Posts by JedMckenna

Go to Output section, Output source and make sure you have "Master Stereo" coming from your Main outputs. Sounds like it might be set to REV/DLY wet instead.

^ A very low reverb setting is mostly negligible in the in-house band mix. I might agree for bass or certain specific parts but in my experience, totally dry sound both on the playback or in the IEMs can feel very unnatural for guitar, especially on sections where guitar is exposed such as fingerstyle acoustic intros or whatnots. After listening to many concerts playbacks, I came to the conclusion that I prefer to provide a sound as close as I can to my idea of the final result rather than bet on the fact that a dude might or might not add it after.

Not sure what is the point of this long post besides venting. While limited, the looper is still useful to have but is in no way what people buy the Kemper for so the focus isn't there. I feel your discontent but while they've been persistently addressing things like delays, reverbs, editor, 48k Hz, ODs and whatnot that the community has been nagging them with for ages, a little understanding about the other weaknesses would go a long way. In the meantime, if you have a problem with the looper, the reverbs, the ODs or any side-functions just buy a cheap looper (you can for 50$) or other pedals you think will suit you and move on. Your "horrible support" comment based on your experience is anecdotal and a hasty generalization.

I never completely remove reverb from live sound because in many types of gigs it most certainly ends up being recorded from the board (ie, tv shows, concerts, etc). I've done it in the past and found the playback to feel very dry. Consequently, I have a very light reverb that is pretty much always on - to which I add "effect" reverbs if needed.

Personally, I don't care much about sounding "just like the record", actually I like to push for new sounds when I can get away with it so I'm not too anal about it. However, when I want a live sound to translate to recording, I feel I need a bit more treble and reverb (and often some gain adjustments too) and vice-versa. It also depends on the guitar being used (may not be the same used for recording.)

Edit: Usually, I just compensate this with the "definition" parameter instead of messing around with the front eq.

That Strymon echo thing seems cool but maybe a bit redundant from them at this point.

Quote from dabriman

My wife bought me the Kemper transport bag for Xmas which on top of being horribly expensive compared to others cannot even be used to transport the Kemper remote !!

Your wife is the real MVP here, she knows what's up. Good luck with your Gator/Thomann/whatever alternative bag search.

They've been around for a while so skip this if you know already. It's kind of a stompbox in which you can load various pedals models (over 200?) from a virtual library via bluetooth. I have to play with a pedalboard/amp these days and this thing is pretty useful since I can change it into a different effect depending of the context or the band I play for. The majority of the youtubes video didn't really do it justice: bad recording, distortion clippage, hum/hiss and over the top tasteless modulation... I compared a few models of pedals with real ones I have (Xotic BB preamp, Sparkle Drive) and could make the xtomp sound pretty much identical, which was surprising. Can't comment much on the amp models but some of the drives are great. I got some great choruses and modulation (but I don't use that too much), useable basic delays and reverbs (that can be tap tempo-ed). There are EQs and other things as well and even a cabinet simulation which I'd use if I'm caught on a gig where they don't provide an amp.

I figured I'd post here after seeing the hundreds of posts about "pedal profiling" or "what type of OD/pedal should Kemper implement".

If anything else is fine, definitely don't send it back. If the nut has a problem or isn't well cut, just ask a tech/luthier to fix this. On top of having an antiquated design, Gibson has pretty weak quality control these days. They do have something unique though so have it setup right and get used to it and its limitations. I got an ES335 earlier this year and the nut also had an issue. Once I had it fixed, well set-up and got past the fact that it cost half of my car, I'm starting to dig it.

The looper button is a good point too, but it can conveniently be disabled or reassigned to something else. I assign it as a reverb on/off.

I've had several issues live, mostly human error that can be avoided. 1- The Remote disconnected behind the KPA. 2- The machine rebooted when I had my laptop connected to RM at the same time. 3- I accidently pressed bank up and something else and my patches randomly went up to #128. 4- Once in England, the 3 prong adapter fell off the power strip and the KPA had to reboot (it's long reboot and I missed my song entrance.)

The KPA is super reliable when it's used properly but now I'm aware of those issues: make sure that the remote is properly secured behind the KPA (I use tape when it's very critical) and that the machine is not simultaneously connected to a laptop. Be precise when changing patches not to click something else to accidentally trigger this random scroll up.

Quote from Chris Duncan

Crap. Just when I thought I was done buying toys, I watch a video on Freqout.

Are you guys using it in momentary, or does it do a good enough job on auto to set it to fire and forget?

It still reacts in a tricky and unpredictable way sometimes and led to some trainwrecks for me so I like to put it in "momentary: off" and click on it just once before a passage/section where I'll want it to kick in and then disengage immediately. I don't want to use the "hold" mode because I usually need that foot free for volume pedal/other things. I set it to 2nd or 3rd harmonic, the gain at 11 o'clock and the onset around 1.

This is an issue that needs constant attention for me, even after many years of doing this professionally. It all depends on the instrument, environment, type of ensemble, specific song, etc and simply leveling everything at the same Dbs is useless and will not yield a balanced volume all the time - hence why your feature requests won't work: the volume of every patch needs to take into account the context in which it is used.

I have one performance of 5 profiles at different gain levels that I know works well and I use it as a reference for when I import a new rig. When I create a new performance, I try to match the volume of the new profiles to the ones of my reference performance according to their respective gain level. Also, I want to always be able to adjust in real time by cutting/boosting 2-3-4 dbs with a volume pedal/a boost/morph, etc.

I only use FRFR in my practice room. For most concerts/festivals, I usually send in stereo to FOH and have IEM and one 4x12" behind me (if it's a gig without IEM, I like just a 4x12). If there is acoustic/nylon guitar involved in the gig, I disconnect the 4x12 and just run IEM.

I usually use Bert Meulendijk Fender Showman (Fan Showgirl 62) included in his free sample pack. Disengage any kind of compressor. Roll the tone knob off a bit, apply some reverb and if the bottom strings get boomy, turn down the bass a bit.

Of course they differ but in my opinion, these 2 devices serve essentially the same purpose. Even if you get a good price or end up flipping it, it's still a waste of time/energy that can otherwise be used to make music. Same idea I have about owning any multiple similar guitars or pedals.

Not sure what you are getting at.

In addition to what has been said. If you have multiple rigs, I'd bring my own remote and cord because god knows what other people use. I'd also bring a laptop with Rig Manager + cable in case I need to reshuffle performances.

Quote from OhG

I don't see how running in stereo becomes a difficult task for someone who is running sound out front. It can be done as simply as cloning the EQ for 2 channels, and just panning one hard left and the other hard right.

The Kemper is going stereo to FOH already. If you and the band use IEM, additional FRFR monitoring on stage is almost pointless in mono, let alone in stereo. You want two channels in the IEM mixer? People in the band will have to adjust your left AND your right in their IEM mix? Not sure I understand.

Quote from OhG

I see a lot of people saying running stereo isn’t advised because it makes the job harder or requires more work on the part of the sound engineer. What am I missing here?

The IEM are insulated from outside and the sound you and the crowd get is already stereo.