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.
I would love to be able to alter parameters in RM so that it becomes an editor as well as an archiver.
that certainly seems to be what Kemper have planned for the new RM3 ?
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.
No, you’re not missing anything. You need to do it manually as perceived loudness and volume are different things. Volume is absolute but perceived loudness varies depending on many factors including volume, frequency, the room, other instruments in the mix etc.
I wasn’t aware the behaviour had changed. I didn’t know you could even do replace when loading from RM. However, I suspect the change in behaviour might be something necessary in OS7 to allow the RM3 and editor to function properly. If that is the case then it wouldn’t be a retrograde step but more a sideways step which should have been a smooth thing if the editor had been ready as planned. Only time will tell though.
Yes. that’s what I thought you meant. However, you can set up two different rigs in a performance (one for Guitar and one for Uke) but add a studio EQ or graphic EQ to the rig to control the EQ and Gain in the KPA and send the two different sounds to a single pair of channels on the desk using just the main outputs of the Kemper. As you never need to blend the sounds of the Guitar and Uke (only playing one at a time) you can just change profiles with a footswitch when you switch instruments. This would be by far the simplest solution.
OK.
I don’t have a Stage (Power Head user) but I’ve tried everything I can think of and can’t find any way to achieve what you’re looking for.
The problem with the Loop option is that even the Stereo loops are mono send/stereo return (at least on the Toaster). So when you turn on a loop you still only send one signal. Maybe the stage is different but I can’t tell for sure from the manual.
However, I’m still struggling to understand why you need two stereo outputs. What processing are you adding at the desk that differs for each signal? If it is EQ/Compression/Reverb etc. They can all be saved as part of the rig within the Kemper and sent to a single stereo pair on the desk. What am I missing?
I have obviously misunderstood the problem. I now understand the one input for both instruments. However, i am unsure why the Loops are required of you only ever use Guitar OR Uke at any one time.
I would try the follow experiments
Firstly, try assigning the Guitar to Main Outs and the Uke to Monitor Out Stereo. Set both to receive master stereo as the source. Then set the Guitar Rigs to mute monitor Out (volume 0) but the Uke Rigs to send Monitor Out full volume and mute the Main outs.
If you only need mono signals then just use the main outs but set the Panorama control in Rig Menu to full Left for Guitar and full Right for Uke.
Neither of these would need the Loop at all.
Alternatively, if you need to use the Loop and it is in the last slot try changing the Series/Parallel configuration (Dly+Rev Routing in Rig Menu se page 220 of the manual.
However, it may just be that there is currently a bug. I tried and experiment yesterday with parallel path and even at a setting where there should have been no signal from the Slot A and Slot B FX there was still some bleeding through.
It’s still worth playing around with. You might get some nice profiles anyway. A cheap DI like the Berhinger or ART is all you need although the Kemper one and some higher end boxes like Radi and Countryman seem to get a lot of love on the forum.
I think (but could be wrong) that the Red Box includes speaker emulation rather than a clean DI. If that is correct then the Redbox output will be like a Studio profile with a simulated cab and mic. If you want just a direct amp profile you need a pure DI signal.
I’m not sure if you’ve seen it but there is a good reference manual just for profiling in the download section of the Kemper website. It includes various diagrams of signal paths which probably explain it better than words alone can.
I think the reason that the lower limit is 424 is because this is effectively half way between A and Ab.
A = 440hz
Ab = 415.3hz
Difference = 24.7hz
Half of difference = 12.35hz
A (440) - 12.35hz = 427.65
I know the distance between semitones isn’t a simple dived by 2 relationship but I can’t remember the maths. My guess is that either 424hz is exactly half way between A and Ab or they have given a little extra leeway for fine tuning.
Therefore, if you want to tune below 424hz but not as low as Ab set the reference slightly sharp and tune to Ab.
The mic is THE most important thing in the profiling process. The type of mic and it position will dictate the sound. Think of it like recording an amp in a studio. If you place a different mic in front of the speaker or move the existing mic the recorded sound will change (often dramatically).
To make profiles without the speaker you need a DI box that can handle amp level signals. There is a list of suitable boxes in a thread somewhere on the forum. Once you have a DI box. Plug a SPEAKER cable from the amp’s speaker out to the DI box input. Don’t use a guitar cable as the speaker voltages can fry the cable and cause a short that could fry your amp. Then take an XLR cable from the DI out to the in of the KPA. When profiling make sure the box is selected to tell the KPA there is no cabinet in the signal.
The way to do it is to place an FX Loop in Stomp A. Use the Return for the Loop as the Uke input and the main input for the guitar.
If you want to be able to have the Uke and guitar play at the same time (probably not likely in your case but for anyone with a guitar with magnetic pickups and a piezo for acoustic tones it may be appropriate to blend them) activate Parallel Path in the Rig Menu and the acoustic input will be active when the Stomp A is turned on.
If you only want the signals to be mutually exclusive then there is no need for the parallel path.
Are you loading the original profile via Rig Manager or from the front panel of the KPA? I believe RM only loads the profile in an edit buffer for previewing therefore it isn’t actually in the KPA memory to be able to be saved over.
How about a similar solution to Merged Profiles. Make a profile with pedal and one without then subtract one from the other? This would become an FX type to be used in a Stomp slot. It would still be a snapshot like a profile or cab but could have editing features to tweak in the same way as Amp and Cab block do at the moment.
Are you guys saying the editor won't be available for Mac?
No.
It will be available for mac and Windows 10. Kemper said it wouldn’t be compatible with Win 7 but who know whether that is still the case.
