I'd love to have some profiles of an early 80's Fender Super Champ if you could get your hands on one?
I'd Like to be able to double click on a value and type in the number that I require.
I find it very tricky to be exact with the mouse.
Completely My mistake!
Why the hell did I think that RigManager was sync'd to my DAW?
What a Twit!
Does anyone know why the dotted delay setting doesn't produce a dotted delay?
At 100bpm a Dotted 8th note would be 450ms.
the Kemper Delay synced to a DAW at 100bpm does not come up with the same number.
Am I doing something wrong?
Any help would be appreciated.
You clearly have no experience as a producer or an engineer!
I don't think it's a good idea for you to accuse me of being dishonest, just in case we meet one day.
If it means so much to you get a CE-2 and spend an hour or so reproducing the setting you like on the Kemper.
*removed by mod*
I have a Dimension D.
You're right, I haven't found a way to recreate that in the kemper.
I use it on a great deal of sources.
Great for widening a sourse and adding some carracter.
The "eventide micro pitch" is another great effect that you can't recreate in the Kemper that is essential to recreate certain guitar sounds, Van Halen from the 1984 record onwards.
I've just spent three days in the studio but didn't have any time to look at the kemper.
I'm sure there's someone else here with a CE-2 that can get an approximation for you quicker than it's going to come from me.
I'm doing an album for a client that is going to keep me busy for at least another month or two.
High pass filter would be a good Idea
That's all great.
But it doesn't sound like the OP has such worries, and that was the question I was responding to.
It's unlikely that someone looking to buy a small interface, is considering running a stand alone clock.
Spdif is just so damn convenient.
No need to patch or set levels, always comes up on the same inputs on my daw.
The only time I go analog is if I want to add a specific colour from a preamp, comp or eq.
It also free's up analog inputs for other things (important if you always have a drum kit, several mics and analog keys permanently patched and ready to go)
If you're going for a small interface with fewer in's/outs you'll be glad to already have one thing squared away and not taking up limited resources.
The reason that you keep all of your individual tracks at a reasonable level, is so your daw doesn't have to sum too many loud signals.
Daws aren't good at this, unlike analog consoles, that will offer pleasing distortion if that's what you're looking for.
If once you have your track mixed, you want more volume, just go ahead and boost the two buss anyway you see fit as the summing stage has already been taken care of.
Use rig manager to get rid of the profiles on your Kemper.
It'll probably save you some time.
The connection at the kemper end of the setup is clearly not up to the job and should have been updated a long time ago.
500k would be useless.
The way the remote connects to the kemper is very poor.
I can understand that it probably wasn't understood how much of a problem this would be when the unit was designed, or first produced, but it does seem odd that it hasn't been fixed for newer units.
It's clear that Kemper hq are aware of the problem, so many users have had problems, and some have created a partial fix by adding a breakout box with a more sturdy connection.
Kemper's failure to address this problem in newer units somewhat solidifies my feeling that they think that the way they do, or have done, things, is best, regardless of repeated evidence to the contrary.
For a unit that is held in such high regard for it's fx, he seems to require a lot of outboard.
You can currently connect digitally via an adat conection.
No more conversions than plugging right into your interface.
A kemper software editor would be in daily use in a professional studio for me, and I think for most others here who own or work in professional facilities, the same would be true.