Posts by Grooguit

    If you state that there's "more to it than pushing an amp", this basically means there's some stuff beyond it's original purpose. Maybe you should at least add a few presets that take this into account (or change the Klon presets for what this pedal is supposed to do and most likely will be used for, at least by the guitar heros). :)

    It is a beta, so maybe they will, or one of the thousands of kpa owners will share there own presets, even if just the numbers of the settings on the six parameters.

    All in all, I like the new drives. Lots of options and versatility. I'd recommend watching the three Tone Junkie videos to learn your way around them. Don't forget that there's a page button on the Kemper Drive allowing you to set the mix and level for this as well. That allows of course a little more clean boost to push the amp profile harder and rolling back the mix from 100% lets a little unoverdriven sound through.

    I think there's some positive and negatives to having the various models rolled into one, but in my opinion the positives far outweigh the negatives. It's much helpful to adjust the definition and slim down to get into the range of all seven of the pedals. And a little time with the manual will more than educate you on how to mimic one of the seven specific models, if you're dying to try one out, aside from the ballpark presets. Or instead just use your ear and adjust until it overdrives the way you want it to. And then if it kills you to know which real pedal you'd actually prefer, look back at the manual

    I discovered the same thing, with a pedal that had clipping options, can't remember what it was for the life of me. When just flipping the switch you noticed a difference, but it was only a difference in what Chris said, gain and volume. Now of course, if a certain clipping diode on a real pedal allows that pedal to get a bit more gain than the stock diode with the gain maxed, than it's a useful mod on that pedal if it allows that pedal higher overall gain. But in the Kemper drive, there's enough gain on tap to accomplish the same thing, as I think the TS preset with the gain at 5 represents a real TS with it's gain maxed, for example.

    The Quad Looks like a cool product, but three things unique about the KPA, that still no other competing all-in-one product has; and a reason why I'm not switching, even if their "profiling" turns out to be comparable.

    1) The KPA Volume leveling; you can adjust the gain of overdrives or the amp block and never worry about volume spikes or drops. Avoids having to save, then go back and forth to compare with other presets to see if the volume is still consistent.

    2) Spillover between rigs. Looks like the quad follows the logic of the Helix: give you the ability to do a ton within a single preset, but no ability to switch between presets mid song. This means if there's some go-to sounds that you use in many applications, you must recreate all the particular blocks within each new preset you create, if you need access them without a big audio gap (at least the Helix's gap is unacceptable). Compare to the KPA which gives you five rigs in a performance, all completely independent, with the ability to instant morph each one, with gapless changes between them with spillover and even the next rig up or down in the next or previous performance.

    3) The simplicity of fixed positions of the amp, cab, and four pre and four post effects, makes it much easier to do things like lock effect blocks, copy and paste sections. Some may prefer the complexity of the Helix/Quad signal routing, but given that I 'd never actually want to use that many things simultaneously. And even if I need more than one rig for a song, once again having spillover between rigs within a performance more than solves any limitations imposed by the fixed position of the amp/cab and just four post and pre effects.

    I would assume that the 8.0 would have new overdrives and such as it's main upgrade. as the device already has a number of such drives from it's early days. Yet It's an area the KPA team has indicated they were looking to update at some point. Features beyond those are just guesswork.

    Here’s my theory. To provide spillover and fast switching in browse mode between rigs, essentially all rigs are potentially the next selected rig. However in performance mode, only the other four in the same performance and one rig in each of the adjacent performances are. Not sure how much of each rigs data has to sit in RAM or whatever to provide instant access and spillover, but there must be a limit. It’s the reason that the line 6 helix’s dirty secret is that you not only don’t have spillover between presets, but a large audio gap between them, making in song changes impractical.

    Just a thought but have you checked the input settings. These are independent between Browser and Performance mode. Even if they are locked the two modes could be different. If your Noise gate or clean sens settings are different it might account for different triggering.

    good suggestion. I’ll double check that, however I did play around with the noise gate a bunch from totally off, to most of the way up and couldn’t get it to work. I should see about clean sens, but that’s set about where it ought to be.

    There's also a glitch in 7.5 performance mode that renames your slots. Using the performance mode, I was in performance 5. In performance 5, I had selected the rig with Browse "living hope" saved the performance and even left that performance and returned and it still showed "living hope" in the slot and on the remote. But when I went to a different performance and decided to move that performance to another location (not even the one where my "living hope" rig resided, but further away) when I returned to permanence 5, the slots were not just renamed but actually replaced to rigs that had previously resided there, weeks ago, before I placed the "living hope" rig in its place. I know 100% the issue isn't me forgetting to hit save before leaving the performance. Sometimes it won't rename the slot to the rig name when I browse for a new rig. Sometimes it will. Since all of my "rigs" have been renamed to song titles, but were created by first going to go a few "template" rigs I use on a regular basis in browse mode, editing and Save-As-ing them with the song title, I don't know what is goin on.

    What is frustrating is that I have been experiencing similar glitchy behavior in the most currently available OS release, not just this beta

    The Auto Swell doesn't really work (in performance mode). (I'm using todays latest beta release) I've used auto swell effects a lot, and even got a setting on one of the kemper's delays for years that does a pretty good autoswell, so I'm familiar with the innate limitations of this type of effect.

    In any case, sometimes it swells notes, sometimes it doesn't. And yes, I'm aware that the gate doesn't close and allow a new swell, unless I first mute my strings before hitting the next note or chord. Even waiting in complete silence for minute while I type this and the first note I strike isn't swelled. If I keep playing it kicks in for a few seconds and then stops functioning again. I tried picking harder, softer, single notes, chords, plucked chords, etc. Nothing seems to be more or less effective.

    For several years, I had created presets for producing a very effective autoswell in the kemper by playing with the swell control and setting the mix at 100% in one of the delay models, always worked, never an issue. After one of the updates in the past year or so, I noticed a similar glitchiness to these rigs in the autoswell I had created with the delay type, in that the autoswell wasn't reliable anymore, but not as bad as what I'm getting with this new autoswell effect. I tried placing it in the D and X slots and with and without the normal compressor I use active in the A slot. The profile I'm using is the same one I used with my "historic" swell rigs and is at a relatively low gain setting. I also tried playing with the input noise gate settings just in case something was up there. I'm also trying this effect out without using Rig Manager. I also have only 100 profiles in my KPA.

    *Edit: I tried it in browse mode and it seemed to work reliably and effectively, even in the same exact rig that I couldn't get to work in performance mode. Thus the issue is something with performance mode. ( I've also had an issue using 7.3 where it moves profiles around in performance mode, after powering off, and yes I saved the rig/performance before changing performances and shutting the unit down) Finally I went back to peformance mode after my success in browser mode, and dialing in the autoswell effect in the exact same rig I did before and this time it worked a bit better, though still not as reliably as I could get in Browse mode.

    The helix drives are great. However development of drives has already been floated as in the future for the KPA. I you’re already using the KpA without external overdrives, you might just want to wait it out. Though if I had to guess, it would be a full year before a release with drives would be available, given that it’s typically taken six months for even betas to be released of the demoed new features at Namm.

    To me adding such an additional pedal has its pluses and minuses. An extra power supply and patch cables. Increased latency. An additional potential for noise. More set up time. More programing in the KpA if you want it to trigger midi patches in the external unit. On the positive side, you have more options and the drive independence to where you can adjust your external drives on the fly without thinking about your Kempers organization of rigs.

    Since there’s an endless number of profiles of every sort of amp, cab at various settings and with various drive pedals baked in, it all comes down to whether it makes more sense to get a variety of gain stages using different profiles and the current limit of internal drive and boost options vs picking a cleanish go to profile and hitting it with a variety of drive pedals, or something like the helix.

    Keep in mind the huge audio gap between presets in all the helix products and be sure that you’ll be content organizing using their snap shot feature, as you can’t musically switch presets in the middle of a song. I personally hated this limitation of the helix. Yes, I loved the ability to create mammoth presets with loads of options. The issue was that I always have a handful of go to sounds I want instant access to. These are best organized by having them on their own preset, vs copying and pasting each of the components that I used for a go to sound into each and every new preset I create. This requires going back and and forth copying/pasting/saving multiple times. repeat for each new preset I want to have access to that go to sound. Would be much easier to simply change presets, but you can’t mid song because of the audio gap. Also keep in mind that you can’t as conveniently change midi patches on the Kemper as you can toggle on and off internal effects. You can send a midi message to the helix in a change of rig, but you can’t send messages with a toggle switch, though you can open and close the effects loop.

    I'm in the process of looking for a new audio interface and the majority do not have spdif ins and outs. I heard somewhere that you can get an adaptor to connect the spdifs to an adat optical ins and outs. I've looked into it a bit, and couldn't find a straight answer on whether this works. Has anyone here used the kemper spdifs with adat optical ins and outs? And if so, any concerns or glitchiness, or disadvantage beyond needing extra adaptors? I already own two pricey spdif cables.

    If I remember correctly from last year, the kone algorithm will work ok with a frfr speaker. If I understand correctly, the kpa cab/speaker is relatively flat, but of course idealized to pair well with the kone settings. Maybe this gives the ability to get a more amp in the room sound when using an frfr?

    If the kone speaker and software mimic specific speakers, it doesn’t act as a frfr, where you would send the cabinet sim to the frfr as you would direct to FOH? You would still have to treat it as a regular guitar cab and turn the cab sim off going to the kone and use the kone software to to mimic the speaker you use as the cab sim in the rig that goes to FOH? Or am I missing someth

    I'm thinking that however they lay it out, you'll continue to be able to send the cab portion of a profile or cab IR to any output, but with the additional ability to send a Kone filtered signal to any output as well. And I'd imagine that you'd be able to change the cab and what Kone per Rig. So that, for example, you send a regular studio profile with cab actived to the FOH using the main outputs, while sending the Kone affected signal (minus the cab sound going to the just the mains) through the monitor or speaker output, where you plug your kone cabinet.

    When I first heard the marketing about the KPA 7 years ago or so, I was skeptical because I assumed it would probably profile a 2-dimensional, digitally harsh, and less responsive version of the amp/cab it was capturing. Or some some sort of "something's not right" when you try to put it in the mix. The difference is, at least to my ears and virtually everyone here, is that the KPA has lived up to the hype. It's just as dimensional, no harshness, and just as responsive to the original, with all the benefits of a digital solution.

    To that end, I don't see how anyone could improve the core sound of the original KPA. How do you improve on virtually indistinguishable? Whatever the process of this new product uses to "capture the sound" the relevant question is not how much processing power is included or utilized in the capture, but if it actually sounds, feels, responds, sits in the mix, like the original and/or a real amp and cab does.

    At the same time, should this product function similar to the Helix, regardless of accuracy of the "profiles" I want no part. Organizing sounds for live use on the Helix is an endless mess because of the lack of spillover and even a large audible gap between presets. The fact that you can do so much within a single preset means nothing. If I have a couple specialty combos of effects/amps saved to a preset, say a ideal autoswell for ambient stuff, I can't just plop that preset next to a song specific preset and toggle between them in the song, because of the gap. I have to make sure I have enough left over DSP in the song specific preset and copy and paste all of my individual effects from the autoswell preset into the song specific preset, and then set up a "snapshot" to use it. Nor do I want to go back to volume matching hell between presets, when I decide to increase or decrease the gain in the amp section of one rig. The KPA is still the only digital unit that solves this problem as well.

    There is a swell preset in one of new delays as a good starting point, I'm pretty sure it has swell in the name. But if starting from scratch, I believe the mix of the delay has to be all the way up, and just because the parameter says 100% keep turning it up to the right as some of those keep going up till is says 100/100 or something like that to where you are not hearing the original signal at all, put only the repeats. The swell effect is applied to the repeats only, thus you want the mix up to the point where you are only hearing the repeats, and zero of the original signal. In this case if the delay time is set too long you will notice a long delay between when you strum the strings and you hear the swelled sound begin. If so, shorten the delay time to taste and lengthen the repeats.

    And just a pointer to make any autoswell from any company sound convincing and like using a volume pedal. If you let notes or chords sustain on your guitar and don't lift up slightly or mute before hitting the next note or chord, the next note or chord may not be swelled in, because the volume of the incoming signal hasn't dropped enough to cross the threshold and the autoswell just keeps the gate open allowing your percussive attack come through. If you stop the sound coming from your guitar itself between notes and chords, this of course could lead to audible gaps between those notes and chords depending on the settings of your swell effect. But this is why it's best to place a swell effect BEFORE dedicated delay and/or reverb effects. This way, the swell effect handles the swell, and the delay/reverb effect continues to ring out even though you've muted the sound with your hands for half a second.

    You can also set it to be instantaneous and have it toggle with the bottom row of buttons on the remote. This way you could, for example back off gain a certain amount while increasing delay. And go back and forth instantly between those two settings. Quite often I find this useful where I don’t need a certain effect to turn completely on and off in a song, but perhaps more or less subtle from one section to another. Rather than having a second almost duplicate rig with one setting different than the original.

    lol. What a cluster* that was! It took years and never worked.

    TC Electronic really drove off a cliff. when the G-system came out it was cutting edge and FINALLY was a product that allowed you to set your real overdrives up the way you like them in four loops, control your amp with a 5th, and use them independently within an-all in one high end digital effects system without tap-dancing. And high end effects from a company that was at the time considered top shelf in the post effects department. And the thing was serious tour grade, not a 2000's line6/boss multi-effects modeling toy. Then when all the ambient/shimmering delay/reverb stuff started coming out, (and is now made by everyone) and TC is still partying like it's 2005. They still sell that silly Nova System which has a huge audio gap when you change presets with the built in overdrive and which doesn't switch presets until you release the switches.

    To me, the Remote is the simplest plug and play option for the head IF you don't need other effects than what you place in the loop or loops or midi functionality beyond what you can do with the slot settings, AND if the ability to *only have four dedicated switches to turn things on an off with in a rig is sufficienct, on top of seeing with an led the morph status and the convenient possibilities of toggling that with the 1-5 switches. With midi controllers, you always have to make sure the led status matches up properly. Add in having a built in tuner at your feet and one less thing to plug into an AC outlet.

    I'd seriously doubt a 2.0 at Namm what with all the never-ending work they've done to get a working editor and enhancements for the firmware of the current generation. And for that matter, if rolling out a 2.0 head/rack in 2020, why go through all the trouble of developing a 1.0 floor model in 2019, when you could just role out all three products in the same upcoming generation? Like I said years ago, they could have made a floor version very quickly once the development of the Remote was finished, the hard work for a Stage was done. All they really needed to develop was a floor-shaped metal container that held the hardware of the head and remote, and perhaps streamlining a few knobs and controls.. Going forward with 1.0, Stage, head w/remote and rack w/remote, they have three products: that have virtually the same hardware/firmware/software/editor to roll out new features for. This ensure that future rigs will be cross compatible with the three.