Listen, I'm not trying to upset anyone and it was just my opinion, so not what will necessarily happen.
Maybe the best thing would be to have an option of installing such a device during a software upgrade, if a metronome is essential. I just don't see a click being a feature expect in an amplifier and I would not want that possibility in a live show. I've seen odd things happen with our keyboard player and computers on a dark stage and the Kemper is just that, albeit a very reliable PC.
Those using it in a live show might be a bit nervous about the idea a metronome could appear on the outputs.
It has probably been mentioned that most people have a phone and metronomes are free.
I gave up worrying about updates and never had a flaky Kemper OS. Just avoid the betas if you are risk-averse.
Try putting you XLR Kemper outputs into a different mixer or headphone amp. You'll probably find it is the sound of headphones and not the output.
Headphones and even most in ears are anything but flat. That is why Sonarworks have a business!
I think you need to check the omni setting to off. By default it is set to on.
By default, the PROFILER receives MIDI commands on all sixteen MIDI channels (“Omni”). However, if you want to control multiple devices independently, you can set a specific channel in System Settings on the “MIDI Settings” page. Now, the PROFILER will only receive messages on that channel.
I have a few ideas:
2) Pannable effects- the ability to pan a reverb, delay, etc. all the way right or left. Yes, I know you can do this in your DAW, but it'd be cool to have on the Kemper. One of my most favorite and most legendary guitar sounds is Van Halen 1. The dry guitar sound is mostly panned to one side, and only reverb panned to the other side, totally separate. So it sounds awesome together, but the reverb doesn't cloud up the guitar signal. Even better, to reverb, delay, maybe flanger, phaser, add a dry pan, and a wet pan knob to each, then you could have total fx pan control.
You might be interested to know this Van Halen effect is already achievable with Delay Widener. Just watch out that it isn't summed to mono live though.
A single height rack unit version with all the same connections. I don't care about the screen, or editing at shows; just more portable for fly shows.
This is ofcourse OT, but i wonder what the cpu limits of the KPA are, and if we are close to reaching them.
I think CK has intimated a few times that efficient coding is worth more than extra processing power. Given the age of the Kemper and the processor, it amazes me that the quality of effects is so high.
Imagine the quality of the reverb and being able to run another 7 effects, plus one of the best polyphonic pitch shifters at the same time.
I use the Kemper live mainly and think of it as an amp with occasional upgrades. When those upgrades finish, it will still work like my old amp heads.
Seven years of perfect service and hundreds of shows means it paid for itself already.
Like any user, I could probably throw away a bunch of features I never cared for. However, the OS has been rock solid on the whole and as long as those features don't get in the way, I have no complaint.
If you have an imbalance out of the Kemper it would likely be a bad connection. If a pan was needed it would usually be per rig, which is already possible.
I know you want to control directly from the unit, but what would be the reason for globally panning a Kemper?
I already asked this a few years ago and got put in my place:-) It is still a good idea to be able to passcode lock the machine on stage though and simple to implement. At the height it is in my rack, there have been a few times local crew have accidentally leant into the rack on a tight stage. That moved parameters to leave me on the wrong sound at the beginning of a show.
If there is a worry about forgetting the code, it could be overridden by the editor these days.
I use the 3u SKB shallow rack and carry it as hand luggage. The the guitars go in an Enki double case in the hold.
We know many people use the empty cab trick. TBH its one of the main drivers for using cabs is the look...
You miss the cabs look on small to medium size gigs, but large productions were often hiding cabs when they had a great stage set anyway. I certainly don't miss having to store 4x12s at home!
Wow. It seems so rare these days to see an older band adopt new technology! They sounded great too. Real close to the album ..... even after all these years.
Kempers and IEM's. Pretty far cry from tube amps, cab stacks and wedges ;).
Thanks for posting.
I'm not sure I would even agree about older bands not using technology. Mark Knopfler, Testament and Tears for Fears using Kemper live. Meshuggah, Devin Townsend and Metallica are Fractal, with Annihilator on Helix. I doubt any are under 50 years old.
Of course there are a lot more endorsers who profess to use the gear, but come a live show you can see a real amp.
depending on your rig, maybe a cut at 6500 is a bit too much. I tried those values and now I tend to set it up more to 7k5-8.
for the low cut, I set it at 95 minimum just to give more bass if our sound engineer need it but the cut is also set around 110.
the « secret sauce » if you want a fat tone is the mid, M Britt profiles are perfectly setup for that at really high volume.
also reverb that sounds great at home can mess everything live at high volumes, I just apply a really small amount of reverb just to give a little less raw tone.
My conclusion also is that when you use units like kemper or modelers you have to do some compromise between what tone you like to play and what works 99% of time straight to foh.
I use 69 Marshall m Britt profiles exclusively live (all styles possible expect i don’t play jazz) I don’t like them that much when I play them but I gotta to admit they are really tailored for live use and are some kind of no brainer.
I wish i could find some profiles that I like to play and work well live.
You mention Britt profiles and then there are others that have a bright, open top end. This is why arbitrary figures for high and low pass filters are pointless.
The facts are that you will need darker profiles with more mid in the sound to make them work at high volume. It just takes some time and hopefully a good FOH engineer to let you know over a few shows what the state of play is with you setup.
I have an HX Stomp as a backup and someone recommended getting the free IR "the best IR in the world" (you can search it in a YouTube clip for download). At home it sounded dull and lacking bottom end, but I tried it at volume and it is really well balanced.
Similar problems, I play live with backing tracks on pc , I have a separate track that sends patch changes in performance mode so I have no need to switch with feet. It worked fine before but since latest firmware update it is very slow in changing the patches.
I've occasionally found inconsistency in patch change speed from one firmware to the next. So I decided to put all my program changes exactly on the beat instead of placing them a 32nd early. Then I can drag the midi track forward as a whole to match the current latency I need to compensate for.
This is also useful for transferring the program changes to a backup unit with different patch change speed.
There are two ways to transpose with Kemper. One is in the rig and the other as an effect in slots A -D, which are pre amp and cab. Just try the alternate way first to see if this helps.