Posts by mollydyer

CK is rightfully pretty secretive of the product roadmap. We know only what he wants us to know, and that's as it should be.

Even if they *were* working on a Kemper 2- or even a Kemper 1 Floor- or Kemper Lite - Or a new type of toaster oven that can profile a really good sandwich - there's no way they'd tell us until it was at the point in the product lifecycle that a release date was firm.

https://en.wikipedia.org/wiki/Osborne_effect

And - if they're working on a firmware update with new features, they may 'tease' these features but it'll be ready when it's ready and not a moment earlier.

It's just good business.

I did - yes. I don't remember off the top of my head what it was though. Likely just the GST.

MariaKim

Exact same setup- uTrack 24, Kemper and a fair bit of other gear... not using Sonar (but there's no difference in the workflow for that really)- I haven't used Sonar in a *very long time*- but I recall it had some extremely powerful editing tools - especially for MIDI.

Important question though:

Why not Performance Mode?

Using performance mode lets me set up the stomps and settings per slot. For example, if the verses are clean + chorus and the choruses are dirty, I can pick a nice fender bassman and set it up JUST right with the chorus and other effects for the verse, and ... say a MesaBoogie or Marshall for the dirty stuff.

The patch changes are (I'm told) faster in performance mode too- there's no gap or switching delay. It might be the most accurate patch switch I've ever experienced, actually.

In performance mode, you can order your set list in Rig Manager, and then send CC#47 with a value of the performance number, then CC50 for slot 1, CC51 for slot 2, CC52 for slot 3 and so on. This way, you have 125 performances with *5 slots each* - much more than the 127 available in browse mode. You can also send PCs to select individual slots, but it requires bank switching in MIDI and it makes it a little harder to understand what's going on. With CC# changes I can look at the midi event list and see that I'm on performance number X and see where the slot changes are really easily.

On Transpose:

I have a few songs that are transposed DOWN a few steps - I just set the transpose in the rig itself (in performance mode) so when it's selected it's pitched down. Selecting that performance/slot takes care of the transposition.

(2) For the individual stomps, you can send a CC (continuous controller) message. I'm at work so I don't have all the CC#s handy - but they're in the manual under MIDI.

I don't use program changes any more at all - I just finished converting my (40? 50?) song set list to use CC#s.

Anyway- I'd be happy to compare notes or work through this with you. LMK.

Does it do it when you're not usb->mac?

patrickjmt

(1) Is anything else plugged into the kemper? Midi? USB?
(2) How about the ethercon cable? Have you tried swapping it out?

+1. Bonus points if it's controlled via the tempo.

Hmm. Could this have been the result of one of your channels being flipped? Were your ears in mono with a stereo feed? Or mono with the second channel as 'more me' but flipped?

I personally would be interested in a Kemper branded power amp for my rack... if it wasn't a gagillion dollars.

Quote from Finally

In the future we'll say things like "I remember where I was when the new reverbs were released, do you?"

...and then the conspiracy theories will start to pop up. Like the whole thing was faked, or a CIA operation. Or there was a second guitar player on the grassy knoll.

wwittman I'd be all over that too- but I only know of Kemper and Fractal that can do spdif in - so that would limit their sales.

How would you suggest a *hardware* change (mono to stereo poweramp) be handle as an update?

my kemper is racked, and the only thing I have on the floor is the remote. I was most worried about the stress on the ethernet port on the kemper, so I built a 'patchbay' for mine via redco that includes a 1/4" out (which isn't used yet), USB, XLR L & R, Midi In / Out / Thru and of course, an ethercon coupler. A short cat5e cable from the coupler to the rack, and now my remote plugs into the front.

I'll eventually get a new ethercon cable made up (something that's a little more flexible hopefully, the factory cable is awfully stiff).

Cable selection is incredibly important. A cheap unshielded cable may not do the trick, even in short lengths.

Quote from theplayer

If you mean the headphones output on the mixing desk then the instrument and voice mixing on every AUX channel for your in ear is not possible, right? Therefore I was aiming at an AUX-OUT on the mixing desk which makes this possible. Two of all inputs on that mixing desk are coming from my Kemper's main outs. So I like to have my guitar coming stereo in my in ear and combine this with every personal setting of all instruments and voices through every AUX on every mixing channel in use. This should result in a personal perfectly balanced monitor sound for my in ears. But how does Kemper fit in this construction and how to achieve that? I hope it's obvious what I write here...

Totally obvious what you want - you want a custom monitor mix for your IEMs.

However- since you're ALREADY asking for a custom in ear mix, that you will then add your guitar to- isn't it just a whole crapload easier to just ask for a monitor mix that includes your guitar, and not monitor through the kemper at all?

Scott Baker Garage Band isn't built for live use - obviously.

Are you bouncing down - what - stereo? Do you run a click? How is it patched in?

Quote from Chris Duncan

The difference between that and custom mold earpieces is night and day. It's the isolation that's going to protect your ears, so that's what you want to spend money on.

In fact, an ill-fitting set of ears will lead to more harm. (If there's a lot of bleed from the drums, what do you do- ask him to turn down his kit? You turn up your pack, so now you're blasting loud stuff right into your ear canal.

I know this from experience.

And can someone please answer that damned phone?

This thread goes round and round- and it's a fun time killer - but I'm going to go back to the original post for context:

Quote from nightlight

I would really like to create some profiles for others using a load box and IRs.

(emphasis mine)

It's the "for others" that's actually causing the problem. For others. Creating a Kemper profile using an IR would be, without out a shadow of doubt- constitute derivative work.

Can you create a profile using an IR for your own use? Yes. Of course. And nobody would care. This is what actually happens when you load an IR into some other modellers - For example, Atomic. I can load an IR - even a derivative IR (and I have mixed IRs to meet my tonal needs). However, I am not allowed to distribute that patch - which includes the cabinet - to anyone else.

As soon as you do this FOR ME- that's distribution of materials contrary to your license agreement.

That's the thing with the Galoob/Nintendo case @nightflight referenced - I remember this case well - so -while a game-genie modified code in memory (without changing the code stored) - the RESULTING game could not be redistributed. Players still needed the nintendo game cartridge, AND a game genie . That's why it's not considered a derivative work by the 9th.

Applying this to OUR example would be the equivalent of applying an eq to the IR. You can sell the EQ, and you can even provide the 'settings' of which the EQ.is applied, but a user would have no use for it (in context) without the IR file itself.

Next up- Sega v. Accolade - the reverse engineering involved wasn't of a game title, it was of the DRM that prevented 'non - sega - developer - partners' from creating games for Sega.

Now, what's important here is in the ruling:

Quote from Wikipedia

Of note to the judges in reviewing Sega's copyright claim was the difference in size between the TMSS file and the sizes of Accolade's games. As noted by Judge Reinhardt in writing the opinion of the court, the TMSS file "contains approximately twenty to twenty-five bytes of data. Each of Accolade's games contains a total of 500,000 to 1,500,000 bytes. According to Accolade employees, the header file is the only portion of Sega's code that Accolade copied into its own game programs." This made the games overwhelmingly original content, and according to Judge Reinhardt,

So- once again, this wouldn't apply. You're not *reverse engineering* an IR file for the purposes of creating your own IR. Nor are you implementing a new IR loader. You are, however, creating a derivative of an existing IR file.

This is fun. Don't do anything without seeking out legal council and the expressed, written permission of Major League Baseball the creator of the impulse response.

Gotcha. Yeah, so the OP's question was if you created a profile using an IR, and then *sold that profile for commercial gain*- not personal use. Personal use, I doubt anyone would even know. And I'd argue in your favour there - if you're using the IR to create music, regardless of *how* you're using that IR to create music, it's the MUSIC that's the commercial property. Not the IR.

So - I didn't catch on that you were saying you would use them yourself. That's really quite different than if you were selling the profiles for profit.

I have, actually. Celestion and Ownhammer both have clauses regarding unintended use and redistribution/modification, which *I* intrepret to mean "yeah buddy don't do this"

wwittman... I'm not clear on what your position is now. Can you clarify? Cos I think maybe we're saying the same thing in a way.

Quote from wwittman

If I use your commercially available IR to get the guitar sounds I record onto my record and release for sale to the public, do I owe you a royalty?

Or was that use (for my personal guitar sounds) included in the license you sold me with the IR?

This is the same.

Okay then- so therefore I'm able to use your guitar sounds then for my own performance, which I release for sale to the public. I'm totally free to sample your music and use it for my own commercial purposes. Right?

I say it's not black and white - it's a grey zone that needs to be clarified by legal minds more finely tuned than ours .