Posts by Grooguit

I have the Yamaha DXR12, which is similar to the ten and love it, but seldom need to use it. I have unpowered head. This is what is called the FRFR method, that is using a fairly flat powered speaker to amplify your sound. This way, the Yamaha or similar product won't color your sound much. Thus a fender twin amp with a fender twin 2x12 cabinet still sounds like a fender twin amp with a fender twin 2x12 cab, just like it would if you put a mic up to a real fender twin w/ 2x12 cab and pumped it through a PA. The Yamaha DXR is a PA speaker, so what you hear on stage matches what comes out of the PA system if playing live.

You'd want the Powered head if you want the option to play through a real guitar cabinet. The negative to this is that a real guitar cab sounds like only one guitar cab. In other words, you can turn off the virtual cab sound in the outputs going to your real cab. However, let's say you have a Marshall 1960 cab on stage. You dial up a fender twin amp. You'll want to turn off the virtual cab in the Kemper. Now you have the sound of a fender twin amp going through a marshall 1960. If you leave the virtual twin cab on, you still have that sound additionally colored by the Marshall 1960 cab. Keep in mind any profile you find was tweaked and created to sound the way its supposed to through the guitar cab it was created with. This doesn't mean that great sounds can't be found and tweaked, it just means that everything you play with won't sound as it originally intended, as your real cab colors it.

I'd say, go with the Yamaha DXR10. If you already have a cab that you love or committed to, then you'll want to go with a powered Kemper, as it's the cleanest and easier way to power a real cab. otherwise you'd need some sort of external amp to power your cab. Also if you buy a powered Kemper, you can always use it with the Yamaha, as it also has the unpowered monitor when output. That way, you have any option you want. You can hit the road with just the Kemper head and power the house cabinet at any club with your Kemper. However, when you're able to bring your DXR 10 with you you can use that. Keep in mind that it sounds like you don't already have a good cab you are dedicated to. In this case, if you went the powered option for the sake of using it with a good guitar cab, you'd have to buy that as well, as the spider speaker is not going to give you as near of good tone as going with the DXR10 or similar quality powered monitor. It's also extremely portable

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I agree with all of that except, setting the mains to mono. I had asked this question on a thread once and Mr. Kemper himself said that it would be better for my needs to keep the mains assigned to stereo. Here why, and my set up. My Kemper sits in a closet on the side of the stage at my church with my H9, and only a the midi controller and wireless pedal at my feet. While I always listen to what everything sounds like on the mains in the room's PA, (as my favorite profiles that I use on just about everything are done being tweaked at this point) I generally put on headphones in the closet and set up delays, reverbs, and general organization. What I noticed when tweaking with the headphones (which are originally $150 ear muffs, not cheap in-ears) was that I'd have to drastically increase delays in reverb in my headphones to sound more than I want, for the appropriate amount to end up in the mains of the PA, which is the sound that ultimately matters. What was happening is that the mono summing hides some of the echos, supposedly most of your reflections are handled just fine using the stereo left main. That's the best I can describe the conversation. (perhaps that's why your supposed to used L stereo output for mono on most stereo pedals) in any case, I found that what I was getting out the house PA was pretty darn close to what I was getting out of my headphones. In other words, if I set the delays and reverbs to taste in the headphones, it translated very well to the house mains using only the left main output in stereo mode. summed mono wasn't even close.

As far as stereo in general is concerned, my main point was stereo effects usually have no platform to be heard by anyone but the user in practice. the ability to send a dry signal out one side of stereo is of course useful in the studio. I meant that in general mixing stereo effect to taste in monitors or headphones seldom has an outlet to be used for guitarists that play live or record with a full band, as they are almost always heard in mono. Saying that, I know some guitarists have found creative uses for it, perhaps those that tour with their own PA. However, the average weekend warrior which constitutes most guitarists, even many pro guitarists live in the mono world, at least as far as their own guitar is concerned.

Thanks Paults. I may have to try that. There's been something fishy going on with Gmail the last few days. Had another issue today where an email that appeared on my phone didn't show up on my computer for like 2 hours, though I was hitting refresh. I'm also going to try using the Chrome browser on another computer I have access to at work. Was disappointed with the customer service not getting back to me, and I sent request with clear details of everything I tried on Thursday. As it is now, to be responsible I have to wait until middle of this month to purchase.
This remote has been the bane of my existence. I wanted it almost 3 years ago when the design were being voted on and discussed on these forums. Then, the almost 2 year wait to come to market. Then the super long line thanks to 2 years of anticipation and all the people ready to shell out dough for it. I signed up for the early bird waiting list, and didn't feel comfortable leaving my CC# or even paypal info or whatever it was then (can't remember) only to have a surprise charge from them at some point in future. To be fair, I'm not sure if I would be first contacted or not before they debited my account. But with the waiting list being like 3 months at the time, I passed and figured I'd just get it when it was finally in stock and not have to worry about it. Once it was in stock, last summer, I didn't have the money. And here we are 7 months later. I'm so sick of the FCB10 which takes up so much space and has useless expression pedals. I want to integrate other things on my pedal board but have no room, and don't want to build/buy a pedal board the size of a surf board when I won't be able to reach the pedals when singing into a mic without doing a split.

This is one reason I have requested the ability to listen to just the left main output on the headphones. Because this is the sound that is going to be sent to the PA system anyway. While it doesn't matter for adjusting amp tone, for adjusting delays and reverbs, why adjust to sound good in stereo headphones when it is going to the house in mono.

I've never understood the fascination with stereo.
1) almost all sound guys will only give you one mic or one XLR, rendering your carefully created stereo effects largely inaccurate as you switch to using the Left main output. Those that will humor you probably are only doing a mono house mix anyway.
2) when recording, it is better to record two separate tracks and pan L and R, with the option of different tones on each, than one stereo track. Especially since it's generally preferable to record dry and add delays and reverbs later, in which stereo effects can be added to mono tracks just as easily as stereo ones.

It really depends on what you do. Even if the FRFR seems to "color your sound" somewhat, the only way you'd know this is if you have a point of comparison. Put another way, if you are using your own home-made profiles for performance, then you might be in a good position to say this or that FRFR speaker colored your sound. However, if you use other people's profiles, either the Factory ones, rig exchange, or other commercial ones, you have no point of comparison to say a speaker has colored your sound. It comes down to how flat you assume your studio monitors are (and the room you are listening in) compared to how flat you think your FRFR cab is (in the same room). Therefore, I'd choose and tweak profiles for live performance on the speaker you will be playing in a live performance. So if you were to use a Yamaha DXR10 in concert, you may as well do your selection and tweaking of profiles for live use to sound the best on the DXR10. There's no point in choosing and tweaking on headphones or studio monitors and hoping that they translate well to your DXR10. Eliminate the middle-man.

Don't see it as a development priority for eventide, as most users aren't using midi, and those that do might not need this feature. There aren't people waiting with money in hand to buy an h9 with this feature, but new algorithms attract new buyers or sell a few algorithms for those who have not maxed or who might if you give em another reason to do so

I requested eventide to allow the h9 to ignore repeat commands, they said that the request would be passed up the chain but probably not something that would be changed. With Kemper coming out with new delays and then reverbs this year, I'll likely rely on them a little more often when the change is needed, or just gameplan the midi programming more

A way to get back that isolated feeling is to hook up a mic that captures the room. Then bring a little bit of that into you iem mix. Can be a cheap mic, but a condenser mic is the type you want. Having a stereo iem mix helps as well. If each musician has their own mix, you can do a stereo mix that matches the position of yourself compares to band.

Might be fun to play around with but not needed. Just search for the perfect rig. With hat said my favorite tone on a pod hd years back was two amps blended that sounded better than separate. But still had nothing on the sounds I get with one amp in Kemper. Much complexity for little tonal benefit. Just tweak the 7000 free rigs on the exchange

I tried with Safari and Firefox

I did check my spam folder no replies no passcode reset etc
I will try again tomorrow

Good luck creating an account. I'm looking to buy too but can't get an account set up

Yeah I'm sure about gate there. I would say that maybe it's something with the ad or da converter that you inherently use when using the effects loop. makes you wonder if some day digital pedal and gear will have alternative digital inputs like spdif so that you don't needlessly go da ad da ad just to use an effects loop. Personally I haven't noticed any cutting off

I contacted Help on Thursday and haven't gotten a response yet, so I'll ask here.

I wasn't able to register for an account on the Kemper store, the only place you can buy a remote. It said that if you had an old account, you'd need a new one in the USA, since it now sells and ships from Colorado. Fine, my old account was set up a year ago when I thought I'd be able to buy a remote, but couldn't. I tried two email addresses. I tried sending "reset my password" just in case my email address from old account caused the issue. I tried two web browsers, I checked my internet cookies were on. I double checked my matching pass codes. I tried a simple passcode. Later I tried a complex passcode involving Upper Lower case and even numbers. I checked "send me advertisements or whatever" I waited for a response to the issue and made sure it didn't go to my spam folder. So I'm asking here. All I want to do is register for an account so that I can give this company $600 for a remote.

Sorry. that came across as obnoxious, which wasn't my intent. My point was, the FlyRig's greatest attribute is that it's so portable and a useful backup, and sounds pretty good for that use. I just didn't understand why someone would bother with it for recording, that owns a Kemper Profiler, which has every tube amp in the world perfectly profiled free on rig exchange. But to each is own, as you probably know this and are using the Flyrig because it is inspiring you to lay down good tracks that you like. So more power to you. I've become a bit of a tone snob since ponying up the 2G needed for a kemper.

That would be cool. But remember though, you can add a little bit or a lot of Direct signal in the amp block, which should achieve the same sort of thing, as that's what you are essentially doing with a mix knob on an OD pedal, allowing a bit of direct signal mixed with the OD, or a little bit of OD in the direct signal.

I wonder if it would be possible. Since the one loop is stereo, in theory couldn't it be split? However, as I understand, the loop is stereo on the way in, but mono on the way out. The real question is the hardware, in terms of analog to digital converters and digital analog to converters. The real question is can those output and inputs be used at the same time. It's possible they share the same DA or AD converters even though they have different electronics between their respective jacks and the converters would be my guess. My guess is no though.

Hey guys: I just bought a Ford Mustang that needs a Motor and thinking of buying a motor that's meant for a Chevrolet Malibu, but costs almost as much as a the Mustang engine, which was designed to work perfectly with a Mustang. But I really want to buy the Malibu engine. Can anyone tell me if it's possible to get the Malibu engine to work with the Mustang?

Just kidding, but dude. Wait and save up and get the Kemper Remote! If it's too pricey, get the BeringerFCB1010, with uno for Kemper chip for like $150 total. Unless you own a Helix rack, there's no point in getting a Helix controller.

Make sure the ducking control is at zero on the loop, should be next to the Mix adjustment. With positive values you can use that feature so the delays (or whatever effect is in your loop) keep out of the way when strumming, but then ring out once your playing stops or is soft. With negative values, the ducking should do the opposite, once your playing level drops below a certain value, the delays will get chopped off a bit.

If this is not the issue, ideally you want to not turn off the effects loop in the Kemper. Rather, bypass the actual pedal. And if you don't want to touch the actual pedal, at least your eventide space can be controlled via midi and shut off that way. Since the Space has the option of being either True Bypass or buffered bypass, buffered bypass will allow delays to trail off naturally after switching off the pedal. However, if you turn off the loop in the Kemper, the kemper will chop off the repeats. I think this is something they might be working on.

A way to work around this: keep the effects loop in the same spot, say the x slot in all the rigs you perform with. Then turn you external pedals on and off manually. The kemper will preserve the trail-offs of external effects even when switching rigs as long as you have it's effects loop On on both rigs. I do this with an Eventide H9. What I do is send midi messages from the Kemper on rigs I want to use presets from the H9, let's say #s 7,8, and 9, and a midi message of 100 to tell the H9 to turn OFF on rigs I don't want to use it. Then I can keep my H9 and Kemper off stage and just access the sounds with my controller. I don't notice any negative coloring or latency leaving the effects loop on all the time. I still have the effects loop switchable on my controller, so I sometimes turn the loop off if the H9 is off anyway.

Make sure you are not comparing apples to oranges. If you comparison of it sounding good is in mono, then make sure you set Kemper loop to mono and the Mobius to mono. You said the Mobius sounded good with other amps, which normally don't have stereo loops. Thus you probably used the left (mono) jack on the mobius into your amps effects loop, or front end of amp. In that case, the switch should have been set to mono since in stereo mode the mobious would have sent a different left and right mix. In other words, if the Mobius is set to stereo and you are only using the left (mono) jack you are only sending the left signal out and all the sounds meant to come out of the right side are going no where, since the right jack is unplugged. Therefore, in that set up, you'd keep the mobius set to mono and use the left (mono) jack, which if I believe will give you a combo of what would have been sent to both the left and right in stereo mode. Thus stereo mode is only to be used when you are using both Left and Right jacks on the Mobius, which you can't and aren't with a normal guitar amp.

Now with the Kemper, you can use the effects in stereo, but you need a special cable, and there's no point unless you are monitoring in stereo anyway. However if you were, you need a special Y adaptor cable, with two normal quarter inch guitar plugs on the one end and a stereo quarter inch on the other. You'll know its a stereo quarter inch because it has two white or black rings near the tip on it like a headphone adaptor, not one, where as the two on other end would have one (most of these Y cables are designed this way, but check

However, since you are using the Kemper with just a single monitor, you don't want to set it up this way. You therefore should select "mono loop" on the kemper slot you use. Then use just a regular single patch cord or guitar cable from the Left (mono) output of the mobius into the return jack of the Kemper. and of course, a single regular patch cord or cable going from the effect send of the kemper into the Left input of the mobius (assuming the mobius has both left and right inputs, if only one input you use that. ) Finally set the switch on the mobius to mono. If you don't set it up this way, all your patches will sound different and probably worse than they were intended.

Remember if your Mobius is set to stereo and the rest of your set up isn't wired with the above mentioned set up for stereo, your missing half of the Mobius sound!