Posts by djdyer

Morphing can not be used to turn on effects. But it can be used to turn change the parameters from zero effect to the effect level you want in the morphed version. For example, a pure boost from zero db to + 2db to add some drive for a lead.

Being a keen kemperite I scan all unread posts, read what looks intetesting, then mark all posts as read. That used to be very simple in the old format. I now need to go into and out of the menu and submenus to do the same thing. Please bring back the old functionality.

I've encountered this too, with low notes booming out and muddying the whole sound. In my case I'm playing live with a DXR12 a few metres away at chest height, so I'm assuming its not a Kemper thing just a resonance thing. The best solution I've found is to add a 100hz high pass filter, which I can set on the DXR12 and has no effect on the general tone apart from the thinning out the very low notes (but actually in a good way for live use with a band). This will soon be an option on the output section of the kemper I believe.

Anyone know where the 'mark all threads as read' option has gone?

Bump for this one. I'd be really interested to know how the master output low/mid/high/presence knobs act, expressed in studio EQ terms.

After trying out a lot of different rigs at rock/pop gigs from all the main commercial sellers this one pack currently provides my main clean, drive and full rigs. The tones are thick and punchy with great clarity. I found the pack to be a bit dark at first when noodling at bedroom volume, but they are perfect at full gigging volume and also sit well in a recording. Thanks Bert

Quote from V8guitar

There should be no need for a suppressor, the KPA is not doing anything different to a regualr amp in your scenario. I use my back line like a regular amp every weekend, no issue.

Few suggestions from me:
Try reducing the gain
Try a few different profiles
Try judicious use of the noise gate, it often catches the start of feedback.

Bearing in ind I play a semi (Gretsch) in a high gain profile at high volume ( albiet I've sealed the soundholes, but its still more susceptible) and feedback is not an issue with the KPA.

BTW - You should always mike up an amp - backline is too directional and no control in the overall sound. You will blast people at the front and people at the back will not hear you. KPA gives you the option to go direct and i strongly suggest it.

I mike up my amp in the smallest of venues for control, not volume.

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Thanks for the tip on upping the noise gate threshold. I've have found it very distracting at gigs to get howling feedback when I kick in a lead boost (stops when i start playing) and this solution works perfectly and is ofcourse rig specific. A 2:1 gate with a threshold of 4 fixes the problem completely. Don't know why I didn't think of that option before! I guess that's the value of this forum

One solution I have used to control bad feedback in a live setting with high gain profiles is to add a feedback suppressor in the line from the kemper to the speaker. Set it up during the sound check to detect the open string feeback frequencies and then lock that setting so it does not add any extra EQ dips whilst you are playing. This does affect the tone a little, so it is good to be able to turn the suppression off when using cleaner profiles that do not have a feedback problem. Other solitions I've used are to put the speaker on the other side of the stage away from where I'm standing, or to avoid using a speaker at high volume by putting the sound through the FOH and use in-ears or a monitor ( with feedback suppression in the pa aux out to the monitor . E.g. soundcraft ui16 has this)

Quote from Wheresthedug

@Southdakota

Just been experimenting with this and it works great. However, I am not sure if I am missing something really stupid.

I can't seem to find a way to turn Stomps or FX on/off with morph. Are you setting the base tone as having the delay (for example) as on but with a mix level of 0 then increasing the mix level with the morphed sound. Likewise, if I want to add a boost pedal or OD are you setting them as on but with 0 mix level for the base tone and simply increasing the mix when you morph? Or am I missing something?

That's the method i use. Pure boost always on and set at zero for normal and +2db or more for lead tone. I also morph the amp volume from zero to +4db (same effect as the rig volume we are told) and up the delay mix from about 20% for normal to 50% for morphed.

I'm the same. One performance for the whole gig with morphed rigs for the leads. More than enough variety in 5 rigs and keeps it simple to use.

Quote from David C

How about a 4x12" cab?

This would be great. I would find it really useful to be able to morph from a rythm profile to a higher gain lead profile. At the moment I add a morphed boost to achieve this from one profile. That works quite well, but it would be nice to have the option to morph to a different profile.

Quote from waraba

nice work David, did you also record the chords with an AC15 ?

This amp turned out to be my workhorse for recording, such a versatile beast !

I highly recommend ' mister may ' on rig exchange, this one is perfect in all extents with a great gain course ( cleans, crunches, heavy rhythm, leads ...) it also cleans up so greatly with your vol pot. From one profile you'll get some many killer tones.

Thanks for the positive comments and rig tip. The rythm guitar is the same voice 15 1 profile i used for the jazz lead.
I play in a rock/funk/pop covers band and get most of my tones from just the voice 15 3 rig and varying degees of boost, reverb and delay. Everything from spanky rythm to classic rock lead. Such a versatile amp!

MBritt AC15 profiles from Pack 3. Voice 15 1 for the jazz solo and Voice 15 3 with 5 db pure boost for the rock solo.

Been working on an Angus style solo ending to whole lotta rosie that I can use if there is a good crowd at the gig who might enjoy a bit of self indulgent 70s playing. I might have to learn to move around a bit while I play tho!

Nice fat lead tone from one of Bert's BE100 pack profiles (D G4 B) with a 4 db pure boost added.

Quote from sambrox

LUFS meters measure loudness over time. Are you using the short term readings to balance sounds?

Good point.
I balance the short term (3 secs) LUFS of my rythm parts to around -24 whilst constantly playing something typical for the rig.

I currently balance the loudness of all my live rigs using a loudness meter plugin in my daw. I find this a really good non-subjective way to get all my rythm parts and lead parts correctly balanced. I find LUFS readings are better than peak readings for this, although it is also useful to check peaks at the same time to make sure there is good headroom.
Using an external meter is fine for setting up the rigs at home and in the studio, but I think it would be useful to have this output level info available in the kemper as well for use elsewhere.

+1

Quote from JedMckenna

I get what you are saying. Yes, I think in your case it's more convenient to adjust amp volume.
Here's an unorthodox method I've been using lately for large concerts. I had an Atomic Amplifire laying around. I connect it in the loop in the x slot. On the Amplifire 3 buttons, I set +3Db boost , -3Db Cut , and Room Reverb. I leave that subtle room reverb always on on it which frees up the KPA's reverb slot for proper ambience/wash effect (using mostly delay algorithms for now). Then this +3Db boost and -3Db Cut, I use for solo boost or for cut during quiet passages or things that need to be quieter in the mix yet still aggressive (funk strumming, etc). This frees up the morph features for something else like just tone shaping. It now feels intuitive to have that little box on the side just dedicated to volume control and frees up those precious KPA post effects blocks and morph feature.

Also, another main reason for implementing this is because the Amplifire serves as a back up in case something happens with the KPA, a quick reorganization of the buttons and it would get me through the gig with a couple of sounds.

Thanks for the suggestion.

Quote from Burkhard

Don't understand how you count ten Rig Volumes and five Amp Volume in one Performance. Each Performance can have up to five Rigs in its Slots. Each Rig has exactly one Rig Volume and one Amp Volume.

For each rig I have two rig volumes. The unmorphed and the morphed (+ 3db on the unmorphed). When i adjust the unmorphed volume to balance rig volumes the morphed volume does not automatically change so i need to manually change it to maintain the 3 db boost. Morphing the amp volume fixes this issue as the 3db boost remains constant when i adjust the rig volume. Hope that makes sense.
I suspect a lot of users use the morph feature on the remote to get a lead boost on the same rig. Seems an obvious thing to do to get both rythm and lead from a single rig. I also morph in a pure boost and extra reverb and delay for the morphed lead setting.
Morphing the amp volume instead of the rig volume is a good practical solution. I was just curious whether this would affect the tone in any way. I can't hear any difference in tone, but it's hard to be sure when comparing 2 tones at different volumes.