Posts by Andrew_Ongley

    Is there any pedal out there that is significantly better than the Kemper for this type of digital capo trickery? There are a couple of songs I sing live that I need to capo up 2 to 3 half steps but I’m also doing a lot of string bending,whammy bar and horizontal lead playing (Hendrix songs) so I don’t like to capo for obvious reasons with this type of playing. The kpa transpose function works pretty well and the latency doesn’t throw me off much but if I could find a pedal that had a significantly better outcome I wouldn’t mind dropping 300 bucks or so on it.

    Digitech Whammy (Drop & original) have a slight edge over the Kemper on latency and accuracy. It's marginal but enough to make it worth carrying extra outboard gear. If you get a Whammy DT, you can also midi control it from the Kemper.

    Anybody else tried the Titan Audio profiles yet? It's one of the guitarists from Whitechapel and so far he's released a Dual Rec Rev F, Dual Rec Rev G (Racktifier) and Driftwood Purple Nightmare.


    What's great for me is that they are DI profiles with different tube combinations and a couple of baked in pedals (normally Fortin 33 and Blade). The tube combinations are great for getting wide stereo guitars, because you can pick complimentary but different sounds left and right.


    I would have said I didn't need anymore Dual Rec profiles, but the Racktifier is hands down the best sounding out there by a long stretch.

    I also just realised it has no Midi integration, that's a real shame. I currently run a Whammy DT to alter between four different tunings in my band, my patch changes send Midi messages so I can use banks of sounds for different tunings.


    If this had the same or better latency than the Whammy and Midi then it would have been a no-brainer, especially because I could switch to all Evertune guitars and benefit from the added tuning stability but still use tremolo dives in the couple of places I need to do them.

    Quite a cool idea, means you can use something like an Evertune set to 'You can't even bend a note' and still have trem expression, although I'd want to try one to see how close it can get to behaving like a trem rather than a whammy pedal. The other thing that concerned me is the data wireless being 2.5ghz, if it doesn't do active management then it may well fight with other networked stage equipment.

    In fact, perhaps there's scope to go beyond the Digitech as the Kemper is software based.


    On the Digitech you have to select which harmonic order you want with a dial, but in a real life situation onstage with a long sustained note (say the ending of a song) the feedback will quite often move up through the harmonic order as it swells, and then drop back down partially as the note finally dies out. I've mocked this in my DAW by recording each order seperately and then cross-fading through them over time, perhaps the Kemper could have a setting where it will replicate the more natural behaviour?


    Edit: In fact I was originally thinking of an algorithm, but if you could just assign the harmonic order to an expression pedal, that would be perfect.

    I can definitely throw my experience in here, I ran a Line G90 for 10+ years with no problems, but since the advent of 2.4ghz networked stage systems (Mixing desks, IEM systems etc) I had to get rid of it because I was getting regular long cut-outs. I did some research and have heard from friends with first-hand experience of the same issues with Shure GLX systems. It stands to reason, you're effectively using signals in the wi-fi band that do not announce and differentiate themselves from other systems.


    Speaking to a tour manager friend of mine, it's not unusual for support bands with digital wireless to be told to not use them by Tour Managers, as it often screws with the venue wifi and stops them being able to work.


    I've moved over to Sennheiser EW and haven't had any problems since.

    I did some recording with my Freqout last night and I have a suggestion of a different feedback type to make a Kemper version even realistic.


    The pedal has a selectable harmonic type Sub/1st/2nd etc which is great in the Momentary type behaviour when you play a note and then hold it (like a sustainer type behaviour) but there is also the feedback type where you hit an open string at high volume and let it ring. In this case, the feedback actually shifts between the harmonic modes over time before it decays, which the pedal has no way of replicating.


    I managed to achieve this by recording a DI of each harmonic type through the pedal and then using a cross-fade in my DAW to move between them seamlessly over time. I wonder if Some form of algorithm that replicated this could be developed? Perhaps randomised? That would make it an extremely versatile function and bring even more realism to recording at studio levels.

    Any reason you're not keen on UHF? I can't fault it, Ideally I'd rather go a/d straight into the Kemper (the Kemper accepting a wireless digital signal) but at the moment you're going a/d/a/d with a digital wireless, (not that any of us could likely pick the difference) but I don't see an obvious benefit

    I had the same thought when I was running a Line 6 G90, Kemper and TC Electronic G System. I was literally going A>D>A>D>A>D>A>D>A

    I can name loads of pro touring musicians that use a G90 all the time that could afford anything. They must not drop out on them that bad.

    I can name pro-touring Musicians, Tour Managers and Soundguy friends of mine who've all experienced the same thing with Line 6 and Shure GLX systems. Sometimes it causes drop outs on the wireless system, other times it causes the venue WiFi to stop working (which is not an acceptable thing for a Tour Manager).


    I had to dump mine mid tour, every day I would soundcheck >no problems, my tech would line-check at the start of the show>no problems, start the show, all the cameras come out in the audience, the techs start making adjustments on networked equipment, my guitar is dropping out for 5-10 seconds at a time.

    I think you had a bad experience. I've not had any dropouts except when I went for a wander in a very big room, full of people and even then I think it was an issue with my KPA as for some reason the output volume was almost zero into the desk ( never found out how this setting changed).

    I ran it for around 10 years with no problems, played very large festivals and toured extensively, it's only since the proliferation of networked equipment and WiFi in venues that it started becoming a problem. There's no strict protocols on 2.4ghz and it's starting to get very messy.

    I was using an MXR ZW/Badass OD but the new Kemper drives have made them redundant, plus a lot of my favourite profiles now have boosts baked in. The only external pedal I will still use live is a Digitech Whammy DT, as the pitch shift is still slightly better than the Kemper transpose and my band play in four different tunings.