Posts by Grooguit

    So I just got the Tone Junkie Everything pack and with what I already had, I now have some 6000 or so Rigs in my local library. Is there a hard limit or a practical limit to the number of rigs that would cause rig manager to crash or be glitchy? I only keep 100 max on the Stage itself

    For the Quad, get yourself a 2-gallon size ziplock bag. All done.

    At a rainy festival, if the area at my feet was exposed to the rain, but the area behind me where an amp/rack/etc. would be located was covered; sure. I did a lot of festivals, bars, college events, ect. over the years. On a few less than ideal occasions, I threw a towel over my pedal board and made due without having less ability to toggle stuff. In fact, just did an outdoor event at the church in October on a day that was 45 degrees. I had my KPA head and remote (now sold) and my biggest aggravation and fear was figuring out where to sit the darn head safely and run the cat-6 cable to and from it to the remote in a way that wouldn't get it damaged by myself of others. The same fear of condensation from the cold existed regardless of where I set it, and the same vulnerability to rain. If I had my Stage that day, I would have had fewer concerns, the biggest that day was my expensive acoustic in the cold.

    Fears of placing gear on the floor are over exaggerated. (Granted I say that as a primarily church musician who doesn't have to worry about people spilling beer on my Stage.) You can look at the Kpa stage, Quad, Helix in a similar way. All three put something expensive at your feet. All three (probably) if damaged, could be fixed for a few hundred dollars. And that's a big IF. So if you want to minimize risk to these units themselves, you'd place these somewhere behind you and spend additional money on some sort of foot controller, probably in the $300-600 range. In other words to minimize the risk of breaking them, you spend more money than it would cost to fix them for a midi controller, remote, or on the more expensive purchase of a head/rack version + the cost of the dedicated controller. this foot controller itself also being at risk.

    And of course, this doesn't eliminate ALL risk, as your pricey gear can get damaged when someone, including yourself, trip over the cable running between IT and the foot controller in front of you.

    I had the Helix a couple years back. Returned it. It sounded just fine, but even with the ability to use two amp models and cabs at the same time, there was a warmth it lacked and richness that couldn't match my favorite rigs. The always available effects enable you to do more per Rig than the you can with the Helix, since the Helix 3.0, though it can now give you spillover between Presets, requires you to give up half the DSP to do so, no more two amp- two cab combos, with lots of ambience.

    Another benefit to the Stage is that like the Head, it has automatic volume compensation, allowing to adjust the amp's gain or OD model's gain and never worry about a volume change that won't match your other rigs. You remember the good old days of endlessly trying to balance the volume between presets in modelers, going back and forth adjusting, and hitting save? Those days are back with the Helix or the Quad.

    The third thing I like about the stage, in particular for P&W is the ducking feature on most of the effects. I can set ducking on delays and reverbs at 0.5 and the ambience disappears some as I strum chords and musically sneaks back in as I arpeggiate, let a chord ring or play single lines. This beats having different rigs or on the Helix snapshots, needing multiple delays for different parts of a song, and less tap dancing.

    yeah that post by them was hysterical. In doing my due diligence before buying the stage last week I enquirered on their forum about something in regards to snapshot management (can’t remember what I was trying to figure out) but I mentioned having owned the helix a couple years back and that the preset gap was the deciding factor to return it. So maybe I touched a nerve

    yeaah well...I mean...they designed the chassis as well, so... :D You are totally right & that´s most probably the reason (I think I read that on GearPage) but the "space" was their design-decision as well ^^

    Don't get the super small size. Why design an all-in-one product with cramped footswitches and not enough room for ins and outs? The only reason to need one that small is because you plan on using it with a lot of external effect pedals on a standard size pedal board. But if that's the case, you'll find two mono or one stereo effects loops inadequate to have programed control over all of your external effect pedals, so you're back to tap dancing, unless you want to add one of those expensive midi-controlled multi audio loop devices like Voodoo labs makes. But in that case, you need to make room for THAT on you pedal board. Conversely, the whole point in an all-in-one device is to not need that many external pedals, if any at all, and if you only have one or two external effect pedals, you'll find a device the size of the KPA Stage or Helix reasonable.

    It's also the reason their cute twistable stomp switches are pointless. First, their thinness to me seems like it would be less ergonomic to twist compared with a thicker knob. Second the only reason to make foot switches that double as knobs is because you're making the device needlessly small and have to conserve space.

    To each his own. I was initially attracted to the Helix's open canvas and flexibility. But I personally found that flexibility constraining and more time consuming. To me, the kemper's inflexible signal path is as constricting as water is to a fish. By giving you a simpler fixed signal path per rig, they can give you the DSP to switch rigs without a big audio gap or losing trails. Thus you have five instantly accessible Rigs or signal paths. Each one has up to four effect toggles with the ability to toggle multiple things each, AND the morphing of numerous parameters either instantly with the same rig selection switch or gradually with an expression pedal. They can make the looper always available. You can lock effect blocks because there is something fixed that all of the rigs share. It makes automatic volume compensation a reality so you can move across five rigs in a performance tweak the gains of each on the fly and hit save once, knowing your volumes still match. Versus, going to five presets, and heaven forbid individual snapshots, adjusting the gain, then the volume to compensate, hitting save, going to another preset comparing the volumes by ear..... A very long and cumbersome process.

    But isn't it great that guitarist have such diverse options available for the way they prefer to stay organized?

    That is the reason the kemper has become industry standard.No "strategies" and "oh shit"s because you spend crucial time with "workarounds" while in "real action" during live and recordings.

    Btw..Two seconds?I don't believe that.Even half a second would be a disaster anyway..can't be..not in freakin' 2020..

    I misspoke, my apologies. I could have sworn he said two seconds, he didn't, unless he addressed the issue more specifically somewhere else. However, I just found the part of that video, like 55:55 into it, where the question was asked. What he indicated was they'd have the same inherent gap you find in other modelers, it's not instant, as everything on the previous preset will be overwritten. But he didn't indicate how much of a gap there is. By other "modelers," does he mean the Helix which is unacceptably long? Or similar to the KPA Rig change, which is excellent, but with no spillover? (*Edit: the KPA HAS spillover on Rig, the Quad doesn't on preset changes.)

    For example, the gap between rigs in Kemper, as we know, is so short is isn't worth worrying about, and whatever gap there is, is covered by spillover or "maintaining trails." So we can go between rigs in the middle of songs without thinking twice. Of course, the spillover of delays and reverbs on the KPA is limited to the dedicated delay and reverb blocks, which is where you'd want to place these in the vast majority of situations anyway. I have a handful of ambient rigs where I have used an extra delay in the mod block, and even these sound natural to change rigs, even though technically the mod slot doesn't carryover. But once again, it is the fixed signal path of the KPA that makes it able to have two dedicated blocks allowing trails.

    With these two buttons missing in order to streamline the Stage, here a simple request to bring this feature back. Hold down any two effect buttons (say A and C) at the same time, All four (ABCD) are selected to edit/save as a group the way the Head did when you held the Stomps button. And similarly with holding down any two of the effects section, bring the whole effects section into focus. This performs the identical function as those buttons did on the head with perfect ease, yet without needing dedicated buttons for this feature. My guess is that for whatever reason, they don't want to include this feature in the future, as they curiously left it out of the Editor as well.

    Locking the whole section takes a few seconds, so that will be my workaround when not using the editor. Still, I did find it useful to create sectional presets which are easier to recall than browsing rigs, locking the four blocks, returning to the new rig, saving, unlocking the four blocks

    *If it would be a greater programing hassle to add all the combinations of "any two" just make it work when you press and hold A&B and X&Mod

    One way would be to lock the desired sections on the source profile and then select another profile(with RigManager). They will be there on the target.
    But I guess that's not what you are looking for. I think you would like to copy them as a complete preset. This is not possible, as far as I know.

    That should work pretty much the same. It would take all of 4 seconds to lock four adjacent blocks individually. Then it's just a matter of going to the rigs I want to paste that section into and hitting save and unlocking when I'm done. And admittedly the need for this is significantly lessened with the editor. Kind of surprised they didn't add it there and at least bury the function under Rigs if they didn't want to add the buttons to the stage. Maybe I'll make a feature request. An easy way to add this feature to the stage would be to hold down any two effect blocks, say A and C. Instead of the edit screen of one of them popping up, the edit scene for the group of them, which can then by saved as a unit.

    On my head I could always select the entire ABCD Stomp section as a group to copy and paste into other rigs. Likewise with X, Mod, Del, and Rev as a group. Is this possible on the Stage, as there are no buttons to select these sections as a group? And is this possible in Rig Manager?

    2 seconds would be substantial, but I have not been able to find neural dsp giving out such info anywhere, and the poster isn't sure (it seems) about the 2 second figure anyway (to poster: feel free to post the video as can't find it). About to email them to ask about the gap time. But sure -- if this is about any perceptible gap, that's not something I didn't expect. No surprise there considering how cortex works.

    from their website: “Preset changing will incur in the inevitable, familiar gap. You can use Scene and Stomp modes to change the sounds while maintaining delay trails without any crossfade/gaps.

    It doesn’t say here how long that gap is. They talked about the gap in a very long livecast video during its development, that I had found on YouTube. Definitely not spillover. So it defeats the assumption that this thing has gobs of untapped DSP. It does in a sense, but reserves it for within presets by giving you four amps and cabs and ridiculous amount of effects to go with them. So even if the gap is super short there’s still no spill over and even though I don’t always need spill over in the middle of songs, I need it enough that in general I have to organize around that common need, hence trying to (in general) cram everything thing I need for a song within one preset.

    Do you make effects and stomps presets too?

    Sometimes. At one point I found that workflow helpful. To line up whatever profiles I like in a performance and then dialing up song specific Post effects as a singular unit. (Saving the X,Mod,Del,Rev section as a single preset). But then I was often doing certain song specific things within the Stomps section as well, so at the end of the day it was easier to just keep making and using song specific Rigs when I needed them. A couple weeks back after Kemper Drive was released, I created a nice Stomps section preset utilizing the kemper drives in the B and C with a good universal compressor in A, and a bypassed pitch effect set up for subtle octaves in the D. I then pasted this into some of the rigs in my Sunday set.

    Even here, to the best of my knowledge, only the KPA lets you save a section of effects as a singular unit and quickly plop the whole thing within another rig. The fixed signal path of the KPA is what makes doing this so incredibly simple, especially if you don't mess with the parallel settings, which I don't.

    -That moment you realize that the time you spent expressing your opinion on the internet has consumed more minutes of your life than the benefit you've been arguing about (facepalm emoji)

    I can't imagine the "most powerful floor unit" in all the known universes and on flat earth having such a long gap. But if so there still are scenes / snapshots to not have to deal with preset change gaps. I mean, who changes real presets within songs? This is what scenes are for.

    More simply, the greater the complexity each rig I create for new songs (by trying to fit a bunch of go-to sounds within it by using Scenes) the more work it is when I inevitably change my mind about how I want one of those commonly used rigs to sound. So lets' say I do what you say on the Quad and make 50+ song-specific Presets and program a bunch of extra Scenes within each one for some go-to sounds. I now have 50+ presets with many of the same Scenes saved into each one of them. So far so good.

    But I am fickle, When I inevitably decide the reverb in one of my go-to sounds is too dense in general, I will now have to go to all 50+ presets (maybe only 35, I forget off hand which songs I put that go-to sound in) and make the same edit 50+ times. If I don't, one of my go-to sounds will vary from song to song and I'll have no way of remembering which ones I adjusted. The whole point of go-to sounds is that I can set them and forget them when I don't have time.

    Same thing occurs when I get on a "up-the compression" kick and vice versa. Or if I think my go too lead tone is too distorted for church, or not enough distortion to melt everyone's face off. Or when my acoustic sim sounds too shrill, or too dark. Or I just want to try out a different set of profiles. Or want to tweak the graphic EQ in the X slot because I'm bored my my SG and love my Strat again and need to adjust just my lead tones.... And so on.

    Because I don't have endless copies of these go-to sounds residing within tons of presets in the Kemper, I can change the originals permanently, or just change the copies of the originals I've made for that Sunday in performance mode. I still have a whole bunch of song-specific Rigs in the browse pool on my Kemper with profiles I don't like much anymore. I don't even bother changing them to my current favorite profiles. Because when I actually need those Rigs again and copy them into a performance for Sunday, 15 seconds is all it takes to swap the profile out so that it matches the current iteration of the amp section of my go-to rigs.

    I can't imagine the "most powerful floor unit" in all the known universes and on flat earth having such a long gap. But if so there still are scenes / snapshots to not have to deal with preset change gaps. I mean, who changes real presets within songs? This is what scenes are for.

    I change presets (rigs) between songs. That's what the Kemper Performance is for. So you have instant access and spillover between five completely independent rigs.

    My work flow is this: I have a handful of rigs I use in many situations and songs. For new songs, If I want or need something special, I will use one of my template rigs as a starting point, I copy and name it the Song title, and make whatever adjustments or effect changes I need for that song in the D, X, Mod, Del, and Rev blocks. If I need a different combo of those particular effects or amounts of them, I may program a morph or program an effects switch to toggle the effects.

    On every Sunday morning, I play a different combination of songs in various orders, usually only five songs per Sunday, from a growing repertoire of 50+ songs.

    So I have a handful or performances I write over each week. Since I usually only need one specialized rig per song, sometimes not even that, I can fit a couple rigs I use all the time in a couple slots and maybe the specific rigs I need for three different songs into just ONE performance. I can set up everything I need for that morning in two minutes, with every single Rig in order that I will play it. If I have a new set of Tone Junkie profiles, that I want to try out, I can copy and paste a couple of them into the 5-10 rigs I need that Sunday morning in under a minute, without overwriting all of the song-specific effects I've dialed to taste. I can edit the snot out of anything in these performances and save them if I find myself wanting and last minute changes, since I write over these performances each week anyway. Since I can jump from rig to rig within the performance without losing edits, I don't even need to hit Save until I've made all a whole string of last minutes changes in all the rigs. And since all of my original Rigs are safe in browse mode, I don't need to worry about editing these two performances to taste during soundcheck. And if I do want a change I make to be permanent, I just export that rig to the browse pool and delete the original during the week, before writing over the performance for next Sunday.

    A couple of seconds delay seems very big. Was that their wording in the video?

    I'd have to rewatch to see if it's EXACTLY 2 seconds, but even if it's less, a very noticeable cut off with no spillover that screws up your playing if you don't stop and wait for it to load (even half a second) is too much to use within a song. I don't think my Helix preset gap was that big, but it was too big to use in the middle of a song for situations where you're strumming chords on the beat through the end of on section of the song and need to hit the downbeat of the next section with a different preset. And it makes perfect sense, at least to a guy that doesn't no a lot about computers. You need DSP dedicated to being able to quickly tap other Presets. If you max out what you can do within one preset, you have less DSP/power/Ram/whatever dedicated to giving you instant access and spillover to other presets or rigs as we call them. That's what the Helix did and sounds like the Quad does. It traded instant access and spillover to adjacent presets in order to give the guitarist more possibilities within a preset and less of a reason to even need to leave a preset mid song. And that trade off is worth it to some players and more problematic to others.

    * In the Helix's case, this was exactly true in how they engineered. Once upon a time I had owned the Pod HD. I don't believe it had spillover, but it's audio gap between presets was super short, so short that I had no issue switching presets between songs, not much different that toggling real overdrive pedals.

    Well none of here have one yet, so we’re all speculating...

    It is a fact, they indicated that there IS a couple second audio gap between presets, I saw the head of the company say so on video. The organizational limitations I mentioned logically flow from that fact.

    Where I’m speculating, and probably right, is that automatic volume compensation like we have on the KpA is not a feature available on the Quad, and would be a much more complex feature to add to a system with four independent signal paths and parallel routing of effects that alter volume in any place of the signal paths. I know no other company that has added the ducking feature on most of their effect models, just maybe the do as well ? So perhaps some of these later features, which are important to me, can be performed by the Quad. If they are important to you, you might want to wait before pulling the trigger.

    I'm just confused how you can state all of this as 'fact', when the device isn't even out yet.

    You're basing this all on guesses and assumptions from marketing videos (of which there have been very few). I'd hold off until the device is (eventually) out.

    (And I speak as someone who is potentially replacing the Kemper with the QC, if it performs as well or better for my situation. Just waiting for Neural to pull their fingers out...).