Yes, if it's possible to find a compromise, staying in the same slot will give you a lot more possibilities for the delay!
I don't know about the length of the spillover trail from one slot to another. Could be that it is limited, regardless of the feedback settings, to limit the processing overhead of adding it on top of an entire other slot.
You could set up morphing on slot 1 so that ducking is enabled in the unmorphed state, and disabled in the morphed state.
Then, shortly before switching to slot 2, press the button for slot 1 on the Remote. Pressing the button for a slot that is already active toggles between morphed and unmorphed. That way, you will effectively turn off ducking before switching to slot 2.
I haven't tried this, but I would expect that the resulting spillover tail would not be ducking, since it was generated while ducking was disabled.
* You can set the rise and fall time for morphing in the Rig menu. This is the time it takes to fade/switch from unmorphed to morphed and vice versa when using the slot button method. Best to set it short in this case, I think.
* Try pressing the button for slot 1 (to disable ducking) right before you play the phrase that you want to hear in the spillover delay.
For any drive pedal, there's a very good chance that it can be emulated by the new Kemper Drive and Fuzz effects, with the added advantage that those are entirely integrated in your Rigs.
Pedals like the Freqout, the Mimiq and the Plus are more interesting because they do something the Kemper can't (yet) do. Also, for a super cool toy, check out the Vibesware Guitar Resonator, which is kind of like an E-bow fed by the output of your guitar. It generates feedback at any volume by implementing an actual feedback loop (audio > magnetic resonance > string vibrations > audio etc.). Our other guitarist uses it and it sounds great.
I did see that they even suggest this as a working solution
TP-LINK®TL-SG1008P (8 port gigabit switch with 4 port PoE)
Also Gigabit ...
Yes, I noticed that too. 
Maybe it's nothing to worry about but I'd hate for you to accidentally damage your Remote, so it would be great to get the official word on this.
I don't use PoE -- on the kind of stages we play, I'm never that far from my Kemper -- but browsing this thread I happened to notice this:
This one :
Cudy POE200 30W Gigabit PoE+
Raf
✓Gigabit PoE equipment must not be used! It could even damage the Remote!
Just to make sure, maybe you should check with support about that warning?
Didn't know that! So you were right, piratepatch: you probably had Rig Manager running before, in which case switching slots with the Remote has the same effect as using the buttons.
Switching rigs within a bank with the remote resets the temporary version of a rig. Selected effects, and volume at least return to the original stored values (as if you switched banks without storing). This does not happen if I switch rigs from Kemper's rig buttons.
That has always been the case. The idea is that when you're using the buttons on the Kemper, you're probably editing the performance and going back and forth between slots to compare changes, with the intent of eventually saving them when you're done.
When you're using the Remote, on the other hand, you're probably playing live, so all tweaks are interpreted as temporary: that way you can always be sure that every slot loads as it was originally saved.
(Going by memory here, but this explanation is in the manual somewhere.)
So after a lot of experimenting, we finally had our first full band rehearsal over Jamulus yesterday. Which was also our first rehearsal, period, in a very long time.
It was glorious.
I ran four clients to send out separate signals from my home studio: one for my vocals, one for my guitar, one for our stereo backing tracks and one for our clicktrack. That way, everyone can mix those elements to their liking. Everything is routed internally out of Ableton Live through JackRouter to the correct Jamulus client. The other three band members (guitar, bass and drums using a digital kit) just run one client each at their respective homes, so there's seven in total.
The backing tracks are based on the extensive demos we record for each song; they contain the synths (we don't have a live synth player) but also each of our own prerecorded parts, which I can unmute to fill in for any absent members.
We've tried different locations and setups for the server. There's a public server nearby that's always on and has excellent ping and latency times, but if you're trying to have a focused rehearsal it's not ideal (though quite funny) to constantly have other musicians trying to play along. We could mute them or solo ourselves, of course, but it felt rude to do that on a public server that isn't our own. We also didn't want to depend on the availability of that server.
Running a private server on my studio computer, along with my four clients and Ableton Live, works but isn't great for latency. We tried a Raspberry Pi running the server from our drummers workplace, which has an industrial fiber connection and gave us very low latency, but we had trouble setting up port forwarding there and often couldn't reach the Raspberry Pi anymore.
Finally, we settled on running the server at our drummer's home. That way, he always gets the lowest latency, and the rest of us get around 50ms, which is absolutely fine for us. Maybe the clicktrack helps, although on one of our earlier testing sessions the drummer and I spontaneously erupted into an hour-long jazz/funk jam with me playing synths and digital piano, which proved to us that the technology is advanced enough and feels natural enough to make musical things happen (we're actually a doom metal band).
We ran a video call on our phones so we could see each other and communicate visually while playing. It felt very much like a regular rehearsal, which made us very happy. In fact, I'm pretty sure we'll continue using Jamulus even after the Covid restrictions are lifted, in addition to in-person rehearsals, because it's just so convenient to quickly work on a song without having to drive to the rehearsal space and set up. Also, the precise personal mixing and low volumes make for a very analytical monitoring experience: I could hear every note from everyone, which is not the case at regular rehearsals.
So: thank you, SonusStudios, for making me aware of Jamulus. I always assumed online jamming wasn't really there yet, but your post convinced me to give it a try and it works!
Sounds great to me, both the writing and the production!
This is huge. Incredibly informative and inspiring. I'll be studying this in detail with my band as we have a lot of stuff we've been wanting to organize on stage... What a great gift to the community. Thank you!
Wow, I'm looking forward to every topic in that list! Really curious to learn how you're handling all kinds of details. What a fantastic effort to make all that knowledge available, you'll be helping and inspiring a lot of people.
I would be interested!
We have our own solution centered around a Cymatic LP-16, which provides backing tracks, a click track for our drummer and a cue track with occasional clicks for my own in-ears, as well as midi for automating my Kemper, my vocal effects, our other guitarist's effects unit and our custom midi-controller stage lights. The Cymatic is already racked along with the hardware for the lights, to be set up at our drummer's side, but I would like to rack all of my own equipment -- Kemper, vocal effects, personal mixer and IEM transmitter -- and make it as plug-and-play as possible, with all external connections ready to go.
Ideally, I would like to be able to keep all cables for cross-stage connections plugged in and neatly rolled up inside the rack case, so I can just roll them out to where they need to go on stage (I use the over-under cable winding method religiously so I can roll them out without twisting 
). But I'm curious if there are any reasons why that would be a bad idea.
I've never configured a rack before, so I would love to hear how you have everything set up: internal connections in the rack as well as external interfaces, what kind of rack hardware you chose, specific things to look out for, basically anything you'd like to share. In any form that works best for you!
Hi StoicAudio, the volume pedal can provide a smooth fade out to complete silence if you set its Location parameter to "Output" (in the Rig Settings). That's what I use for both purposes you mentioned, using the standard CC#7. Also, make sure the Range parameter is all the way to the left to make it go completely silent at the heel position.
I mute my guitar in this way as well (no matter how clean your playing, in some environments a high distortion signal will just get noisy and muddy up those tight stops) and it works perfectly. My standard practice when programming MIDI is to also mute our guitars at the beginning of every track, before the song starts, and at the end, so we get absolute silence between songs.
Note that you have to provide a little "ramp" in your MIDI programming to precisely control a quick volume change. If you just program it to go straight from 127 to 0, the Kemper will automatically smooth out the change, which will result in a slower fade out/in than you might want. (At least, that was the case a couple of years ago, but to my knowledge, it hasn't changed.) So I provide a couple of intermediary values over a short time to make it do exactly what I want.
Hi,
Can you tell me where i must put the file in Ableton please ? It seems to be not correct for me... Thank you
I haven't been in front of my studio computer for a while so I haven't been able to check where it should go. Funny that the device doesn't show up in Live, though. What happens if you drag it directly from your file explorer (your downloads folder, for example) into Live?
Have you ever experienced something like this?
Not really... I've worked with MIDI programming a lot to automate changes during shows, and my Kemper seems to take it without issues. The only weirdness I've ever seen is when I connected both MIDI in and out to my computer, and the MIDI coming from the Kemper was accidentally routed back into it. That made it go craaaazy. 
How do you switch Rigs? I always use Program Changes to switch between performances, then CCs (50-54) to switch between slots of the same performance. That's the fastest method, as far as I know, and it's used in my Max4Live device as well.
With the looper location set to Input, as alextsi described, you should then connect all your external effects pedals in an effects loop (not to be confused with the looper ).
In short, this puts your external effects inside the Kempers internal signal chain (running a cable out of the Kemper's Send output, into your pedals and back to the Kemper's Return connection), and thus, after the Kemper's input. That way, the loop recorded at the input will be played back through that entire chain, including your pedals, so you can manipulate it while it loops.
Search for "Effects loop" in the manual for more details!
Over the years, this has been a recurring, albeit slightly niche feature request (I've collected a couple of threads below, but as they're all quite old, I decided to start a new one): the ability to assign an automatic modulator to any effect parameter. An LFO, optionally synced to tempo, would be great. An envelope or envelope follower would be useful as well (though the latter already exists in the form of the Ducking parameter to control the mix of many effects).
LFO and/or enveloper to control other fx(-parameters)
Originally, this idea would have required tremendously complicated interface elements -- every parameter would require at least two extra settings to select a modulation source and modulation depth, and then you'd still need to set the LFO's frequency or the envelope's ADSR values somewhere. Not worth the hassle.
But with morphing firmly established now, a centralized modulation source would be much simpler to implement (interface-wise, I mean). The brilliant morphing workflow already allows any parameter to be set up for morphing between any two values, simply by setting the endpoints (unmorphed and morphed). There's already a dedicated morphing page in the Rig menu, and it already has settings for rise and fall times (optionally to tempo)!
With all those things already in place, implementing an LFO would be as simple (again, interface-wise) as adding an "auto" checkmark to make the Kemper loop through the rise and fall phases continuously. An AR envelope could simply be a one-shot rise-and-fall sequence triggered by a note from the guitar... This would make for a quite flexible modulation source, with many LFO and envelope shapes attainable by combining different rise and fall times.
I was playing with the Formant and Ionosphere reverbs just now and thinking again how cool it would be to make the Formant parameter slowly evolve over time... 
The difference between the low volume while you're recording and the normal volume when playing back a recorded track makes me think of some kind of phase cancellation issue.
Are you using a direct monitoring feature on your audio interface? In that case, make sure you're not also monitoring the track to which you're recording through your DAW (in Ableton Live, set the track's monitoring option to "Off" instead of "On" or "Auto"). It's possible that those two monitoring streams, due to the latency of software monitoring, may largely cancel each other out.
I sometimes activate it via pre-programmed MIDI. That way, I can record a loop exactly in time with the song (we play to a click track). I'm also the singer in my band, and there are one or two songs where I play an intro, then loop it so I can sing over it. It frees up my mind so I can concentrate on the vocals, and it frees up my hands for more expressive stage presence.
You could call it cheating, but in my view everything you hear is still "live". 
The loop is not pre-recorded, it's played right then and there before it starts to loop. If I mess it up, it's even worse than without the looper because every error comes around a couple more times, so I really have to get it right the first time. If you think about it that way, it's actually more live than live! Right? And of course, if the MIDI automation should fail, I'm still perfectly capable of playing and singing the part at the same time.
I do the same thing with my vocals sometimes (using a TC Helicon Voice Live), but only so I can sing a harmony part on the second pass.
I had a play with it but to be honest I found it too limiting e.g sound is directly linked to your profile, can't use t as a sample ( one shot, only continuously loops ) etc.
If you set Looper Location to Output, you can change profiles while the recorded loop stays the same.
