Posts by HankLinderman

    I've wondered if finding resolution is as simple as locating a 2nd kemper in your town and then build a rig with the eq and tone shaping boots and cuts you want and then profiling that with another kemper. ..

    Well there's an idea: but instead of having to find another Kemper to profile yours, let the Kemper construct it's own profile with whatever appropriate fx slots you want enabled... so, a dirt box, eq, and amp, then "Re-Profile" them into a new profile.

    I don't know how technically feasible it would be, but at least in theory this is a very good idea. Sure, you can take out your laptop on stage and copy some performances over, or wait ten minutes while you flash an entire backup from USB, but those are not fun things to do during a fifteen minute changeover between bands. And then there's the uncertainty of what version of KAOS the local Kemper will be running...


    If the boot image could include everything – profiles, performances, system settings and even the operating system – setting up would be as simple as just plugging one more thing in besides your guitar before turning the Kemper on.

    That's the idea - an easy way to be sure the backline KPA is "mine" in only a few minutes - like multiple user accounts on a computer. Log out of one user account, login to another.


    Burkhard's concern about 2 users with 75 performances is possible, but not likely unless U2 and Bruno Mars were to share the same stage and gear. Then again, "Boot from USB" or "Switch User Account" could accommodate even this scenario.


    Or, let us read system and performance data from USB, like the old DX7 and the external memory cartridges. Let's face it, the flexibility of the KPA can be a difficulty when you're in a hurry on a dark stage with someone else's KPA. Did you remember to turn "Constant Latency" on? Are the monitor and main volumes linked? Etc...


    Best...H

    I agree with the above.


    The solution isn’t what the original poster says.. it’s simply to be able to manage copying performances back and forth off USB. The fact you can’t do this drives me nuts.

    Yes, the ability to move a selected group of performances from USB would accomplish most of this. But what about system settings? There's also the issue of having mismatched Rig Manager and OS versions if you want your computer connected. (Less important...)


    Best...H

    I was at a gig last night with 2 bands, the guitarist from the first band used the same amp as the one from the second. I realized - if there were a way to read and load up your presets from USB without wiping the existing ones, and that your presets would disappear when you pulled your USB stick. I think it might require "Boot from USB" so that system wide settings like constant latency would be as you want them. (Btw, constant latency should be set per patch.) It might even mean that different operating systems could be accommodated (which might mean your ancient laptop you use on the road would work with Rig Manager).


    Yes, there is a way to do this but it requires backing up the existing patches. Another guitarist using my KPA might end up wiping my setup, patches and performances without meaning to.


    What I'm asking for is to power up the KPA with a USB stick and/or a laptop connected, see a dialog asking "Boot from USB / Computer?" Saying "yes" leaves the internal memory alone, but the internal setup wouldn't be available. The KPA would look just like mine, which I had left at home.


    This would make the KPA even more appealing as a universal backline amp.


    Thoughts?

    I'm a recording engineer, here's some of what I have observed.


    For most sources and with good converters, I can't hear a difference between sample rates on an individual track; an exception would be a solo instrument in a very nice room. I get stems recorded at various sample rates to put in a master session and the original sample rate doesn't seem to make a difference, especially once it's all mixed.


    As far as sessions go, I hear a difference. There are many factors - the converters, the DAW's summing, the plug ins, etc. For whatever reason, 44.1k sounds a bit harsh to me, 48k has a sweetness I like, so if I'm doing demos I can happily work at 48k.


    I don't use 88.2, probably because of an outboard reverb I used to have that DID NOT LIKE 88.2k. Habits.


    I use 96k for most serious sessions, disk space is cheap so I don't worry about it. I asked another engineer friend why he uses 96k, if he could really hear a difference. His answer was that he wasn't sure he could hear a difference but that "he was in a better mood at the end of the day working at 96k." That isn't a joke, I know what he means.


    Theoretically, 44.1k should be all we need, but the execution of perfection is elusive!


    Best...H

    My idea of fun is to put a *record* on Apple Music and play along, whether I've heard the music before or not. Sometimes they are not at concert pitch, and while I could retune them or my guitar I'd rather grab a parameter and move my guitar a little. I'm a recording engineer, have worked on several multi-platinum recordings, and I'm very familiar with multiple ways of manipulating pitch, tempo, timbre, etc. I just don't want to screw around with opening a piece of software, finding a file, manipulating it and so on. That's my day gig!


    I am not at all concerned about transposing - I just want to turn on a recording and play along without having to retune when the track is off by 15 cents. Also - to change the pitch of a recording is to change the artist's intention, this can really make a difference.


    So, all I need is a fine-tune parameter on the transpose. I realize it only needs to be +/- 50 cents instead of 100.


    Nice Hellecasters cover btw. John Jorgensen sat in on one of my gigs at McCabe's, learned 6 songs at soundcheck and killed it.

    Thread title says it all - when I want to play along with a recording that's not exactly at concert, I want to be able to slightly detune my guitar. This should be an easy thing to implement...


    So, please add a +/- 100 cents fine tune to Transpose!


    (Or - maybe I just can't figure out how to make it happen??)


    And, rig manager still needs an onscreen tuner please.


    Best...H

    I read the thread about a stolen KPA being recovered when the thief tried to *register* the stolen KPA. I think a future os release should have the KPA check in with Kemper and give its web location. This would make it pointless for a thief to try to upgrade the os or even to connect to the web.


    Also, we still need constant latency to be part of a patch - I want the least latency at all times, but when using some direct signal in a patch constant latency is required. Every millisecond of latency puts the player another foot away from the amp, so theat delay compensation should only be on when you need it.


    I think latency is the final frontier for digital amps - my sense is that tube amps still have an advantage in this area.


    Best...H

    I had one of my tube amps (a Roy Blankenship Princeton Reverb clone) modified to accept the monitor out signal from my KPA toaster, and the results are wonderful: amp-in-room tone with real 6v6's and a Gold Celestion 10.


    One thing I would like would be to have an option to *mix* the cab into the output. Currently it's cab on or cab off. At the moment I prefer cab on, but I'd like to be able to dial the cab back a bit. It makes sense to me that this could be a simple *mix* control if nothing else. The ideal solution might be more of a *strength* of the cab sim control. This would all be in the output section of the Monitor output.

    On screen separate tuner window please.


    It's a big ask, but some sort of visual representations for certain fx would be helpful, such as a meter showing the action of the compressor. EQ curves would be nice as well.


    Another request to make "Constant Latency" a patch level setting. A latency indication (1.2 ms or whatever) would be helpful.


    Having problems adjusting parameters with Kensington track ball and w Apple bluetooth mouse. Unfortunately, these are the only mice I have on my desktop Mac. It's at 10.12.6. Anyway, I can adjust by a 1/10th of a number and that's about it. Kensington track ball scroll wheel works but in the wrong direction.


    So for the moment it's unusable. Using most recent versions for software and Profiler as of this morning.


    Anyone else have any suggestions?


    Best...H

    I say buy a baritone guitar, they are plentiful and cheap, new and used. Danelectro even has one with a whammy bar. Or, just take a second guitar and put heavier strings on it, tune to C.


    The Line6 Variax has a digital capo function that works but I still prefer a second guitar tuned down.

    I did a bunch of profiling this week, primarily of a rather rare Aiken Tomcat head that I am about to sell. In the past I had tried using multiple mics and pres, blending them together, but I wasn't happy with the results. This time I just stuck a Sennheiser 421 (set on"M") in front of a cab and went for it. I also used the Kemper DI for versions of the same settings without a cab. It all generally went very well, but I noticed a few things:


    1. The direct out of the KPA doesn't sound the same as simply plugging into the amp. It sounds *brighter*, more hi-fi, buffered. This led me to think a Radial Drag might help, but it was completely ineffective, KPA out sounded the same going through the Drag no matter the Drag setting. Is this something I can address with adjustments to the input section? Ideally, the DI from the KPA should drive the amp the same as the guitar alone.


    2. For distorted sounds, the initial profile was darker and quieter than the ref amp. Refining a profile with a heavy hand seemed to make the profile louder, but even brighter than the amp. Using a moderate attack brought the volume up without getting a lot brighter than the ref amp. It makes me wonder if there should be a way to shade in the changes the refinement brings - 0% to 100%. It would also be helpful to be able to level match the KPA and the ref amp during the profiling process - meaning the too quiet pre-refined profile could be adjusted to be louder.


    3. The low end of the profile never quite matched the ref amp. The ref amp always sounded a bit more open in the low frequencies. It's not simply volume, it's clarity, size and depth as well.


    4. I'm wishing there were a multi-band compressor or a very capable de-esser that could be set to any annoying frequency in the KPA. Ideally the bandwidth would also be adjustable, along with the standard attack and release controls.


    Comments and guidance appreciated! Best...H

    I originally updated to the latest through RM and experienced some problems for a few days, like the remote shutting down, some strangeness switching profiles. I think I even got the Kemper to freeze. I reinstalled via usb stick and the problems went away.


    Best...H

    Many of us record a DI track along with the Kemper (amp) track. Since the only balanced outputs are the Main XLR outputs, I'd like an option that sends the DI out to one and Master Mono out to the other.


    (Part of this is my own confusion - I had thought the 1/4" outputs were balanced TRS, but they aren't.)


    Also, I have been running the output of my Kemper through a Grove Hill Liverpool tube compressor into ProTools. The meter hardly budges but what a difference! Much more filled out. If you have some nice studio gear - pres, eqs, comps - give them a try.


    Best...H

    From further up in the thread: "Go to system and load factory presets."


    FWIW, I went ahead and updated - first I backed up my internal presets, then updated Rig Manager, set RM preferences to "Allow Betas", updated Kemper to 5.7 when given the option in RM, then went to "System" and loaded factory presets.


    The only weirdness I have found was on a performance that had been edited and was the current state of the Kemper - that edited performance became the saved version.


    Reverbs sound great of course!