I've always gone with the old school, but trusted method of creating a separate rig for my solos. I create a lead tone that I like and then just store it in the last slot of each rig so my solos are always in the same spot. I like having them as separate rigs because I can then add different effects and parameters that may not have been in my rhythm tones. For most of my leads, I have the rig set around 3dB higher than my rhythm to give me the boost I need, but the volume may be lower on something that I don't need to be as "in the face" as others.
Posts by OhG
Its a great song BTW!
That would be a good feature request - i.e. to switch between intervals and actual notes ( although obviously need to be able to state which actual note i.e. which octave).
I'm surprised there isn't a way to do this with an expression pedal (like the old Whammy pedals). Switch from one set harmony in the heel down position and to another harmony in toe down. Could probably do it with morphing.
Yip. I think I'm going to go with the approach that Finally suggested. Wheresthedug if I tried doing all of what you wrote, my head would explode. That one small harmony part isn't worth it considering it's just a cover tune. haha
One thing that I can never seem to wrap my head around with the Kemper is how to set it for correct harmony notes.
For example, what should be a REALLY simple tune, is beyond me. I'm trying to figure out what to set the parameters to in order to play the harmony part in Robert Palmer's "Bad Case of Loving You." Link to the song is below. Skip to 1:30 to get to the part I'm talking about. It's a really simple harmony with the lead guitar playing on the "B" string at the 15th fret and ultimately ending on the 12th fret just before the solo starts. The low harmony plays on the "G" string bending at the 14th fret and then ending on the 14th fret of the "D" string.
I put the Harmonic Pitch effect in the "x" stomp, and set it to the key of E, with voice 1 interval set to -4th. This sounds right for the first half of the harmony, but when I end on the 12th fret, it's still playing the 4th below and the correct harmony is the 5th below. How do I set this so that the Kemper knows to play the 4th below for the first part of the harmony, but switch to the 5th below for the end note?
Have you tried using the Direct Out? You can set the Direct Out's Output Setting to "Git Analog", and send the original guitar signal to your vocal processor.
From Main Manual 8.5, page 112:
"the volume control of the respective outputs will have no impact on the "Git …” source settings, because they are made to reproduce the original instrument volume."
Thanks paults. I'll give that a try. I did see that part in the manual, but I wasn't sure if the volume aspect also applied to when the tuner is engaged and everything is muted. I wasn't sure if they considered that a volume control.
I have a vocal harmony pedal set up so that the monitor out sends it the signal/chords so it can detect what pitch the harmony should be. Sometimes, I turn my volume pedal all the way down so that I can play the guitar and continue sending the chords to the pedal even though no guitar will be coming through the mains. I've realized that this is the ONLY time I actually use my volume pedal and I'm thinking it's a waste of space.
My question is, if I were to mute my guitar signal from going out of the mains by stepping on the tuner button, will the monitor out still send the signal/chords to the harmony pedal? If not, is there a way to set things up so that I can still play the guitar and have the chords sent to the harmony pedal without actually having any sound come through the mains? Or am I going to need to keep my volume pedal for this?
I've been using the Kemper for around 6-7 years now and I have NEVER been able to get a profile to sound even remotely close to what it sounds like when I hear it on YouTube or elsewhere. At first, I thought I must be doing something wrong. But I've checked every setting on my Kempers (I have two, so I know it's not a faulty Kemper). I've tested the profiles through ATH-M50x headphones, through my Yamaha HS8 monitors and through our live PA setup (all QSC bins and tops). I've recorded them as single take guitars and double-tracked through my Clarett 4Pre USB interface into Reaper. No matter what I do, they never sound like what was advertised. And it's more than just the difference in tone from fingers.
For example, the Top Jimi VH packs sound nothing like what I hear when I listen to the demos. They're all quite thin and muddy/dark. TAF profiles all seem to have way too much low end. MBritt profiles don't have enough top end. I use Charvel Guthrie Govan signature model guitars; so I'm not using some cheap $400 guitar with garbage pickups. So that's definitely not the problem.
So I've given up on trying to recreate the sound of what is advertised. I usually now just start with something that is close, and tweak until I like it. MBritt seems to be the closest starting points for me and usually, just adding some high end clarity gets those to a usable state for me.
Don't get me wrong, I still love the Kemper. The pros of having everything I want in a small, transportable unit FAR outweigh the cons. I've got a bunch of sounds that do sound really good live. I just wish I could get sounds to be more similar to what I hear advertised online.
Seem to be having luck not using the EQ Do you all use yours? KJ
I use the Studio EQ in the "X" slot on almost all of my moderate to high gain tones. Mainly to put a high cut on there and get rid of the nasty high frequencies (generally around 7k and up) and then to take a small amount out around 3.5k. I've got a low cut set in the universal settings for all of my tones around 90hz. These all change slightly depending on the profile. But to me, it makes the most sense to use the EQ rather than having to do it at the board/house system each time. No matter where you play, if you're playing through a profile that has nasty frequencies in it, those frequencies are still going to be there regardless of what you're playing through for a house system - it's just a matter of to what extent. So my thought process is to eliminate the problem or nasty frequencies from the start of the signal chain and then it's more consistent and less tweaking to have to deal with at the time of the show.
For my band we have a few intros to songs that are pre-recorded. I have struggled to find inexpensive hardware ( £100 or less) to play it back, but settled on a mobile phone ( no sim) with a sample playback - so just hit a button and it plays a 1 shot MP3.
This is connected into my KPA with a splitter cable to the input jacks.
Problem is, the volume out of the PA is significantly lower than my guitar volume, even with the phone and Aux in at max. The audio levels are reasonable volume as well without clipping and I don;t think my guitar rigs are set particularly high
Recently I want to move away from the phone as its clumsy etc. and so looking at looper pedals, specifically the Digitech Jamman ( bought another loop but found it doesn't do the "one shot" so keeps playing in...yes you guessed it...a loop...Doh!!). I am assuming that I might get more gain out of that device than a mobile phone headphone out.
So questions to the group:
1) Anyone else do the same and what hardware do you use. The trigger pad devices are very expensive, the Akai MPX8 was awful.... Loopers are generally way more functional than I need but seem the closest..
2) Anyone know if I'm likely to get more volume out of a looper pedal than the phone - line level versus headphone level ????? The Jamman has stereo out and I wondered if using both outs would make any difference than the current splitter to the separate outputs.
3) Any other way of balancing the guitar output without reducing the volumes of each rig. I think reducing the volume to the main out will affect both guitar and MP3 output
If this doesn't work then I might need a dedicated output to the PA. I'd rather avoid this as its extra hassle to set up.
My utopia longer term would be to have the ability to import files to the KPA and play them as a single shot, triggered by the remote!
My band plays along to click tracks so that we can have samples playing at the right times during the songs. Doesn’t sound like you’d need the click part of the equation but the same setup would solve your problem. I just use my iPad with the Soundcue app on it. You can load any MP3 you want (I have over 40 on mine). I run an 1/8” cord from the output of the MP3 into a direct box that i have mounted on my pedalboard and then a mic cable out of the direct box to the PA. It sounds like a lot to set up, but it’s really not. All I do each show is mount my iPad to my mic stand and plug in the cable from the direct box to the PA. Literally takes less than a minute. But then you get far more control over your samples than you would with a looper. You’d have a dedicated channel on the board so you could adjust the volume or EQ however you need.
I dig this tread up. Is there a way to adjust the volumes off rigs at the same level (Rig manager or directly on the profiler)? I have plenty of them, set at very different levels, and I would like them to be homogenized.
There is no automated way to do it. The only way to do it is manually. I'd suggest using one of the rigs that come stock on the Kemper as your baseline, and then manually adjust all of your other rig volumes to that one by ear. Once you get them all matched, what I usually do is build my new rigs off of one that has already been volume matched. If you're using a completely new rig, you'll want to volume match against one that has already been done. And I wouldn't totally rely on volume meters as a sole reference point. Just because something is the same volume in terms of a volume meter, doesn't mean it'll cut through in a mix as well or seem as loud in a mix. Using your ear is the best way to go unfortunately.
Are you using the Direct Out to send the guitar signal to the harmony pedal?
I use 2 pedals with my setup. Both are Mission pedals. One is always a volume pedal set after the amp. I can use my volume knob on the guitar to clean up the signal or reduce the gain. So having the volume set after the amp section for this pedal allows me to reduce volume but not reduce gain. I also need this volume pedal because there are times when I'll set the volume to zero on it, but I need to keep playing guitar chords to feed my vocal harmony pedal. This allows me to send the chord info to that pedal without having the chords actually come through the PA.
The 2nd pedal is always set to a wah, regardless of what rig I'm on, except for songs where I'll need some sort of pitch effects like a whammy. For those songs, I've got my rigs to use the 2nd pedal as a whammy pedal.
As others have, I would STRONGLY recommend you don't go "budget" for IEMs. For guitar, you need at LEAST triple drivers to get a fairly full sound. I'm currently using the Westone PRO 5-Drivers and they are awesome because they are strong enough to really make everything sound full, guitar, bass and drums. If you go with some cheap single or dual drivers, it's going to sound like you're listening to an AM radio. Your guitar is going to sound really thin. The 5-drivers I have cost around $400-$550 depending on what kind of deal you get and where you buy them.
Another option you have is to just use a nice set of headphones instead of IEMs. There are a LOT of pro bands that go with this option (Linkin Park's guitarist has done this for over a decade). The sound you'll get out of a $100-$150 set of headphones will absolutely blow away any single or dual driver IEM that you buy.
Would someone be kind enough to walk me through routing my MIMIC pedal in STEREO?
I need to know how to route the cables AND how to configure for it...
I used to use the Mimiq with my Kemper. I ended up taking it out and just using the delay widener feature because the Mimiq didn’t really have much of an impact on the sound out front (I was running in stereo). It actually had a slightly metallic sound to it that I didn’t like. The delay widener sounded slightly better through the mains without this metallic sound. I still use the delay widener instead of the double tracker feature of the Kemper.
As far as how to configure the Mimiq, it’s been a while, but I know you need to run it through the effects loop, put it in the “x” slot as a stereo loop. Make sure you’re running in stereo or it’ll sound awful. The part I can’t quite remember how I had hooked up was which inputs to use on the back of the Kemper. I’m pretty sure I know I was using some combination of the direct out, and alternative input.
I don’t experience any lag when switching between performances. My Kemper does however skip over performances when I use the buttons on the unit rather than the remote. And it skips them not matter how slow I hit the buttons. I just have to keep trying to get to the skipped performance (usually takes 2-3 tries). This is annoying as hell and it would be great if Kemper took the time to fix it. And yes, I submitted this issue via a ticket over a year ago.
I've been anxiously awaiting the official release of the latest OS so I could try the double tracker. For quite some time now, I've been using the Delay Widener set to an intensity of 20 ms to help give some real spacial separation in my in-ears. I run everything in stereo for live performances and using the widener doesn't really have much of an effect out front, but make my in-ears sound/feel better.
The one thing I wasn't crazy about with the widener is that if I have reverbs or especially delays after it, some of the definition in those either get lost or there is a LITTLE bit of phasey sound in the reverbs. I'm assuming this is because the delay widener is causing the signal to hit the delays and reverbs at slightly different times, so they end up sort of washing over each other.
I was hoping the Double Tracker might fix that. But after installing it, I honestly don't hear any difference between the Double Tracker and the Delay Widener in terms of effect or getting rid of the phasey stuff. I created a track in Reaper going back and forth between the 2 effects and I couldn't hear any difference at all. Obviously, with the Double Tracker, you can turn up the detune effect, but that sounds worse to me because it sounds almost like a slow panning effect from time to time rather than a detune.
Just wondering what everyone else's opinions are of this effect so far and if there really is any actual difference between the DT or the DW. For me, I think I'm just going to leave the DW on my rigs since there isn't any noticeable benefit to switching to the Double Tracker.
And to be clear, I'm not complaining. The Delay Widener allowed me to get rid of the Mimiq pedal I was using in my rig. The Mimic made the in-ears sound great too, but it had a noticeable negative impact on the tone coming from FOH. So either way, I'm happy. Just wondering what the real difference is here between these two effects. Is it just the ability to adjust the detuning and stereo field to 200% (which also negatively impacts the tone)?
Try your setup plugging in a decent pair of headphones into your IEM receiver. If you like the way that sounds, then the issue is PROBABLY in the quality of your in-ears. If you're using solid headphones and it still sounds weak or high ended, then it could be the profiles themselves that need to be tweaked.
For reference, I'm using Westone 5-drivers (UM-PRO 50). I've found that triple drivers don't deliver enough bottom end with the bass or kick drum for everything to sound full. Made the move to the 5-drivers and it was like night and day. Definitely improved what I was hearing.
try setting the DLY+REV Routing parameter to -100% - this keeps delay and reverb separated IF the delay is in the DLY block and the reverb in the REV block
Awesome. Thank you!
I've got some standard delays and reverbs set up in the delay and reverb slots. I've noticed that in some rigs, they kind of interfere with each other a bit. For example, my delays aren't very clear and they sort of push into the reverb so that the end result sounds more like the reverb is pulsing a bit rather than being able to clearly hear each individual delay. I know one solution could be to put the reverb first and then the delay, but I'm assuming there must be another technique to solve this problem, otherwise, Kemper wouldn't have put the delay module before the reverb (which is where I agree, it should be).
Is there some other setting that sort of separates the delay and reverb so that they are more clear rather than mushing them together? I've also noticed that if I use a delay widener in the "X" slot, that also causes my reverb to sound a little off (in a bad way). I'm assuming that's because the delay widener is causing the signal to hit the reverb module at 2 slightly different times, causing a SLIGHT out of phase sort of sound.
What do you all do to keep your delays and reverbs really defined?
any chance the reset solved your reamping issue too ?
Hmm. Good point. Haven’t tried it yet but may give it a whirl.