Posts by slateboy

    I think those using separate pedals are bent over building their pedal-board, rearranging, patching, power-supplying or continuously twiddling knobs and therefore lacking the want to respond to this thread. The rest of us get the desired result in one or two clicks and have time to reply (and play guitar). Allergy warning: the above may contain traces of sarcasm

    Useful tips, thanks.

    The dual/parallel amp scenario is another realistic option with the same needs.

    I use the monitor out as a monitor (post stack+mod/del) but there is the XLR and jack of which i only use one, so i could steal the other but as i use my monitor sound the same as the main outs it is not a viable solution.

    Thanks for that tip. I have the rack profiler so limited to the one fx loop.

    I attempted similar by putting loop in slot D and slot X but only one loop can work.

    I even tried the direct out and then returning it to the loop at slot X but not an option.

    I can achieve looping and bypass the stack (choose loop or stack) but not sure how to run stack in parallel with the stack.

    To explain why, I'm aiming to run a synth pedal fed with a clean signal and returned after the stack to take advantage of the X,mod,del,rev fx

    I could even split at the input but prefer to keep the guitar connected to the kpa input rather than some add-on splitting device.

    How about a quick poll of what is shown (sharp/flat) on everyone’s pocket/hardware tuner?

    Not suggesting what it should or shouldn’t be but rather understand what the majority of us used to deal with before the kpa.

    That's why it's called music theory. There's no rules. The theory speculates and documents what is known to sound a particular way. When I learned theory, I was most shocked at the revelation that it wasn't rules, but observations.

    just to clarify, i was referring to music theory as a technical subject rather than as an art-form which, like art, is totally subjective.

    Agree, if it sounds right/good that is the ultimate aim. The rest is a means to an end but, like it or not, there are some rules in music-theory like there are for driving on the road safely. (You wouldn't pass your theory test otherwise) Whether they are adhered to along the journey or not only a few people will know.

    I sense were moving away from the original post subject.

    On a similar and relevant note, It probably annoys those who have some music theory when they deal with other musicians who don't understand key signatures. Eg, “The chords go E A B C#m then Gbm” enharmonics, they musically-sound correct, yes, but technically not named correctly.

    I can live with this in the same way that i understand everybody has their own way of understanding things and often we adjust our own language to communicate with others who we know understand differently, a bit like using a local dialect.

    Dealing with the younger generation the sharp sign now gets referred to as the “hash tag”, something that didn't exist when i started learning but i find myself (reluctantly) having to call it that to connect with young players.

    I suppose a sharp sign is more distinct and available in a regular character set than a flat which is often taken as a letter “b” and perhaps why it has been used more?

    Ah, minus zero rather than null zero (or positive zero):S<X:pinch:

    Reminds me of this old thread

    noise gate goes to -0.1 ?

    Where there was a value between those shown on the display as a side effect from scaling and rounding up very “fine” values more than able to be displayed.

    Does anyone know the resolution of these parameters?

    Its clear that the resolution is more than needed for the display scaling hence the “queer” values

    Regarding the flats/sharps tuner, im guessing the original logic behind this is that the most commonly used keys in “guitar” music are G,C,D,A,E (probably in that order) hence the CAGED approach, therefore using keys that employ sharps rather than flats so, dealing “musically correct” with these keys, there are no flats in these keys only sharps.

    However, as for tuning, more often than not, we tune the instrument down and think in terms of “flats”

    Thought for the day- do you “tune up” your guitar or “tune down”.

    One is a common phrase and the other is a common choice....

    Ps. Happy Christmas and No complaints with the latest implementation

    Consider these realistic scenarios-

    Ideally after a gig you shut down “properly” so everything is as expected on next power up.

    You have a power outage, for whatever reason, mid song (or in the break) where you require the kpa to be in the state you left it.

    You walk off stage at the end of the set, go to dressing room in which time the tecs have cleared the stage (unplugging everything without a proper shutdown) and the next time you use the unit is at the following nights gig where you want a clean/reset start (you *dont* want it how it was left without the proper shutdown.)

    Whatever state you shutdown, properly or not, the next use is in the studio where the remote is not required (or left at home) so cant rely on having the remote to restore your setting, there needs to be a fresh/default start-up.

    I guess like a pc or mac, shutdown is there for a reason but a power outage usually requires to pickup where you left off but still you may require to pickup where you left off after a proper shutdown (sleep mode?) or sometimes not return to the same state on a power outage. Occasionally a power kill is needed when it all goes tits-up and its the only way to make a”fresh start” is a hard-reset.

    You cant please all the crowd all the time.

    Basically, unless you play the same equipment setup with no other audio in your listening environment, its not 100% possible.
    Where one sound may sit nicely in the mix tone-wise or volume-wise (live/studio) it may not on another song. This greatly depends on the parts of the frequency spectrum it and the other instruments (making other noise) occupy. It can be a full-time task to get a consistent volume across songs, hence the job of a sound-engineer.

    Some guitar sounds cut through where others don't and when you start audio-competing with the other instruments they may occupy the same frequencies as your song so you then have to up the output to compensate. (and if another player has a bad monitor mix they may play harder/louder to compensate)

    And then our ears perceive the sound differently at different levels, Google "fletcher munson curve".

    Opens up a tin of worms that has been covered many times before.
    Maybe someone can share a previous thread from these forums

    I must admit, i was happily running 7.5, gigged a couple of times and no problem most of this year.

    V8 was made “official release “ so I thought, no gigs fora bit lets do it and check out the new kemper overdrive.

    Within half an hour i had a nasty crash which, like yourself, dented my confidence and I seriously contemplated going back to 7.5. I like all my gear to be dependable.

    I contacted support who were very responsive and offered a solution to an issue they spotted in my system (may not be applicable to everyone) reassuring they have done so.

    I believe if there was an issue more users would be chirping up on these forums highlighting any flaws found.

    Ultimately, the more hours of running crash-free the more my confidence builds.

    Out of interest, why do you want to rewind fw version?

    i wonder if its related to RM, as is quite often the case.

    As with these type of things, it's hard to reproduce as it appeared whilst hands were on my geetar rather than as a result of changing some setting somewhere.


    Took the plunge and upgraded from v7.5 to latest release. happily jamming connected to RM and all of a sudden the remote went off and the following error appeared. Only been running v8 for less than an hour! i have sent in a support ticket request. a little concerning but hopefully lockdown is a good opportunity for bug squashing before the gigs resume.