Posts by slateboy

    what i think would be a useful solution/fix/alternative is that when a new tempo is set by tapping-in the new bpm value is (optionally?) displayed for a few seconds, just like when a “tempo sense” bpm is detected when holding down the tap button.

    It is then reassuring, whether auto-detecting or tap-entering, to see the new/actual bpm value

    i get the impresion that no one can truly rely on the flashing tap tempo button (on the remote or the kpa) as a reliable indicator of tempo at all bpm And it seems if this could be resolved it would have been done so ages ago.

    i can see the logic with not recalling volume levels too, but that's no different from turning on any piece of gear after someone else has used it and maybe (as their needs may be different to ours) left the volumes at a less than desireable level.

    Using mine in a variety of scenarioss, it would be handy to have the monitor/headphone/etc output levels instantly recalled for the situation required. I dont think Kemper will give us this (levels recall) as they feel too strongly about their side of the argument.

    the assignment of aux-in mono/stereo and its levels is a valid request, i believe.

    I'm aware that not all output settings are saved as part of the "output presets" collection, for certain/legit reasons.

    However, it would make sense that the "aux->mono" setting is stored as this is part of the output configuration especially given that the aux levels are saved.

    ...or i would be open to hear the counter-argument.

    i find, more so nowadays, when i turn up with a kpa there is a look of approval and relief on the engineer’s face as if to say, “ah that makes my job easier” and they recognise the quality and convenience of players using the kemper.

    It is clearly established as a unit of an approved and accepted standard. Other brand “all-in-one” floor units/amp-modellers (that may still offer quality sounds) can result in a raised eyebrow of dismissal but the kpa seems to be recognised as a device that is trusted.

    Can a mobile phone screen withstand the drop of a microphone or something heavier?

    I don't think so my friend ...

    Sounds like a sales pitch :* i like your idea.
    Agreed, a phone screen protector offers a limited level of protection. Depends how much “insurance” the user requires. Id say liquids are more of a hazard than solids. Those outdoor gigs in the UK can be wet. A practical risk assessment is needed. Should there be a risk of falling items perhaps a safety-hat would be wise also. Maybe thats what the village people had in mind^^

    another useful tip-

    Stick some other kind off “less messy” tape to the remote then stick the velcro to that.

    The other tape will act as a barrier if there’s a risk of your velcro tape leaving a sticky mess.

    Similar to mentioned above, you can also get “sticky stuff remover” which is a bit like white vinegar of some kind.

    if it serves a function to you then than value is probably worth more than that you think you may lose with some dirty marks. There more chance of the top surface getting damaged through use or if something gets dropped on it chipping the metal work or/and the paint.

    they hold their value well so i dont think its a concern

    tell us what you wish to do, ie in the same way you done with a “traditional” rig ( all the way from unloading the van, carry gear to stage, plug in, how you wish soundcheck, want to hear, how you monitor, how/if you tweak during a performance, what you wish to avoid, etc, etc)

    The infinite options and flexibility of the kpa are its strength but it can be overwhelming. It is still nice (and possible) to drop your rig on stage and plug’n’play worrying about nothing else apart from your playing (and what freebies are on the rider) i recall when i first had mine, I was more worried about how to work it and the “what ifs” but compared to many other “amp modellers” i spend more time enjoying playing than knob-twiddling.

    Like any new bit of-tech gear, compared to its old analogue counterpart, (your new phone/car/online-banking) the technicality of it and fear of the unseen/unknown can detract from the original intention.

    maybe you cant see the wood for the trees but it won't take long to build your confidence in the choice you have made.

    ps, Why did you choose a kpa?

    Pps do have the opportunity to shadow someone who uses a kpa live in the way you wish to do so?

    im guessing that how paults describes his set up is probably the most common way to use performances.

    Each performance being a “style” rather than a song, containing the “meat and potatoes” for that style, ie, a clean, a crunch, a dirty, a lead, etc.

    Certainly the kpa can have a different performance for every song but id say quite a few songs contain the same sounds and therefore could use the same performance. Imagine the demands for a “performance-per-song” approach if you gigged with multiple bands some of who may wish to change the order of songs on the night. (Can you get RSI in your toes?)

    Seriously, the kpa is flexible enough to cope with most users needs. I think simplicity is the key so you can focus on your playing performance rather than worry about tap-dancing. Unless of course you automate your changes, but that’s another story….

    l maintain that if you mainly want guitar in your mix then IEM with reduced HF and LF can work to your advantage, similar to the limited response of a guitar cab. Ultimately its what suits the individuals needs but durability is certainly a major factor.

    I think it’s cool for the audience to not see a setlist so it appears the band have a plan. Maybe have it hidden?

    Therefore you need a plan and structure to deliver a show where you don’t get the musicians turning towards each other in between songs saying “so, what’s next?” Is good to know what the next song is before the previous one ends.

    i guess more “casual bands” (and i’ve sent some high quality credible bands do this) may have the ability to communicate discretely. Maybe a musical director instructing the band via iem so, again, the audience are unaware of the plan.

    i got a handful of “generic” sounds that i can tackle most songs with, many songs using the same rigs/ presets/performances/whatever you want to call them

    Can't fault that. :)

    I prefer the way Mute currently happens with a short tap of the switch :)

    agree. Sometimes i need to steal a quick tune up during the mid break of a song- in and out within seconds so i wouldn’t care for a push+hold to obtain mute though i do appreciate how it could help some players.

    However, i do occasionally step on it when i go for my “lead solo” sound, which can be embarrassing!

    I wonder if a solution could be to attach an external button to the remote which has the sole duty of tuner/mute engage.

    Is there another device that offers this functionality? (The boss tu tuner pedal??)

    i guess hitting the wrong button we expect that button to still perform it’s task, even though that is unlucky and unintentional. What i think the OP is referring to is that if you accidentally press multiple buttons you don’t expect some “self-destruct” situation to occur. I sometimes hit the tuner accidentally but realise what i’ve done and can recover within a second.

    If we accidentally hit a combination of buttons you wouldn’t expect to enter a situation that takes longer to recover from than it did to enter. I can neither confirm nor deny this so maybe a video demo from anyone would be of value to the designers.

    think this has already been requested for another effect type.

    As far as i can make out, flanger rate/speed is set based on a division of the current tempo.

    I can understand the need and applications for this but conversely i can see the need for a fixed rate not relative to the tempo.

    Scenario- flanger used as a Chorus- type effect in a rig that is used for a fast and a slow song where the delay fx varies with a tap tempo.

    id like to be able to have a set flanger rate, just as we do for the chorus effect.