It definitely needs to be a rig setting rather than in the output section. Hope that change will be a priority
Idk seems like there’s needs to be the option for global choice of imprint or a way to lock the imprint choice if it’s tied to each rig.
It definitely needs to be a rig setting rather than in the output section. Hope that change will be a priority
Idk seems like there’s needs to be the option for global choice of imprint or a way to lock the imprint choice if it’s tied to each rig.
If you can, is there any info available on how the speaker imprints are actually made? Are these some sort of EQ matching or a more elaborate capture like a profile? Just curious how these imprints of different speakers are actually different and what's being captured.
Monitor cab off has never meant mute? It has always meant that the Cab section is bypassed for the monitor output, while it is still in the chain in all the other outputs.
yeah sorry, my bad, I guess I've always just changed the monitor output to off when not in use. That said, I do wish there was a mute switch for the monitor out for using as I stated and for unplugging and plugging in instruments. I've always kept my tuner in non mute mode so that I can hear it when tuning in the studio. Unless I'm missing something, is there an easy way to mute the monitor output without switching from browser to tuning mode and then using that mute? Live, I'll just set the tuner to mute.
Display MoreThis DI Profile issue guides me to the next topic.
There have been requests for a Speaker Imprint selection per rig. This is something that we want to deliver in a subsequent software version.
The choice will be an individual imprint or - as default - the globally selected imprint.
The question has arised where exactly to logically position this per-rig selection. The obvious choice would have been the RIG menue.
But as we have thought about this more deeply, we came to the conclusion to put the selection it into the CAB modul.
This way a selection can be made accordingly to the content in the cabinet module. A cabinet preset would carry the individual imprint selection when it is saved separately and later inserted into another rig.
The somehow odd property is the fact that the imprint selection comes into action as soon as the CAB is switched off for the Monitor by activating "MonitorCabOff" and replaced by the Speaker Imprint.
In a way, "MonitorCabOff" seems to be the wrong name, as the cab is not switched off, only the "virtual cab" is off.
Can you handle this idea when you think about it for three seconds?
I get the idea of Monitor Cab Off means the imprints become active but doesn't that mean I've quickly lost the ability to mute the cab output? I guess I can still use the Monitor Out select knob to set it to off though but typically in the studio I turn the monitor on and off depending on if I want some speaker and guitar interaction while recording. It can make a big difference in sustain and how alive the guitar feels with a speaker close by even though I'm using the direct outs to record. I can see using the Kab the same way.
Maybe there should be a Kab Imprint On/Off button and the Monitor Cab Off should be renamed Monitor Cab Mute. It does get confusing because the Kab actually has an Imprint mode and a Direct FR mode. Monitor Cab Off naming doesn't make it easy to know what you're getting especially since it used to mean Mute.
I really like the idea of having different imprints in the cab section to be used with different profiles. This will be an amazing way to deal with a wide variety of acoustic and electric instruments.
I get the physics differences of s 12” and a 15” just wondering if they can tailor the imprint toward a 15” response. There are a lot of guitar amps that use 15s in an open back design and since the Kab is a closed back design I imagine it will have more low end than a typical 12” design anyway. Maybe a 15” Kab is on the way as well.
If there’s a list started for additional speaker imprints I’d like to add the Celestion Heritage G12-65 for use with Dumble amps when going for a Carlton or Robben Ford sound. Also the new Celestion 12” Alnico Cream seems like the most balanced alnico design and on the top of my list of speakers to get.
I’m also curious to see if the Kab kaptures the squish and compressed response of an actual alnico speaker.
Is there a list of the currently available speaker imprints?
As far as bass speaker imprints I did some searching and these are often recommended as classic speakers:
15" JBL D-140/130
18" Cerwin Vega
15" Altec Lansing 421A
15" Gauss Alnico
15" EV EVM15B
I'll have to do some more research but I imagine a single 15" imprint would work better than a 1x10" since most bass cabs that use 10" speakers use multiples. It could be nice to have a variety of 10" bass speaker options though for multi Kemper Kab use or Kones that are used as replacement speakers in a multi speaker cab.
ckemper you mentioned the Kabs aren't designed for close micing but a lot of times in the studio the bass cab is mic'd from a distance. Is there any reason in your opinion why this wouldn't work? I like the idea of trying the Kabs mic'd to get some natural room sound recorded.
I had endless ghost in the machine problems with spdif between Kemper and Logic.
I gave up and just use the analog outputs with no issues ever now.
Since the Kab will use a 12” speaker, are there any imprints of 10” speakers? It would be nice to have 10” alnico speakers for a variety of Fender amps for instance. Same for bass that uses 4x10” cab like an Ampeg.
Or for that matter can the imprints emulate a JBL 15”? Granted the feel of a 12” speaker would be a little tighter but if it could approximate a 15” on bass profiles, that would be awesome.
Edit: just watched the video from Namm and see there are a few 10" speaker imprints already. That's cool.
Try asking at thegearpage.net.
You might also find a an image of something close and then use Pinterest or google image search to quickly scan a lot of different instruments.
I’m really impressed by the quality of the acoustic sim pedal. I really hope it’ll be an option to blend it with the electric sound and not an either/or choice. Adding that ac Gtr texture on top of elec pads is a cool sound and something different.
The ramp speed transition from slow to fast is also missing and would be greatly appreciated if added. I think the KPA Leslie is one of the best sounding simulations which is why a full featured is something people want. It’s so close!
I sure wish someone would do a rig rundown with Metheny because I'd love to know how he's using his Kemper with the wide variety of instruments he plays. I imagine he's using some amazing sounding speaker rig as well.
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I also use the volume as a manual noise gate when recording so I never use the min setting knob n the FV500H.
When I was testing out the curve function the other day, I was trying to figure out what it actually is that makes me prefer the difference in feel and response between pedals. I realized that a pedal feels right to me and most expressive when a fairly narrow range of movement covers a wide range of volume. I occasionally will swell from fully off position but most of the time I’m working it in the sweet spot.
For example if a pedal moves 90 degrees physically, a 20 degree range might be all I use for the expressive swells. If I have to move my foot back and forth the full 90 degrees to get that sound, it’s too wide and hard to be precise. The crybaby style pedals have too limited a throw and sweet spot to feel good as volume pedals, but that’s also why they work well as wahs.
I think that’s why a lot of people use the FV500H. It’s sweet spot has a very natural, expressive sound in a comfortable, controllable range. The curve control helps me dial this in regardless of pedal used, but that’s what I’m always aiming for if that makes sense.
I really wish the analog main outs had all of the same output settings as the spdif outs.
When using spdif it’s easy to just select Gtr/master mono to record di and amp’d sounds.
That option is missing from the analog outputs.
I’d prefer not to have to repatch or use other additional outs to accomplish this and I also don’t want to use spdif outs. When I was using spdif it was so easy to just select the Gtr/Amp split option, track bass and then change the setting back and track guitars.
Anyone know if there’s a hardware issue that won’t allow this or is it a software decision?
In the immortal words of Dr. Frankenstein, “It’s ALIVE!!”
Congrats to the whole team and especially the users. It really makes a huge difference!
I'm always using tempos without a fraction of a beat resolution, so 120, 117 etc. It's pretty much impossible to use the dial on the Kemper to change tempo without going into a tenth of a beat fraction....decimal point resolution. I really wish there was an easier way to adjust tempo or an option to constrict the resolution to not use fractions of a beat.
The tempo knob is so touchy. Maybe two knobs could be used, the left for whole beats and a second knob for tenths of a beat.
I have the Boss EV-30 Dual Exp pedal that has two separate outputs.
I’ve seen other people use this pedal with both channels wired to the remote.
I was wondering how are these being used? I figure one ch for volume and the other for pitch or wah or whatever but how
do you set it up?
How do you keep it from affecting both things at the same time?
I’d also like to know some ideas for expression usage that I might not have thought of. Thx!
500H
Calibrated and the side knob checked to be absolutely fully at 0.
I checked the Boss 500H and EV-30 using the input on my MidiTimePiece and an app called MidiMonitor which lets you see what CC and Midi are being received. Yeah, there's a big fat dead spot in the low end and a smaller one in the high range of the pedals. Even the Yamaha FC-7 had it too. A quick search in google and I found discussions saying it could be fixed with shims physically but I love the way the 500H works as an analog pedal so I'll just keep using it in front of the Kemper.
I might try a few other pedals and keep testing things out. Still I think adjusting the curve in the Kemper would be a nice thing to have.
Using the analog jacks is a lot easier and always works. More than likely you're not going to hear any difference. My rig is more stable when the interface is the clock source. YMMV