Posts by Monkey_Man

    If they are still using the same DSP chips they installed in the first KPAs off the assembly line then that certainly offends my sensibilities with regard to hardware technology.

    This should help quell your misgivings on the matter, bluz. Something Christoph wrote in June last year:


    Christoph Kemper's Take on the DSP


    The Profiler is not aged. The DSP we use is not the fastest by megahertz, but it has AFAIK the highest code efficiency per megahertz for DSP jobs, of all processors out there. The Eventide H9 and others runs on the same processor family.


    But adding new effects is not a matter of horsepower. We could theoretically add another 500 new effect types. It is all about memory to keep all this code in the hardware. Since we are not running all possible effects at the same time, but only those that you have dialled into your rig, calculation power is not really an issue.

    Well, I met him many times as I knew people who knew him well back in the day, plus I used to see him at his favourite hangout in Richmond - Ryders Nightclub, but we won't go there. He partied hard, did the ol' Mol.


    Your enthusiasm for these Profiles is obvious, which is why I believe they ought to be mentioned in G String's thread. Just paste what you wrote here (without the Molly reference!) to that thread if you don't mind; I'm sure others will appreciate your sharing of this "hidden gem".

    I was wondering what exactly does the volume mean

    The main volume is last in the signal chain, so for instance in the case you mentioned, whatever level reaches it will be attenuated by 17dB.

    ... how does it impact my profiles if I change that setting.

    It doesn't Brent; it's completely-transparent.

    - What impact does rig volume have on this setting?
    - If I increase that setting would that impact the main out?
    - How does the volume of the effects effect the main output volume.

    As I said, the main-volume setting will attenuate whatever levels the above send to it by the amount you choose, which in this case is 17dB, so if you increase the level being sent via either of those mechanisms, the output level will increase by that amount.

    Well, for the Northern Hemisphere folks, we have a mere ~34 days to wait... for those in the Southern Hemisphere... and let's hope they didn't mean when Summer ends THERE (Nicky, Kiwi-Ashweth, and other Southerners, please confirm)... well, you are going to be waiting 'til the last day in February.

    Confirmed, Jeffro.


    Our winter ends September 1st, so I've assumed all along that this is Kemper's "deadline", but from what you're saying Europe's summer doesn't end then? If that's the case, I was wrong to say we're at 8PM on the day-scale and the company in fact has more than 4 hours left.

    I've always assumed it's just an indication that the engine is trying to make sense of the input signal, Alan; even an analogue tuner would react this way.


    The second you play a single note it's able to recognise the fundamental frequency and produce a meaningful "readout".

    This cannot be implemented in realtime at a cost regular consumers can afford, Brent, which is why you'll not see it anywhere in the hardware realm, if it's even possible today.


    If I'm not mistaken, it can't even be run this way in software on powerful desktops yet; it'd still require a decent look-ahead time... for now... AFAIK...


    EDIT:

    I can't answer Martin's post without waiting an hour, so here's my answer, Martin:

    We're talking about two entirely-different things. I thought the OP was talking about realtime polyphonic pitch correction, which is also called "tuning", as in AutoTune's case. Realtime polyphonic pitch correction Melodyne-style in the Kemper, IOW.

    Boom!!!


    Been waiting for someone to say/realize that for a few years now. :)

    I've posted many times how I feel about this, Lance, going into some detail about physical and electrical impedances, which I feel are the major causes of the non-linear dynamic response of drivers.


    In a nutshell, as I'm sure you're aware, an IR is a static "snapshot" of a speaker's (and microphone's) response under one set of conditions - all of which have "settled" (acoustic silence and electrically-neutral).


    Taking the physical driver and cone alone, whilst playing through them, the response depends upon the position and speed of the driver when a new note / signal condition arrives. It could be on its way out or back in and is unlikely to have settled, which is the position from which it reacts when an impulse response is generated. The mass / inertia of the voice coil affects its ability to jump to attention, so to speak, as does the air's resistance to movement of the cone itself.


    That's just on the physical side; there's the electrical stuff too. 100% agree that Kemper's cabs aren't in the same league as IR's... IMHO.