over it. For now, if you look at the 1st two chords C#m7 and F#m7, they are in the Key of E Major (or C#m). The chords in the key of E using "Music Theory" gives you I - EMaj7 (Ionian/Major), II - F#m7 (Dorian), III - G#m7 (Phrygian), IV - A Maj7 (Lydian), V - B7 (Myxolydian and feel free to try the Bsus2 as Niko suggested), VI - C#m7 (Aeolian or Natural Minor), and finally VII - D#m7b5 (Locrian). E Major Scale works over all these chords, you'll actually be playing the modes and not know it.

So analyzing your chords, the DMaj7 put you into a different key and you could think of that chord as a I or IV chord and use the D Major Scale or D Lydian mode over it. Are you sure you didn't mean D#m7#11 for the Dm7#11?, that would make more sense as it is actually D#m7b5 or the VII in the key of E. Finally, D#m7b5 to G#7b13 is basically a minor II-V-I leading you back to C#m7. The only chord I didn't mention is the G#7b13. To fit it like a glove, use the 7th mode of the A melodic minor scale called the G# Altered dominate scale (in other words play A Melodic minor over it). I need to think about the Bsus4addb11 because it doesn't make sense. A flat 11 is a flat 4 or simply the 3rd. I think you are simply playing Bsus4 (or you could play Bsus2 as Niko mentioned and use the Myxolydian over it).

Try it out, improvise over it and record it and let us hear how it sounds. As someone else said here, keep it simple use your ears, if it sounds good to you, it's probably correct theoretically, no matter what the classically trained theorists call it.

Hopefully no typos below, but here is another way of looking at things that some of you have touched on above. There are many great sites out there with info on this. Younger players are learning at a great time, the internet is full of info for you. I think this is why we have so many talented musicians out there in so many varieties of styles.

Ionian - C D E F G A B C (works over Cmaj, Cmaj7, Cmaj9 etc.)
Dorian - C D Eb F G A Bb C (minor 3rd and flatted 7; Cm7, Cm9, Cm11) has a Major 6
Phrygian - C Db Eb F G Ab Bb C (works over Cm7 with a spanish sound to it) Has a flatted 2nd
Lydian - C D E F# G A B C (works over Cmaj7#11) #11
Myxolydian - C D E F G A Bb C (Flatted 7th, works over C7)
Aeolian - C D Eb F G Ab Bb C (This is your natural minor scale; Try using it where you use the typical Blues Scale or Pentatonic to add more melodic choices)
Locrian - C Db Eb F Gb Ab Bb C (works over Cm7b5)

Another way of looking at it:
I Ionian1 2 3 4 5 6 7C D E F G A B Cmaj7
II Dorian1 2 b3 4 5 6 b7D E F G A B C Dm7
III Phrygian1 b2 b3 4 5 b6 b7E F G A B C D Em7
IV Lydian1 2 3 #4 5 6 7F G A B C D E Fmaj7
V Myxolydian1 2 3 4 5 6 b7G A B C D E F G7
VI Aeolian1 2 b3 4 5 b6 b7A B C D E F G Am7
VII Locrian1 b2 b3 4 b5 b6 b7B C D E F G A Bm7b5

So if you had a chord progression in the Key of C - Am7, Dm7, G7, Cmaj7, Fmaj7#11, Em7, Bm7b5, Cmaj7 you could improvise over the entire progression using the C Major Scale and you would be playing through all of the modes in this order: A Aeolian, D Dorian, G Myxolydian, C Ionian/Major, F Lydian, E Phrygian, B Locrian and back to C Ionian/Major. Try it. Learn the chords, Loop 'em on your Remote, and improvise using C Major scale and listen as the sound changes.

Over time you develop the ability to play any mode in any key starting from it's root. This is barely scratching the surface, but well worth the effort to get into your playing, regardless of your musical style.

This post reminded me of the Fulltone TTE. Looking back at the FT website, boy does that sound good. I wonder if the KPA compares or will compare after we get the new delays? I had a Carbon Copy and thought the KPA did that and more with some tweaking. I haven't lusted for much lately.