Posts by Chris Duncan

    Missed some of the responses on my last trip here. Oops.

    Similar boat in the same port (fellow Atlantan here). Just left may last band after about 5 years, due to a number of factors, but finding (or building) a replacement is HARD! :(


    P.S. Nothing wrong with your leanings, in my book. That's along the same lines I cross over, although, ideally, I am hoping for something a little more on the Americana meets power-pop and/or garage rock side (Petty, Drive By Truckers, Old 97s, etc.) for my next project. Maybe we should touch base and share leads and maybe even jam sometime.

    I'll PM you. Us Atlantians should stick together. At least until Georgia follows ancient tradition and sinks into the ocean.

    Right on Chris, you're not so odd, or rare. Quite a few of us in that boat.

    Solidarity, brother! \m/

    yep I’m 70, but I prefer AC/DC, foo fighters, Petty, Green Day, etc. so I’m with you

    I saw a video of Glen Hughes from just a year or so ago, and he was still absolutely nailing the vocals. He's gotta be in his 70s, so it ain't the age that makes you too old to rock and roll. It's the mindset. Some people decided they were "old" before they even hit 50. Kids these days... :)

    No Chris, you need to put the Profiler in Performance mode not the other way round.

    Sorry Alan, I probably didn't word that very well. I'm editing the performances in Rig Manager, and I am indeed putting the profiler in Performance mode.


    What I was questioning was the fact that I thought having the profiler in Performance mode (with the remote connected) and running Rig Manager at the same time lead to occasionally erratic behavior, crashes, etc. I know there are some kind of "don't run RM when you're doing X," and I thought this was one of the X's.

    As for your reasoning for assigning stomps on the KPA itself. Assigning via RM is straightforward. Right Click on the Stomp Slot you want to populate. This should bring up a menu with all FX Types, Sub Types, and (in the latest beta) FX presets. Mouse click on the one you want and you’re good to go. Alternatively, if you already know you want to load an existing preset just find it in the preset list and drag/drop it on the Stomp Slot.

    Okay, playing with a performance now and still not connecting the dots. I have two amp slots. When I select the first one in RM, then go to the bottom and turn on, say a compressor, I don't see anywhere that I can say, "save this in the performance."


    When I then click on the second slot, the compressor is still on. Whatever changes I make seem to be global (or are actually being applied to what the current profile would be in browse mode) and have no relationship to the performance I'm working on.


    I'm sure I'm just being dense here, but how do I get the stomps to stick with the slots in the given performance?


    [later, that same day...]


    Okay, I've found that if I put the toaster into performance mode then Rig Manager stomp changes work as I would expect. Then assigning remote buttons per piotrmaj's help handles that. So far, so good.


    That said, I thought having Rig Manager up, the remote connected and running the Kemper in Performance mode at the same time was a Known Bad Thing. That's why I've been explicitly avoiding operating RM in performance mode.


    Am I just confused about what the Known Bad Things are regarding Rig Manager?

    I may end up in a band again one day, but I got burned out on the effort it took to learn tunes, rehearse, play bars in which most people are on their phones/watching TV and for $100 a night. Not worth it.

    I'd rather work on music *I* like and get into some recording.....may write something.

    That's exactly the destination I'm returning from. Quit gigging for precisely this reason and have spent over a decade as an isolated studio rat.


    I play classic rock, so the few venues that still book that kind of music are less than impressive here in Atlanta, and often have more TVs than people. And of course, the money has always been crap. Nonetheless, I really miss performing live. Being in a band is also a different social experience than doing solo work in the studio.


    So, I'm now in the middle of trying to find the right guys to play with, including bands that were gigging but are down a man and just trying to put together my own thing. I'd forgotten how much fun Craigslist can be.


    This is further complicated by the fact that my preferences in classic rock aren't Eagles, Beatles and Stones for a polite restaurant gig but rather Deep Purple, Green Day and AC / DC with the appropriate levels of sweat and adrenaline. It's been a challenge trying to find people who like this genre of music but aren't too old to rock and roll. That's more literal than you might think.


    Apparently I'm an oddity in the animal kingdom, but this comes as a surprise to no one.

    Manual, page 255, "Assignments without Remote".

    Thanks, man. That's exactly the bit I was looking for and managed to drive right past.

    As for your reasoning for assigning stomps on the KPA itself. Assigning via RM is straightforward. Right Click on the Stomp Slot you want to populate. This should bring up a menu with all FX Types, Sub Types, and (in the latest beta) FX presets. Mouse click on the one you want and you’re good to go. Alternatively, if you already know you want to load an existing preset just find it in the preset list and drag/drop it on the Stomp Slot.

    And thanks for this as well. I saw the bottom of RM showing all the effects when I would click on one of the slots of the performance, but it wasn't clear to me if that was applied to the rig globally or just in this instance in the performance.


    A bit of further reading indicated that performances have copies of rigs so I can do this without affecting the original. I'd been banging around and somehow managed to put stomps on the rig itself and not the performance copy, so I think now I should be on the right track.


    All of this is evidence of how rarely I do anything beyond find a great profile and just play guitar. Apparently I need to improve not only my guitar playing but also my reading abilities. :)

    Okay, a little more poking around and it appears I missed the remote section of the manual where you have to press a button on the remote while pushing buttons on the profiler. That's a bit of a hassle since the remote is in one room and the toaster another.


    Is there any alternate way of assigning stomps to the remote that doesn't involve operating the two pieces of hardware at the same time, perhaps something involving Rig Manager or some button I'm overlooking in the profiler?

    Hey, guys.


    I created some new performances last night in Rig Manager. Renamed a performance in the profiler, dragged and dropped a rig. Clicked a different performance, returned to the new one, everything saved. So far, so good.


    I then added a stomp to a slot by pushing buttons on the profiler itself (I can't figure out how to add a stomp to a performance in Rig Manager). Pressed the store button a couple of times to save the performance. I was in the control room so didn't test with the remote.


    Today I'm in the live room with the remote and the new performances aren't showing the colored lights on the slots where I added stomps. I can see, for instance, COMP in the LCD where I've added a compressor, but no blue light and the stomp button is unresponsive. I went back to some performances I created a week or so ago and they're all fine. When I come back to the new ones, no stomp lights or button presses. The green buttons to select slots work fine, just no stomps even though the LCD is displaying them correctly.


    I've gone back and forth looking at the profiler and the lights on all buttons, e.g. stomps / stack / effects, etc. are identical between the performances that work and the ones that don't, nothing's locked, etc. I've rebooted the profiler a couple of times, I'm not running Rig Manager while in performance mode, and at this point I'm out of ideas. I'm running the latest release version of RM and the OS. I never install betas.


    Is it possible that these performances are somehow corrupted, or is there something very stupid and obvious that I've done to screw this up?


    Would be grateful for any advice or insights.

    Took you five months? I sold my tube amps in a week. :P


    But seriously, I couldn't agree more. I tried a couple of times with the Line 6 stuff but kept going back to tubes. The sound wasn't quite there and it was way too fiddly for my personal taste. The closest I ever got to a tech based solution was the Voodu Valve, but that had a 12ax7 pre so it was really just another a tube thing.


    When I got this thing and figured out how to find the right kind of profiles for my genre I was astounded that what I was hearing was a digital gizmo. And because my tone needs are pretty simple I don't even need to mod profiles. If one's not doing it for me, I just keep browsing and eventually I get one that's perfect.


    Yeah, hands down, best bit of hardware I've ever bought. And not a bad crowd to hang with, either. Even if some of them are a little slow. ^^

    To expand a bit on what Ruefus said, and to speak to the "what do I gain, what do I lose" question, here's a little about the different philosophies.


    An amp modeler, e.g. Line 6, Fractal, etc. gives you widgets designed to emulate the real thing. For example, you might bring up a Marshall JCM800 head with all the knobs, and the goal of the modeler is to reproduce what happens when you turn the knobs compared to the real thing. In other words, you have the same virtually unlimited combinations of knob twisting with the model that you do with an actual Marshall.


    In the Kemper world, a JCM800 profile is not a model, and is not intended to give you all the things that a real Marshall would do. Instead, it's a snapshot of a single moment in time. A guy decides on a speaker cabinet, plugs it in, and then dials in a tone with his JCM800. Then he decides on one or more mics, and where / how to position them. If this sounds like you're in a recording studio, you're exactly right. When the amp is "profiled," what you get is the miked up sound of that amp / cab just like on the albums you listen to. And - importantly - it's one and only one tone. This is a key difference.


    Commercial profilers might create a JCM800 pack with a couple dozen profiles, from clean to crunch to Eddie melting glass. However, this does not represent the sum total of what a JCM800 can do. It's just a couple dozen tones that the guy doing the profiling liked, and thought others might enjoy.


    There's lots of knobs to twist on the Kemper. You can add all sorts of effects and reverb, and you can do a fair amount of fiddling with a given profile, so it's not like you don't have the ability to tweak. It is, nonetheless, all in the context of that one tone that a guy dialed in, miked up, and profiled.


    With that in mind, it's also important to consider genre when listening to profiles (like all the free ones on Rig Exchange). I'm a classic rock guy. If I dial in a tone on a JCM800 that's great for a Bad Company gig and you're a metal guy, it will be useless to you - even though it was still a JCM800. As long as you understand that, and find profiles that focus on the styles of music that you play, you'll be able to get good results.


    I listened to the Axe FX when I was considering the Kemper. Honestly, they both sound excellent. What sold me was the fact that I didn't have to twiddle knobs. I almost never alter a profile. If it's not doing it for me, I just move on to the next one.


    I don't know if any of this is useful to you or not, but if you do get the Kemper then knowing what to expect out of it will help you enjoy the experience.

    None taken. But with respect, you may concede the idea that a (still growing) industry exists on the basis of a pop-culture trend a bit thin?


    Fidget spinners these aren’t and pop-culture loves new and shiny.

    I could certainly be wrong (wouldn't be the first time), but beyond trendiness and the visual experience I honestly don't see any value to vinyl.


    What some call "warmth" (including our favorite monkeys) could also be called "muffling of upper frequencies." Limited dynamic range. Rumble, crackles, pops, hiss and other physical noise from a needle digging into plastic. From an audio perspective, it strikes me as a decidedly inferior medium. I grew up with vinyl, and I'm absolutely delighted I don't have to deal with it anymore. A drummer stole all my albums back in the day, so I don't even have a bunch of them to be nostalgic about.


    That said, when it comes to art of any kind, "good" is extremely subjective. The very qualities that I think make vinyl terrible from an audio perspective can also be the exact things that others love. So, in the spirit of the album era I'll quote a popular t-shirt of that period. "If it feels good, do it." :)


    There's one other thing that I find very positive about albums. They encourage people to actually buy music. Anything that helps feed musicians is a good thing.

    Too many people I personally know and respect in music enjoy vinyl to believe that.


    Some certainly do it to be trendy. But like with most things, there is validity in how it (re)started and why it continues.

    And of course, no disrespect intended. Just my perspective on it.

    Also, as obvious as it sounds, guitar cables. I was getting an unexpected hum the other day and it turned out that the cable between my wireless and the Kemper had started glitching. Switched cable, hum gone.


    Another possibility is a ground loop. If you have gear plugged into different outlets on different circuits and you're getting a 60 cycle hum, one thing you can try is plugging it all into a single outlet (assuming it has the capacity) and see if it goes away. Others can speak more intelligently than me on this one. Debugging ground loops can be quite the hassle.


    Of course, as a lifelong Strat guy I can testify to Alan's observation about sensitivity. If there's even the slightest possibility of hum developing in an environment, I can just place my Strat in the middle of the room and like a Ouija board it'll magically find it. It's like a sixth sense or something.


    The hum thing is true not only with the Kemper but with any amp I've ever owned. It's just part of the Strat experience. And no, hum on a clean tone is not normal, even with a Strat. Unless I'm doing something to invoke the hum like standing next to a noise source, the Kemper is crystal clear with any of my guitars.

    why then has the lowly vinyl record been resurgent with listeners?

    I honestly think vinyl is more about nostalgia and / or being hip and trendy than how it sounds.


    There will always be those who long for the "good old days," when men were real men, women were real women and small, furry creatures from Alpha Centauri were real small, furry creatures from Alpha Centauri. On the other end of the spectrum, each new generation seeks to define its own identity in part by distancing itself from whatever came before. If dad listens to CDs, then vinyl is most assuredly cooler. The same is true with hipsters, the definition of which is pretty much, "do the opposite of what everyone else is doing."


    The only thing vinyl does have going for it, and in a big way, is the album experience. I do miss the real estate for artwork, liner notes and other visual aspects of the 33 1/3 world. With CDs it became so tiny as to be unreadable, and in the modern era of streaming (does anyone even buy music anymore?), it's gone entirely. I guess you could browse the band's website on your phone while listening to your Spotify playlist, but it's just not the same.


    Mostly, though, listening to vinyl makes you cool.

    I do my cruical recording on harddisks not larger than 1 GB.

    Every bit has more space on these less dense harddisks.

    The result is a more airy and relaxed track. You should try it. Difference is obvious.

    I'm surprised that such an educated person would overlook the obvious value of storing your bits in the cloud. Infinite room per bit, and the very definition of airy.


    Also, since everyone listens to music on the Internet these days your bits would be properly conditioned for streaming, and this reduced friction would help to minimize latency.

    I don't know why, but the last two bars of that intro line strikes me as particularly Scottish.


    Of course, bear in mind I'm just some dumb Yank who only knows your country through stereotypes and ancient Celtic music, so many grains of salt are in order. :)

    There is something I am curious about and I could not stop without asking. Why isn't there any additions in terms of overall sound quality improvement instead of constantly adding stomp boxes?

    Have you made posts to the Feature Requests forum for the specific improvements you'd like to see? I think that would be more useful to the dev team in prioritizing features than a thread that basically says, "I'm unhappy with the way you do things."


    This isn't meant as a negative criticism, but as a way to help you get what you want.


    My thinking is that there might be others who value the same kind of things as you, and if enough people respond on your feature threads it would help the dev team see what's important to the most people as they prioritize what to add on each new release. I'd recommend making one post per feature to keep it clear. That allows them to see how many other people comment and value a specific thing that you've suggested.


    They keep giving us these new releases for free, so it seems clear that they're dedicated to keeping their user base happy. However, at some point they have to prioritize feature A over feature B in terms of what gets put on a release. If you contribute your requests in a clear and concise manner, you're giving them valuable information to work with.