Posts by Michael_dk

    Hello stranger 😆

    Apparently it is a new feature which will be necessary for some future development they have in mind.

    The only was to get the sound of having the EQ off is to set all eq knobs at 0.

    The way to get eq with not Amp is to profile a patch cable and use that in the amp block. Seems a lot of effort for something that was so easy before so I can’t wait to see what magic they have up their sleeves that requires this change 😁

    Thanks, Alan.

    Ouch - that's annoying, I have used it a lot in the past (turning off/on the stack EQ). Hope the new future will be worth it when it comes :-)

    Back from the dead to ask a question :-)

    Just installed the beta - haven't updated in quite a while - I think I was on OS 5.x before jumping to this beta.

    Now, when I try to turn off the EQ section in the stack, the amp section gets turned off as well.

    Is this a bug?

    Or a new(ish) feature? If so: is there a way to turn off this behaviour?

    I guess what you can do is plug the Rocksmith cable into a Kemper physical output (e.g. Monitor Output) and configure that output to "Git Analog" to get the raw signal. In the Rocksmith app, you'll need to configure the mixer settings to reduce the guitar volume to zero so you won't hear your playing "delayed" -

    Yes - this is exactly what I did (on a PC) - worked like a charm.

    All other crap aside.... It is possible that next time the mic feedback problem might be alleviated by singing more loudly into the mic / closer to it. That's often the culprit - the FOH engineer having to turn up the mic channel in order for the voice to be heard, which causes feedback from the PA->mic.

    Especially if the performer is a bit "shy" about his or her voice (I have no idea if you are, mind you :-)), then turning up the mic often causes people to actually sing less loudly, which makes the problem even worse...

    The higher the Q, the narrower the bandwidth :-)

    Don't set it too narrow to start, it'll just be confusing. Dial the Q up a bit more than default, then sweep the frequency spectrum with a boost of between say 5 and 10 dB. Toggle on and off to recalibrate your ears while doing this, to find the right frequency. Once you find that it does seem to accentuate the sounds you want, try to dial the Q a bit higher and see if you target the frequency better. Once you find it, adjust the boost to where you want it.

    By the way, use the headphones to find the frequency that you are looking for and narrow it in there. Then switch to the Laney to determine amount of boost, and possibly adjust the Q a final time.

    Hi Sebatian,

    Regarding how the amp (profiles) distort based on the output of the pickups:

    One route to go is to simply treat the kemper as a regular amp and accept that the difference is there and work with it - ie. accept that some guitars drive the amp harder than others

    Another is to store input settings on the kemper, where you can adjust the clean sens and distortion sens for each individual guitar to get them closer in how they drive the profiles. You simply adjust and the push the "store" button. Also remember to "lock" the input section, otherwise the settings will be lost when you change profiles. You recall input settings by turning one of the knobs above the display (I forget which one).

    Regarding the loudness/output of the kemper (output stage):

    I believe you can do the same as option 2 above, but for the output stage. Keep in mind that there is a lot of parameters in the output stage (EQs for different physical outputs, etc etc etc...

    You could also - in the output settings on the kemper - link the physical output you use to the "master volume" knob on the kemper. Then you can tweak that quickly when switching guitars. Keep in mind that this will change the volume of all the outputs linked to the master volume knob . The output section has a volume setting for each output individually, and based on where this is set "on the scale from low to high", I believe the master volume knob (if linked) allows you to make fine or coarse adjustments. I seem to recall that having a low setting on the individual output means that a slight turn on the master volume yields a large change in actual volume - and a high setting on the individual output means you can turn the master volume dial "more" before the same relative increase. Or vice versa. I may be totally wrong about this. :-)

    Did you by chance tell the kemper that it was profiling a clean rig rather than an overdriving one?

    Don't know if it would make a difference, but that's all I can think of at the moment...

    When connecting hte kemper via spdif, the kemper must be set to master. It can, however, be set to 48k. But I assume that you don't want to use the kemper clock for your converters regardless.

    I don't know about the cables - you could of course try, but it's a long shot. Try with the cables you used for connecting the monitor directly to the kemper.

    One thing to try, though, is to make absolutely certain that the cables are plugged all the way in to both Kemper and converter.

    Actually, go into the output section on the kemper, there is a bunch of pages where you can EQ individually the outputs of the kemper. Check to make sure all the controls of the outputs are at <0.0>. I should have mentioned this first :-)

    It does sound like some phase or polarity issue. Have you tried listening through the converters with only ONE channel from the kemper connected (left or right)?

    The fizz/distortion you described while using spdif sounds like the converters are set to a different sample rate than the kemper. Which sample rate do you run your converters at?

    I think for most music producers the mac pro is overkill, and a "regular" imac will be more than sufficient. Larger studios is another matter, and studios where they work with television etc.

    Regarding the monitor - I don't think it's intended for music production at all. You could of course use it no problem, but I don't see why anyone would want to buy it simply to use with a DAW.

    In any case, the functionality of the stand would make the production price WAY more than 40-100 dollars.