I like the EV in the Boogie halfback cab. Now, I also have a RedSound which has a dual concentric speaker.
On comparing the two, the EV shines (powered by a Palmer Macht 402) with it's fat, great upper mid presence,
while the Redsound is more 'HiFi' but still eminently playable, too !
Hmm, I'd forgotten all about this thread but I never got to see the Fulltone files that I sent back then ....
Does that release also fix the disabled morphing?
Think I've just found a preset that has it's morphing rise and fall time parameters greyed out .....
Have you tried the Comp and Pick etc in the Amp Stack ? While not a 'pedal' it's very playable .....
The Palmer sensitivity setting (H,M,L) should be defined by the Kemper output. It has a clip light that should be avoided apart from a brief flash ....
I run my monitor cab output setting at around -5db and adjust the amp volume relative to the stage sound.
The main output setting can be -20db (mine is) because if you D.I. into the desk it's a better match (the Kemper has a hot output)
Those speakers look good on paper ...... I used similar dual concentric speakers back in the late 70's made by Mckenzie.
Had them in a 50 watt valve SAI combo and they sounded really good .
I'd recommend a Palmer Macht 402 1u racked stereo power amp. Has good input matching (H,M,L) to the Kemper and outputs up to 400w in Bridge mode @ 8 ohms. Has basic treble and bass controls on the front panel.
Good price and good reliability.
Regarding your EVM12L, I'd hang on to it ..... I use one in a Mesa halfback cab - prefer the ambience of open back, but have had Thieles as well - and a Celestion Redback (also 200w @8ohms). The EV wins hands down for sheer girth and presence of sound ! For me, the best guitar loudspeakerthere is ..... 
The most comprehensive and far reaching fix would be to have the existing note numbers and you can THEN toggle and have actual note names showing instead. (If it's too difficult to toggle between both actual note names should be the only thing showing)
Everyone is a winner and the current Kemper design is still in play commercially.
This suggestion, to me, should keep everyone happy surely ...?
As long as it's practical from the GUI point of view.
Purely from a visual point of view, I can see that numbers take up the least amount of space and would be easier on the eye ...
(at least using my eyes !)
I personally have no problem using the stepped interval approach, but would be happy with the theoretical approach, too.
As long as it was clearly legible ....
Monitor out is for the onstage (1 x 12") cab . Main out goes to the desk and It's a hot signal from the Kemper so that's why it's -20db
For the Monitor out, that varies but it's usually around -5db. Master mono out is -20db
Reminds me of the late great Frank Zappa's doodlings on Hot Ratz (amongst others ...)
Frank was not only a great guitar player, far more than that, he was a great composer too .....
I'd also recommend the Moog EP-3 as a good choice.
With a wider travel it's good for volume and pitch duties. The Mission is great for wah ...
..... and that was Dave Sanbourn intoducing him - if I'm not mistaken .... He's class for sure .....
His band around that time included Marcus, the late Don Grolnick on keys and Steve Gadd
I use the mid setting which works just fine.
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.)
This is crucial in my opinion otherwise it sounds weird.
By the way, I appreciate all the work that has gone into not only working it out but also transcribing it here ! Well done !
I know from my own experiences of making user scales, it takes a lottttttt of time
For me the Moog EP-3 has a better sweep, adjustable taper control and is considerably cheaper than a Mission.
It feels better for pitch control, too.
The Mission for wah is good as it replicates the Cry Baby pedal
Ah ! I've always to used the Intelligent one that you have to programme each step in (simply because of tunes that don't conform to the norm)
Thanks for pointing that out
Intervals of 3 and 4 semitones I would think .... it's a classic rock cliche.
-3 semitones (minor) and -4 semitones (major) harmonies if you are playing the top line ....
Yes, the only solution as I see it .... butmaybe a reset to default (regardless of pedal position) could be implemented .... or at least to be an option ?
I have my wah pedal assigned to pitch in my system settings. In a performance with 2 rigs, I use the wah (with no pitch activated) in one rig and the wah to pitch in the other (with no wah activated)
When switching between rigs the one with pitch activated seems to always remember the position of where I left the wah in the other rig. Consequently, it always defaults to being either sharp or flat (depending on my assigned pitch)
Is there any way to remedy this whereby changing the rig 'forgets' the pedal's position ?
