Posts by Guavadude

Trying to see if I can use the Kemper Remote Looper switches to output cc messages to control Logic's Live looping or Ableton.

I've seen old threads saying the remote won't send cc but wondering if it can now.

I see that in performance mode I can use the remote to send patch change cc#, but what I really want to do is disable the looper in the Kemper and then use those switches for remote operation of Logic or Live. If I use the remote as patch changes to trigger Logic loops, it will also change my rig sound in the Kemper. I want to keep the selected rig by going into Looper mode, then use all those cool labeled loop switches for looping with my DAW.

As cool as the Kemper looper is, if I could chose to use the DAW instead it would open up a world of layering, not just one loop.

Then I could switch back and forth from Looper mode, change my Kemper Performance rig, go back to Looper mode, use switch 4 or 5 to move to the next loop cell and get my freak on. Or if possible, once in Looper mode, could the UP/Down bank switches also output CC#s. That would be great for moving up and down loop cells.

The tap switch would remain tap tempo as always.

It's just so frustrating having this amazing remote with all these great switches, already labeled and everything but I can't use them with my DAW.

I still think the FV500H used analog in front of the Kemper is better than expression pedals if you’re looking to emulate the swell from a guitar volume knob, which is how I use it. But I’m really picky and it’s a feel thing. I also use an expression pedal for other functions, just not volume swells.

You can also set the tuner up to mute the outputs

Quote from DonPetersen

as Guavadude said,

please make 100% sure that you actually plug into the INPUT

I’m kinda curious why you guys decided to put the input jack on the right hand side when the signal flow of everything else is left to right?

I’ve used a Fishman equipped Tele and it worked fine. I have occasionally plugged into the headphone jack by mistake and then nothing worked.

a tip from Roger Nichols (Steely Dan engineer among 1,000 others), start wide open and raise the freq of your hpf until you just start hearing a difference, then dial it back a touch. This was geared more for eliminating excess low freq on individual instruments in a mix but a good way to approach filtering overall.

I wish the hpf and lpf were in the output section. An additional EQ page for Mon and Main outs with the filter freq and slope for hpf and lpf would be a sweet addition.

Quote from Wheresthedug

indeed. Quite possibly THE most recorded guitarist in history. His approach just getting the job done in that video was totally inspiring.

Thx for the Tommy T post! I just watched the Wrecking Crew video on YT but hadn't seen the one you linked. I worked at a music store when I was in my 20's and Tommy gave a clinic. I tried sight reading a piece he put up and I faked it ok. Then he REALLY faked it. Kinda read what was there but added a bunch of good tasty guitaristic things. He was the master!

Back on topic, I wish there was VU/Peak meter page somewhere in the Kemper so you can get a visual to help balance the rig volumes.

Better yet I wish there was a function like in NI's Guitar Rig where you just play and it sets the correct in and out levels. Something as advanced as the Kemper should do this too. I spend a lot of time adjusting volumes especially when recording and use the Klanghelm VU meter in Logic to help.

I highly recommend that plugin or Hornet VU so you can see what you're really getting.

Quote from MKB

IIRC Kemper has already said they will be enabling the selection of imprints per RIg in a future firmware release. It should be on the way soon. And really, the entire Kone concept doesn't make a lot of sense unless you can select an imprint per Rig. If not, and you were forced to select one global imprint, you'd just as well buy the real speaker the imprint models and go with that (it would be less expensive than the Kone in many cases).

In our software development at work, we have the "stupid" rule. It means that if a customer uses your product, and a feature's operation or the lack thereof makes the customer say "That's stupid!!", you need to fix that issue. The Kemper Kone operation with only a global imprint fails that rule IMHO. However, having the present operation of Kone firmware and a Kone does make a lot of sense if you are simply replacing a FRFR and are using the Kone full range for all profiles.

I disagree. I think you can go either way, global or per rig imprints and make it work. The imprints aren't drastically different so just about any you prefer will work with most if not all rigs. Then you still have the ability to use the FR when needed. A non Kone speaker will not get the FR sound.

The beauty of the Kone is that it has a split personality and is convincing either with imprints or FR.

A quick thing you can try is to slice the audio into a new region at every noise pop and do a small cross fade. I’ve done that before and it’s works well and is fast.

Honestly I could barely hear it in your clip. I wouldn't worry about it. Move on, add drums and bass and vocals or whatever, you'll never hear it.

I certainly wouldn't mess with fixing it. Retrack or move on. Check your recording next time before you get too far down the road.

Typically these kind of spikes can happen when you edit if you don't check your crossfades. You'll especially hear it on bass and kick drum.

Only you will know these are there when you're done with the track. If you listen back to classic records and solo the tracks, there's all kinds of crap on them.

To me the playing is the fun part. I'd just play it again. I spend so much time dealing with software, troubleshooting issues, doing all kinds of stuff that isn't music. When I get to the actually playing part, I play it awhile. I might do 30 takes of something if I just feel like it and am having fun.

So unless you were playing the most inspired of your entire life, I'd consider just having fun and do it all again. You'll probably like the new takes better and can try different things until you figure out what's causing your issue.

Izotope RX7 software is excellent at removing noise and clicks but you'll have to fix them all by hand.

You could just not worry about it because a lot of issues you hear when solo'd you don't hear at all once the full band is playing.

I'm not sure why the analog audio outputs don't have the same options as the digital outputs. I've asked several times and never received an answer.

Pretty sure I started a thread about this awhile ago. I now just use a DI box before going into the Kemper to be able to record the direct if I need to.

I track in Logic with a 256k buffer when using lots of VI and 128k if it's audio tracks only. I don't use ANY latency inducing plugins until I'm mixing and I only use the Low Latency button if I need to retrack something toward the end of a mix, which I really try to avoid.

I tried using the SPDIF and ended up having some really terrible ghost in the machine problems, sessions crashing, noise bursts, etc. All kinds of crap and I had a hell of a time tracking it down. As soon as I stopped using SPDIF with Kemper it all went away. The Kemper needing to be the master clock can be problematic depending on the interface you use and your rig. I'm using an RME UFX which is probably the most stable of all interfaces and is known for it's excellent drivers.

Being a recording musician is a great way to build up your troubleshooting skills! Eliminating one thing at a time and narrowing in on the problem is the only thing you can do.

Long story short, retrack and use the XLR outs and don’t use spdif.

Most interfaces want to be the master clock.

A lower buffer decreases latency but increases strain on your computer’s ability to run plugins and virtual instruments. You can print VIs and tracks that use a lot of plugins to eliminate that strain.

You can also use a lower buffer setting when tracking for less latency and then set it to the max when mixing.

The latency could be coming from your buffer settings in your DAW. Try a lower setting.

You might need to tweak the Definition amount. You should also try using the Eq and filter the highs down to 10k or so. You might also try different profiles and don’t be afraid to Eq more if needed. Using pedal in front of the Kemper with some mid boost like a Klon can really help too.

I just use the xlr outs to avoid any spdif issues that might arise. My RME interface had trouble but other interfaces might be fine.

Quote from ckemper

No plans for that.

The sizes 10 and 15 are not necessarily chosen for the sound, but for a convenient format IMHO.

idk, I think a 1x15" for bass players would be much smaller and lighter than a 2x12". There are a lot of bass players that could use the Kone technology when they move between acoustic, upright and electric bass. I use the Kemper in the studio for bass just as much as guitar. I know most bass players would prefer a 1x15" to a 1x12" but the cab design would need to be capable of handing the extra low end response.

These Kabs are so badass, I hope to see you expand the line. If you build it, they will come.

I tried it with bass and I don’t recommend it for that. It could be used in a small setting but the cab vibrates too much for it to be used at higher volume. I think a 1-15” version would be a big hit but the cab design would need to be able to handle the extended frequencies and volume.

I need to try it more off the floor. I’m really impressed with how great the bass boost sounds on the floor. I think this would be my preferred way to use it but I wish I could control the level of boost. Even if it was in five 20% increments or similar settings.

Quote from guitarguy316

Kabinet finally delivered tonight. How do you switch between imprint mode and frfr? And how do you change the imprint in rig manager?

The Kone settings are in the Rig Manager editor in Output page but you have to scroll down to see them. Cab Off has to be enabled and then you'll get a pull down of all the imprints.

The Kab with bass boost on punches WAY above it's weight class. I'm an open back cab fan and the Kab sounds very balanced overall. I find the bass boost isn't just for if it's on a stand. I don't think it will work as a bass cab though which makes sense since it's not designed to.

It absolutely KILLS for a do all rig if you play a variety of instruments. The FR mode is very natural sounding and the kone mode is great for electric tones.

The footprint is a little smaller than a deluxe reverb and a good notch lighter. I could totally see a 15" version of this be very popular for bassists.

I do think the difference between imprints is pretty subtle. I also want to do some distance recording of it to compare to the actual speakers it's emulating.

All in all if you're looking for a portable do-all rig, this is it.