...just for reference in case anyone else is looking the button on windows is Ctrl not C;)
Thanks for spotting that one. It’s actually correct in the manual itself. Must be something to do with copy and paste on an iPad.
I would hazard a guess that that tiny latency is actually still faster than the channel switching on most value amps. Most of the high gain vale amps out there use some sort of relay switching which mutes the signal, does the change then unmutes the channel to avoid the loud pops we used to get with the earliest channel switching amps.
Like Jed, I have suffered with neck, shoulder, back, elbow and wrist related injuries ever since I got serious and started playing a lot of guitar (about 40 years now). Repetition of movement is a major cause but it is exacerbated by the playing position of the guitar itself. If played seated on the right thigh the whole torso is twisted to the right and forward. At the same time the left shoulder is dipped and the left wrist is usually put in a position of stress which can inhibit the tendons and lead to serious injury.
Some try to solve this by placing the guitar on the left thigh and using a foot rest (classical position). This does remove the need to bend forward and strain the lower back and left wrist but it also twists the torso to the left and tilts the pelvis to the right which just causes different issues.
A large part of the problem is that guitars are designed for looks (electric) and sound (acoustic) and guitarists are among the most conservative people on the planet. If it doesn’t resemble a Tele, Strat, Les Paul or Martin OM etc (basically if the design isn’t nearly a century old) they won’t play it. Most guitars demand that the player adapts their body to the instrument rather than adapt the guitar to the player.
I am now studying stringed instrument making at college and hope to start a second career business afterwards. My dream is to design ergonomic instruments (both electric and acoustic) which address the common causes of injury and allow players to play and practice comfortably for extended periods. Obviously companies like Strandberg have made great progress since the early Klein guitars but these are all electric. The real challenge is going to be managing to get a decent tone from an acoustic. Maybe i’ll never manage but I’ve suffered enough pain (and still do) that its worth trying. Hang in there. Follow medical advice and don’t give up.
I don’t have first hand experience of this as I only work at 44.1kHz (might go to 48kHz in future but no interest in going beyond) but I have seen several similar recent threads about this and I think Kemper acknowledged in one of them that this is caused by a bug which they sre working on already.
There might be a gate adjustment on the input section but I would not mess with that since it will probably affect every rig.
The Gate Effects are fixed ratio/attack and release as you pointed out. They are simple gates and aren’t frequency conscious (they treat everything the same).
The gate in the input section is a totally different beast. It is an intelligent noise suppressor. Ideally it should remove noise before the reset of the signal chain and stop that noise being amplified (eq single coil pickup hum etc) without being noticeable so isn’t really suitable for tightening up palm mutes etc. It can be set for each individual guitar and made global by locking the input section or can be rig specific by not locking the input section.Quote from Kemper Manual
KNOISE GATE Knob (5)
This knob controls the Noise Gate, which eliminates the noise and hum of your guitar in a very smart way. Turn the NOISE GATE knob to the right until noise and hum have disappeared; do not turn it beyond that point, as this might alter the sound of your guitar. When set to the appropriate position, you will notice that noise and hum are eliminated, even when the strings are still sounding. There is no need for an additional release control as found in classic noise gates. The Noise Gate settings can be stored as part of a Rig.
Like "Clean Sens”, the Noise Gate setting is part of the Input Section and is stored with the Rig. It is also stored as part of any input preset. When the Input Section is locked, the noise gate is locked as well.
For metal sounds, we recommend adding one of the special noise gate effects, which are explained in the Noise Gate chapter.
Ah, that feature he is discussing is Morphing. It isn’t part of the system menu but part of each individual rig. The ability to set morph ranges is available in RMQuote from Rig manager Manual
To make a parameter morph, simply hold B(Command) on Mac and C on Windows while changing its value. As you can see, this creates an increasing span between two colored dots. The orange dot repre- sents the toe position whereas the blue one shows the heel position. To change the toe value, release the option key. To reverse the position of the dots and therefore reverse how the parameter will morph, drag in the opposite direction.
As far as I recall there has never been any ability to edit expression pedals in RM. i do agree it would be a great feature to add though. It would also be great to be able to assign FX footswitches within RM.
typically you would use compression and EQ after the amp in a recording situation to help it sit in the mix properly. Putting a compressor in front of the amp is more of an effect for playing feel than a studio compressor. I.e. you aren’t doing anything “wrong”. If you are messing up the sound you might just be using too much compression and EQ or using too slow a release time etc.
There is no right or wrong signal path , only results. If the results are good it is right - simples.
Had the same and ended up sending it back. Was sounding like it was broken.
Very happy with my Matrix Q12a now
if it was sounding like it was broken it may well have been. It should sound great.
store in local library should do it within RM. stor in MyProfiler should do it if you want to save directly to the profiler.
my advice (I only wish I was better at following it myself; but do as I say not as I do 🤣) is to “just do it. It is really easy to spend lots of time thinking about doing stuff and planning tunes, worrying about sounds and parts for the arrangement. Then, start a project but never quite manage to finish it. Just record stuff. Finish it. Move on and record something else. You will improve every time and the satisfaction of finishing a track will inspire you to do more. In contrast, many of us get bogged down in details trying to make everything we do perfect.it never is and the feeling of never finishing saps the enthusiasm to do more.
Above all have fun 🤘🤘🤘🤘
I like the idea in theory but not sure how it would work in practice. I don’t know how the switch would interpret the various logic states. Lets say I have two effects 1 and 2. This gives the following potential combinations:
1 -Both Off,
2- 1 On/2 Off,
3 - 2 On /1 Off,
4 - Both On
I can currently click the switch and alternate between 1 and 2, 1 and 3, 1 and 4 or 2 and 3. However, I have to decide in advance which action I want the pedal to perform.
In order to have more options you would need multiple clicks to cycle through the options. However, this would lose the option to go directly to say the 2nd or 3rd sound in the cycle.
Your specific request seems to be for a “cycle mode” with only a subset of the possible options. In my list this would be 1, 2 and 3 with no need for 4. What if some users want the full range of combinations? Do you have a 3 push cycle or a 4 push cycle? Do you give users the option to select the number of steps in the cycle? This could get pretty messy quite quickly.
I think of a few ways your specific request can be achieved already but will need the use of morphing or two foot switches.
You could assign a footswitch to toggle between 2 and 3 (i.e. one effect is always on). Then use morphing on both FX to move the mix from 0 (effectively turning effect off) and desired level. This way you could turn the active effect on or off at will with the morph button and could preselect which effect will be activated when morphed using the FX button. However, you wouldn’t have the ability to turn both on simultaneously.
If you need the ability to have 1, 2 OR 3, and 4. You would apply similar logic but use the Fx button to toggle between states 2 and 4 or 3 and 4.
A two button approach would be to use two FX buttons next to each other with FX ON/Off assigned to each of them then use your foot to push either button or straddle both and activate them both together.
Abother solution which is not currently available but would be a nice “improvement “ would be to remove the exclusivity between Fx and switches. At the moment multiple FX can be attached to the same switch but you can’t assign one FX to multiple switches. If you could assign the same Fx to multiple switches you could create something similar to the “scenes mode” that users who migrated from Helix or AxeFX often ask for. However, I can imagine would also create some potential logic conflicts.
Another option which several of us have asked for many times is to add multiple “morph” groups. This could allow you to use morphing to achieve the “effective” switching with the mix parameter being morphed while still having the ability to use another morph group for something like a volume boost.
Recording two different takes L/R always sounds way better than any "widener" plugin or "sample delay 30ms" approach.
Just doubletrack the guitars, it doesnt take that much time if you can play the part. Practically just 2x the time.
So if you spend 10-15 minutes tracking Left guitar of a 5 minute song, then maybe you would have to spend 20-30 minutes for both tracks.
You probably have time for that.
If you are so good that you dont even make any mistakes and dont have to re-record anything, you can probably play the song in a single take two times so that would take a total of 10 minutes
Totally agree. The OPs request was about how to audition tones which are double tracked. Personally, I would just focus on getting one good tone then change the second one if necessary by reamping against the original track but they seem to want to audition a double tracked sound and make decisions from that.
If you want to hear what two identical rigs would sound like double tracked and hard panned I would just use either
1 - a Double Track effect as suggested above or
2 - Record to two individual mono tracks and pan hard left and rig. On one of the tracks put a sample delay of up to 30ms as BayouTexan suggested. The advantage of using the sample delay on the channel strip (thats what its called in Logic but ProTools and other have something similar) is that you should hear the results in real time without the need to record then nudge one track forward.
I have just tried it and managed to get pretty close to the tone all the way off on my Telecaster neck pickup with these settings. Some subtle tweaking for a LP might be required though. Pedal in full toe position.
It sounds like clipping which clean sense would help with as you have found. Are they particularly high output hum buckers?
I don’t use either much but in side by side comparison tests with my Digitech WhammyDT I found the Kemper to be just as good. The Kemper actually sounded more natural to me whereas the Whammy has its own unique sound which many people seem to like (similar to the way some people use the preamp of an echoplex to add that special something even when the delay is turned off).
I have no experience with it but it looks ideal based on the specs. The only slight issue is that the speaker outs are on consumer HiFi banana plugs/binding terminals so you will need to make up a special speaker cable or adapter but that should be simple enough.
this has been asked for in this section many times already. Given the demand for it, it would seem likely they will add it at some point 🤞