Dunlop X
Large version. It has a very long sweep, but it’s still easy to go too far or not far enough.
Definitely a first world trivial problem, but always looking to improve how things flow in a performance/gig.
I only have one so it quadruples up for Wah, morph, volume, pitch work etc.
I don’t really like it as a Wah. Too much travel and when plugged into the remote there’s still a lag.
How did you get on trying out the panorama yourself?
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Jensen Blue Alnico 12
Jensen Silver Alnico 12
Both from the 1960s
These are the speakers in The Edge’s main Vox AC 30. Music Radar interviewed Dallas Schoo a few years ago. These are the details he gave about the amp. It also has Marshall capacitors, some Fender capacitors and resistors too!
I am guessing, but I assume that when that amp is miced, they mic the blue Alnico 12 as the silver was put in to replace another blue a while ago.
Alternatively someone at Kemper could ask if they can profile the amp!
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Dear Kemper Developers,
I use the Panorama control to help create stereo spacing for different parts while using the looper. I currently use the morph feature to control this but it is not very accurate when placing parts between hard right and centre or hard left and centre.
It would be brilliant if the Panorama feature could be added as an option in the stereo FX blocks. One could set up three or even four fixed stereo positions via the FX buttons on the top row. This saves having to click in and out of looper mode and selecting different rigs with different Panorama settings. I’m not sure how one would avoid having to switch them on and off independently but it would be fewer steps than having to switch out of looper mode to change Rigs to change the panning . The morph feature could then control other features.
It would help anyone looping in stereo to be even more creative.
Many thanks for reading.
Cheers
Pre-Amp
Yes, it works quite well as I said in my previous post. With an expression pedal you can use panorama to move the signal right across the stereo field but it’s tricky to be really accurate about where exactly you end up. This is quite organic but somewhat haphazard. I’d love to be able to set exactly how far to the left/right the panorama shifts without having to change Rigs to do so. Hence it would be great if Panorama could be a post amp section Fx.
I’ve not yet used it to separate bass lines.
That’s an interesting idea too!
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I use the looper in live situations. Wheresthedug is right about the faffing about with clicking in and out of Looper mode. The issue is that the looper controls are the same as the rig select buttons on the remote, so it’s impossible to use both at the same time.
I think you can still use a separate dual footswitch and assign basic looper functions such as start/stop and trigger etc. to it.
I borrowed a friend’s Boss FS6 to try this out a while ago. It worked quite well but obviously you don’t have all the controls available at once. if you has more than one of these , you could assign more controls. Had to give the switch back and so haven’t done that since.
I have found that when using the looper with an electric guitar, it is relatively easy to set up a clean rig and add effects to the four FX buttons to aid the changing of sounds between loops. This is the next best thing to using different rigs and saves the tap in tap out of looper mode dance. You have four buttons so lots of flexibility there. FX, multiple FX scenes etc.
As you can assign lots of FX to each button and use morphing (with a dedicated expression pedal) you can get some pretty complex and interesting sound textures going.
You can do this with acoustic guitars too, but obviously if using overdrives and fuzz etc you have to be super careful not to get massive feedback. Not really managed this with great success yet. Modulation, delays and reverbs are great though.
I have used morph to control the Panorama feature so I can loop across the stereo field. This can sound huge and can effectively give you lots of overdubs that separate more across the sound field. Less muddy and more interesting to listen to. Great for guitar duelling , separating parts and creating harmonies. If Panorama could also be a post rig FX slot then I could have four different stereo positions saved to the Fx buttons. That would be cool. Must put a feature request in for that.
In some songs, I find using a pure boost helps when recording a loop you will need to trigger throughout the song. This helps other musicians to keep in time sync with the loop as once it’s recorded it’s timing can’t be altered (except for going half/double speed).
I use this trick to record the main guitar riff for Stayin Alive by the Bee Gees. It works much better since I’ve been boosting.
I then trigger that part when required while playing the rhythm part and sing BV’s.
Timing is still tricky but it works well enough.
When using the Cirrus reverb I find that the KPA will only allow one layer of looping and no overdubs. But I have not tried this in enough Rigs to be sure it’s not just the rig I’ve tried it on already.
Live looping with the KPA is very possible. It does require a bit of pre-setting and planning to get the most out it. Most of all you need to practice recording in time, setting up the loop length, overdubbing in time and triggering in time. There’s no quantising or overdub adjustment just an undo/redo for the last overdub you have recorded.
You can use this undo/redo to drop a part in and out of the loop but this also requires accurate feet and lots of practice.
Good luck!
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I had the same message when moving a slot up within a performance. I also had great trouble with RM copying and pasting from a Local Library Performance into a Performance slot on my profiler at the weekend.
I have contacted support. Though I hope it sent properly as I have not heard back yet. I will send again if I don’t hear soonish just in case I messed up!
Eventually, I was able to get the slots copied by moving in and out of the performance and then double clicking inside the slot box on RM.
The problem was mixture of RM not pasting Slot names, mixing slot names with the wrong rig and not pasting at all. RM was also doing strange things when asked to move slots up and down rather rotating them around randomly. (This was on the occasions when it didn’t crash the Profiler giving the Something unusual message)
That said, persistence won out and I eventually got all the slots ordered. I then double checked that all the sounds were what they said they were.
The issue happened across all 5 slots in all the performances I was editing.
It was a bit annoying, but this is all ‘free’ product development and I love my Kemper!
I hope everyone else gets solutions quickly.
Cheers
Pre-Amp
Merry Christmas
Peace
Pre-Amp
Another option is to use a Line 6 Variax.
It has an alternate tuning function that can be applied to all of the internally modeled guitars.
So if you are cunning and are quick with your hands, you can switch the model on and off, moving between standard tuning (or any other that is your main stay tuning) to drop D or C# or whatever.
I expect you could pick up a second hand JTV fairly reasonably. I have a 59 and use it for all kinds of different tunings from open D to odd C# tunings and straight Eb and drop D etc.
The Workbench programme lets you assign your own tunings so you can even have a go at emulating mandolins. You can store these on the guitar and arrange in order if you so wish.
Some models work better than others but with a bit of tweaking and testing you can get in the ball park for almost anything. There can be a little warble on lower notes but this is offset by the convenience of not bringing four guitars and constantly changing during a set.
I find there is less latency than the Kemper’s de-tuning feature (which is very good by the way and I have used at other times) and I add coded notes to my remote screen to remind me which model and tuning to select before each song.
This is not a cheap or immediate fix for you but as a working tool, it does a good job. I have even used the acoustic models with alternative tuning for a duo act. This is acceptable if I play carefully and keep the EQ closely matched to the model so that it smooths out a little.
Good luck, I hope you find a solution.
Cheers
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Hi Everyone,
I saw him in London. He said that people kept asking him if he would retire, but went on to say how much he loved playing and how he enjoyed taking his songs out on the road...
It didn’t sound like he was hanging up the head band and Les Paul just yet.
He’s still a great performer, consummate songwriter and guitar genius. His tone was crystal clear on the night (no pun intended).
I saw him on his previous tour too and I would say his tone was better this time round.
Cheers
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Burkhard works hard!
Many thanks for all the effort!
Enjoy NAMM when you get there.
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I don’t know how I missed this profile but played it for the first time last night. It really is amazing. It’s got that thick, meaty tone and dynamics that bring the soundstage to life.
I think it will end up replacing some of my live amp blocks, once I organise the FX etc.
Unbelievably belatedly, thanks for sharing this one!
Cheers
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Wishing you a speedy recovery.
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Wheresthedug , we bow to your dedication and kindness. Not to mention your genius...
This is what I love about the Kemper forum. The time and effort to work all that out and then post it for all to see is very generous especially when it’s not for personal use but to assist a fellow musician to achieve a goal.
I will be trying this out in the near future.
I have always wanted to understand how to create harmonies to do this sort of part. Now there is a working example to follow so I can improve my limited understanding in this field.
Well done indeed and greatly received!
Many thanks
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Hi AntLefty,
I experience an audible click when connected to our band’s PA. It happens in different locations, always sounds the same and has the same tempo. It is very quiet, so, it doesn’t boom out of the speakers. It just gently clicks in the distance. As we use IEMs (hard wired via a P-16M) we can all hear it! That and the bass player’s noisy pickups are the only interference we get. His pickups are definitely affected by the dimmer switches in the rehearsal space so it’s easy to take care of that, we just play in the dark! ?
I have tried ground switching to no avail.
I don’t hear it at home when listening through headphones. Just at rehearsals and gigs.
I have a theory that it has something to do with my JTV59 when I play the different guitar models. Maybe the Kemper picks up on the processor in the JTV somehow creating/amplifying this click. I can’t remember if I tested this out though.
I’ve often wondered if I am the only one who gets this little glitch going on.
Cheers
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Wishing all Kemperites a very merry Christmas.
With very kind regards.
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Sublime!
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Blue Herdim give me The Edge...
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Welcome!
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You definitely can do it!
Once you have the right stereo splitting y cable, use the Return and Alternative inputs to feed the signal through the Kemper.
Then go to the output menu to control the levels.
You might have to check which outputs you have linked though. Also, only increase the Aux in headphones level and the Main headphone level. Keep the Aux in Main at zero to avoid increasing noise. This also prevents that feed from going to FOH unless of course, you want it to...
Cheers
Pre-Amp
