Posts by Robrecht

Putting the Acoustic sim in one of the pre-amp slots is fun if you want to use Parallel path to crossfade, but don't forget Acoustic sim is actually a stereo effect as well! I like it very much in one of the post-amp slots.

I've recorded a very quick and sloppy test with two guitar parts, both my basic Mexican Fender Strat, both with Acoustic sim in X and a compressor in Mod, amp stack disabled. The chords part additionally has the new Delay Widener in the Delay slot.

Poor Thomas. Hope he doesn't feel too bad about his little mistake. I just think it's cool that they have a guitar player and Kemper user running the Facebook page, not just some impersonal social media expert. ¯\_(ツ)_/¯

Quote from phantomatlantic

Just found this and it's absolutely brilliant man! You should set up a little "pay what you want/ can" if you're just going to have this for free. Great work.

Thanks! Hm, I'll think about that, I wonder if it would be against Kemper's forum policy... In any case, comments like yours make it worthwile! And I always get a kick out of hearing that a band on the other side of the world is performing live with my little device.

Quote from AndersK

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.

Okay, I've finally had some time to work on this.

• I've replaced the limited 1-26 Performance select grid with a simple dial that goes from 1-125. Just like the old grid, it always activates the first slot in the selected performance. You can then select another slot with the five slot select buttons.
• I've also included full controls for the looper: Rec/Play/Overdub, Stop, Erase, Undo, Reverse, Half and Trigger. They work just like those on the Remote. The function of the Rec/Play/Overdub button depends on the state the looper is in: if it is currently recording, then pressing the button again switches it to play; if it is already playing, the button switches it to overdub. Unfortunately, I can't read/show the current state of the looper, you'll have to keep track of it yourself.

Note that when automating these looper buttons in Ableton, just like the other rounded buttons (Performance up/down and the small Morph button), you'll have to draw in each button press as a momentary press-and-release, like this:

pasted-from-clipboard.png

The button action takes place when the curve goes high, but it has to go low again before you can use it a second time (e.g. Rec, then Play).

(This is different from the four Stomp and Effect buttons, where you draw the automation curve high for as long as you want the Stomp/Effect to be on. The five Slot select buttons show up as a 1-5 value in automation.)

• Speaking of that small Morph button ("M", next to the Morph expression slider): this is also a fairly recent addition. It activates/deactivates morph using the rise and fall times by simulating a second press on the current slot's footswitch.

Anyway, without further ado, this is what the device looks like now:

Download it here!

Yes, first make sure your Clean Sens is set correctly (in the input settings). Strum your guitar while turning the Gain knob between fully clean and high overdrive within the same profile, and adjust Clean Sens so that there's no difference in volume.

Clean Sens is a global setting, you should only adjust it when you switch to a different guitar (tip: you can save input setting presets for each guitar you own).

Once Clean Sens is set, use Rig Volume to balance out any remaining volume differences between different rigs. Don't forget to store the performance afterwards.

Wow, evanmowry, that's great to hear!

Quote from AndersK

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.

Good luck!

Quote from Monkey_Man

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...

Thanks for the heads-up, Monkey_Man, you're the best! I've fixed it now.

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.

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).

Quote from pippopluto

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...)

Quote from Wheresthedug

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.