Posts by Sharry

    The thing with Hotel California is that it's not related to an exact scale. It has an E-major as well as an E-minor chord in it. That makes it tricky because you need G and G#.

    Stolen from wikipedia: >

    The Doric bebop scale is derived from the Doric scale and has its chromatic transition tone between the third and fourth (in the example E with G and G# ).

    This scale is often used with minor seventh chords. <unquote


    As it is an 8 interval scala it will not work with the given 7 intervals.

    I'm afraid that is not a good example for our application.:)


    But now on topic.

    I think many ways can reach a goal.

    I also would prefer the Interval counted from base tone to have a better understanding , but it comes really to an presentation problem if you want to avoid enharmonic mix-ups.

    AT KPA in the rigmenue page 5/6 you can see the amount of morphed values and the position of the morph pedal. (Thick line above the number of morph parameters)


    On the Remote you can see if the rig is morphable at the upper LED above the rig button.

    If this LED lights up strongly, morph is effective (otherwise it lights up weakly).

    My laptop is on win 7, intel i5. Not so slow when using other programs like i tunes with over 12000 mp3 or my pictureprogram with loads of pictures.


    My rig manager has to handle the exchange rigs and my private stock is over 60000 profiles ( yes 60000).

    I do not have so much profiles (about half) but when I update my notebook for the rehearsal room , i've got the similar effect .

    It's a Surface 3 with win 10, i5 .

    I did not check the time the first time but almost I thought the programm is crashed and so I stopped via Task manager.

    With a new start ist was just like a normal start.

    Now I'm used to do this in this way, so I do not get nervous any more . ;-)


    Could it be that on the end of the update procedure something happended that the process will not finish?



    For normal start it takes less than 1 minute.

    Sharry


    We presume if you are planning to use regular scales beyond major/minor, then you are aware of the fact that those can be derived from the base major key. The elsewhere usual parameter for the scale is only an offset to the key, and does not create any new scale content, but pretends to do so. F.e. the famous mixolydian is always a fifth over the major key.

    Thank you for your comments. For the modalen scales the way is clear for me.

    I would like to try with other scales, which can not be represented as steps of the Maj scale. e.g. melodic minos scale , Gipsy scale etc..

    I have already experimented with a notation program but this is not so easy to play live.:)

    2) Provide a method of assigning a performance number (or name ... or both) to a song


    Song ---------------------- Performance number/Name

    Wonderful Tonight ----- 1 "Strat Soft"

    Enter Sandman ---------- 2 "Metalica"

    Have you tried the renaming function in RM?

    You can rename the performance and the included rigs.


    The serial number of a performance you couldn't edit - but I think you're using the same numbering system as most here.;)

    The first thought that came to me would be to just run the electric and the acoustic into an A/B/Y stomp box (electric: A, acoustic: B -> Kemper input: Y) as presumably you'd only be playing one on any given measure of the song.


    Am I missing something?

    I am lazy (:)) and do not use additional cables and/or box.

    For my Fishman Power bridge I use a Poti and a mini switch (On-On) (Mag / Mag+Piezo))

    The Poti can add the Mag to the Piezo from zero to full.

    Fish man has a small print incl. the Poti so you can built in this circuit in the Guitar instead of Tone 2 Poti (Strat)

    Tone 1 Poti works as Master Tone.

    The Mag-Position of miniswitch allows playing even the batterie becames empty - (acc. Murphy normally during a GIG)

    Talk about major case of G.A.S epidemic

    I now profess to be immune to this GAS attac.

    I will not exchange my FRFR monitor even if I may not be able to reproduce an orange box up to 12th overtones.

    For me it depends mainly on the sound in the mix at the FOH.

    And if it sounds as nice at the minimum as before on the monitor, I will continue to be happy with the KPA.


    As I understand it so far, there is an improvement of the monitorsound, perhaps a better room experience, but to bring the sound to the FOH you would need a microphone again, which I e.g. sent with friendly words in the pension;)

    It could also be advantageous for studio recording.

    My understanding was that a performance stores a copy of everything it uses. Is that not the case with all aspects?

    I tried to vote this , but the Forum software did not allow me any inpute of quote. (do not know why)

    Sorry to appear dumb, but I'm not sure I understand

    For effect assigment till now you have to press a stomp button at the KPA and one of the 4 assign buttons at remote in the same time .


    It would be a helpfull feature if you can do this via editor without a connection of the remote.

    A stomp assignment to a select button on the remote will be stored in the rig, but you have to assign it at first