Posts by 0K1900

    The "SHR 7" (Shift Right by 7 bits?) seems to me to be selecting the first 7 bits, if so, do they then need to do an "AND $7f" action on what is now a 7-bit number? In your discussion, the number was more than 7-bits, so I can see the purpose. It seems to me that, by Kemper splitting it into the 7-bits, the "AND $7f" action becomes superfluous.

    I would say that "selecting" is the wrong word here.

    Lets think about shifting in decimal.

    If you take a value (1E8) and SHR 3 in decimal you don't get 3 decimal digits, you get 1E5.

    Thus; in base 10 shift operations divide or multiply by 10.

    You're AND'ing the value to mask out 127.
    The simplest way I can explain this is as follows: With an arbitrary value (say, 243).
    If I mask with 127 (7 bits) I'm asking:
    Out of 243, how many of these bottom 7 bits are on?


    Output:


    11110011 [value]

    & 01111111 [mask]

    = 01110011

    ...1110011 is the "status" of the last 7 bits.


    Quote

    If I'm looking for parameters and values for some other operation controlled by MIDI (changing delay settings or gain settings, etc), and I don't apply an "AND $7F" to whatever parameters and values I read from the Kemper MIDI doc, will that matter?

    Yes it will. Depending on how your serial connection is made through midi you might be sending additional bits that the receiver end might not be expecting.
    It's not going to fry anything but I imagine the receiving end is just going to think of it as garbage. You could try it out though.

    In serial you're essentially creating a hose of bits and firing off groups of bits and if one number you're trying to send is larger than the group of bits I imagine that you'd be sending a lot of data that receiver probably won't respond to correctly.

    You could try connecting an oscilloscope with UART a decoding function to see what exactly the serial connection is sending.

    If you want to see how it's being decoded you probably would need to set up an UART receiver yourself (software & hardware wise)

    Okay, I'll take a shot:

    Output from code:

    0111101

    1000101

    1000000

    0000000

    8192

    As you can see above, sending 8192 by two pairs of seven bits means sending 1 value of 0b1000000and a second value of 0b0000000.
    Join them together and it makes 0b10000000000000 (8192)

    Does that help? Maybe I misread something, there is a lot of text here.

    Oh. Okay.
    NRPN I found very simple but I thought manual was a bit confusing.
    Essentially you have to send 4 messages (although maybe a single one could work? didn't try that)
    Here's how I wrote it in C++

    Thanks so much for the response. Turns out you're the perfect person for my following questions.

    I was able to breadboard a pico with some midi functionality and I was able to send midi signals correctly, lots of fun.

    Qs:

    1. Is it safe to use the 3.3 Volts coming out of the micro controller to feed into the MIDI voltage line ? It seems to work. 5V from the pico also works. Just wondering about the safety of it overall.

    2. About the MIDI signals, I see that the features I wanted to program into the pico are not possible to send over MIDI to the kemper (performance right/left). There is this NRPN documentation section, not sure if that's something you've tried and have anything to share before I do a deep-dive into how it works ? (nvm, figured it out)

    As for your schematic, I did lots of googling and didn't find anything on Kemper + MIDI (bad SEO ?) I only found USB-MIDI with a PC. I would love to have seen that before I did a deep dive on MIDI and uart. Would have saved lots of time. I have a very similar schematic.

    Does the KPA (I have the rack) support receiving MIDI messages from the front USB port by a MIDI device ?

    I'm trying to design a simple pedal that sends MIDI messages to the KPA, I only recently found out that the MIDI standard needs stable 5V which I'm trying to navigate around by exploring other options.

    I'm aware of USB Midi with a PC however I don't want to use a PC, I want to press down on a footswitch and have it send MIDI messages preferably over USB.

    Cheers.

    I think if your hand synchronization isn't in shape you'll attack the strings as you press them, and maybe even as you release them. This causes a weird semi harmonic thing going on, is that what you're talking about?

    Solid tone btw

    I've tried on dimarzio strings to have them ruined on the same day, not a fan of the tone either but that's definitely subjective. I think that kind of tone could do really well in mixing it was a lot less brighter than the EBs. At least there was less of a difference between the strings NEW and the strings ruined after some playing.

    I tend to get about 30 hours of play out of Elixirs before I notice the sparkle is gone. For uncoated I use DR Veritas and they go about 10-15.

    I wipe them down after playing and have a cotton tea towel in each case that I leave on the strings.

    what's your experience with other strings? I tried elixirs, the sound is okay. Definitely better than most of the strings you can buy, but I don't remember them lasting me enough to warrant paying 3x the amount of what slinkies are worth.

    It takes 2-3 days to get rid of that brassy twang you get with brand new strings, to me that sound is the sound of strings bedding in, they're struggling to stay in tune at that point. From there I'll change them when I can feel the frets wearing in to the D string. I have many guitars but I play most of them often enough that they don't get a chance to corrode or get too grotty before the D string wears out. Acoustic I'd do a bit more often

    Yeah, I don't particularly care about the twang necessarily, because I still consider them playable and you can do some EQ tricks to bring out more attack in the strings and that's okay. To me it's about when the strings start ringing in an annoying way, like they sound out of tune even though they are tuned.

    If only using the one guitar 10 to 12 hours a week about a 6 to 8 weeks, for me this is where tuning becomes more difficult. I wipe the strings 4 or 5 times during this period with a microfibre cloth, I use Ernie ball 10-46 since forever, having said that I might delay changing strings for longer because I dislike the sound of new strings, takes a good few days to get rid of the zing? I dislike.


    Im a sweater but I don’t think my gunk is particularly corrosive.

    Good point, I drink like 3-4 coffees a day, unironically it might do something to the sweat. :S

    Typically my strings die in around 1 or 1.5 weeks, I play usually more than 2 hours a day of moderate practice (lots of single note lead metronome practice, not really lounging and noodling)

    I use ernie ball 10s and sometimes 11s, the 11s last about a few days longer but it's probably due to the fact that they're harder to play so I take more frequent breaks.

    My hands get fairly sweaty and they'll corrode the string coating in about 2-3 days, after that it's downhill from there. I think the strings sound best with the coating on, I usually record stuff right after a string change and noodling for a few minutes so they don't detune right away.

    They start to get unplayable by a week-ish, the high e will start ringing oddly, then the b, then once the g starts ringing poorly I usually swap strings.

    I'm interested in other people's experiences with their guitar strings, share some.

    The mixer you linked me is actually 4 way mono input and 1 mono output, but I really like the idea. Except apparently every mixer out on amazon has insane degradation or faulty hardware so I don't know where to start. But I really like the idea of plugging the outs of my focusrite into a mixer.

    the outs from 2i2 you have to use as the physical outs for L / R

    and you have to pan the INs you use

    1 to L

    2 to R

    than you get a Stereo Sound

    The problem is that the 2i2 doesn't have stereo monitoring, it will take both signals and turn them mono,

    So I think what was proposed was to take output 1+2 and route them to a mixer and use that for monitoring to keep true stereo effect.

    In a DAW you can arrange both signals to be stereo and you can monitor as well but there is a significant delay for monitoring, the end recording will pan out and be stereo but that's not the problem, the problem is live monitoring vs Kemper headphone out.

    Looking at this device I'm confused. There's 2 types of them (https://www.amazon.com/Behring…ER-MICROMIX/dp/B000KGYAYQ)

    One is a mixer and one is a headphone amp/dist.

    So from Kemper I guess I'd plug L/R into the mixer but it only has 1 output.... and or I could plug headphone out into the headphone amp but then.... would would that make it stereo into the scarlett? I'm getting dizzy.


    I have line outs from the 2i2, I think they're...mono ? It says L/R but I don't think it's stereo out. Time to search I guess. Intuition makes me think the L/R are mislabeled and really mean Output 1 (from input 1) and Output 2( from input 2). But they're line outs and not instrument level, is that gonna be okay ?

    I'm assuming that there's a computer editor for that audio interface that provides a mixer of some sort. If you're not using a computer or recording then I'd just use the KPA headphone jack.


    For example, with my little Presonus Mobile if I plug my KPA into 2 input channels and do nothing else they'll sound mono because they're both panned to center. I then have to go to the output mixer (on my recording PC) and pan them, which brings back the glorious stereo. :)

    Oh, yeah when recording I pan them for sure.

    I'm experimenting right now.

    I tried TRS out Headphone w/ TS main mono out
    And I'm gonna try TRS main stereo out with TS headphone out, basically just trying to make my sound sound fully when jamming with PC.

    Would a TRS cable carry a stereo signal ?

    Do you mean the "rig" volume or the output volume ?