Posts by Wheresthedug

    But it is not my world.I always want some "freedom of expression"

    I know what you mean.


    To be perfectly honest, I am also of the less is more/keep it simple mentality too when it comes to actually gigging or recording. I like to say that it is because I value the artistic freedom but the reality might be that I'm just too lazy to do anything else ^^

    They're Ernie Ball Music Man John Petrucci Majesty's. Judging by the beautify wood I'd guess they are Ball Family Reserve versions (a bit like PRS Private Stock or Fender Custom Shop level)

    If you don't have pink noise (you could play a loop from a portable device), use music that sounds excellent and that you know well. Back in the day Rosanna was tops for this; its spectral readout was essentially a straight line with the perfect taper as it headed into the higher frequencies. This is "perfect" because spectral readouts are energy readings across the frequency spectrum, and the higher a frequency, the less energy it has / produces for the same perceptible level.

    In the old days our sound guy used to use RATM Killing In the Name as his PA test track. Fine in some pubs and clubs but got us in trouble in quite a few 5 star hotels when the " **** you I won't do what you tell me" kicked in=O

    As digbob said, that is how you would connect it and it will work perfectly if you want to use the Kemper headphone out.


    However, there is another option with fewer cables and less hassle. Go to the output menu and send space to main output rather than headphones only.


    There are some caveats to this though:


    You stated that the KPA sounds better than the UA because of the space effect. This may be the case (in which case space to main outs should be perfect) but it may also be tat the Headphone amp in the KPA is actually better than the UA one in which case digbob's solution will be better.


    If you want to record the main outs as well as monitor them you will end up recording the space effect. Although you could record from the monitor out without space.


    As with most things in the Kemper, there are many ways to skin the cat.

    I don't think you are missing anything.


    It mentions this behaviour in the Profiling Manual. I believe this is the intended way the system work because Kemper assume that everyone will have the amp in another room.


    Like you, I need to profile in the same room as my amp. The way I deal with it is to monitor on headphones when making initial comparisons. I use Shure IEM which provide a good level of isolation then wear a pair of building site over the ear defenders to further isolate from the amp in the room. It's far from perfect but does work well enough.


    I think the option to mute the amp in comparisons would be a worthwhile addition though.

    Thanks guys.


    While I did do it to help out a fellow player, I also saw it as personal challenge and a way to learn to use user scales. A real life example beats dreaming up an exercise every time and I haven't done before so I did have some personal motivation too. ;)



    Truth is. .you can't do it while playing it "with heart and passion" and I would claim it is much more important to concentrate on the right expression(bendings & vibratos) than on keeping in touch with morphing the pitch shifter..


    But if anyone can do this (controlling the morph and playing the leads as they should be played) I will admit that this is indeed "glorious"..hail,hail.. ^^

    I totally agree that it wouldn't be possible to do it for solos with bends and "feel" but the part on the outro is really just a straight forward stream of steady 3 note fingerings which is doable. I can play it and morph it pretty easily but as lento1234567 pointed out, without all the missing notes the slides up to the last note of each phrase does sound a bit weird. I definitely wouldn't try using the multiple scales and morph approach for the main solo that would be a real train wreck :D


    Something else that dawned on me after I posted the setting is that it might actually sound more natural playing the top harmony and using the Kemper for the bottom one. In order to try this simply change all the +3 to -9, +4 to -8 and +5 to - 7.

    It took me most of last night to figure it out. Had to sit with paper and write out all the intervals a few times to spot the patterns I would need int the KPA.its a relatively simple harmy part so I still think I must be missing something obvious as I can’t believe it should be that difficult to achieve. Hopefully, someone else will chime in and give me the EUREKA moment that makes me see how stupid I am :D

    Damn. That one is a LOT harder than I expected =O


    Here's what I managed eventually but it isn't perfect. Surely there MUST be an easier way to do it that I am missing.


    For the actual solo's. It can't really be done. The guitar lines are almost totally independent of each other. By that I mean that some of the notes in Guitar 1 have different notes assigned to them in Guitar 2 and at some points the rhythms overlap so I would go for the main solo part and ignore the harmony during the solo.


    However, the final Outro arpeggios are pretty much iconic so worth the effort to nail if possible.


    The arrpeggios are simply the chords to the tune harmonised in diatonic 3rds (and 4ths where necessary to make the chord). However, the chords modulate so a single scale doesn't work.


    The progression is Bmin F#7 (B harmonic minor or B melodic minor), A E7 (A major), G D (G major or D major scales would work), Emin F# (E harmonic Minor or E melodic minor). So 4 different scales. Unfortunately it will need Performance Mode with THREE separate Rigs in 3 slots AND a morph pedal to achieve it.=O


    Rig 1

    Harmonic Pitch FX.

    Voice 1 Interval = User Scale 1.

    Edit user scale to the following. (I have set any notes that aren't actually needed to 0 for simplicity but you may want to add something to make any slides sound better.)


    Step 0 = 3

    Step 1 = 0

    Step 2 = 3

    Step 3 = 4

    Step 4 = 0

    Step 5 = 5

    Step 6 = 0

    Step 7 = 5

    Step 8 = 4

    Step 9 = 0

    Step 10 = 4

    Step 11 = 3


    Voice 2 interval = User Scale 2


    Step 0 = 3

    Step 1 = 0

    Step 2 = 3

    Step 3 = 5

    Step 4 = 0

    Step 5 = 4

    Step 6 = 0

    Step 7 = 4

    Step 8 = 0

    Step 9 = 3

    Step 10 = 0

    Step 11 = 3


    Set key to B/G#min


    Now the fun bit: With the Morph pedal in the heel positionSet the Voice Balance all the way left -50% and Mix to 0

    Move the morph pedal to toe position and turn the Voice Balance all the way to the right +49.9%.


    This will cover the first 4 chords of the tune like this:


    Play the low notes of the harmony part.


    Play the first chord (Bmin) with the pedal in the heel position

    Move the pedal to the toe postiion for the second chord (F#7)

    Move back to heel and play the 3rd chord (A)

    Move to toe for 4th chord (E7)


    Rig 2


    Harmonic Pitch FX.


    Voice 1 Interval = User Scale 1.

    Edit user scale to the following. (I have set any notes that aren't actually needed to 0 for simplicity but you may want to add something to make any slides sound better.)


    Step 0 = 3

    Step 1 = 0

    Step 2 = 0

    Step 3 = 5

    Step 4 = 0

    Step 5 = 0

    Step 6 = 0

    Step 7 = 0

    Step 8 = 4

    Step 9 = 0

    Step 10 = 0

    Step 11 = 0


    Voice 2 interval = User Scale 2


    Step 0 = 0

    Step 1 = 0

    Step 2 = 0

    Step 3 = 4

    Step 4 = 0

    Step 5 = 0

    Step 6 = 0

    Step 7 = 3

    Step 8 = 0

    Step 9 = 0

    Step 10 = 5

    Step 11 = 0


    Set key to B/G#min


    Leave voice balance etc the same as first slot


    This will cover the next 2 chords of the tune like this:


    Play the low notes of the harmony part.


    First chord (G) morph pedal in heel position.

    Second Chord (D) morph pedal in toe position.


    Rig 3


    Harmonic Pitch FX.


    Voice 1 Interval = User Scale 1.

    Edit user scale to the following. (I have set any notes that aren't actually needed to 0 for simplicity but you may want to add something to make any slides sound better.)


    Step 0 = 5

    Step 1 = 0

    Step 2 = 0

    Step 3 = 0

    Step 4 = 0

    Step 5 = 3

    Step 6 = 0

    Step 7 = 0

    Step 8 = 4

    Step 9 = 0

    Step 10 = 0

    Step 11 = 0



    Voice 2 interval = User Scale 2


    Step 0 = 0

    Step 1 = 0

    Step 2 = 0

    Step 3 = 4

    Step 4 = 0

    Step 5 = 0

    Step 6 = 0

    Step 7 = 3

    Step 8 = 0

    Step 9 = 0

    Step 10 = 5

    Step 11 = 0



    Set key to B/G#min


    Leave voice balance etc the same as first slot



    This will cover the last 2 chords of the tune like this:


    Play the low notes of the harmony part.


    First chord (Emin) morph pedal in heel position.

    Second Chord (F#) morph pedal in toe position.



    GOOD LUCK


    I hope your tap dancing is up to scratch8o

    I know there was a thread fairly recently where someone proposed renaming the intervals in the user scale menu of the harmoniser. I think their proposal was to use note names instead of intervals but I remember thinking at the time it seemed a bit overkill probably a backward step for most users.


    However, I have just spent a fair bit of time trying to program a user scale and OMG it is unintuitive =O


    A real mind bender in fact.


    At the moment scale steps start at 0 and go to 11 (VERY ROCK 'n' ROLL but not exactly consistent with most music theory). This is totally bonkers for trying to figure out which scale step you are trying to harmonise. I am sure I would eventually get used to it with enough practice but surely it would be more sensible to just rename the scale steps 1 to 12 with one being the root as it is in traditional music theory. I love the harmoniser guys but I don't think you need to reinvent centuries of tradition to implement it ;)

    ToneDeaf nice. I had no idea who Zach Myers was until recently but I kept seeing that guitar coming up in the PRS facebook page so I thought I should find out what someone with such excellent taste in guitar finishes sounded like :D

    I don’t know if those harmonies are right or not ut they are basically just diatonic 3rds with the odd perfect 4th thrown in. I’m sure it would be possible to make that work with the harmoniser and morphing but would need to experiment a little. I think I feel a project coming on ^^

    scratch17 that shouldn’t be an issue as long as you don’t run it a crazy volumes.


    Set the Amp side of the Weber to 16ohm and the KPA will put out a max of 300w. Don’t turn up the Kemper to full volume and it won’t be putting out the full 300w anyway. :)


    More importantly though, you dont need use an impedence matcher unless ypur cabinet is rated at less then 4 ohms which is pretty much no guitar cab in existence ;)

    The only thing I think they can improve upon is in truly capturing the full soul of any amp, as opposed to snapshots of it. I'm hoping that the Kemper 2 will be able to profile an amp and that as you change the EQ and volume, and all the other settings on the Kemper for that amp, it will respond in kind. To me, that's really the only other improvement that would make the Kemper 2 worthy of a sequel.

    I can’t see ANY way that would be even remotely possible. But then again nobody but thought of the current profiling process until CK came up with it so who knows. Dreams cost nothing ^^

    I should also have me tioned that the Kemper is officially rated down to 4 ohms according to the manual. 8ohms gives 600w and 16 ohms gives 300w as others have said. However, the manual states that when using a 4 ohm cab the output is “electronically limited” to 600w.

    Ingolf, thanks a lot for the info!!!! really appreciate it, I just have 1 speaker not a cab, (Electrovoice EVM 12L, 12-inch pro-grade speaker) that I wanna put on a small vintage single speaker box (cab), but I measured the ohms and shows 6 ohms, I know is not accurate at all because multimeter measures on DC not AC, some one told me that some 8 ohms speakers measure between 5.9 ohms and 7. something on DC and its ok, but im still trying to be more safe than sorry, thanks again.

    My (limited) understanding is that the quoted impedence of a speaker is the nominal load at a specific frequency. However, speaker resitance is frequency dependent so measuring it will almost always give you a different reading than the quoted resistance. Apparently an 8ohm speaker will typically read around 6ohms using the AC multimeter method. The EVM12L is normally an 8 ohm rated speaker; I have two in Mesa Boogie Theile Cabs. So that looks like you have a standard 8ohm speaker anyway. You are safe to ise it with the Kemper at least using mine hasn’t caused any damage to either so far ;)