I would hope for a true envelope filter effect ala Mayer.
Is the Kemper correctly set as the master clock ?
While digging, i discovered that the main manual was actually not very clear about this, but it seems the actual way of doing things in kemper land is to use 0 to shut off something, and every value other than 0 to turn it on.
Since the kemper midi spec document has other errors like this, i understand that this spec is out of sync with the real state of kemper midi, and so my request would be to ask for updating ?
Today i tested the Morningstar MC8 which i just received, nice piece of equipment.
While trying to program it to choose the slot in performance mode i discovered this:
When using CC #50 to #54 to chose the slot, you have to put a value higher than 0 or it won't work. It took me some time to figure this.
I haven't found this information in the main manual.
In the midi manual it's written that you have to use value 1, but it seems to work with every value that is not 0.
It would be probably a good idea, either to write this info in the main manual or (better) to change the CC so that it accept all values (although there is perhaps a reason i failed to see for this to be like this).
I can confirm that Mr. Finnegan has realized a true clean booster (when drive is set to zero).
And he has done it in purpose. It's not a happy accident, considering the very complicated circuit he designed.
Josh Scott from JHS explained in one of his video that the "magical diodes" were completely excluded from the circuit when gain was set at zero, which made him laugh since many people are using the Klon that way, raving about the diodes that are supposed to make all the difference.
ckemper i think you made a marketing mistake there.
You have sold to the users the promise that they could profile an infinity of amps and then get an infinity of different sounds (actually i don't think you ever said that, but it's what the users wanted to believe). I'm in the camp that speculate that the Profiler actually use a few well designed generic models whose parameters are set by the profiling process, then seasoned by some impulse response to account for the cab/mic part.
This is fine by me since the result is so close from the real deal and this is still one of the best modelers on the market.
But when doing OD, since pedal profiling seems not doable ATM, you gave users a (probably well designed) generic model and said to them, who believe there are an infinity of sounds you can get from infinitely differents ODs "they are basically all flavors of the same thing". While amp profiling was a clever way to "join them" with their belief that amps were made with fairy dust that you could somehow capture using a magical process, you are suddenly bringing everyone back on earth saying a diode is a diode is a diode than can be simplified with generic algos. They will never accept that.
For the OD nerds, try to recreate that with the Kemper drives:
this pedal is a good way to hear how little different clipping diodes etc. actually matter
If so, what is the difference between an overdrive and a distortion ?
I know the frontier is fuzzy (!) between the two, but between a Rat and a Tube screamer, i can't swallow that the difference is on gain alone.
Let's say i modify settings on a rig, then shut down Rig Manager and the Kemper without saving my rig.
The next day when i launch again the kemper and RM, the same rig is still loaded. But i don't have any mean to save it with rig manager. I have to get to my Kemper, save it on the unit, then load it back in rig manager.
I understand that when lauching RM, the Kemper is the "master" and RM is adapting.
But there is no way that i know of to get back the hand on this rig with RM.
We have been heard! 👍Thanks, Kemper.
Yes, and when i saw the list of ods the new drive was modelized on, this was approximately what i had in mind when i started this thread.
I only miss the Boss Blues driver, but i suppose it can be done (?) with the settings.
Soft clipper circuits are called ODs. Hard clippers are distortions. There's more variety in fuzzes, but they're most popularly asymmetric soft-hard clippers.
There are exceptions to this : the klon which is called an Overdrive actually uses hard clipping (=diodes).
Let them some time to breath. There has been three days since the last big update and you are already asking for more ?
At full right, the low and high frequencies will be emphasized by 6 dB, while the overall volume stays
roughly the same”
It seems it does the same thing as the "loudness" switch on 80-90's hifi amps.
Kemper introduced Profiling.
The rest relied on DSP algorithms to "synthesise" the result,
What make you think the Kemper is not using DSP algorithms to "synthetise" (actually modyfying, sounds doesn't come from nowhere but from a guitar unlinke in a synthesizer) the sounds which are coming from the unit ?
The stomps can only be modelled via conventional-DSP methods such as component modelling, so nothing Kemper could do would sound as good as Profiling it... in-theory, and so far, in-practice.
What difference do you make between "profiling" and "conventionnal-DSP methods" ?
Not so much. We sold a quite number of Kones and Kabinets already and only had a handful of requests.
Because there are poor souls like myself answering this question every other day on Facebook (not kidding). I'm gonna stop, btw.Quote
My question on the other hand is, since you are obviously not planning to use the Main Output for a mixing desk, but only the Kone/Kabinet.
Are you doing gigs at all, or usually play at home / rehearsal room only?
Or do you plan to mic your Kabinet?
I'm a bedroom guitarist.