Posts by scratch17

    The KPA won’t get alternate tuning feature anytime soon. But a Roland or Boss GK device can do the trick.


    A Roland VG-99 will do this easily and accurately. And much, much more. You can dial up any alternate tuning you want.


    I suggest the VG-99 because a used one is a relatively inexpensive choice compared to a Boss SY-1000. But VG-99 still has great sound quality and even some features not on the SY-1000. The Boss does work in a limited way with a mono input from a standard magnetic pickup. I’m not sure if the pitch shifting feature works with the mono input though.

    Yes, the VG-99 requires a hex pickup. I have a Brian Moore i213 which has a built in RMC hex piezo. I also have an external GK-3 on my Hamer Duotone. It will soon be replaced with a Cycfi Nu2.


    I feed my unpowered KPA with a mono signal from my VG-99 for alt tunings all the time. The GR-300 built in is a really accurate model. Wanna sound just like Pat Matheney? Here you go…


    There is no noticeable latency, And there are all kinds of HRM sounds that add synth like tones to your guitar. It is really easy to create instant 12 string guitars, too.


    I plan on adding a Stage soon to my Kemper rig. The VG-99 can output a stereo signal. So I can feed each KPA its own signal. That will be really cool.

    Top section is a rectangle. It, or the same size bottom section should have the jack plate. Use a rectangular middle piece that is wider than the gap between the top and bottom sections. The middle section should have two thin vertical cleats at the sides of the opening.


    A gasket should form a ring to seal the opening. It should cover the vertical cleats with horizontal strips along the top and bottom sections. That will seal the back when the middle section is fitted over the opening.


    I’d use threaded inserts in the top and bottom sections with bolts to connect the middle section in place. Use knobs on the bolts to enable quick close / open changing.


    The sections must be cut with precision. Otherwise air gaps will be caused due to poor fit. Use a table saw or a track saw. These are not tools that should be used without caution and safety instructions. I’d pay to have the job done properly. It’s cheaper than losing a finger.

    Wired fret guitar to MIDI has been around for years. Keith McMillen (KMI) has a fret wired MIDI controller that he is ready to produce. He showed a prototype at NAMM a few years ago.


    Richard McClish (RMC) sold a fret wired guitar to MIDI controller in the 90’s called the Zeta Mirror 6 that was really expensive ( > £3,200 ). It worked but the fret / string contact had issues over time.


    It looks like Bib O’Reilly has overcome many of the issues of fret wiring used as a switch to (almost) instantly determine pitch. I saw mention of the contact degradation issue on his web site.


    Also, the pitch bending function seems to work really well.


    Having said that, I have some big issues with this product.


    1. I won’t consider an instrument that must cross the Atlantic for service. I see no mention of a warranty, what it covers, and what the return time expectation might be.


    Further, the site says that there is a 6 to 12 month wait once you place an order. And that the guitars are ”hand built”. So how long will I be without my guitar if I have to send it for service.


    And I hate the “hand built” description. That is great for a standard guitar; it’s silly for a guitar based on specialized electronics. A human is far more likely to create a production flaw than a robot when it comes to complex electronics. And humans cost more and take longer to do the job.


    2. Why do I have to have to pay for all of the extra switches, joystick and X/Y pad? Why can’t I have a basic guitar with fret wiring? At half the price. And as a far less complex instrument, I’d expect less chance of failure.


    3. Where is a full operator’s manual? How can Mr. O’Reilly expect a potential buyer to buy his instrument without knowing its specs, MIDI implementation, and a complete description of the software it comes with?


    4. Mr. O’Reilly is terrible at demonstrating his instrument in the online videos. He misses key points about MIDI guitar controller requirements like matching pitch bend range to the target. And he never explains the need for either a Mode 4 or MPE target if you need polyphonic pitch bend.


    With the potential of this technology, it seems that it could be a home run. But I suspect that the company is woefully under funded based on my above observations. I can’t see it surviving long.

    I will be getting a Mac Mini M1 now that Universal Audio has released drivers for my Apollo Twin X interface. I haven't heard any news as to whether Kemper software runs on Big Sur under Rosetta 2. Is there anyone on the forum who's tried this?


    Does Kemper have any plans to release updated versions which run natively on M1 Macs?

    am overwhelemed. For those that use the Apollo line, How many plugins do you use when actually profiling, which ones?


    If you're talking about additional plugins, like the VSTs that they give you, zero. You want the clean signal of the amp


    I plan on using 2 mics during profile. So i guess that doubles the number,,, I realize some plugins are more processor hungry than others.


    ndross475, I can see why you are overwhelmed.


    You seem to think that profiling on the Kemper involves capturing tones with effects in the chain. That would be incorrect.


    If you read the Kemper manual, you will see that time based effects should not be on while profiling. The manual also indicates that fuzz effects should be avoided.


    Yes, you can put a distortion pedal in front of your amp and make a profile that combines the two. But why do you think that professional profilers don't sell profiles with effects included? I've experimented with profiling a distortion pedal (my Wheebo PlexFace) by itself. But that's not the same thing as profiling it in front of my Fender Bandmaster.


    In fact, until you have some experience creating quality profiles, the only sound that a profile should capture is that of the actual amp. That may or may not include a speaker cab. Whether you profile the amp with a cab depends on the type of profile you intend to make. Different profile types have different strengths and weaknesses.


    I have both a Kemper (non powered rack) and a UA Apollo system with over 60 UAD2 plugins. Technically I could have profiled any of my amps with a Roland RE-201 Space Echo. Or a Lexicon 224 reverb. Or a Tube Screamer or RAT. The results would have been horrible.


    The main reason to use a UA system is that the on board DSP and plugins are a fantastic near zero latency tracking system while recording.


    I do use my Apollo and plugins with my Kemper as an outboard multi effect device. But not as part of a profile.


    Now I have done some experiments with profiling my Mesa Rectifier Recording Preamp feeding some of the UA amp sim power amp and cabs sections. But I highly advise you stick to creating profiles with just one of your amps to get started. Making a good profile is not just about plugging things in and hitting start.


    Point two. Why do you want to start out making a profile with more than a single microphone? Doing so will add complexity that is unnecessary for the process to succeed. Start with a single dynamic mic, like a Shure SM-57. Don't add a mixer. Don't worry about phantom power. Get the mic placement right with a single mic before you start having to deal with potential mic phase issues.


    Point three. RTFM. If you study the manual, you will understand the differences between profile types. That subject alone is fairly complex. So take your time. Start with a Studio Profile. That's the profile type where you use a mic to capture the sound of the amp and speaker combination.


    lespauled , There are no Universal Audio plugins available in VST, AU or any other native format. They are proprietary and require a UA hardware device (Apollo or Satellite or PCIe card) to run.

    Having looked further at the pics on the Kammler web site I no longer think a cab can be converted from a 12 inch to 15 inch driver. The front baffle doesn’t seem to be removable so the cut out for the driver would be fixed at either 12 or 15 inches.

    I do wish the web site had more information including cabinet dimensions. A video on driver installation with tuning instructions would be a plus, too.


    I understand that the tuning of the cab is dependent on the cabinet’s casing design. But I would like to see a removable closed back option for a Mono-Kai with a Kemper Kone. Of course it should be an easy to mod for the standard open back cab.


    Finally I’d like to be able to buy the Tunator as a separate part. That should make it possible to use multiple drivers in a cab a snap. Pre-mount a few drivers and I’d have a really excellent platform for getting various sounds in my studio.

    The Mono Kai is a 1 x 12 OR 1 x 15 cabinet that can house the Kemper Kone driver.


    Quote

    Our ‘first one’ and the ‘primary rock’ of Kammler Tunator® Cabinets.

    Now available for ‘Kemper’ Profiling Amps with ‘Kone G12G-200’ speaker.*

    This is where a 12″ or 15″ speaker can unfold uniquely and fully, i.e. without competing and overlapping vibrations.

    The mono-modular design allows for maximum precision of the sound/tone. At the same time the sound is ‘transparent’ and differentiated. It allows you to perceive playing behaviour (the attack) incredibly quickly and offers many additional combination options:

    • greater flexibility in terms of requirements (Club/Hall),
    • which makes for easier and lighter transport.
    • stereophonic or polyphonic set-up options by separation.
    • sound mixture by using different speaker types in each case.
    • Expansion of the sound spectrum by combining with the Bi-Kini.

      * With the Kemper® Kone-Speaker available only in ‘black on green’ Tolex. Open cabinet housing is prepared for a optional rear panel.


    See it here:


    https://www.kammler-cabinets.de/en/1x12-cabinet-mono-kai/


    The cab uses an truly innovative driver mounting system using what Kammler calls the Tunator.


    Quote

    In the Kammler Tunator® Cabinet, the individually dampened and framed speaker is connected to the surrounding housing casing. The magnetic driver is additionally fixed by the Tunator® and set into the middle of the housing casing.


    The individual fine tuning, the ‘tuning’ of the vibration characteristics of the cabinet, can be done mechanically by the tension unit.


    https://www.kammler-cabinets.d…mo_final_980x550_nice.mp4


    I am speculating that the Tunator allows you to change driver size from 12 to 15 inch quite easily. This looks like a great way to house a Kone.

    I have the UAD Classic Effects bundle. It has the Dimension D emulation ( now called the Studio D). It is an excellent reproduction of the original hardware.


    You would need a UA hardware device (Apollo or Satellite) to run the plugin. There is no native version of any UAD plugins.


    The UA system affords near zero latency when tracking through a plugin if you have an Apollo audio interface. And the UAD plugins are awesome.


    Their plugins cover almost any type of classic studio effects, channel strips, mic preamps, mastering tools, as well as guitar devices (amps, overdrives, modulation, reverbs, delays etc.).



    And the Townsend Sphere microphone has two emulation packages not available anywhere else.

    That is the good news.


    As for the bad news, the price of entry is high.

    And you have limited options for MIDI control of plugins.

    Is it worth it to you? That depends on your budget and needs.

    I love my UA system (Apollos and over sixty paid for plugins). The hardware’s audio quality is excellent as are all of the plugins. So for me it’s a bargain.


    Not just pedals.

    1. I want a stereo profiler rig for my stereo guitar.


    My Hamer Duotone has a pair of Fishman Fluence Open Core humbuckers wired as dual mono. So I need to be able to have two completely separate chains to remain in stereo.


    That’s not to say I must exactly duplicate each chain. I just love my KPA enough to want it on both.


    Each pickup feeds a Radial JDV Mk3 DI. Each JDV feeds my DAW, has a bypass which feeds my KPA, and two Hi Z outputs for analog amp(s).


    I use the direct DAW feeds for re-amping and also as a continuously variable mix of the neck and bridge pickup. This provides me with what is a unique tone control. The natural differences in each pickup’s tone is blended producing a tone that is impossible to obtain with a simple pickup selector switch.

    With two KPAs I can place a pedal or even different pedal profiles in front of two analog amps.


    And don’t forget that profiles have presets and some have parameter controls. Few overdrive pedals have any MIDI control. I see a pedal profile as a super set of the pedal I have profiled.


    I also am putting CycFi Nu2 hexaphonic pickups on my Hamer. I will set up the CycFi pickups in stereo. In this case, the pickups will split the top three strings from the bottom three strings. Each side will get a KPA.

    2. I want to be able to use a foot pedal to morph smoothly from one profile to another. In this scenario, I need two profilers connected in series.

    3. Two KPAs in series with the first having a preamp profile feeding a Studio profile.


    4. I want two KPAs so more than one guitarist in my studio can play with one.


    I am not thinking about a second profiler just to profile pedals. I see the KPA as a piece of a puzzle that fits together with other pieces in my studio to create new options for sonic creation.

    Actually, that is what I want; a profile of just the pedal.


    At some point, I will have a second Kemper. I plan to connect them serially. The Kemper with the pedal profile loaded will go into the one with the amp profile. Just like a normal pedal / amp setup.


    For now, I have profiled my Weehbo Plexface. It is a two stage overdrive with a Plexi side and a Blackface side. You can think of it as two overdrives, with a fixed routing path.


    You can run the sides individually. Or you can run the Plexi into the Blackface. But you cannot run Blackface into Plexi.


    With the Plexi side profiled, I can run it into the real pedal running the Blackface side. Or I can run the pedal and the Profiler in parallel. So I have far more flexibility.

    Or I can run the Blackface at low gain into a profile of the Blackface at a higher gain level. I place each device into a loop on my Voodoo Lab GCX, switching between them as needed.


    The increase in flexibility doesn’t end there. As with any profile, I can have various presets of the pedal. That is something the real pedal doesn’t afford.


    And of course a profile can have pedal control over a parameter such as gain or tone. While the profile doesn’t have a linear relationship with the pedal parameters, this can be a real advantage over the real pedal.


    In all cases I run the Profiler and/or pedal into one or two of my tube amps. So until I get a second Kemper I can use this method with a single profiler.

    Try this:


    Make a Direct Amp profile of the left or right output of a home stereo receiver. Set its tone controls to flat or bypass if available. Put the pedal where Alan says.

    That will create a profile whose tone will be based mostly on the pedal.

    1. Direct Amp Profiles (DAP) are a combination of a preamp plus power amp. It doesn’t matter if they are in a combo, head or even separate rack units.


    No speaker cabinet or microphone is used to create the profile.


    The Kemper DI is great. Just use good quality cabling and make the connections as printed on the DI box to make the connections. Then follow the instructions in the manual to create the profile.


    Yes, you will have no cab in the cab slot after the profile is created.


    2. If you did a good job creating the profile, the Kemper Kabinet with the V30 imprint should sound very close to the original hardware.


    3. I suggest you create a Studio Profile with your 1 x 12 V30 cab immediately after you create the DAP, but before you change any hardware. Then create a Merged Profile by combining the DAP and Studio profiles.


    Then compare the Studio profile to the DAP with the Kabinet and the Merged Profile with the Kabinet in FRFR mode.

    There are other reasons to connect the Twin and the Kemper.


    1. Since the S/PDIF I/O on the Kempers cannot be used to access the effects loop(s), connect the Twin in the second loop of the Stage via analog. Now you can use the time based effects on the UA platform with the Kemper’s profile.


    2. Use a preamp profile (no power amp or speaker). Connect the Stage to the Twin via either analog or S/PDIF. Load a UA amp sim that can turn off the preamp section. Use it as the power amp and speaker sections.


    3. Connect the Twin and Kemper via S/PDIF. You can now use the Kemper effects on a track in the Console or Luna without a profile loaded.

    The X8P has coaxial S/PDIF input and output. It does not have a S/PDIF optical (Toslink) input.


    The X8P has two pairs of optical ADAT I/O ports. These ports cannot be used as S/PDIF I/O.


    Note that the Apollo Twin models can use their optical ports in S/PDIF format, but the Apollo rack mount units cannot. Also, the second pair of optical ports on the rack units are only active when set to S/MUX mode.


    The Kemper Stage has coaxial S/PDIF I/O. The Stage can be either a clock master or a clock slave.


    That is good, because with a Kemper rack or toaster, you’d be forced to set the X8P to be the clock slave. The rack and toaster Kemper models are limited to being the clock master.


    That’s how I set up my non powered rack with my Apollo 8. Which precluded me from connecting some of my other gear. I would much prefer to use my Apollo interfaces as the clock master.


    If you want to connect the digital I/O of both the Stage and X8P, use the coaxial ports. Set the Stage to be the slave and the two devices will sync perfectly. Now you can record and/or re-amp using the digital connection between the two devices. But you cannot use the digital connection to insert the Apollo’s effects into either of the Stage’s effects loops.


    So how can you use the Apollo’s effects in a Stage effect loop? Go analog.


    If you have limited line level I/O, I suggest that you connect your Stage’s second effect loop to the X8P via an analog send and a pair of stereo returns. That will allow you to use the X8P as a real time multi effect unit after the Stage’s profile block. Of course, if you have enough available analog line level I/O, you can connect the Apollo to both of the Stage’s loops.


    In the two loop setup, you could for example, place a Distressor in front of your profile and Capitol Chambers after it.

    The “loudness” button was meant to compensate for perceived bass loss at lower volumes. Google “Fletcher - Munson curve” for information.


    Note that as volume increases, the Fletcher - Munson effect decreases. In effect there is less need for bass compensation as volume increases.


    At some volume level in any room will require no compensation. After you reach that point, activating a loudness button will artificially accent bass.


    So the effect is not linear. I know of no “loudness” compensation button on any stereo system that took this non-linear behavior into consideration. When you activated the compensation you got the same level of bass boost regardless of where the volume was set.

    HCarlH, I have owned two ‘78 Polytone amps (MiniBrut and a 104). Loved the MiniBrute cranked above 7 for crunch.


    You mentioned a MiniBrute pedal preamp. Is this a DIY or a commercial product? I’d love to get one for my studio if it was available.