Yep. It's $1 per pick to engrave both sides but he'll do it. I placed my order earlier today
Yep. I ordered a Dawman pick to try out after reading this thread and it arrived yesterday. I got the black jazz III skull and I absolutely love it. Enough, actually, to have just ordered a handful more. My only complaint is that it`s only engraved on one side and the other gets very slippery....a problem solved, yes, rectified by emailing dawman and having them engrave the skull on both sides!! I`ve still got at least half a bag of my customs but I suspect from here those will be mostly used to give away at shows (I have seen at a few NAMM shows that handing out picks w/ contact info/website address is much more effective for a solo musician than business cards so I`ll still keep a few on me at all times).
FWIW, I was concerned I wouldn`t like the 3mm pick but the way the tip is shaped it plays like a much thinner pick as far as attack goes.
I`ve been using DR for 22 years now, been on their artist roster for three years at the end of October. Specifically I use either Black Beauties or Highbeams but I think I`m going to throw a set of Veritas on a guitar and see how I like those.
I used Dean Markley Blue Steel before I was introduced to DR and I liked them enough but when I got to GIT the salty Los Angeles air and my acidic perspiration turned them to barbed wire in just a few days. I can`t say it was a failure exclusive to those strings, maybe I just learned to wipe my guitar down when I switched to DR. But I have enjoyed my DR strings for a very long time, I`ve only broken maybe four in the 22 years I`ve been using them and the people in the company treat me like family.
I`m pretty new here myself....tons of great information and a (mostly, for the interwebs anyway!) civil population of us Kemper users.
Currently, I use a performance slot for each 'amp', with switches 1 - 5 increasing in gain and switch 5 being my lead tone (with higher delay, more gain, and a volume boost).
However, I just picked up a Mission EXP pedal and I'm hearing people talk about using that for leads. I wondered if it's possible to have the pedal control the gain, and set it so that toe down increases the delay, rig volume AND gain just at that position?
I wouldn't want the volume or delay to increase as I move towards toe-down, just the gain.
I also have a separate pedal I was using to morph the delay mix, but I'm assuming that you cannot use 2 morph pedals for different settings?
Those two sentences contradict each other. Are you asking if it`s possible to make the gain sweep as the pedal moves but the delay and volume are triggered at the toe down position? If so then no. Midi can in fact be programmed that way but the KPA`s midi just isn`t that deep.
Part two of my reply is...why? If you don`t want to hear the morph "swell in" just step on the pedal faster
As for your last question, midi can technically do anything you want and there are certainly some mind numbingly elaborate midi rigs out there but you are correct. Given wha the KPA is programmed to be able to read/receive it wouldn`t be able to ascertain WHICH morph you were asking it to control even though two were on different incoming midi commands. You`d just end up with two pedals that did the same thing if we could even assign two different command channels to the morph function. (ie; our midi isn`t deep enough for it to be able to think "ok, morph channel 4 controls X, but morph channel 3 controls Y")
Weird little glitch I encountered: occasionally I will switch whatever the active effect is to another (ie; one delay to a different type of delay), it changes the effect just fine but when I attempt to adjust any of the new effect's settings it reverts back to the original effect, and if I try to make changes to that effect`s settings they will immediately revert back to their original. It`s not really a big deal but one time I had a significant amount of time invested in a nice fat, expansive delay and I lost the whole thing when Toast threw its little tantrum. LOL.
Not expecting there to be a "solution" since it`s a mildly unstable platform for software (relax, the editor for Hughes & Kettner is on the same platform and has its own issues) but it would be nice to know I can prevent it if there is in fact a way.
Standard tuning for me. Always have. And like Wheresthedug I typically use one guitar for a whole show, the exceptions being the obvious like breaking a string or using the acoustic. Just perusing Ted Green`s Chord Chemistry book and realizing none of us could ever exhaust what we can do in standard tuning is enough to humble anyone back to standard tuning for the next three lifetimes.
As far as tone chasing goes, I actually just did a clinic on that very thing at the studio where I teach.
We`ve all heard it; tone is in the fingers, right? I`ve been on the student end with so many great teachers and players from unknown locals to the greatest of the greats and I`ve heard it from all of them. So why, then, do so many people blow so much money on gear trying to find "their" tone?
It`s an excuse to not practice.
I don`t claim to hold the holy grail of tone. I like the sound I have (and absolutely the Kemper helped refine it!), but it`s MY tone, and I`m sure someone out there won`t like it. With that said, I`ll get to the meat of it:
Your tone is as much a part of your style as the notes you`re playing. We invest all this time and energy learning how to play just the right notes and say everything we want to say with them, but few really "work" on their tone. It`s like trying to write the next War and Peace via text message.
Pfft. Work on tone....Jef must be retarded.
Nope. It`s a real thing. (I`ll try to cut out the fluff from the clinic here). When you get close to a sound you want; you have the gear that`s supposed to make you sound like a personal sunbeam from the core of heaven itself, it`s time to start putting your own fingerprint on the sound it makes. You have to learn how your own personal technique affects the sound; do the notes bloom quickly, or do they just sound like a 440hz (or whatever note you happen to be on) frequency vibrating the eardrums? (note bloom is a rarely talked about phenomenon. I spoke about this at length with Joe Satriani). The pressure you exert on the neck, where you pick in relation to the bridge, your vibrato all add up and contribute to your personal tone. That`s why two people can play the exact same setup and sound very different. Chasing someone else`s tone is foolish and futile. You can come close, but their tone has THEIR fingerprints on it, not yours. It`s not in the next pedal, or the next profile. It`s in your next practice session. Spend time with your rig, learn how it reacts, learn how it reflects what you put into it. Learn how to tickle a note just right so it expands with the mythical bloom.
There truly are ways to develop and work on it, but that is fodder for a different thread. If anyone would be interested I`d be happy to work up a blog post for my site going over the things that have helped me over the years, especially what I have learned in the past couple of years from players I consider the epitome of legends of the instrument.
No, it`s not a particularly popular effect. It`s all but useless live unless the PA in the venue is spectacular. And yeah, I suppose I could automate the pan in my DAW when I record, but I wouldn`t complain if along the way we got a panning delay built in. And not a ping-pong, but a true auto pan. Even the almighty Eventide doesn`t have one.
Pedal Pitch (whammy pedal effect), two octaves up. It`s kind of a Tom Morello trademark. It`s an addictive effect to use
Won`t be a long post, really just posting to share and put the topic in the spotlight for anyone else looking.
Long story short, had the FCB running another rig, sold that rig, got the Kemper, kept the FCB. I liked that it was easy enough to set up and get the basics out of it, but I knew there was more to be had so I ordered the Uno4Kemper chip. Easy to swap it and absolutely no surprises afterward. I won`t go into all the gory details, easier to just answer specific questions but I will offer this: ordering was painless, it was more affordable than I expected, and totally worth it.
Brett is the man, Jeff!
IIRC he grew up in country Victoria (my state). I can't tell you how much I respect his musicality and decency.
Brett has the most incredible ear of any musician I have ever met. He taught me a lot about listening to the rest of the band while I am playing my own parts, particularly so the importance of it when soloing, and learning how to know where I am in the song. Also one of the most underspoken, humble dudes. I haven`t seen him in a long while now, hopefully in January
Welcome from a fellow Texan!!
A very polarized conversation has stayed civil on the internet? Whoa. (lol)
I`ll bring up Eventide again for two examples that pertain here. Regarding the editor for the H9, there were, as I mentioned before, people all bent out of shape over there being no android version of it. There was a Mac, iOS and Windows version that worked just fine, but some people were just compelled to get on a soapbox and cluck away about it, going so far as to Accuse Eventide of doing it on purpose. There were people on the forum that would come on and say along the lines of "if you don`t get us the android app I`m going to sell this thing and buy a strymon". Eventually Eventide admins came along and told those folks "haul your ass. Here`s a link to the for sale section". They don`t need every person who ever considered owing an H9 to buy one, nor are they expecting such.
The second example with them is directly connected to C. Kemper. I was at NAMM two years ago and I had stopped by the Kemper booth after playing though a friends`device over the summer prior. There is a very specific tone I heard on an album and I wanted to be able to recreate it...ah that`s superfluous. I`ll get to it. I spoke with those guys for a long while about what it does and doesn`t do, and I told the man himself that I really love the way the KPA sounds but I had invested substantial effort into getting my stereo rig set up with the Eventide at the center of it. He says "the kemper effects loop can be set up in stereo. It`s not official, and it`s a workaround, but it can be done" (this was before they made an official stereo update). I waffled a little bit and mentioned my attachment to the Eventide harmonizer. He says "ours has a harmonizer, too". I reply, touting the legendary sound of eventide harmonizers and he says "Eventide sure does make wonderful sounds. Ours sounds good,too, but that`s not what you`re buying it for. You`re buying it for the same reason you got your Eventide. Because it does what it does better than anyone else".
The point is that we buy these things for the way they sound. The KPA is a stunning champion in that regard. We measure a thing`s value on however many merits apply to it, and if the convenience of a fancy app to edit the device outweighs the quality of it`s sound for some people, fine. The KPA just isn`t for them. It doesn`t make them foolish or bull headed, it just makes them (very) differently motivated than I am.
(incidentally, the only experience I have with the Fractal was at likely the biggest show of my career, performing with the guy in my avatar pic. It totally freaked out and wouldn`t load the proper presets and I ended up having to use the house rig. I got it done but it was a bruise on what should have been the ultimate gig of all time)
Awesome, thanks for the feedback. There are several rigs I "like", but I bought the Kemper to dial in my own personal sound(s) and use it vs twiddling knobs and downloading new rigs more than I play it. I`ve owned a lot of amps in my day, played even more so I knew what I was after. It`s the equivalent of going out and buying five of my most ideal amps ever made and getting to bring all of them to every show, every session. Started weeding out the ones I know I`ll never use and the goal is to whittle it down to about ten rigs actually on board.
I post that with absolutely no ill will, only a bit of humor.
Meh. Eventide got the same bunch of people who were all bent outta shape about not having an Android version of H9 Control. Yeah, it made things WAYYYYYYYYY easier, and I`m sure there were a handful of people who opted for another brand for it but in the end, the people who really wanted an H9 made it work because it is just superior to the competition in ways that matter to them. I would love a nice, rich editor for my KPA, especially now that I`m dialing in some very specific delay algorithms. But I`m not going to throw a tantrum about it. Trust me, I get it. We live in a world of convenience and we have been conditioned to expect it.
FWIW, I`ve used the CTRLR editor for my grandmeisters. The platform is archaic but it works and I`ll certainly give it a whirl for the KPA.
I love my Kemper. Like true love. It`s amazing. But there are a whole crapload of profiles that I am never, ever going to use on it. Since I`m about to start the process of setting it up to my personal performance needs I am considering removing all but a handful and just storing the extraneous ones on RM. I might end up with 12 rigs actually ON my device. A tenfold benefit alone in not having to scroll through fortyeleven profiles I don`t use if I were to ever need to in a hurry.
Anyone else take this approach?