Posts by kevinduren

    I played around with this a bit. Try putting the tremolo before the stack. That will make it mono and stop the panning.

    Set the tremolo with the depth at 10.0 and the crossover at 20.6. Set ducking at <0.0>.

    Then set the rate. For me, the tremolo didn't "stutter" unless the rate was set faster than 1/16trip with the tempo tapped in as quarter notes. It seemed the faster it was set, the more it stuttered. It's just perception because the trough of the tremolo does not go down all the way to silent/off and at slower note values it is discernible.

    It seemed to "stutter better" with no other effects prior to the tremolo. Try putting the Tremolo in Slot A.

    If you need it to be stereo, add stereo delay(s) after the stack. They will stutter also.

    As I tweaked on this, I got more of a "sputter" effect by using two tremolos with one set at 1/16 and the other set at 1/32 (and many other note values).

    And, I could not help myself: try putting three (okay, I'll admit it: I tried four ) tremolos prior to the stack. This did get closer to a stutter at slower note values. Set the tremolos to the same note values. Two tremolos set at the same note value seemed to improve the stutter.

    (Okay, Okay, just don't tell anyone else, but I also put a fifth tremolo after the stack and various combinations are worth checking out;))

    But seriously, I'm not sure if that will work for you, or even sure if that is the effect you are trying to achieve. My thoughts are that, at faster note values, the tremolo does sound like a stutter. The trough of the tremolo does not go low enough to cut the sound off so, at slower note values you can hear that there is no break in the sound.

    Please update us here as you tweak on it and let us know what you discover.

    Spinal Tap is funny because all that stuff really happens... to everybody.

    One of my "best" ones was getting a sub gig with a new artist and having a couple of days to learn a set of original music that I had never heard before. That is pretty typical. I did my diligence and learned the songs...had them down cold, no charts needed.

    At the first gig I realized what I did not learn was the NAMES of the songs. This was not a problem until the first song came up that I had to start by myself. I did not clue anyone in that I didn't know the song names and was getting along by judging the tempo of the countoff, or hearing the first few notes and jumping in. I should mention that, though I didn't know the artists songs prior to getting the gig, his fans DID know his songs. AND he chose this point in the show to announce the name of the next song in his chatter and get the crowd fired up.

    I'm sure you can see where this is going: He announced the song, I thought I was starting the next song on the set list (the one announced to the crowd), but started a different song...with guitar blazing. The guy was a trooper and announced, "Well, I guess the new guy wants to hear (song X)!" and we rocked on.

    I made it through the rest of the night, with the band fully aware that someone needed to sing some of each song to me so I would know which song was coming up.

    Good news though: I got my act together before the next night. I ended up subbing on that gig a few times and then got the gig permanently for a few years.

    I keep as few as possible in the Profiler, currently about 75, but use only about a dozen regularly. Those 75 are my "favorites" and I keep them on the Profiler just in case there is a call for something different than my normal dozen. If I modify a rig, I usually keep the original as a reference or a "start over" point. I also have about 25 performances that are set up for specific uses. I only use about 4 of those performances regularly.

    In RM, I keep everything that I've purchased or downloaded and didn't just delete right away. I keep them in folders by author/profiler and I rate and/or favorite them for future use. I copy some rigs into separate folders to quickly access rigs I like for specific purposes: funk, rock solo, crunch, surf, octaves, EL84 clean, sitar sounds, 80s tones, neck pickup tones, Pink Floyd sounds, etc., etc. I make myself notes in the comments: dark, bright, Fendery, Voxy, smooth, edge of breakup, solo, the name of a specific song, etc. to allow me to quickly search for those types of profiles. There is quite a bit of duplication, but it allows me to quickly find what I need.

    Of course, ask me next week, and all of the above may have changed! :P

    I treat the Clean Sense with an "if it ain't broke, don't fix it" attitude: Unless you are having a problem that you KNOW is related to the Clean Sense, leave them at their original, factory setting. FWIW.

    You can assign multiple stomps/effects to a single footswitch and you can assign some of them to turn one when others turn off. What you can't do, as far as I can tell, is assign a single stomp/effect to more than one footswitch.

    I am away from my Kemper, so I can't try it, but I bet you can assign your freeze and your second reverb to turn on with one footswitch...just like Audiopilot suggested above.

    If you use morph to do any of this, you can set how quickly the reverbs fade in or out. That sometimes makes those transitions much smoother. Depending on what you are going for, having the freeze not just suddenly end might sound more natural. Good luck and let us know what you come up with.

    After a few years of collecting WAY too many profiles, I broke down last week, and rented a rehearsal room with a PA. I spent a few hours auditioning profiles through a full blown, relatively flat PA at gig volume. It really made a difference. I have heard these profiles through IEMs, headphones, and several different FRFR and guitar cabinets and they all sounded good or great. But hearing them through a PA at gig (read "LOUD") volume, and from the audience's perspective, I could really discern the difference between the profiles that I thought were good, great, outstanding, and not so good. I was pretty draconian about getting rid of profiles that weren't either great or outstanding, in my opinion. For instance, I REALLY want to like small Fender amps, like Deluxes. But after hearing the profiles I had, I nixed almost all of the profiles of Deluxes. Now, instead of having a couple of hundred rigs and 40+ performances in my Profiler, I have about 70 rigs and 20 performances that I feel very confident in. I was also pleasantly surprised that some profiles that I really didn't think were usable sounded very good through the PA.

    Glad that I spent the money and time to do this. Just a suggestion FWIW. Oh, and wear a mask if you do this. Just sayin'. ;)

    I have been reading in the manual about this but I cannot seem to figure it out. What is the difference between locked on the Profiler and locked on the Remote? Can you lock/unlock from the remote? I have been trying to understand, but would appreciate some clarification.


    I can't address the studio use questions but here is my 2 cents on the others:

    The Kemper is a bargain as far as I can tell. I have less invested in the profiler, remote, two mission expression pedals, an FRFR cab, extra cables, profiles, and a Pelican case that holds all of it, than the cost of one of my pedalboards.

    In addition to my use of my Kemper rig, I rented the whole thing out to a backline company for several month. It was used by God knows how many bands, road crews, etc. It came back with one of the TRS cables for the expression pedals bent (the metal part of the plug was actually bent!) and a slight yellowing of the store knob, which likely means folks with dirty fingers had used it. Other wise, no damage, and no failures of any kind. Oh, yeah, the case came back with a ridiculous amount of stickers on it (musicians, sheesh!) This seems to indicate that these things are quite roadworthy.

    As far as holding value, a quick check on will answer that.

    Similar. An expression pedal is a rocker pedal, like a wah wah or volume pedal, but is different. (Although, there are some units that can perform as a volume and/or expression pedal.) Check the manual and these forums for specifics and recommendations. I would recommend shopping around for the cheapest one you can find, unless you are really hard on your gear; then you might need a more substantial pedal. I've seen some in the $20-$30 range. I bought the Mission expression pedals made for the Kemper. I have also used the Roland EV 5 for years. I prefer the cheaper Roland EV 5s and they are still with me after thousands of gigs. New they are ~ $60, but you can find them used. Also, Beringer, and others, make inexpensive expression pedals.