Posts by Grooguit

I am going to purchase the remote regardless, but I would like to add an additional two-button footswitch, (maybe even two) to the remote.
What kind of switch would I need, any recommendations?

What I'd like to do.
I'd like to have a single button for each slot (by slot I mean the 8 places you can place an effect not the five patches per bank), so that I could have independent control of each no matter what. Therefore I could turn on and off my delay, reverb, mod, x slot, a, b, c, and d, each having their own dedicated switch so that I don't have to remember which does what for each Rig. If I understand correctly, a 2-button switch could be connected to one jack with a TRS cable. Therefore I could get two of these 2-button switches which would use up two jacks, (still leaving me the ability to hook up a volume pedal, even though I don't plan to do so). These extra four switches plus the four effect on the Remote would then give me a total of 8, allowing me to toggle all 8 slots on and off independently. I would assign the four effect switches on the remote to four slots and the external switch that I'm asking about to the other four slots. I wouldn't need to have any of my switches on the remote or the external ones have different assignments on different slots. The only thing that would be important is that I wouldn't have any issues with the saved on/off status of the slots. That is the external ones would behave just like the remote's effect switches, even though they wouldn't have an led. Would I be able to do this?

I use an eventide H9 in the effects loop in the X slot. On all my Rigs in performance mode, I keep the X slot for use with the effects loop. but in most slots I keep it saved as bypassed. Thus, I'm not using the loop in most of my slots, but always can go to it if I like, since the loop is simply bypassed. While the kemper handles the spillover fine when bypassing the loop, or even changing rigs with to another rig with the loop default on, not so when I switch to a rig that has it bypassed. For example, if in slot one I have the loop on in the X slot using an H9 delay, and I switch to slot two with the loop bypassed, (though still assigned to the x slot) the delay doesn't spill over. This is an inconvenience, since I'd like to avoid doing a double step each time.

This seems like something that could be an easy fix since the KPA can already do effects loop spillover from one slot to another.
Yes, I know that I could simply send midi messages to the H9 including off and then simply leave the loop on both slots and I in fact do that sometimes. However, I have a couple performances in which I leave midi settings blank, so that I can use various delay and reverbs presets on my H9 on the fly, in which case pre-programed midi messages won't work. So I send no messages on these performances and change presets on my H9 manually. This feature request would also be useful for those using non-midi capable delay effects in the loop.

<p>+ 1</p>

In other words if performance three slot 4 is one rig with messages sent to my devices, if I copy it and paste it in performance 7 slot 2, the rig and all its effects copy fine, but the midi slot settings don't, I'm stuck with whatever the slot settings were in perf 7 slot two were before I copied my rig there

<p>I use an eventide h9 and line6 m5 in loop. In need to regularly move rigs from one slot in one performance to other performances. I wish the slot settings would follow the moves. Rather it seems that the slot settings are fixed so that when I copy and paste a rig, it retains the midi settings that were in the slot.&nbsp;</p>

Works great with mine

Thanks I should do that

Perhaps this issue could be avoided if I dedicated and entire slot to each song. However, I have no desire to hit the up and down button 30-40 times each way in order to reorganize the order of performances for each and every weekend.

I get by using fewer rigs because I do the following. I have some compression in the amp block and have a volume bleed on my strat, my main axe. Combined with my pick attack, this gives me almost all the range of gain that I need. I also keep a boost in a stomp slot if I need a touch more. I use a lot of delay and utilize the ducking parameter a lot, allowing me to not do a lot of stomping. Therefore, in most cases I only need one rig per song.

When I copy and paste a rig from one slot to a slot in another performance, sometimes the midi settings don't copy, sometimes they do. I have a eventide H9 and a line6 M5 in the effects loop and control them with midi messages set up in the slot settings.

I use my profiler as follows: For most songs I need one or two rigs, that's it. I have about 8 performances worth of rigs (40 rigs or so) I have about 30 songs in my repertoire and typically use 5 songs for a set, as I lead worship at a church and we typically do five songs for the weekend services. In other words, I don't need a performance for each song, just one or two slots. Therefore, as we add new songs to our repertoire, I just add new rigs for these songs in the next available slot. However, before each weekend, I copy the rigs from their permanent location (currently in performances 5-12) and paste and save the 5 to 10 rigs I'm using in Performances 3 and 4, which I use for live performance, keeping everything I need for the service in those two banks. Then the next week I copy over the performances 3 and 4 with the rigs I need for that weekend.

Everything copies over nicely except the midi slot settings, well sometimes they do. Most rigs I don't use the effects loop at all. However on about a quarter of my rigs I utilize my H9 or M5. The midi CC number set in the slot settings sometimes doesn't copy and I then have to go back to the permanent location of the rig and check what the midi # should have been and then go back to the slot in performance 3 or 4 and manually change it.

It seems to me that the slot settings in the performances seem to be locked. I would make more sense to have whatever the slot settings were in first location to copy over the slot settings in the slot that the rig is being copied to.

When I first got my kemper, I still owned a guitar cabinet that I previously loved with two different amps. A high end peavey 4X12, which I swapped out two of the speakers with Warehouse Speakers V30 model (which are similar and superior to standard Celestial V30' ) I tried all my profiles with the Cab sound off into my Peavey cab and ended up preferring using the profiled cab into a QSC K10 powered monitor. Though in fairness, I compared the profiles that I had first selected and tweaked for my QSC. Later on I got a Yamaha DXR 12, which I like even more than the QSC. The Yamaha is so ridiculously loud if needed, portable, and most importantly the best sounding. It is also able to be placed behind me, just like you use a real guitar cab, or pointed up at me like a monitor. And less beamy than a traditional guitar cab.
this being said, building your own cabinet, you should know you love the sound of the guitar speakers you are going to put into it and expect some unintended coloring depending on the shape and dimensions of your home made cab. Otherwise, almost all the profiles in the Kemper and those shared online were tweaked and profiled the way they were because someone thought it sounded best that way. If they had used a different cab, they probably would have tweaked differently to compensate. So the extent that your fixed home made cab is similar to the profiled cabs, is the extent that they will effectively sound the way they were intended to by their creator. Keep in mind that the quality of the device you used to monitor the Kemper will drastically affect the quality. the Yamaha DRX10's are quite popular among Kemper users. There's some high end ones you'll find reviewed on these forums that people like and that also look more like a guitar cab.

I had requested something like that when I first got the Kemper two years ago. In fact the lack of this feature was the one thing that almost kept me using my G-system with stomp OD's in it's four loops. That way, I could have several banks of effects and if I adjusted one overdrive pedal it would of course be adjusted in all the presets that used the loop it was connected.

Perhaps instead the Kemper could have a lock function? yes it already does but consider another way. Suppose you could lock the amp block, but separately for each slot in a performance? that way, if you had a crunch sound in say slot four of each performance, any tweaking you did to the amp block in slot four would be the same as you banked through performances. And then did the same thing for the other slots. (or other features such as what was in an effects slot.) This of course, would introduce other inconveniences.

A better option is this: Instead of dialing in a particular amp in the amp block section, the ability to dial up a "Live amp one" perhaps the Kemper could allow a certain number of live amp numbers, such as live amp 1, live amp 2, live amp 3.... and so on. Then you can assign a certain amp with the designation of live amp 1. Then all your performance slots that use live amp 1 will reflect any changes that you make to the actual amp profile. So if you decide to bump up the mids on your "Marsh 800 BM" profile, if you give the Marsh 800 BM profile the designation of being "live amp 1", you can make the adjustment once. then if I'm in the amp blocks of a half dozen slots in different performances are set to "live amp 1" I can make adjustments to all of them by making the adjustment to one profile.

However, for my uses I've found that all of this complexity might be more trouble than it's worth. I'm at a point where I've really committed to four basic tones, each with a stomp OD that can also be engaged, and for the time being I'm done tweaking or searching for a better sound. Any adjustments I might need to make would be overall room adjustments that could always be made with the global EQ. If I decide that my crunch sound in slot four needs adjustment, I can do so, copy the amp block, and paste in a couple more locations and hit save pretty quickly. In fact, in about 30 seconds I could copy and paste and save in three additional slots.

I have a similar issue. I have pretty good headphones that I mix with, in a room to the side of my church's stage. However, when I use my westone ear-buds the guitar sounds thin and harsh comparatively. However when I use my Bose $100 ear buds, I like the sound of my guitar and it sounds similar to by big headphones that I mix with. For practice I prefer to use the Westones because of the clarity and the ability to pick out what the other musicians are doing, which is important since I'm the music director and responsible to make sure everything is working (as I work with about 15 musicians that serve one or two weekends a month each and we do 5 different songs each week with about 35-40 songs in our recent repotoire, thus each weekend with a different team and set list) However, for the services, I use my Bose. It doesn't block as much room sound as the westones and lets me feel more connected.
Thus if you are confident that what the house hears sounds good like when you mixed and can hear what you need you hear to perform well, it comes down to whether you can live with a harsh sound.

I put the Kemper back in main out set to stereo and used the left output and it worked well. Though I do have to retweak the delay mix and feedback since my setting were compensating for the loss in mono. The only issue I have is the ability to have multi-tap, which I currently don't use on more than a couple songs, as the delay times are set to left and right, and if I'm only using the left output, the right won't be heard.

Thanks CK. I'll try that out soon. I had used my kemper that way when I first got it and didn't notice any issue but had later changed it to mono when I stumbled across the setting, incorrectly assuming that it was the "right" way to set it up.

I would like the ability to set the headphone output to mono. Not that I don't enjoy the spacious stereo sound, but I send a mono signal to the house. Therefore I set the mainout puts to mono (figuring it wouldn't make sense to send the house just the left signal) My Kemper sits in a side room off the stage of my church. I go in there during the week and set my tones for the coming weekend services, using good headphones. When I listen to my sound later in the house system, the basic tone is pretty close to my headphone tone, however, the house mix always lacks enough delay compared to my headphone mix. I presume that much of this is do to the fact that the headphone mix is stereo and the house is not. Something I'm doing wrong? In any case, if this is my issue, it seems that allowing the headphone mix to be set to mono would be quite a simple feature to add.

I use the kemper delays most of the time, although I have a eventide H9 in the effects slot. I have a few ambient sounds with shimmer type delays that I use the eventide for. Well, I also have a patch with a sort of arpeggiating tremolo (it arpegiates what you play but with out delays) Otherwise, I prefer to stay in the kemper. Makes things simple not needing to send midi messages.
If the kemper could do those shimmery delays and reverbs like my H9, I'd only use the Kemper and never even bother with external effects. Oh, I would like a good autoswell as well, or an autoswell feature built into a delay. For the effects loop, I wish it spilled over the delays, which is another reason that I try and stick with the Kemper delays when possible. In fact, even when changing rigs in the same performance with the effects loop on both rigs, it still gets cut off.

So in general I like the sound and features of the Kemper delays and would use it exclusively if it had the above mentioned features. My only other complaint is I wish there was a way to use headphones in mono. The reason is that my kemper sits in a closet at the side of my church's stage where I program it during the week. However, when listening through the sound system I always have to adjust the delay mix and feedback later as I'm sending a mono signal to the board (yes my main output is set to mono) I find that I always need a higher delay mix and feedback in the PA than sounds good in my stereo headphones.

+1 I personally use the ducking feature quite a bit. I personally haven't ever messed around with any device that gives such a set of features for ducking, but would be interested in experimenting with those you listed.

What Don said. As well, if you wanted to, I believe you can lock the cab button in an off position. That would make the cabs off for all of the outputs. But I can't see many uses for that. I suppose if someone wanted to use two standard guitar cabs in stereo, and had two external power amps (one for each speaker, or one stereo power amp) then you could potentially send the stereo out of the mains into your real guitar cabs. If you were using FRFR powered cabs of course, you'd want the cab models to be on. So unless this would apply to you (needing real guitar cabs in stereo) do what Don says.

As long as the volume pedal in your chain is before the delays and reverb you are fine, which it would be in every case, unless you had a volume pedal after the kemper output. Adjust the reverb and delays in their respective slots in the Kemper like shown in video (for delay longer feedback and mix ) The time can be set to the quarter notes and tapped out or just go with a longer time setting and you're most of the way there. If you wan't a little shimmer, place a pitch effect in one of the slots. Set it so it adds a touch of an octave higher to the sound and also an octave down if you'd like. Keep the main sound the loudest of course. If you want to add a little modulation, that can be added with the delay itself, or you could add a chorus in the mod slot, for example. Then use your volume pedal or guitar knob and you will be in that realm.
hope that helps

I'd say a used PodHD500 would be a good solution. The older one would be cheaper and could be had cheap used on Ebay The PodHD500X is essentially the same thing, but newer with a few extra models I think and a bit more processing. I had the regular and older HD and it always had plenty of Processing. Anyhow, there is nothing that comes close to the price range of the Behringer with Eureka or Uno4Kemper chip, which has a lot of functionality and tuner display. All other versatile Midi boards are at least 400, in which case I'd just hold out until you can afford the Kemper remote. With the PodHD, you get useful midi control, have a back up to your Kemper, and access all of the Line 6 effects, many of which are quite useful and cover things that the Kemper doesn't yet have. I keep a line6 m5 in my loop for that reason, which has the same effects. The Pod also has a built in looper. You can get them used for around $250 on eBay.