Posts by V8guitar

    Same here...its nothing to do with the KPA, in fact the KPA and other digital stuff takes some variation out of the equation ( tube temp, mike placement, type of mike etc).

    Ingolf I am surprised but pleased in what you have said. In the early days I followed your posts and I think it was you that got me to make the move from cabs to FRFR 4 or 5 years ago. Does this mean I've now got to change again? JOKING! :)


    I was using a guitar cab for the first 18 months, miked up. When I moved to FRFR it was so different and I realised how much "smoothing out" a cab gave. For me it became more alive and open and made me feel like the cabs were the compromise.


    There is no doubt its a different sound but to be honest I still prefer FRFR. Never had issues with musical feedback, I use it all the time. I find a better spread of sound and its more "complete". I never found direct or merged profiles helped with the cab BUT glad you've found that missing element.


    However, having said all of that, still going to get a Kabinet :)


    Nice one dude!

    First off,,,,thank you so much,for taking time to respond to me on this ,,,, but I'm a 66 year old, half blind guy,, who with 3 power reading glasses,, can still.. hardly read the tiny little green screen on My Kemper rack, ,I have never been a deep edit guy, I plug in and play, I have an old school,,, amp, cord ,pedal ,mind set,,That's exactly why I LOVE the kemper, since I found the Morgan profile,( and bought an AC 20 deluxe because of it) I have never been happier,But as far as me diving into the little screen and tweaking, That's just not gonna happen, I've tried and messed things up so bad, I had to do a re set- and re-load, from scratch,, no more editing for me,I don't enjoy it,,,

    I'm a player, not a tech,,,,,I need a button,to step on,, it will happen, sooner or later,,

    So,,THANKS so much for all the great advise and help and suggestions,I love this place and all you helpful folks,, ( ducking? I use to shoot ducks with a friend??? )for any of you who wish to hear what Im up to,, http://www.mariomassi.com,,,,, 200 hundred originals,,,more or less,,

    I think the disconnect here is that:


    1) To transpose you have to transpose something. Therefore a note needs to be presented, then processed and outputed. It doesn;t know to transpose A to Ab if the A hasn't been played yet. That takes time regardless of the hardware and software. Therefore zero latency is impossible.

    2) All transpose pedals will have other artefacts as well - it starts with a complex analogue signal not a digital one. Its not a digital piano.

    3) The suggestion that the drop pedal has zero is incorrect and certainly not my experience. Is it better than the Kemper? In my mind not noticeably but some prefer it. Its dedicated to that task so by definition should be the "peak" of transpose tech. You can't expect other solutions to be as good.

    4) Because of the above, these issues are more noticeable in precise music, which shows up more when clean as well.


    No one is ignoring your issue, its that limited improvements can be made in processing the signal. For different tuning I prefer multiple guitars, is the only true resolution BUT logistically its a nightmare.


    The easier question to solve is probably the other pedals on you board...I have zero pedals now.

    Just to be clear, you are not taking the speaker output from your powered Kemper into the headrush?


    You don;t put powered out into a powered FRFR. You are using the main or monitor out?


    Hence it does not need to be a speaker cable.

    I know a couple guys that pull at least one ear out for this reason.

    *For me* - I'll take the tradeoff to keep my hearing as long as possible.

    I've heard ( pun intended) that pulling one out is even worse for your hearing ( over compensation or something like that).


    I agree that the right way to do it is have IEM's in and actually once you get used to them they are great. What I do like about IEM's is the consistent mix, you can hear everything all the time (particularly when you go a wandering..). Hence why I'm stupid to keep pulling them out...

    Personally I have never got my IEM's to sound close to my FOH and practically you can't. I have come to accept that the sound is compromised for many reasons.


    However, the bigger issue for me is the osolation from IEM's...which means I go with my best intentions and then start pulling them out mid gig...Yep I know, stupid. Tried ambient mikes etc but can't get the same feeling with them even with a good band mix.

    I've had anther pedal. A broken cry baby that I gutted and made into an expression pedal(I know what I'm doing) that has done the same when I used in a different slot on my remote do it as well when I would try to use it for pitch shifter. Toe down should have been an octave but periodically it would be off and when I checked that also showed the little gap that it wasn't at 100%.

    Definately a bit odd...I have done the same with a crybaby and I also have a regular expression pedal...I've not had to calibrate them since I connected them 5 years ago...hmmm

    I've dabbled in music theory a few times and personally I've found:


    1) Its not complicated, its just hard graft. You have to understand the intervals and keys and memorise them (as having to reference stuff takes ages/not practical). That is your basis behind modes, harmony etc.

    2) There are very few books or videos that bridge the gap between theory and practice. So ground yourself in the theory and then transpose onto the guitar. I don;t think there are many short cuts to this.

    3) There are a few rules but ultimately some things that aren't supposed to work do...therefore theory isn't the holy grail but one part of the story - I guess its the dictionary in my analogy :). It opens up options ( rather than my limited pentatonic world :) ) and flexibility in your playing.


    I assume you asked for tab to help you relate it back to the guitar...and I think that's the point...as tab has no basis in theory its probably counter productive ( as you need to understand the fret board). You can get scales obviously in tab but that is just the start and doesn't answer the " what chord sequence will that work over".


    As a self confessed duffer in theory, its one of my biggest regrets not to spend more time on it...too stuck in my ways now. I wish I knew what key I was playing in half the time...

    I bought a regular PA passive wedge. I took my KPA to the local PA shop and used a yamaha dxr10 as a baseline and found something that was similar - which turned out to be their own brand. Cost me £180 and its been brilliant!


    I also have a camper self built 1 x 12...

    Thank you all for the excellent suggestions and help. Coming from a valve amp and stomps this thing is something else.

    I think most of us have come that route so makes sense.


    My only other suggestions are :

    • Just because you can doesn't mean you should - you can have 20 sounds for each song, but do you really need them? I try to still keep it simple and treat each sound as a channel on an amp, albeit I have a 10 channel amp now rather than a 3 channel.
    • Profile/sound paralysis - because you have so much variation, I got stuck in trying all profiles and variables, including IR's. In reality 80% (and I've scientifically checked that value :) ) of your sound is from your fingers. Therefore don't get lost in the eternal search for the ultimate tone and forget to play the damn thing. Use it to springboard your creativity only...

    Well I knew the answers were going to be simple. Can’t believe I couldn’t figure it out on my own. Thanks for the help everyone. If I can figure out an effect to work for Lonely boy intro I will give it a shot tonight. Practice has been a lot of fun with it.

    If its Lonely boy by the black keys, obviously the main effect is the pitch drop for the intro. Having played that before, I used to dump the note down 6 octaves ( I think) to get that drop to a "blugh" sound.. I did that with the pedal pitch as mentioned by Don, using an expression pedal so it operates just like a whammy..

    Dude, I would also think about 1 song per performance. I know many do this but I think its overkill. You have 5 slots for different amps, and 8 effects for each slot PLUS morph. Morph allows you to change parameters within the effects or amp.


    This effectively gives you 10 slots per performance. To action morph, you just switch the same button on the remote. For example I have my main ryhtm in slot 3. If I want a small amount of boost ( for riffs for example) I have morph set to increase a bit of volume, gain and treble. I then in slot three I hit the button again for that boost.


    Works really well...check morph out if you haven;t yet. It might save you from the 1 performance per song which I think carries a large management overhead. I use 3 performances across 2 bands ( 60+ songs). 1 performance for 1 band and 2 for the other purely because I have big contrasts in the 2 guitars ( Les Paul vs Gretsch) I use, so 1 slot for each guitar.

    ckemper


    Just a quick thank you for opening this discussion and offering to answer questions.


    You must have had some grief over the editor but you've put yourselves out there again ( in advance of something being ready).


    I for one appreciate it ( I don't want to trigger lots of "and me", so perhaps just like this post if you agree) and wanted to acknowledge it.


    Right, do I get a discount/first in the queue for one? :)

    Please tell me what real circumstances may occur, to be in Need of the Speaker's or even the Profiler's volume limitations. Even on a loud stage with a loud Drummer and the bass-bins under stage I never needed so much volume at all.

    I have not come close to using all the power in the power amp, so much headroom and so loud...there are some crazy people out there though :)


    I did try to find out how loud my Laney 100w amp would be and blew 2x12's in the process...but I was being a prat..

    No, it won't hurt it at all. Increasing the impedance will lower the output wattage though (basic Ohm's Law), but the powered KPAs have so much headroom that it won't be much of an issue. I run my powered rack into a Marshall 1960B cab set to 16 ohms all the time.

    I assumed that was the case, but I guess there must be an upper limit. anyway, I suspect its not a limit any normal/sane person will find..