Did anybody figure out how to access the performances above #26?
Thanks for making and sharing this awesome patch Robrecht ! This really makes the Kemper automations a lot easier!
Would be sweet to be able to program the performances above #26 though.
I've been using Ableton professionally for the last 12 years, but have absolutely no clue what I'm doing when it comes to M4L, otherwise I would do it myself.
Yeah, I've been planning to give that a shot. Should be possible using the bank select method. I'm not sure when I'll get a chance to try it, hopefully soon!
Hi! In Ableton, you need a Midi track, and the output of that track ("MIDI To") should point to your Kemper.
That means you should set the first drop-down menu under "MIDI To" to the Midi output device where your Kemper is physically connected (for instance, a Midi-enabled audio interface), and the second drop-down menu to the channel where your Kemper is receiving Midi (probably channel 1, you can change or check this in your Kemper's System settings).
I'm not in front of my computer now, but here's a screenshot from the internet (click to see the full picture). The first drop-down menu, where it says "Peak", is where you select your Midi output device.
Then just drop my Max4Live device into that track and it should work.
It's kinda-magical to me that this can happen.
I feel exactly the same from my side, the way a few comments can immediately clear up a seemingly inscrutable mix problem -- it sounds off, but why? And of course the magic is all in the quality of said comments!
Thanks again everyone, I knew I'd get some useful feedback here! I've updated the track in the first post again with some more tweaks. I feel it's really improved a lot thanks to you folks.
Oh, I totally argee about the sibilance. It's not even a taste thing, it's not like I prefer it that way or something, just the way you can lose sight of things when working too closely on them.
I already had a de-esser in there (the built-in Ableton Live device) but I've tweaked it more precisely now, and moved its position in the effects chain. There was also a reverb that I think picked up and amplified those highs too much. Finally, I've eased up on the compression a little.
Thanks for the feedback, guys. I've replaced the track in the first post with an updated version. Next up: cleaning up and partially re-recording the vocals.
Thanks man, very useful feedback, that's exactly the kind of thing you can lose sight of during production. Too much compression, I suppose you're right.
The production of the original is a bit of, well, a mystery to me. Very few elements -- one guitar, bass, piano, a very simple strings line on a cheesy sounding synth -- yet it sounds very full and wide. Turns out that's very hard to reproduce...
Hi! It's me. You may remember me from these cover videos I did.
Anyway I haven't had a lot of time lately but I wanted to share something I'm working on. One of my all-time favourite records turned 30 this year, I think I've known and loved it for about as long, and I've wanted to record this song -- written and co-recorded by Bono and The Edge -- forever.
It's still a little rough around the edges (hah, no pun intended), I may redo some of the parts, but I thought I'd let it rest for a while. That guitar sound was quite a challenge to emulate. For the drums, I've cut up the the original intro and rearranged those samples for the rest of the song. And of course, it's never going to be in my vocal range, but I wanted to give it a shot anyway. If Mr. ckemper made a profiler for voices, I'd be all over it.
I've filmed some studio footage of the process as well so I'll try to make a video too, if I ever find the time.
In most cases, Soundcloud uses a bandwidth of only 128 kbps. As a result, what you hear isn't free of artefacts, especially the high end. For critical listening and also product comparison, please keep that in mind. Users who setup a comparison should use linear wave files and supply dropbox links.
I finally upgraded to the latest beta yesterday (from 6.something) after a period of gigging and just generally having little time. I love the new effect browsing system, no-one is going to confuse the Type and Browse knobs anymore now that they work together so logically.
Then I spent a couple of hours just playing and finally exploring the delay and reverb presets, which is so much nicer to do now (and also because I've recently started connecting the Main outputs again at home, after using only S/PDIF for a long time, which had the drawback that I had to start up my studio computer and Ableton to be able to hear myself, which usually meant I'd be purposely recording something, while having the analog outputs plugged in as well allows for direct monitoring, and thus encourages aimless noodling with just a guitar and the Kemper from time to time, and I'd almost forgotten how nice that is! Seriously, make sure your setup allows it).
Those are handy, but of course this is not what we are discussing here: the OP (and many of us of course) is after the stack to respond like the original amps, not after an EQ setting
There was some talk a long time ago about implementing that, I have no idea what came from it!
(From the first post in this thread, I did get the impression Greg was asking about simple presets for the existing EQ, just as shortcuts to quickly get in the ballpark of a certain sound image. Maybe it's a semantics thing: I think of "presets" as nothing deeper than pre-saved combinations of certain settings...)
Robrecht, I just tried that but they aren't showing for me. OS6 and reloaded Factory Presets just make sure. I do sort of remember seeing something previously (although I never felt the need to try them out) but they don't seem to be there anymore.
Ha! Strange. I'm still on 5.7xxx. I remember first noticing those presets a long time ago, so they've been around for lots of OS versions. I wonder if there's a way to get them if you don't have them.
Not getting into the rest of the discussion, but I want to point out that the Kemper already has EQ presets for a lot of classic amps. Just long-press the EQ button, then turn the Browse knob to see the list. They're coded in the usual way to avoid trademark infringement ("Fan" = Fender, "Mars" = Marshall etc.).
Yes, I think you're right. Giving up global locking in Performance mode is not an option.
And I can't imagine how a combination of both versions -- global and per performance locking -- would work with regards to usability. It would easily become confusing and there may even be conflicts between both systems. Still... If anyone ever comes up with an elegant solution...
Hello Burkhard , I'll be honest: this request is not for myself.
It's simply a situation I've encountered when answering questions from other users. In those cases, retaining the on/off state was indeed part of the essence of what they were after.
(In other cases, where the main goal is simply to have the same delay settings in each slot of a performance, I give the same advice you just did: to use locking as a tweaking tool for combining parts of different rigs.)
Those conversations made me think about the locking feature. In Browse mode, it is perfect the way it is now, as a very useful tool for creating and tweaking rigs, trying out different combinations of amps, cabs and effects, and so on. But in Performance mode, as a performance tool, I think it would benefit from being restricted to (and saved with) individual performances.
I realize that a request on behalf of anonymous other users is not very convincing, so let's say it's just something I was thinking out loud about.
Nothing wrong with that midi file: it looks exactly like it should look, with just a single Program Change at each moment where you want to change rigs (since you're using Browse mode -- in Performance mode you could do it with CCs).
Does this happen when you're using the Utrack24? Or in Cakewalk itself?
This is a long shot, but if it's happening in Cakewalk, you could try disabling Midi Event Chasing (possibly called Midi Searchback) in the settings. Not sure where it can be found (I've never used Cakewalk), but from the online documentation it looks like there should be such an option. The idea of midi event chasing is that when you start playing in the middle of a song, the last Program Change will be re-sent, to make sure the connected midi device is still on the correct patch. That's not exactly what is happening here, but maybe disabling it will stop Cakewalk from continuously repeating the last PC.
Unfortunately, I have no idea how you could change this behavior in the Utrack24.
Another possibility might be that your midi floorboard is doing something strange?
I know this is an old post, but I wanted to bring up the exact same thing and used the search function to check if it had been asked before.
Here on the forum and in the Kemper users Facebook group, it's obvious that locking is a very useful feature. I've often suggested it to players looking for a more traditional stomp box-like experience, especially to retain the on/off state of a delay or other effect across different rigs in a performance.
The drawback is that locking is global: it's either on across all performances, or off. That means that if you want the advantage of a persistent delay that you can turn on or off independently at any point within a song, you also have to use the same delay effect for all your songs. But a user may have a country performance, where they want the delay to be locked across the five slots, and then another performance for rock, with a different delay, which they also want to be locked across those five slots. Right now, that isn't possible. Okay, you could always "unlock, switch to different performance, lock again", but that's a tricky and fiddly operation that can't be done from the Remote and isn't optimized for live use.
I have to admit I'm not sure how it could be implemented without complicating the user interface, but locking effects just for a performance instead of globally (and being able to save that locked state as a part of that performance) would be a great feature for many users, I think.
Dirty rotten trick.
I know. It's my latest.
I admit to nothing.
You're incommunicado, then? No comment to make?
I remember watching the Prince of Wales concerts... Mark was just in a different class
So that guitar man on the TV, you're saying he had... another quality?
If you see him, tell him I love him.
And tell him I was calling. You know... just to wish him well.
I'll take out Security with a pair of fire extinguishers while you guys swarm the Rig.
Let's hope they'll be laid back and lax!
I've done this type of thing before.
Alright! The usual fee, then... plus expenses?
I'm so sorry. It's a compulsion.
If you search YouTube for "Mark Knopfler live" and filter the results to the past week, there are a lot of videos online already of the current tour. Filmed from the audience so the audio recording quality varies, of course, but his guitar does sound good. Check out Brothers in Arms and Money for Nothing...
I just, um, happened to be studying that particular area of the Kempers in that rack and noticed that, while the USB ports are (tantalizingly) empty and unobstructed, there is something that looks like a 6.35-3.5mm adapter stuck in the headphone jack. I wonder if it's meant to keep Mark (or his roadies) from doing what we've all done at least once: plug his guitar into it and wonder why there's no sound.