Make sure you don't have the cab disabled in your output settings for the monitor out.
Posts by dougc84
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Roland uses wiper = tip, whereas Yamaha uses wiper = ring. You can check your expression pedal's manual or specs for where the wiper is.
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I created another thread but i think this may help you to create controlled feedback:)
The Vo Wond -anyone have experience with this device?[Blocked Image: http://cdn.mos.musicradar.com/images/features/in-praise-of/in-praise-of-ebow-630-80.jpg]
I know this is a little old, but I LOVE my eBow. I don't use it that often, but for the right situations, it's fantastic, but it's not really ideal for "feedback" in the traditional sense. It basically keeps the string sustained like you picked it but the magnetic field in the eBow keeps the string vibrating forever. However, there is a "harmonic" mode that does create some overtones that have a feedback-like essence to it. It's just a little too controlled for a traditional feedback sound though.
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Yeah, just configure the CC's to send on the preset.
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Also, the Mastermind doesn't support NPRN.
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NRPN is not documented because it's used for "Kemper Exclusive" features, such as the looper.
I have a Mastermind. There's no way to control the mix parameter of any effect except delay and reverb, ATM.
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True i could use (yet) an expression pedal. But you cannot look at an expression pedal and reliable tell how many db attenuation it is at. I can do that with my box since the leds show it. And expression pedals can move etc etc.
If you don't mind me asking, why do you need to know the exact dB level? That seems like such a strange requirement.
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I wait until Kemper makes it possible internally. That would be amazing.
An "internal" implementation is not possible without new hardware. There's only one XLR port. You'd be talking about a Kemper 2.0, and that's not coming anytime soon.
no offense, but if the simple task of summing two mic signals is what's keeping you from using multiple mics then maybe you shouldn't attempt multi-mic'ing in the first place.
Summing is the only relatively easy part about it, everything else (choice of mics, choice of speaker, positioning, levels, eqs etc.) is really quite ambitious compared to that.I completely agree. It's not a difficult task, but one that takes time to set up. You certainly don't want two mics coming in with a summing cable, as one will certainly be hotter than the other. That's the purpose of using a mixer or an interface - you can say "I want 100% of the SM57, but only about 30% of the room condenser, as it's too airy at 100%." And supplying phantom power to a SM57 will surely destroy the microphone. IMO, dynamic microphones (such as the SM57) have their place, but they shouldn't be the sole mic'ing strategy for recording anything. An SM57 is thrown on almost every guitar recording ever, but different mics provide different levels, clarity, punch, and EQ curves. More than likely, a great recording of a tube amp, or, for our purposes, a great profile, will often implement 2-3 mics in different placements, so more of the sonic spectrum is covered.
That said, you can still get a fantastic sound out of a single dynamic mic, but, with only one mic, you have to make absolutely, 100% sure the mic placement is perfect, otherwise it'll result in a horrible mess. Don't worry too much about using multiple mics if you don't have the facilities to do so; you can still make a fantastic profile with some time and trial and error.
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If it's a sometimes-on kind of thing, which it sounds like it is (as you mentioned it's only for lead sounds, making me assume the FX Loop is active only on lead patches), what you're doing is perfectly adequate. However, I think an expression pedal used as a volume control would work in your situation just as well, and you don't have to take your hands off your instrument to adjust. Depending on how you're controlling your amp (Kemper floorboard, MIDI controller, etc.), often times you can set an expression pedal to be active only on certain presets and inactive on others, as well as setting a floor and a ceiling on the volume. This is something that, I don't believe, you can do with the straight expression pedal inputs on the back of the Kemper or on the Kemper floorboard, but more advanced MIDI controllers can handle this just fine.
I know, with the Behringer FCB1010, you can do this, and that's about as cheap of a MIDI controller as you can buy. You set one expression pedal to control the Kemper's volume, and just set the minimum value to something like 80 (instead of 0), and max at 127. You can keep this down all the way and slowly fade up to the volume level you need on those patches.
I'm not trying to disrespect or discredit how your setup works, because everyone approaches their rig in a different way. I think ckemper was merely saying what he said out of a lack of understanding for your particular situation. But it's not the only solution, and it's not a common setup. But, if you're comfortable doing what you're doing, then carry on, and may the rock be with you.
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The solution with modeling is not to tack on an extra "fix" but to model the amp and cab and leave the microphone out of the equation. Line 6's technique is to basically rip apart the amp's circuit board and, piece by piece, reverse engineer the schematic into their software. Speakers are a different story, but... I guess what I'm trying to say is the solution to the problem for Fractal is not what they're doing, but instead to create better models. Kemper has a unique problem in that there is no "model," just a dataset that represents the curves and output of a soundwave, based on a set of microphones, and, with Kemper's approach, there's no way to truly "fix" that 100%, unless there's a different way to profile an amp altogether without a microphone.
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The RJM Mastermind GT gives you a few options when tapping the same preset:
1. Preset - basically re-init the same preset. This is my choice, because it's like a reset on the tone when I play around with effects.
2. Global - selects a global preset. This would be a "default" sound, maybe a clean sound that you always use, for instance.
3. Previous - this takes you back to the last preset. This is awesome for those players that hit a lead patch often for fills. Tap a lead performance, noodle, don't move your foot, tap again, and you're back on your rhythm sound.Like I said, I prefer #1 with my MMGT, because I fiddle around with not only the effects slots on the Kemper, but also some outboard effects units as well.
For the Kemper controller, instead of just calling it "boost," it would be cool to do this so that it would trigger an alternative parameter setting. As a boost, you could have it set the Cab's volume to 0 (when disengaged or preset originally initialized)/+3 (when engaged), or maybe increasing the Delay's mix from 20% (disengaged or originally initialized)/50% (engaged), or turning on/off whatever is in Stomp D (which might be a boost itself!).
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I think the big difference here is what they're attempting to "fix." On the Fractal, amp models are created that emulate how a tube amp reacts to a guitar. On the Kemper, you have microphone-based profiles that are created based off who knows what system, but are captured in a similar manner.
I think comparing the two is like comparing a Fender Telecaster to a Fender Stratocaster. They both sound great, but they have their own role, and people will generally prefer one over the other.
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Somebody know if the FCB with the uno4Kemper chip will work with the new OS?
Nothing's changed that would hinder that.
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+1000000000000000000000000000
Also, I LOVE that video series.
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Fantastic cooporation from Kemper support. Thanks guys
This is a problem that happens if direct out is set to master mono. If it is set to off (can only be done on a rig that doesn't have loop enabled) the send return works as expected Problem solved, and i am happy.
That seems like a strange issue. Why would there be a delay if the output is set to mono? Why wouldn't this also occur in stereo? Seems like a software bug to me.
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I haven't. But since i have aprox 30 sounds that i use regularly i don't think performance mode would be for me. I would need to setup performances for 200 songs. And some of these gigs are without setlists.....
The beauty of performance mode is you don't have to use it on a song-by-song basis. You can group your sounds together in any way you'd like. Think of it as a different way of accessing your rigs.
For instance, I use one performance as my Vox profiles. Some have effects, some don't. My next performance is Matchless and Morgan profiles. And so on and so forth.
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Oh, you might could try backing up and restoring the firmware. There might be a glitch somewhere. You can also hold the Rig button when booting up the Kemper to fix any rigs that might have bad data. Back up first though. I can't emphasize backing up enough.
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When you trigger the FX Loop, does it instantly illuminate the soft key on the front of the amp? Or is there a delay to that as well? If you just press the button on the front panel, is the light instantly engaged as well as the attenuator or boost?
If there is no delay to the light's illumination and it doesn't matter if you press the soft key on the front of the amp or not, then it sounds like a problem with a relay not firing fast enough. You'd need to contact support. You might also want to try switching from FX Mono to FX Distortion to see if that makes a difference at all.
If there is a delay when you trigger it from your controller, but not from when you press the button on the front panel, it may be that your MIDI controller isn't sending messages fast enough or is sending too many messages. I'd first try to replace the MIDI cable to see if it has a short (or repair it yourself if you know how). If that's not the culprit, dive into your MIDI settings on your controller (if there are any) and see if you can simply send a simple CC message only. Some controllers send, when triggering a preset, a PC message (hey, change the slot/rig/preset), as well as numerous CC messages (turn X effect on, turn Mod effect off, etc.) and, sometimes, even SysEx messages (system exclusive messages - they are longer, contain more data, and, by nature, slow). If you can turn SysEx off (if that's an option on your controller), that might be the key.
What controller are you using at the moment?
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I guess you're right. I just thought that there was a better way internally or something. But I guess it works. Thanx.
Yeah, that'd be nice, but then you'd have to have multiple ports to plug in mics, and the Kemper would also have to supply phantom power to be of any use.
If you have an audio interface (most people that record at home do - if you don't have one, you can probably borrow one), more than likely you can change its routing to output the main out (if it doesn't have dedicated outs) to the Kemper (in mono, of course, so, an easy trick is to just use either the left or right output, and use balance to adjust how much of each mic comes through). You might need a direct box if it only has balanced outs, but that shouldn't be a major issue (again, if you don't have one, you can probably borrow one).
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Snapshots is one of the two things that confuse me about the Kemper ("Save To Pool" being the other). But, from what I've experimented with, @sambrox is right - it's for saving a "snapshot" of the rig and its settings, stomps, and fx, without overwriting the original rig.
Panorama is basically some sort of panning algorithm. Not real sure on the details. Haven't needed it myself. I think it's used with modulation effects or something.
Parallel Path, as @sambrox said, is great for bass. Basically, by using it, you bypass the Rig, and have a direct signal. For bass with a gainy amp, this keeps a portion of the signal clear and punchy, like plugging in direct to the mixing console, while allowing the amp/rig section to take over the other portion.
