Posts by Hurricane

    So in your example, aren't you talking about having 2-5 different performances (you call them amp-sounds) that you can reuse?


    I could be missing something! I just don't see the difference between that and having programmable scenes within a single rig. Is it the way it is programmed that would be the difference?




    Actually for all my songs I use One Performance (with 4 performance-slots = 4 rigs = 4 different amp-sounds (Clean-solo, crunch-rhythm, lead, clean-rhythm,)
    If I could now have 4 effect scenes per performance-slot this would be 4 variations for each amp-sound ( totally 16 different sounds) and each of them reachable by maximum 2 switching-steps (performance-slot-number and effect-scene I to IIII) . For my needs this would be more than enough. And......


    ...when tweaking any amp-sound live on stageit is effective to every of it's 4 variations.

    wow! im sure this has been covered before but (new to the kemper) i wasnt totally thrilled with how my guitar was playing with the kemper. i eq'ed the main output section for my suhr hss strat and there it was, the tone! all my presets are coming to life now. something that cannot be overlooked for sure.


    I made the complementary experience. Once had a "bad" sound with my new guitar and when all rig-tweaking wasn't that successful, I changed the Main-Output-EQ-settings and suddenly "the sun rose".
    Really impressing, how much influence the output-eq has to fit to the speakers (FRFR or Guitar-cab).

    You're right.
    If we all had the same needs, the world would be much poorer !


    But when you change from a solo sound with gain, delay and chorus to a clean sound with a bit of reverb, the step dance always challanges me to find the right starting point for the refrain-vocals <X (look at my photo, it might be that moment :S )

    Talking about scenes:
    We think in the world of digital guitar amps the rigs or slots are the scenes. They let you freely configure your effect settings. In addition they let you chose a whole different amp and cabinet per scene, if required.


    Agreed !
    The numerous rigs, that can be stored and managed, is impressing. So, any needs for sound-variations can be realized by the plentiness of possibilities. Right !


    But !
    This is for the users sitting in their studio or at home, having all the time to listen, test, try, tweak, and check again.
    The KPA on the other hands, additionally, wants to be a reliable and practical concept as a live-rig of the performing musician. (and it can do so !!!)
    But for this case the demands are different .
    If you ever played a gig as a guitarist, singer and entertainer (between songs) of a three piece band, you would probably see, that there can be no time and especially no concentration on your gear (most of us have no gear-tec like the pros, we have to do all by ourselves, from preparation, soundcheck, performance and afterwards administration of all done changes. The gear has to be reliable and most important: easy in use during the gig.
    Practical example:
    It is theoretically right, to create one performance per song and then use 30 to 40 performances (each with up to 5 sounds)
    But I tell: A guitarist practically doesn't need these many sounds. He will need 2 to 5 basic amp-sounds. NOT MORE (really). Additional sounds will be only variations from these (volume, delay, reverb, or other effects). So it is practically much more useful to have a variable effect-switching-system, which can combine a certain amp-sound with an effect-constellation.
    This also can be seen in the evolution of "real" guitar-effect-rigs (Bradshaw, Looping-systems, dry-wet-rigs a.s.o.). These systems simplify the musicians performance on stage and let concentrate on the important things: THE SHOW


    So please excuse my long reply. It only shall be a vote for an improvement of the use of the new effect-buttons. My immagination is, that by programming these buttons in the described manner (s.a.) it would be a huge improvement for the gigging musician.
    Though I have to commit: My experiences in gigging are really high (nearly active 35 amateur-years on stage) my programming-experiences: NONE


    Die Bedenken hinsichtlich des Kontrast-Reglers habe ich nicht so, weil das Neutrik-Gehäuse vom RJ45-Stecker ja viel weiter übersteht und dadurch eigentlich nen guten Schutz bietet. Aber wer viel auf diversen Bühnen unterwegs ist, weiß, wie das manchmal in beengten Verhältnissen auf der Bühne zugehen kann (da latscht der Bassmann mit seinem Schritt seitwärts genau auf den Stecker oder man selber tritt in der Hektik vor die Kiste und die knallt dann mit dem Kontrast-Poti genau vor ein Standbein vom Mikrostativ, ja gefeit ist man nie 100%ig). Aber ansonsten ist die Schachtel wirklich sehr solide und wer sich den Luxus erlaubt die Tretmine auf ein Board zu schrauben, der ´kann ja mit ein paar Tretern die Remote umzingeln und so den Schutz verbessern.
    Der Preis ?... Na ja.... aber man muss sagen, die Kemper-Leute supporten ihr Produkt ja wirklich vorbildlich und :... KOSTENLOS !!! Ich denke mit unserem Feedback werden auch bzgl. der REMOTE noch einige Verbesserungen zu erwarten sein (ich denke da an weitergehende Funktionalitäten vom Looper und auch von den Effekt-Buttons). Also für mich langfristig auf jeden Fall die richtige Entscheidung und wer bisher mit dem FCB und Uno4Kemper unterwegs war, weiß weitere Vorteile zu schätzen.

    Looper is placed "post".
    In Performance-Mode I recorded a loop.
    I then pushed the looper button again and chose a different Performance-slot for soloing over the loop with a different sound.
    The loop-sound changed to this new sound.


    Same thing happened when I placed the looper to "pre"


    I think it's a malfunction, or am I doing wrong? ?(

    For those guitarists who had been used to a looper-system (the stomp-boxes are organized in loops, controlled by a programmable loop-switching-system), there maybe had been expectations that the effect-buttons could be organized in the same way, i.e. storing effect-scenes.
    The current concept of the profiler doesn't fit to this concept, but maybe could be changed to this, simply by sending automatically two commands when pushing an effect-button (1.command: all stomps/effects off, 2. command: switch on the programmed effect-scene).
    To switch all effect-scenes off, just press the rig/performance-slot button again.
    Taking into consideration, to realize this in an alternative remote-application-software, this would be a huge improvement of the KPA's versatility.
    For me, as a mostly live-gigging user, it would be worth even to pay for this alternative software (though I wouldn't like to take development-costs)

    When making a D.I.-profile, is it necessary to switch off the "cabinet-button" during the profiling-session or will the KPA recognize that the return-sound is without cab-speaker?
    Will there be a new profiling-manual?


    But how is itpossible, to use f.e. a performance-slot without rotary, then push a effect-button on the remote to activate the rotary effect and then push another effect-button to change speed. (this is the usual way for a guitarist to activate a leslie and the change speed). I don't see how that can be realized in the present configuration (and it is not described in the manual).

    As I understand the problem, it would be necessary to send automatically a command "all effects off" and then "programmed effects on" when pushing a button. Then it would be easy to allow the assignement of one effect-slot to several buttons under one rig/performance-slot.


    Maybe an example could clarify.

    Kann mir einer mal erklären wie man den Cab-Maker bedient ?
    Wenn ich den aufrufe geht mein Explorer auf. Ich weiß dann gar nicht was ich dann
    machen muss.