Posts by Grooguit

    Black and white thinking. Of course NAMM isn't the only way for companies to advertise and make connections. But it is one way. And for many companies a worthwhile investment of time and money to participate in. For others a work related activity that persists irrespective of its value.

    Ever have a job in which you get a certain budget for pro development? Get to fly/drive somewhere, stay in a hotel, go out for some meals with some friends or colleagues, attend a conference for a couple days, get out of the office and daily routine. You sit through some workshops, get some swag, hear a bunch of presentations that tell you stuff you've mostly heard before. You go home, not much changes as a result of info you probably could have gotten had you ordered a book on Amazon. But you keep going each year. Why? Because doing something out of the ordinary, even if expensive is fun. Same reason people spend enormous amounts of time and money planning to go on far away vacations to sit around and do the same things they could do within an hour of where they live.


    For the big dogs, like Gibson, it's understandable for them to skip. As they have that rare iconic branding that ensures they will always have market share and significance even if less known companies can put out products that surpass theirs in quality for less cost.

    I have been trying to get a midi message out of my Kemper to my H9, so far no luck. I am in performance mode and I go into system settings, I can see where it has midi adjustment and have messed around with them .. but so far I can’t seem to figure it out …I am on channel 1 in the Kemper and the H9 is set to Omni ….But I don’t seem to be getting anything …If you got any advice I sure could use it

    on the h9 set it to channel one to match the midi out on the Kemper also set to one. (Or set them both to 2 or 3 or 4 or whatever). Then within a rig within a performance the soft button slot setting or something like that you can set a midi message PC 1 up to PC 127. You match that number with whatever H9 preset you want it to trigger. It’s also important that one effect block on the KpA has the H9 in it and it’s turned on of course. Then save the performance. When each time you go to that rig it will trigger that preset. Do the same for every rig in a performance you want it to trigger a preset on the H9.

    People buying Kemper in 2022 isn’t buying because of 2012 merits. It’s because software makes it up to date. No need for new hardware, as long as they «sit around all day and design updates» the Kemper will be as potent as it ever was, and steady income is guaranteed.


    I absolutely adore Kemper for it. Longevity. It’s refreshing!

    I won’t dispute it. But people like shiny new things. I bet half the people that have and still use the current KPA would buy a new version if they sold one. Musicians see a new product in a catalogue and they have to have it.

    I could see a new product coming; I could see the continued slow and steady release of new updates for a few more years. I wouldn't even be surprised to see minor updates coming out for years after a next gen kpa is released. If I had to guess, we'll see minor updates and some more effect types coming out. In particular, since this unit can handle multiple delays and reverbs, even used in other effect slots, so it should have dsp to handle some more complex modulation effects, perhaps other advanced effects; seems a logical next step.


    There's likely many possibilities that could be conceivably done with this hardware; for example some sort of Scene feature like the helix; maybe even dual amps; a couple extra effect blocks? The problem, though is that what may be possible from a firmware and DSP standpoint still has to be logical from a hardware standpoint; on units that don't have dedicated buttons for new features. Keep in mind that they now have an editor and IOS software that need to be updated to accommodate any new features they roll out.


    Hard to speculate when, but there's a certain point at which it is no longer logical to expand firmware beyond what the original hardware was logically laid out for, vs. designing hardware around all the features you'd like to add. There's also the financial reality that a company needs a steady income of new sales to pay people to sit around all day and design updates.

    Would be great if Kemper could also send midi change control commands to Eventide as you change profiles (for all I know this may be possible already, but would require additional midi cabling which I haven't gotten around to experimenting with just yet... now if they could do midi change control via bluetooth....that would be something!).

    you can in perf mode. You can send pc messages when switching rigs. I used this set up before the delay and reverb updates. The downside: any time the H9 receives the same command as the preset it’s already on, it resets the preset and cuts off the delay trail. If you want preset 9 (say a go to delay) to be on when using say just rigs 1,2 and 5 of the performance; you may have other reason for going from rig 1 to rig 2 or 5, such as gain stages. But you don’t want the delay trail to reset. It won’t, if you only programmed the first rig to send the midi message of preset 9. Suppose in rigs 3 and 4 you want a different H9 preset or just turn the H9 off with trails in tact? If you want it jump from one of them to rig 5, you’ll need rig 5 to send the midi message PC 9 to so that the H9 switches. But that means you can never seemlessly go from 1 to 2 or 5 without the H9 resetting. So the H9 in my opinion, for life purposes anyway is best used as a Swiss Army knife for a few occasional high end effects of which the kpa’s are inferior (not many) or if you don’t mind manually controlling it or don’t need it for effects with trails.

    The cheaper option is reaper. It’s like 80 bucks it can hold its own against the $500 programs. granted some of them come with a bigger package of plug-ins, but the reaper plug-ins aren’t bad either. Super easy to use very intuitive and they have great organized tutorials for everything on their website

    I’d recommend putting the real amp in another room, micing, and isolating as much as possible, hearing what it sounds like in the same monitoring system you will be evaluating your profiles with. Otherwise the comparison is apples and oranges between your real amp and the subsequent profile. You need to know what your amp sounds like through your monitoring system mic’d up. If you don’t like that sound, you won’t like the sound of the profile.

    I think If they were going for a different model, it would be the amp/cab sim small pedal sizes thing, maybe three foot switches, tbe size of the line 6 pedal. Where it’s key use would be to plop on a traditional pedal board, for players who want a KpA solely for its amp and cabs.

    Might I suggest some Saran Wrap in the meantime? In 15 seconds you throw a couple layers on top of the most vulnerable areas after set up. It would least protect against spills. Certainly not waterproof. But the vast majority of any liquid spill would make its way harmlessly to the floor am not into open jacks or spacing around buttons.

    Sure. Or just record two mono tracks to begin with.

    you could always record a stereo track for simplicity and editing and split the stereo track to two mono tracks during mixing as needed. But If you recorded then in two mono tracks, you’d want to group the tracks for editing so you don’t move or cut one without moving the other with it.

    Rookie question, I just upgraded the OS to 8.6.6 and the email from Kemper talked about the double Tracker... Do I have to create a stereo track in pro tools or just use a single mono track?

    the doubler tracker can be users in mono, if placed in blocks A-D, but if in X, mod, del, and rev slots it’s in stereo. You definitely want a stereo track as it’s sounds much better in stereo. Now that said you might right the Left output of the Kemper to one track and the right to another. Then pan each track hard left and right. Then you have independent volume control. I *think you could mute the right track in PT to essentially turn off the doubling, but I could be wrong.

    Works great in combo with the acoustic simulator. The mix control on the acoustic sim is a great addition as well, bleeding in a little of the electric signal is a nice touch.

    Finally tried the double tracker out. I was happy to discover that it didn't produce glitchiness when switching rigs. I thought that perhaps because it applied a delay of sorts it might have an issue of getting cut off abruptly (I used it in the mod slot, not the delay or reverb slots which have spillover, and no issue, even though the mod block doesn't have spillover).


    I think it can be used as an always on effect for live use, if you use a more subtle with the looseness set at 3 and stereo spread at 60%. I find anytime you turn on or off an effect that applies a significant stereo image, there's that awkward spacial thing that makes the instrument sound like it's moving, which it is. With these settings, the effect is subtle enough that it thickens things up without screaming "listen to my doubled guitar." Now with that said, even with these settings, you still notice that spacial jump especially with headphones if you turn it on or off, but the settings are subtle enough that you could just leave it on all the time. The spacial jump isn't a flaw it's just a natural phenomenon that's noticeable, like when you push the stereo to mono button on an old stereo; everything moves real quick. Now that could be a cool effect, if when going to a lead you turn off the doubling and your guitar jumps to the middle and would actually give the impression that another guitar has entered the mix for the lead.


    Well done again Kemper.

    Thanks. So I'm guessing that though balanced 1/4 to XLR works (I found one balanced 1/4 to XLR cable and tried it out) , it's not balanced so no benefit. From what I can tell, it doesn't harm anything either.

    I haven't used the monitor outputs on my Stage before. I want to sometimes use the two monitor outputs to a pair of studio monitors I have. Should I purchase cables with a balanced (two rings) 1/4" on one end and xlr on the other? Or should the cable be unbalanced on the 1/4 end? Or does it matter?

    On the Head you can use the Rig keys, they ignore the setting.

    On the Stage you can use the TYPE knob to preselect the Performance and select the desired slot with 1-5.

    I used the Head for 8 years (always using the arrows) and now the Stage for the past 7 months and had no clue you could use the type knob on the Stage for this! Perfect!

    The order is important: First select the Slot, then change the Performance. You did it the other way round.

    Use the Profiler, not the Rig Manager for this. Do not use the Remote for this.


    On the Stage: use PAGE buttons to change the slot (which keeps edits) and then Bank up/down to jump to the target Performance (so you are only changing that one slot).

    I figured out the issue: To follow your directions you HAVE to go to System settings on page 3 and for PERF. LOAD choose either option KEEP SLOT or PENDING. If this global setting is set to SLOT 1, then you'll automatically go to Slot 1 when you select a new performance. If this set it to Keep Slot, then your directions work. If you set it to PENDING, then it doesn't matter, you just use the Stage up down arrows to go to the performance you want and select the blinking Rig you want.


    A suggestion for a future Rig Manager update: A similar system setting like you can do on the Stage for what rig loads when you double click on another performance. Slot 1, keep slot or pending.


    Thanks for your help!

    Just lock the Modules you want to keep, then select the slot of the target Rig, then switch to the Performance and store the performance. Unlock the Modules afterwards.

    Done.

    I did a little test and I'm more confused then when I started. A good rule is to create duplicate rigs of both the Rig you are copying from and the one you are copying to and experiment that way, so if you make a mistake while learning...


    In any case, I can't figure out the logic. I was in Performance 2 Rig 5, locked the mod, del, and verb blocks. Double clicked to open another Performance 24, with the goal of saving those locks blocks just to Rig 4. So then I clicked on Rig 4, hit Store, and unlocked the effects and done! Only only Rig 4 had been overwritten. I tried this time, selecting Rig 2, then 4, and hitting Store while 4 only, and it seemed to overwrite just Rigs 2, and 4, not 1,3, or 5. That makes sense. I I found that to overwrite Rig 1, the Rig that is auto selected when you go to the performance, only if you his store then will it overwrite onto Rig 1 (or presumably go back to it AFTER going to another Rig and returning then hitting store)


    So I started typing my response here, and then wanted to double check something. So this time went back the same Performance 2 but Rig 4 I think, and locked effects blocks C and the Mod. I double clicked on Performance 24 then selected Rig 5, unlocked and hit store. This time it overwrote those modules on both Rig 5 AND Rig 1. What is going on? How did I get it to work the first time? How do you NOT get it to overwrite Rig 1 since Rig 1 is automatically the Rig that's active when you select the performance? Even if you don't touch anything and go straight to selecting Rig 5, it seems to remember you were just on Rig on, and then overwrites both Rigs, leaving 2,3,4 unchanged. Is there a way to lock some effects blocks from one rig in one performance and ONLY save it to a Rigs 2,3,4, and 5 without overwrite those blocks Rig 1?