Posts by Grooguit

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!

I bet it does. I've never profiled anything. But I do know that their noise gate thing is fairly unique and simply works without worrying about the threshold and cutting off sustained notes. The only time I might also dial in a noise gate in a stomp block is really high gain, and I'm ridiculously picky in regards to noise. I've forgotten what noise is even with single coils.

I have to ask though, why profile a FlyRig other than for fun? I owned one and thought it sounded pretty good, not great and was a useful backup to have. However, if you have to profile it to get rid of noise, then you are using the Kemper, and have to lug that with you anyway. And if you're have a Kemper at hand, why bother using a profile of a solid state analogue model a good tube amp when you can get an accurate profile of any actual tube amp on the planet for free? Thus the flyrig's only value is to be used by itself either as a backup if something goes wrong, or for its intended purpose as a extremely portable rig when flying on a plane.

Problem is airlines make you check guitars. Plus the Kemper head and a remote and cables and stuff will fit in a carry-on case, though you could stuff the flyrig in with the carry on as well and have your backup rig. But again, what would be the point of leaving a compact Kemper at home and taking only the Flyrig, unless you really need all your carryon space for something beyond Kemper gear? I think you could easily fit a Kemper and Remote and a few outfits and gear in a carry on and that's without a book bag they let you keep under your seat.

All of this is why I love the way Kemper does things. On the one hand, the impatience drives you mad. Consider, if they were able to demo the morphing at NAMM, then they clearly gave themselves a least a little room for issues so that they would show up with a working feature. If it's working as it should in the NaMM demo, and the Kemper on display is just a stock kemper, which just loaded a kaos.bin file, how much time does it take to load the file on their website and make available? It's been a week. I can attach a file to an email in 30 seconds. I can't think making a small file like that available on a website would take that long.

However, that's because even though it's probably all ready to go, they are doing all sorts of tests and making sure. because the don't want their valued customers, many of whom are serious pros, to download this thing and run into a bunch of glitches. So they are being really cautious, and their attention to detail is why glitches and bugs on this thing are so rare and insignificant when they do

the Kemper could have a feature to not send consecutive duplicate midi messages to a device.

I have a big need. Since the devices controlled by the Kemper are global, the ability to not send messages twice. Here's why:
I use an eventide H9 in effects loop in the X slot. I keep that assignment in every rig in performance mode, although some rigs have the effects loop bypassed by default. Since I use my H9 almost exclusively for ambient delays and reverbs, allowing the effects to trail off naturally is a must for me. In most cases the Kemper handles this task well.

Here's where it doesn't, and this could just as easily be blamed on the H9. Let's say I use two rigs in a row in which I want the H9 to be on the same preset. Let's call it "Preset 10" on the H9, which happens to be a long tail reverb. If the H9 is already on preset 10 when I step to a rig that tells the H9 to go to preset 10, it causes the H9 to reset, that is cut off the tail of the reverb and start over. However, if I program the Kemper to not send a message to the H9 on the second Rig, the tail of the reverb trails off naturally, even if the second rig has the effects loop bypassed. In other words, the H9 resets if it gets a message to go to the preset that it is already on, it doesn't just ignore the message.

So here's what I propose: Since the Kemper knows what the last message it sent to the H9 is, since the H9 assignment as device one is global, an option to have the Kemper not send the message again. In other words, suppose I had five rigs in one performance: 1, 2, 3, 4, 5, Rigs one and three tell the H9 to go to preset 10- a long trail reverb. Where as 5 tells it to bypass (which is #100 for the H9) and Performance 2 and 4 tell the H9 to go to preset 9- a short room reverb. If I happen to go from slot 2, 4, or, 5 then to 3, the Kemper will tell the H9 to go to preset 10 like its supposed to. However, if I'm on slot 1(which just told the H9 to go to preset 10) and then go to slot 3, the Kemper would not send PC 10 to the H9, recognizing that PC 10 was the last message it sent. Rather the Kemper could have a feature to not send consecutive duplicate midi messages to a device.Make sense?

In a couple songs I play this is a huge issue. I go back and forth between two rigs, both with the same long tail reverb on the H9, one with an autoswell effect from my Line 6 M5 (something else I would love Kemper to implement) and the other without the autoswell. In order to not have any cutting off of the reverb trail, I need to create an extra rig that sends no message to the H9 but tells the M5 to turn off. Otherwise, if I go back to the first Rig that told the H9 to go to PC 10, it cuts off the reverb trail. It would save me a lot of headaches if I didn't have to worry about not sending the same message twice-especially since I may not always do the same thing each time I play the song.

I'm having problem with H9. My use is similar to Davec69. I use it in the effects loop in the X slot at 100% mix. the only difference is I use the mono loop, as my final destination going to mixer is mono anyway. I program changes with the slot settings. It follows my changes when I switch rigs perfectly, with one glitch.

Suppose I have two rigs in which I want to use the same preset on my H9. Let's say preset #9, and it's a long tail reverb or delay. If I'm on a rig in slot one with the H9 set to its preset 9, and step on slot two Rig I sometimes get a hiccup. That is, the reverb or delay will reset and chop off the end. Now, here's the catch. Assuming the X slot is assigned to the effects loop on both rigs, the delay spillover happens, even if the slot 2 has the loop bypassed by default. However, here's the catch: If both slot one tell the H9 "go to preset 10" the H9 doesn't just ignore the command. (It's already on preset 10, so why doesn't it just ignore being told again to go to preset 10) When it receives the command to go to preset 10 on the second slot, (or third or fourth or fifth) it resets the delay trails.

Therefore, even if I plan on using slot 2 with H9 preset 10, I can't tell it to go to preset 10 if I'm coming from a rig, say in slot one that already has the H9 on preset 10. I can work around this by being more intentional in my planning of slots, but it's a poor design on someone's end. It would be so much easier if I could just assign "go to preset 10" to my H9 on each Kemper preset that I'd like to use preset 10 without worrying about whether I'm going to use it coming from a rig that was already using H9 preset 10

I asked the H9 forum this question and they were useless, no one even responded.

I have a dunlop volume XL. It has an expression pedal jack, but if I use that with the Kemper wouldn't it still have an audio taper as opposed to the flat taper of a standard expression pedal? I've never tried it with kemper, as I'm still using my FCB1010 and don't want to screw anything up. The FCB volume functions more like a glorified on off switch than any kind of smooth swell.

My issue was with the effects loop. I generally leave my Kemper hooked up at my church with an H9 in the effects loop. I took just the Kemper home to mess around and spent three hours freaking out, thinking something broke inside. I was getting no sound because the effects loop was activated on the x slot of every rig I happened to be playing, thus no sound as there was nothing connecting the send and return, thus no sound in either in my monitors or my headphones. I thought something on the output end of things or in the D-A converter area was damaged. Biggest tantrum I've thrown in a long time. Funny thing is there have been a couple other times when I was stumped that I was getting no sound and it was the effects loop then as well. I had a good laugh.

@dougc84

This is a fun conversation! I'll clarify a bit.

I got my tone through OD pedals for years, though I usually didn't stack, though in my college days I did a parallel mixing of an OD and a Distortion using a feature on a boss line selector. To clarify my point, I meant if you had a simple tube amp, not a kemper, OD pedals gave you the ability to change your tone much cheaper. When I started getting serious 15 years ago in college, I owned a marshall valve state and found the distortion wanting. A friend gave me a boss super overdrive and I had a used metal zone, 'cause i was into metal and was poor. As I got more serious and began to gig more, I quickly learned that serious guitarists need a tube amp, so I bought a fender deville, even though the distortion channel was the worst i had ever heard, but had been told about the virtues of a good tube amp set clean makes OD pedals sound much better than Solid state-which it did. listening back on my old recordings, I have to say I still like the tones I got in those days, my signature sound being the blending in parallel of the super overdrive and a rat through the deville with an Epiphone les Paul. Worked with the style I used to play and as they say, tone is in the fingers.
Years later, I owned some wampler pedals, by that point I was playing through a carvin 100b clean channel with a warehouse speaker equipped 4x12, but still never really got into stacking, opting instead to use a separate pedal for heavier and lighter OD. When I heard about the Kemper, I sold everything including my TC electronic G system and haven't looked back. Since then I tried countless profiles until I finally settled on a handful of profiles of a Morgan and an evil Robot that always seem just right. With that said, my tastes, main style, and guitars have changed some over the years. And with that said, for I'll I know the profiles I love so much were created with stacking pedals!
I'd have to agree that if you've gone through a ton of pedals and found a certain combo stacked together and set just so, you might have difficulty finding a profile that nails that sound by itself. Have you tried profiling your own stuff, that is with your stacked OD pedals into a real amp? I'm ashamed to admit that I've owned my Kemper for three years and have never tried to profile anything.

I requested this 3 years ago. Thought I'd update my thoughts, as I think this would be a feature that would revolutionize all-in-one units, be they kemper, axe, line6 etc. I just can't believe that I'm the only person out there that thinks this way. It has been the one thing that has annoyed me for the past decade having owned a Vox Tonelab, line6 podHD, TCNova system, and most recently the Kemper. (the TC G system I owned doesn't count, since all my drive was from OD boxes in its four loops-which essentially functioned like I'm proposing here: a few core sounds (like analog stomp boxes amps) able to be accessed with combinations of numerous other effects in several banks).

After three years with my Kemper, I still feel the same way. Initially I spent some time using lots of different amps with banks of rigs for each of my guitars. Now a days I'm down to using two amps: A Morgan and an Evil Robot. I have five basic core tones for each one. All the other profiles that I have are just for fun and if I do any recording it's nice to have a variety to play with.

However, live, I create rigs with various combinations of other effects, internal and from my H9. I don't need 8 different clean amps. I just need one clean amp with various different combos of effects, necessitating a number of rigs. Sure would be cool if I could just the same amp sound in all of my clean rigs, spread out over 15 different performances all at once. I also have like 11 performances filled with anywhere from 1 to 3 rigs needed for specific songs (I don't even bother to put individual songs in their own performance, since that would result in a lot of wasted space and a lot of extra clicking, since most songs only need one or two rigs) Thus I have about 55 rigs. however these 55 and growing number of rigs only use 5 different amps (actually 5 different profiles of the same amp from clean to lead) In practice, I copy the rigs I need for each weekend in a row, which usually fit in two or three performances which I write over

That is why I proposed global amp stacks. That is find one rig that you like to use all the time, then select the amp section. have an option there to give the amp the distinction of being "global amp 1" or "global amp 2" 3, 4, 5, 6, etc. Then when I go to a different rig I can choose "global amp 1" as its amp, instead of a specific amp. Then all of the rigs that have global amp 1 as their amp can be adjusted all at once. This way, I can go to any of the rigs that have the global amp 1 designation and make whatever adjustments or even swap it out for a different amp today (maybe I feel like using the evil robot clean rig since I like it better with my strat, whereas I prefer the morgan for my Carvin and my Gretsch) And of course folks that have no desire to use the feature can continue to copy and paste the same amp in multiple rigs across numerous performances just like they do now.

One other possibility to achieve this. The lock feature is cool but lacking. Perhaps being able to lock the amp (but only lock it for example slot 1, so that in each performance only slot one is locked) Or, the ability to lock effect blocks, but without locking their on/off status. For example, I generally have one setting of the Screamer effect that I use, and it would be cool to be able to lock it, since I never put anything in the B slot except the screamer. However, I don't want the screamer to be either locked on or off. Rather, I'd like to be able to lock it, tweak it, and then have it active on any rig that was previously active. In other words, just because I want to be able to have it's sound locked, I don't want that locked sound to be active in every rig, just the ones where it already was active.

More stomp overdrives would be cool. However, not on the top of my list. Let's remember why many guitarists go the stomp box route in the first place:
1) more options with one amplifier.
2) easier on the budget for fickle guitarists that can't make up their mind to drastically change their tone without buying a new amp
3) convenience on not bothering with an amps' effects loop for delays, verbs, and mods, since all or most drive is in the stomps and the other effects can be placed afterwards.
4) easy to bend down and adjust on the fly, without getting into the whole worrying about preset thing
(you know, if you have a few dozen rigs with different combos of effects, but use the same internal overdrive effect and you feel you need to adjust it, you have to go to each and every rig that uses it and make the same adjustment and/or lock it and hit "save" a dozen times, same issue with every other all-in-one device)

In most cases, overdrive pedals aren't used because they achieve a tone that can't be achieved by any tube guitar amp, rather they allow the guitarist to achieve a tone that can't be produced by the amps that they personally own. When it comes to owning a Kemper, you can have any amp that exists and can find every conceivable type of tone out there and have tons of great built in ways of refining that sound.

The benefit of using real OD pedals with Kemper is you only have to adjust the actual pedal; the negative is that you can't control it's on off status with the Kemper unless you use the effects loop, which in my case I want to use for my eventide H9.

However, if I understand correctly, many amp profiles are not simply amp profiles but profiles of an amp pushed by an overdrive pedal. So

Please!!! I believe I had created a feature request for this as well. I wouldn't call myself a huge effect user- I do have an eventide H9, which does everything, but not autoswell! I believe PaulT put a link for something that sounds a bit like it.

I really want to be able to take my Line6 M5 off my board, as the excellent autoswell on it is the only thing I use it for. (same as on the 4-button line 6 delay and other Line6 gear)

There's got to be more of us that really want this effect. With the coming new ambient delays and rumored new reverbs, autoswell would be swell - pun intended

I solved this issue. Turns out the Kemper already does this. The issue is with my Eventide H9 more or less. Suppose you have two Rigs in a performance, both of which you'd like to use the same effect our your external effect, in my case the H9. Therefore, both rigs are sending the same midi PC to my Eventide.

Therefore, if you are already on a Rig that's utilizing that particular preset in the H9 and go to another rig: if that new rig also sends the same midi PC to the H9, the H9 doesn't simply ignore it since it is already on that preset. Rather, the H9 resets, cutting off the delay trail and starting over.

I just assumed that the Kemper wasn't allowing the spillover, but rather the H9 was being reset. The way to workaround this is to do a bit more planning when arranging rigs. If you need to keep the spillovers going, you'll need to make sure that you send the PC message only to the first Rig if the next Rig you select you want to utilize the same H9 preset. Otherwise, if the H9 receives the same message twice it will reset the effect, cutting off the delay trails.

I just thought of another cool use for morphing: Autoswell. On any rig, you could have the rig volume at zero and use the remote to do the autoswell. (there is now another video on Facebook that shows how you can press the selected rig again in either momentary or latching and set morph times, ramping up and down independently! Of course, you'd still have to press the button each time you want to do it to swell, still more discreet and easy than rocking a volume pedal.

I've been asking for this effect for a couple years now as I use it a a lot, and given that I'm leading worship and singing, I don't want to do the volume pedal dance for swells. I've been using an eventide H9 and a Line6 m5 in the effects loop. The only reason I still have my m5 on the board is because it's awesome autoswell effect, which neither Eventide or Kemper has bothered to address. While it's midi capable, the folks at line 6 didn't think a simple PC # that would turn it on an off would be useful. You can only switch its presets with midi. Therefore, to turn off the m5 with midi, the only thing I can do is leave the pedal on all the time and use a blank preset, that is a preset with the mix set to zero so that it doesn't really do anything to the sound. In other words, constantly subject my entire tone to whatever coloring or latency that the M5 adds. Because of this, I need the Line 6 at my feet, so that I can control it there manually. And because of this, it therefore makes most logical sense to keep everything on my pedal board the kemper, midi board (soon to be replaced by remote) eventide H9, power supply for pedals, all because of the silly m5. Now I can take the m5 off, and put my rig in the closet and just have the remote at my feet.

That's awesome!!!! I love that they've invested research into developing new delays!

The only option you have then, is to create a preset (rig) that has the output at zero. Then you can at least look at the mini tuner indicator on the left with the three LEDs and tune in silence. The problem is with the midi moose, the only midi board that can't send CC messages because it was designed for simplicity for a guitarist that needs only basic patch switching

This sounds like a possible feature request: The ability to assign global assignments to the switches. Better yet when global assignments are turned on, it overrides the specific switch assignments that you tediously programed one by one into each rig, but without deleting them. That way when you invariably change your mind and want independent control over each rig, you can just turn off the global settings.
For me, I'm still using the FCB, but plan on purchasing the Remote in the next couple months, once I have enough money. While the ability to create different assignments per rig could be useful, for my own uses, I'd probably just keep every rig the same, as it's less to keep track of.

I use an eventide H9 and a line 6 M5 in the loop. I can control both with midi from the Kemper if I want. The midi on the M5 has a catch though. While I can send the H9 a bypass midi message, the M5 doesn't have one. So if I don't want to ever have to touch my M5, I can't turn it off with midi. The best I can do is use an effect with the mix at 0%, which means that the M5 is still engaged and therefore buffering my signal (assuming I leave the Kemper loop on)
However, lately I've been not bothering with using midi messages sent when I change rigs in performance mode. Rather, I have rigs with the loop on and others with it off and just manually control the H9 and m5. I only use the M5 for the autoswell effect. I have a three button switch for the H9, so I can manually go through the presets in it that I like really quickly.

While I find the built in effects in the Kemper great, they lack an autoswell, and the more elaborate delays and reverbs that I can get in the H9. Plus, since you can only have one in each Rig, I would need to have multiple copies of the same Rig, but with different reverbs and delays in each. Having some sort of external independent effect like the H9, I can stick to a single performance in the Kemper, but have a tons of options of effects.
This limit isn't just a Kemper thing, it's the same issue with all all-in-one processors in a similar organization paradigm. All of them give you lots of options for effects that you can combine, but it's only practical or possible to have just so many effects at your disposal in one "patch" or "preset" or Rig if talking Kemper. All of them give you the ability to have as many presets as you'd ever need, but the more presets you create in order to have all the effect options you want, the harder it is to keep everything organized.

This is why a year ago I came up with a solution and suggested it on the requests: Instead of only having the option of choosing a specific amp and cab to go in the block, you choose "Global amp A,B,C,D,E, etc.." These amp presets would be global. Therefore, instead of choosing a specific amp, you could choose one of the global presets. Therefore, you could have a dozen performances set up with all sorts of various effect combinations. However, each Rig could be set up to one of the global amp presets. Then if you changed your mind about what basic amps you wanted to use, or wanted to edit one of them, all you'd have to do is edit the global preset, or assign a different amp the status off being "global preset B" for example. then all of the Rigs that have Global preset B as their amp would be changed accordingly.

In the current paradigm, if you're set up is like me, you've set up several perfmances with the same amps, such as clean, slightly overdriven, crunch, lead, slightly overdriven with a different combo of effects or whatever in a single performance. In another performance you have the same core amps, but with a different combo of effects. While we may like to have access to all sorts of amps in our arsenal, for concert purposes, we probably one use a few. If we are only going to use a few, the more performances we create, the more headache it is to keep them all organized.

While you want to save money, if you're making such a huge purchase, pay a little more and have no regret, especially since it's such a huge investment with all the import taxes you pay. (I visited Porto Velho, Brazil a couple times and couldn't believe how expensive buying US made music equipment was) You might break even taking a trip to the US and buying it here with out the taxes and then flying back home!