Or if you do that and they're still not there, you can download all the factory effects presets on the rig exchange. I remember once having to manually update the presets, I forget which update caused us to have to do that, think maybe it was the reverbs? I don't know. So that means deleting all the effects presets on your Kemper through the Rig Manager, and then downloading all the factory effects presets, and then copying those to your Kemper. My Rig Manager kept hanging if I tried to move more than 20 at a time so I had to do it in many smaller operations.
I already replied over on FB but I'll try to phrase it a little easier.
When you say "I could press the Delay stomp button the Kemper and the corresponding foot-switch would light up on the Helix", that won't work, but it will work the other way around.** Think of MIDI as a downwards stream. You can take advantage of the fact that the Helix has a toggle feature on its footswitches, and set it up so when the footswitch lights up on the floorboard, the stomp button on the Kemper also lights up. You can't do it the other way.
And like I mentioned in the FB response, this is all within a single Helix patch and Kemper preset. Once you change presets on either, you will lose the synchronisation of the engage/disengage lights.
The closest you can get to what you want is if you only use the Helix to change Kemper presets/performances and activate stomps. The minute you press a button on the Kemper to change presets or engage/disengage stomps, it will not reflect on the Helix. So if the Helix shows Stomp A as disengaged, and you press the Stomp A button on the Kemper, the effect will be active, but the Helix footswitch will not reflect it. If you then press the Helix footswitch, you will deactivate the effect, but the footswitch will light up.
** I am assuming you want to use the Helix floorboard as your main controller. You could always hypothetically set up the Kemper to send the MIDI commands to the Helix but then you would need the remote anyway (and I don't think you can use the remote as a general MIDI floorboard?) . Keywords here are: MIDI is downstream.
Greatly appreciate the interaction Burkhard.
This idea started with me finding some free presets on a commercial profile maker's site, some of which sounded decent to me, and which also reminded me of a thread here where a member has gathered a bunch of various Wah settings that try to mimick various flavors of actual, "classic" wah pedals. I immediately felt like it would be cool to be able to browse presets that other people have made. Kind of like eating at a friend's house, the food never tastes the same, even if it's the same dish etc. But I didn't consider the logistical side of it, obviously. I still think some version of my idea could have a place *somewhere*. Maybe a sub-sub-subforum for posting/exchanging presets would be a more feasible idea? Anyway, just a thought!
We need this in our Rig Managers. Being able to upload and share presets would be a cool thing.
Here's a question. I don't know what I expect to hear but any thoughts might help me out. So you pick an amp and a cab. But first you get a sound in your head from the analogue Marshall. So do you pick the amp first? How do you know you like the amp sound when the cab is gonna color it?
It's a predicament I find myself in. How do I know I like an amp when I'm used to hearing it through a cab? Turning off the cab will make it sound nothing like it should, and so if I'm scrolling through amps and trying to find one I like, how do I know I actually like the amp? Or do you just start with any random amp profile, then find a cab you like, and then try different amps through that? I'm curious how you guys settle on things like this. Maybe I'm overthinking it.. What someone said above, about thousands of options and easy to get lost, definitely applies to me here. It feels like, if I just pick a random amp, find a cab that makes it sound good (so presumably a cab which has a character I like), I might like another amp even better through that cab. But then that amp might sound better through a different cab again. Lmao, it's a brain twister imo!
Asking for a friend. He signed up, was told to look for a confirmation mail but never recieved one. Has checked both his inbox and spam folder. Resetting password yields the same result of no e-mail in inbox, nothing in spam folder. Re-registering gives "already exists an account with that e-mail". What can he do? Is there a way to get in touch with Kemper support directly? Sorry if this is the wrong subforum, but the "Contact Kemper" section didn't seem like the right channel for two-way communication.
It is actually possible to create a PROFILE of a stomp box on its own, but you cannot put it into one of the effect modules. Those are reserved for the affect algorithms. You can only place it in the Stack Section. And there it cannot be combined with another amplifier PROFILE. So, that's why creating a PROFILER of a combination of stomp box and amplifier is the way to go in most cases. Creating a PROFILE of just a stomp box makes only sense if this can be used standalone.
So that's why some people have two or three Kemper units... ?
One thing that surprises me is all of the people who do YouTube videos on Kemper, Fractal, Helix, et cetera and they still seem to have a room full of amps. I've sold five amps since I got my Kemper in April. I kept my Soldano more for sentimental purposes and a few that I built but the rest are gone. I haven't played through a real tube amp for more than five minutes since I got my Kemper. I can't see ever going back. I have a powered head but don't really care for the sound of the powered Kemper into guitar speakers. I have two Yamaha DXR10's on the floor as wedges. Sounds huge. I love this rig.
Most people posting videos like that are trying to have a more or less succesful youtube-channel about guitar-related stuff. Having amps, guitars and tons of gear in the background is a way to create a sense of authenticity for the viewer. It just makes it feel like a guitar show, the same way they have cars in the studio on Top Gear. Or when there's fresh herbs on the table (that they never use) in a cooking show. It sells the experience.
Wait, you're connecting the Kemper to a computer???
G, I think I just found your problem.
I just felt a strange desire to try and feed my Kemper some ol' modem beeps. Run them through a dirty amp. Then send them through the Ionosphere and the quad tap delay. Would probably turn into something usable!
What I don't share with the OP is the idea that adding NG to the Amp section would not be a good idea: on the contrary, for all the above it seems to be by far the best placement for this control, because you'd be able to optimise it depending on the profile's intrinsic noise.
You did a much better job than me explaining some of the challenges some might face, but I just wanted to clarify I agree with you that it would work there on the "Amp" page too. I personally think the best place for it would be on the "Rig" page. So it would get saved to a rig, which is basically a profile.. It could be in the "amp" settings sure, in my head a noise gate is part of a rig but amps don't usually have one built into them, so that's really the only reason why I suggested/think it should be under "Rig" and not "Amp". Semantics
Im a bit confused on what the request is?
Is it the ability to globally adjust CS and DS, alongside the noise gate to avoid making changes to every rig ? Would that work? Surely the interchange between the gain levels etc would still not be right and require tweaking?
If I could pick and choose, what I'm asking for is for "Clean Sens", "Distortion Sens", and "Noise Reduction" to be separate, so I can lock one or two or all three to global, or save them to a rig, irrespective of one another.
Hey. I just wanted to try and start a discussion, not sure if it sticks, but I want to discuss the noise gate being stuck to the input section.
If I am switching between a clean and a high gain profile, I can either set the noise gate to the clean profile and have lots of added noise on the high gain profile, or I can set it to the high gain profile, eating up a lot of the clean tone. I can lock the input section, but that also locks the sense options, which means if I switch between guitars (which I do) I have to edit those settings every time.
So it's either noise/squashed sound, or I have to edit either the noise gate settings or the clean/dist sense settings every time I swap profiles or guitars. There's currently no way to be able to set up so it's plug and play unless putting some limitations on yourself, like only using one profile, or only using one guitar.
It seems to me the noise reduction should be its own separate thing (separate from stomps, amp, cab, eq, post fx - it's own separate entity in the chain) / attatched to the pre amp Stomps section somehow / should be in the rig settings. Or something to that effect. Is there a particular reason why it isn't? Has this been suggested by anyone before, have Kemper made official comments on the matter? What are other people's thoughts?
A while ago I just got tired of putting myself through the waiting, excitement and disappointment continually, so I decided to not care about it for a while and stop worrying about the dates. It's been working alright because I wasn't really expecting anything when I came here, so it was a happy surprise to see we're so close.
Also appreciate the update, G-String. Sure some people will still have laughs and make memes about it, but I'm convinced everyone appreciates it on some level, regardless of what they say.
I am currently whining about the fact that 7.0 is in fact not in release for my Kemper rack, only for the newborn Stage. It's like having a younger brother all over again. Whatever is different about the two has created a really unfavorable situation where my stuff used to be primary, and now it feels kinda secondary, and I'm just a human so that gives me some feels. I'll get over it for sure, but the way I see it, they should strive to have one uniform release date for both products, and I only say that because the Stage isn't meant to compete with or absolve the ol' Kemper, it's just a new form factor. It is supposed to be the same product. The Kemper is like a hot girl, it can get away with being a female dog, because everyone wants to get in on it anyway. That being said, this doesn't feel great to me.
I put ferrite cores on all my power cables and all my digital cables. The main power cable going to my Furman power conditioner is a high end $150 power cable, but from the Furman amd on to every rackmount I am using cheap cables because I have yet to find a high end C13 type plug. There are a few high end cables that have high end wall socket plugs and a high end C14 plug at the end, but in my search I didn't find any C13 plugs that are made to the same specs. So in other words, no C13 to C14 high end cables are available anywhere that I can find.
I am now wondering how much my high end cable really matters, and also, if putting ferrite coreson every power cable is somehow affecting my high end. Nice experiment.
By the way, I have also noticed that the reverb Volume parameter, which I usually morphed in many performance slots, has disappeared from every reverb ...
Ah, that explains why a bunch of normalized profiles became louder when I was zeroing out the effects slots.
To be honest, I kinda prefer that since the Kemper has a linear output volume control "at the end of the chain" anyway. Spreading out gain stages like that gets to be confusing. You can already outout only REV/DLY if needed, and there is already the mix parameter for reverbs, so you will never be at risk of your reverb not being loud enough unless the problem is that your entire playback system including dry tone isn't loud enough. That would be a problem with the playback system, however, and not caused by lacking a volume control between the REV block and output. You can already overload the output like 3x between the clean sens, rig volume, main volume, amplifier block volume, any boost/eq/compressor/clean gain, and I'm sure I'm forgetting a stage or two of added volume control on top of those, too.
Ofc I'm speaking in purely selfish terms here was your point for the reverb to feel like it was "growing" around the dry guitar tone, but with the dry tone staying at a constant level?
I only have one, but I dream of a second one too. There's two things I could see myself doing regularly, one is dual amps panned to each side, the other is layering distorted and clean guitar sounds. Or heck, just layering clean with clean and distorted with distorted. Lots of fun to be had.
In my dream rig, I will have a Switchblade GL, a Helix, two Kempers, an Eventide Eclipse, two PCM81s and a couple of pedal trays. Too bad the rate of technological development far exceeds my income.
That's indeed interesting.
I remember way back, hooking up my first guitar right into my audio interface and doing processing on the computer. I remember trying to record at like 10-12ms input latency (this was long before I understood buffer settings and so it was left in the default near-middle position) and feeling like it was unplayable.
Right now, I use a G10 Relay into the Helix, XLR out to Kemper, SPDIF back again, 1/4" out to two Strymon pedals and a rack compressor, back into the Helix a second time, then out to Powercabs through AES. In order to go from Kemper via SPDIF I have to use a box that translates SPDIF to AES, not sure if that has any inherent latency, but one should figure I had tons of latency in this rig. However, it's totally playable. There's no way I'm above 8ms latency. I haven't played straight into an amp in a while, but it feels like there is no actual latency, that's how tight it feels. So that's five rounds of AD/DA and any latency introduced by any of the four digital signal processors (five if you want to count the SPDIF/AES box) that are in line. That's just mindblowing to me. So in all actuality, it doesn't really matter. I don't mind when things are optimal, however.
Why would low values of Pure Cabinet help in this situation? I see the opposite.
I pictured a spectogram of a recorded guitar signal and how the pure cab seems to smooth out the visual peaks in a spectogram-like representation. So if we accept that fewer and smaller peaks in the signal equals less audible diversity (which isn't given, but I'm ready to make a case for it), and that more diversity = more complexity, on that basis alone I was ready to totally agree with the guy.
But only because OP described their tone as "dead", "sterile", "lifeless" and that it lacks clarity