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The wah range etc shouldn’t affect it. If Wah > Volume it ticked in settings triggering the wah should bypass the volume.
The funny thing is that Wah > Pitch leaves both active 😧 but Wah > Volume should be mutually exclusive.
You can use IRs with the Kemper by converting the .wav file into a Kemper Cabinet format. Personally I don’t bother as the cabinets themselves sound at least as good if not better to my ears. However l regardless of whether you import IRs or use cabs you can swap at will. You can combine the cab section from any profile with the amp section of any other if you want.
Loop Mono is used to connect an external FX pedal to the Kemper. In order to work it needs a value greater than 0 and a pedal connected using the direct out and return input. If you don’t have a pedal connected and a value of 100% it will simply kill the signal. If you have nothing in the loop and a value of between 1 and 99 you will get some signal but probably a lot of problems. If you are not using any external FX remove the Loop Mono FX type from the rig.
If you have Wah > Volume ticked the volume should be independent of the Wah i.e. the pedal controls volume when the Wah effect is bypassed but controls Wah instead of volume when Wah is engaged.
If this is not happening then there must either be a setting wrong somewhere or a bug in the software version you are running. There was some sort of Wah issue in one of the previous releases (can’t remember exactly what though) so I would make sure you are on the latest release to start with.
Both values of PURE CABINET interact such that the larger of the two values is always given priority and will be applied as the actual intensity of the PURE CABINET effect.
That’s the bit I was referring to.
You’re in luck 😎
You can control pretty much anything that isn’t a Global parameter via morph. You can control any one parameter or as many as like simultaneously.
There are are various ways you could a achieve a volume boost. The most obvious one is to link the Rig Volume to the Morph function. Or you could morph the Amp Volume in the Stack Block.
Another way is to morph in the mix and/or volume of a boost or OD pedal after the Stack. Or you could use the Wah Pedal Booster FX. Although it is called “Wah” Pedal Booster it doesn’t actually do any wah bit just lets you control volume with the Wah Pedal or Morph pedal. This can be really useful if you want to have a volume pedal at two different places in the signal path such as before the Stack to affect the way the front of the amp is driven and after the stack to simply make thing louder or quieter. The Wah Pedal booster can have + or - settings to boost or cut volume.
Do you have a volume pedal active? Sometimes the pedal can be over sensitive (or faulty) and cause changes. Also of a volume pedal is assigned but no pedal is physically attached the input can sometimes register false levels.
Yes thy are global but pure cab is a bit unusual in that the higher value takes precedence. So if set in a rig to 0 but say 5 in the output menu then you get 5. However, if set to 5 in output but 7 in an individual rig then you get 7.
Something is definitely wrong somewhere. The stage will sound exactly the same as the Toaster or Rack when all 3 are working properly.
Just a random thought but, have you moved the speakers and/or you listening position relative to them? You might be amazed at just how much of a difference speaker placement within a typical untreated room can make.
I know exactly what you mean. I chose Kemper over Axe for pretty much the same reason. I want some great plug’n’play tones without losing myself down a tweaking rabbit hole. The problem with your question is that its one of those “how long’s a piece of string” things. Everyone has different ideas of what sounds good to them.
My only suggestion would be to find a profile maker whose style you like. As profiles are basically the same as recorded guitar sounds, making a profile is similar to engineering/producing a recording. In the same was as engineers and producers have a certain style to their work, profile makers also have a personal style. If you find a profiler maker whose style sits well with your ears and needs then you should be able to quickly pick a great tone from their range for most things. Although, you may need to use a different provider for really heavy stuff than everything else.
For me, I tend to use a few MBritt or Tone Junky rigs most of the time. For higher gain classic rock stuff (not metal) the MBritt Marshall packs are awesome as is his Crank’n’Go pack (love the SLO).However, there is a great fender twin in the factory settings and Andy44 Fender Pro Jnr from the factory content is also a killer tone.
Rig Exchange is a bit like the Wild West 😬 there is no standard naming convention so users call profiles anything they want. Some use real amp names. Others use fake or abbreviated names like Mars for Marshall etc. Others use player , band or song names.
I usually Start with an amp name that I am looking for and use amp manufacturer as my first cut. After that I look for specific models etc. It can be pretty hit and miss but there are some real gems in there so can be worth the effort.
You to systemically trouble shoot the entire signal path end to end.
Have you confirmed that the problem isn’t either the cables or the FRFR cabs themselves? Plug something else in the the cabs and test them. Most FRFR have some form of DSP and often have options for different EQ etc is it possible that one of them got moved while moving the cabs? Is possible you are sending a line level signal to a mic level input and clipping the input?
The nect thing I would do is go back to using main outputs rather than the monitor out. The XLR and 1/4 outs should be the same except the XLR is balanced and has a better signal to noise ratio. The actual signal being sent to Main and Monitor is determined by the output settings. If both are set to Master Stereo the signal is the same (unless monitor cab is turned off x which you definitely don’t want for FRFR speakers).
With the main outputs connected start at the input menu and walk through everything stage by stage. Is the noise gate set too high? Has clean sens or dist sens been moved? Etc.
Lock all FX in the off position first and use just the stack then output settings as this will narrow down the possible cause. If this all checks out and the problem persists then add the Stomps back on by one. Then the FX one by one. Be really methodical rather than jumping around from section to section.
I understand that but in reality the Studio EQ can be used exactly as you require at the cost of 1 FX slot. I admit I’m not a massive FX user but I never worry about losing and FX slot as it is rare for me to have more than one or two in use anyway. I know others may be different though so accept your point.
CK has said that the output EQ will get high and low pass filters at some point so maybe he will also include a parametric mids function too.
I hear what you are saying and understand what you mean.
I still think a single set of outputs and mixing in the box is a viable solution.
I understand the fact that venues will differ and require different EQ etc. However, this should be consistent for both the guitar and uke signals. Therefore, as long as they are balanced and EQ’d well RELATIVE to each other the one channel (stereo pair) on the desk would be sufficient to EQ to suit the room or outside location on a gig by gig basis.
Think of it like this. You need multiple guitar sounds ( clean, crunch, rock etc) which you set up as individual rigs in the Kemper. You don’t re EQ all of these individual guitar rigs on a gig by gig basis. The Uke sound is nothing more than another guitar rig. I use a couple of electric guitars with piezo pickups n them. For this I simply save as many guitar rigs as I need plus a single acoustic rig (I could use more if required though). I then switch rigs as necessary and send everything out the main stereo outs. If I need both blended together, I send the piezo signal through the Parallel Path using Stomp A Loop as an input and and EQ in Stomp B. The guitar signal goes in through the main input and through the rest of the signal chain from Stomp C onward. Your situation is even simpler as you never play both Uke and guitar together.
If you really must send two stereo pairs and don’t mind using an external piece of gear sich as a di box or A/B pedal I would try a stereo A/B after the main outs like this:
No idea but they will bog standard machine screw metric sizes. Measure them and you should be able to get them online for next to nothing.
If your handle screw has come loose but is still in tact I would just add a little Blue Locktite on the thread and tighten it up again.
Sorry, I wasn’t at my Kemper when I wrote that. I have since tried it and, whilst it is possible to turn the Monitor Out volume up and down with an expression pedal you can’t mute the Main Outs in the way I had intended. So that method isn’t going to work.
The best solution as far as I can see is to use just the main outputs.
Have two separate rigs for Guitar and for Uke.
Use one stereo pair of inputs on the desk.
Do all of the EQ, Compression, Gain matching, Reverb etc inside the Kemper. This should work just as well (if not better than) trying to set up two separate mixer feeds.
Think of it like using a DAW and “mixing in the box”. A massive proportion of top recordings don’t get mixed on a physical mixing desk anymore. Instead the engineer does everything in the box using plug ins. The Kemper can handle full Parametric EQ (studio EQ) for each rig which is more powerful than most live mixers, as well as compression, gain levels etc. Therefore, you should be able to achieve pretty much anything you need before sending to the mixer. It’s a much simpler set up all round.
Almost everything on the Kemper has a mix control. Set the Flanger (for example) to the sound you want to introduce. Set the mix control to 0% with the expression pedal in the heel position then move the expression pedal to the toe position and turn the mix control to the maximum level you are likeLy to need. Now save the rig.
Its designed to let you have the option of series or parallel (or anywhere in between) FX chains which is really useful for lots of things. Parallel FX routing opens up lots of options which simple series doesn’t provide and it is definitely a manor benefit being able to set this on a rig by rig basis. The main chain isn’t that it was changed from global to rig basis but rather that the function which has been there for a while was just renamed and moved from the Delay/Reverb effects to the master Rig settings. This is initially confusing (it certainly fried my brain for a little while) but once you get used to it it is pretty logical. I believe it was necessary to move it when it became possible to put any effects in the Delay and Reverb slots. If the control was still set at the effect level you wouldn’t have any access to it if you put say a chorus in the Dly slot and a tremolo in the Rev slot.