Posts by tntent

perhaps I should ask support then.... I will report back

Anyone out there powering and charging there line 6 G10 wireless from the usb on the back of the kemper ? If so any caveats or things to be aware of ?

Quote from paults

If you haven't yet, check it with another cable before determining it is the jack.

If it is the jack, create a Support ticket.

Yes it is the Jack. definitely not the little tab on the cable..

Well the flimsy network Jack on the back of my kemper is now broken. This has been my only complaint with he kemper since day one. I thought no biggie, No one else will be back there pulling on cables or anything and if I treat it gently, it will be fine. NOPE. cables will click in but will pull out and lose connection easily resetting or turning off remote. I hope its not one of those tiny direct to board soldered on jacks but I fear it probably is.
Anyone replace the one in theirs and/or mod it to include the neutrik style locking jack yet ?
How Long is the warranty ? I think it has been Just under Three Years but Not Certain.

Seems it's sold already

Great, still might suggest getting some momentary switches to go with your external effects board . This gives you lots of possibilities.

Check your other post. Please don't take offense but you could greatly benefit from some time spent with the manual and kemper tutorial videos. Kemper is an amazing piece of gear and quite complex in its possibilities. Spending some time learning it pays dividends.. For example, you wouldn't hook up a booster pedal to any of the switch pedal slots, those are for momentary switches to hook up via trs cable. It could then control a pure booster or ANY effect in ANY slot pre or post stack. For that matter it could control nearly anything kemper... Still think a pure boost pedal is a wise purchase ?

No reason it won't. Add a mono loop and use alternate and return inputs.

Quote from Vaughnfats

You wanted a full review? The verdict is in...

First impressions

My Bias Distortion pedal arrived courtesy of my long time friend and super Sweetwater sales rep Mike Soper at the end of January. Unboxing revealed a very pretty, solidly built pedal and all the necessary power goodies to make it light up. Very nice packaging and a very road worthy enclosure. I was a little concerned about the controls looking a bit sketchy in the pictures and vids but, I assure you, they are top quality and have a very positive and solid feel. They operate in a very smooth, linear fashion with no shaky play at either end of the range. The three way toggle for the boost circuit is located where it can't be damaged by a clumsy foot and is as solid as the rest of the build. The jacks feel good and the fit in all three is nice and tight with a nice solid click and no play. The LEDs are plenty bright with out being distracting and the model select LEDs change from red to a rich blue when the knob is pressed. The Bluetooth activation button on the back pulses a diffused blue. The whole pedal looks too good to step on but it'll take a pounding. They don't call me Fats for nothing, at 300 pounds I can definitely destroy a cheap switch or a lightweight enclosure. I've had it on a small diner stage with sit-ins coming up and kicking around and it still looks like it came off the shelf today. I'm confident that this a pedal that will last for a long time without any mechanical issues. Nice...

Operation

Powering Bias Distortion is straightforward. A wall wart with both US and international options built into a nifty mechanical slide switch is provided along with a USB cable. The pedal can also be powered with a standard center negative 9V pedalboard brick and will run on USB power when using it with the Bias Pedal software. There is no need, and I'm sure that it would be ill advised, to use external power while plugged into a USB port. Some of the early pics and vids showed stereo ins and outs but the shipping version has a standard mono set. Makes sense. The expression pedal jack accepts a TRS configuration. Expression behavior is linear and smooth.

Connecting to a computer is as expected. Be sure you have installed the Bias Pedal software first and the OS will find the drivers when you plug it in. I haven't experienced any unexpected quirks in connection. Have the pedal plugged in before you call up the program and everything works just fine. I've tried it with iPad, OS X and Winblows 10. It works equally well on all three but the iPad's touch screen is my favorite for tweaking.
If you have any experience with Positive Grid's Bias pedal software you know how deep you can dive. If you're not, the software controls every aspect of the pedal design. The clipping module allows control of a pre Hi and Low cut circuit ahead of gain, distortion and bias level controls. The clipping topology has five voices from germaniun to tube and that circuit is followed by a second set of Hi and Low cut faders. The gain control also features a Vintage/Modern toggle with a very nice change in midrange voicing. The output module starts with another set of Hi and Low cut faders ahead of an output distortion control. Think OP Amp distortion... A Set of EQ controls follows with Low, Mid and High controls, a tone control with a Tilt/Resonate switch (great option for the behavior of the tone control), output control and a mix (blend) control. If you've never had a blend control on a drive pedal you'll learn to love it in about 30 seconds. The Low, Mid, High and Blend controls are mirrored on the hardware. The Power Module features 3 speeds for attack and release for a nice compressor with an intensity control. Ratios are selected at 1:1, 2:1, 4:1 and 8:1. The compressor is invaluable! An overall output control is included as well as voltage selections from 6 to 18 volts. 2 EQ modules are also included with 8 band graphic, parametric and 4 band studio options. The EQ modules can be moved anywhere but after the Tone Match module. With all this control the gain, EQ and feel are infinitely tweakable.

Sound

My first reaction to the sound and feel, although it was a tiny bit generic and suffered from a very slight case of the "digitals", was that it it was still addictive and very satisfying to play through. I made friends with the playing response quickly and comfortably. The more I played with it the more I liked it. The compressor was particularly helpful for adjusting the feel and dynamics. The factory pedals sounded fairly accurate to their real life counterparts. Overdrives were responsive, distortion varied nicely from gnarly to smooth and silky and fuzzes behaved like they should. I think fuzz emulations are the measure of a modeled pedal. They're very organic and it's difficult to get that nasal, wobbling bias behavior to pop. The boost circuit can be used pre gain or at the end of the circuit and the Fat, Clean and Treble options work very well. Overall I was extremely happy but not overwhelmed. It was still a keeper. I found the dynamic response and range of factory presets to be more than usable and many were quite good. I play a lot of different styles. A typical week for me ranges from high gain rock to a fully populated Big Band to a Friday night Nashville chicken' pickin' gig at a local diner... Bias Distortion covers everything I need.

Problems

I had only one issue. Most of the pedals that I downloaded from the ToneCloud worked just fine. The exception were the majority of pedals that uploaders had created with Tone Match. I experienced a very bad digital overload in the output section with the usual whistling/ring mod that it generates. It made those pedals unusable with the Tone Match module engaged, thus defeating the purpose of sharing your matches. I was still happy with what I could do on my own so I considered that and decided to keep the pedal and contact Positive Grid. Glad I did. I had an answer to my inquiry almost immediately and the communication with the company was terrific. I gave them a very detailed explantation of the issue (go figure) and, at their request, sent them an audio example and the log files from both my Mac and PC. I've since learned that my issue was not unique. After my initial back and forth I was even contacted without further inquiry to let me know that they were working the issue. Yesterday they let me know that a new software version and firmware update that included the bug fix and been released. I updated today and checked every pedal from the factory models to the complete listing on the cloud. Problem solved!! Also... The new version is a HUGE improvement over the initial release. The tones, response and dynamics are born again awesome! The overall tone is sweeter with much more pronounced even harmonics (it really sings now), the touch is very analog, dynamics are improved and I now have a wonderfully organic, programmable drive pedal with 20 MIDI slots to integrate into any of my rigs.

MIDI Control and Final Thoughts

MIDI control is straightforward. 20 recall slots are available and preset programming is cake. MIDI CC is also available for more parameters than you'll probably need. The expression control is more than enough for me. Easy to use... Calibrate, set your heel parameters, toe down and set the top of the range, save and go!
After this first update from Positive Grid (it really sounds and feels fantastic now) and the quality of personal service I've received (thanks Ben!), I'm extremely pleased with my choice. I highly recommend you snag one of these!

Now... Does anyone have an original Klon I can borrow for a few days? I'll rent it... I'll paint your house... Anything... Anyone?

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Quote from Vaughnfats

Sound

My first reaction to the sound and feel, although it was a tiny bit generic and suffered from a very slight case of the "digitals", was that it it was still addictive and very satisfying to play through. I made friends with the playing response quickly and comfortably. The more I played with it the more I liked it. The compressor was particularly helpful for adjusting the feel and dynamics. The factory pedals sounded fairly accurate to their real life counterparts. Overdrives were responsive, distortion varied nicely from gnarly to smooth and silky and fuzzes behaved like they should. I think fuzz emulations are the measure of a modeled pedal. They're very organic and it's difficult to get that nasal, wobbling bias behavior to pop. The boost circuit can be used pre gain or at the end of the circuit and the Fat, Clean and Treble options work very well. Overall I was extremely happy but not overwhelmed. It was still a keeper. I found the dynamic response and range of factory presets to be more than usable and many were quite good. I play a lot of different styles. A typical week for me ranges from high gain rock to a fully populated Big Band to a Friday night Nashville chicken' pickin' gig at a local diner... Bias Distortion covers everything I need

THANKS FOR TAKING THE TIME FOR SUCH AN INDEPTH REVIEW. STILL WOULD LIKE TO TRY ONE BUT HAVENT PULLED THE TRIGGER YET! WHEN OTHER PRIORITIES EASE OFF PERHAPS!

The looper location pre or post just sets where the looper sets in the signal chain. One will allow you to record a track with one rig and play another over it overdub. The other setting will change all when rig is changed. The way you use the looper stays the same... You need to go to looper mode then hit record and again to play etc. you can not change rigs without hitting looper mode button again to make them accessible again. Then you would need to hit looper mode button again yet to be able to control the looper. Best explanation I can give you. If you can see a loop playing and you are certain that you put something on the loop(played) when it was created and have no output that would be different.

Just sent this to support as an FYI for others...

5.1.1.12825 my external switch that is connected via the remote I've been using normally for looper function now boots up in the looper function as being activated on the remote. I have attempted to reverse polarity and recalibrate but this does not work at all. The switch operates normally and functions fine. It only boots up as if the switch has been pressed already.

Thanks for the harmonic lesson recap. I should have known this already had I only thought about it a minute but I'm sure others will find this helpful as well.

Still getting acquainted with this speaker really and I would like to find time to rig up an ab switch with the Yamaha Dxr since that has been my benchmark. I think my first impression was tainted by something amiss in the setup. I reset the unit and checked the levels on kemper vs the axm12 and instantly it sounded so much better. I'm now quite pleased with this unit. I bought it in the hopes of an improvement in sound quality in a tighter and light format to utilize as my Frfr and stage monitor. I now believe this unit does that over the Dxr. Probably not quite as loud as the Yamaha and those with extreme stage volumes might want 2 but the Dsp monitor 2 mode is expressed as being for this specific purpose.still quite flat yet bumping certain frequencies. Also, had a chance to play some music through the aux input on foh setting and the sound emanating from this single unit sitting on the floor was quite impressive and I believe helped break in the speaker a bit. Hope this helps someone.

Quote from texasflood

How does the DXR10 compare to the QSC K12 ?

I have tried a DXR10 an I think it really sounded great, but I found that it was not loud enough once our drummer just got started...
maybe two DXR10 would have been great.

At another venue I got to try the QSC-K12 and this also sounded great, and this one really had the power to play loud.

I normally play a Fuchs ODS50 through a Fuchs 2x12 cab (Eminence speakers).

TF

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never heard the dxr10 as being described as not loud enough.. usually the opposite.. in fact it is rated at 131 DB which enough to damage your ears.. The qsc is rated the same hence both Are known for having quite a bit of volume. Perhaps you had monitor output turned down on Kemper when you tried it ? Maybe a defective unit ? Not dispersed in a fashion you could hear it where you were standing ?

Finally Got my axm12 . Own the Dxr 10. Bought it with the intention of a light and small monitor that was flat for kemper purposes as well. Have had very little time but my first impressions are that it is very flat to the point it brings out any weakness in your profile or signal much like studio monitors. Doesn't seem to have the punch that the Yamaha has but definitely better dispersion. So far I'm thinking the axm is better to monitor my vocals, guitar and band mates but to just play guitar without an actual guitar cab and listen the Dxr . Again, I really haven't spent baby time with this yet . I'll try to report back after a week or so

Thanks for sharing your effort ! Cant wait till I have some time to try this! I would love to have that feedback type effect. Any other suggestions for use ? Most popular pitches for feedback typed effect I assume would be octave, third above, and fifth above?

Quote from hüttenwerk

Sorry for bumping this old thread up, but that one comes so close to my question that I don't want to start a new thread for it.

I narrowed my search for a FRFR-Monitor or speaker down to the Atomic CLR (I expect it to be available in Europe soon enough) and the Dynacord AXM 12a. But I couldn't find any A/B comparisons so far. Had anyone around here an Opportunity to hear them both simultaneously since the last post?

I'm in the Us and have ordered the Dynacord to try over the atomic. Still cheaper... though some got the atomic mk11 on special at 999 they are back to 1399$ us. I like the three inputs Dsp, and size and weight factor of the Dynacord. I need something to use as a quality monitor for that much $ as well as the kemper and still retain clarity of sound. Waiting to clear customs but seems like a better deal to me and I hope I'm impressed with the audio quality as many reviews say.

For the benefit of others who may wish to buy something not so available in the US. My order with Thomann seems to be going very smoothly. Its already in the hands of the USPS about a 4 hr drive from where I live. Not Sure how the local post office will do with the door delivery but they will leave a pickup note worst case scenario. This was ordered last wed and its now only Monday so pretty quick and efficient from Germany to US. I spent more time with their competitor trying to pay and get it shipped !! Seems Thomann is either better equipped for this or I jucan st had really bad luck with Music Store. Ive learned I can also call Thomann and speak to english speaking agents if need be. Ironically, I had no need. Tried to contact Music store and you can only get a long hold time with prompts and messsages all in German. I actually thought about using google to translate for me if I could get someone on the phone to try to get my order paid and shiped... Seems kind of funny now.

Quote from raunch

I live in Cologne, so I'm at Music Store regularly. The place is BIG and they generally have everything in stock at the location. I've returned some gear and they took it back no questions asked. I think they are as big as Thomann, but I could be wrong. Definitely one of the largest stores in Europe. Great customer care and the boss hangs around the store on Saturdays.

I couldn't recommend Music Store more. Thomann is great, too. I just prefer to pop down to the store in person to buy things, so I never really bothered with Thomann.

BTW: they are eachother's biggest competitors and will match each other's prices. But shhh...I never said anything.

Probably a much different experience walking in the store than trying to ship US. I think the people in charge of this are likely quite busy and you get the lowest priority over in store customers. Also, Im sure they have to do some checking and make sure of a few things due to distances.. I think over a week of emailing back and forth after putting something in the cart, checking out and giving your payment information and still not to get shipped is just too much though..

Quote from Grooguit

I use it with the Rig select switches on the Remote. I don't really need the gradual transition between extremes. Rather, I use it to instantly vary a couple parameters. In particular, I find that I often want to go from a more overdriven sound to a little bit cleaner one and therefore raise or lower the amp gain a bit. However, I also want to up the mix or feedback on a delay or reverb, so that theres more delay and reverb during the cleaner softer parts of songs. Obviously, I could accomplish this by just changing rigs.
Since I lead worship at a church, which entails singing a lot and talking between songs, and even prompting the congregation during songs, I don't look at my feet much. With having an instant variation of a rig through the morphing feature, I find that I usually only need 6-10rigs, or two performance banks, for the five songs we use a weekend. I have about 40 songs worth of rigs, about 65 rigs total, stored in other performances that are used monthly or bimonthly. I then just copy and paste the 6-10 rigs I need for a weekend into two banks that I copy over each week. Thus the morph allows me to have fewer total rigs. Since I only have about 4 profiles I use over and over again in those 65 rigs, clean, slightly overdriven, medium gain, lead, fewer total rigs means it's easier to make adjustments to all my lead rigs, for example, so that I didn't have a dozen different slightly different tweaked versions of the same profiles in all my rigs.

I use nearly the same approach