Posts by Ruefus

    Accusations should be backed up with real proof. You, others or I don't know if this is true or not. I don't care if others claim the accusation is true or not. As long as there's no real proof, it's only a bad rumour and we don't need it here on this serious forum.

    I don't disagree with any of this. But the original post literally asked a question. The only direct accusation I see was the use of a 'stock' Marshall pic.

    The volume of profiles coming out of the studio is far more than any other Profile maker I've heard of. Access to that many amps to create profiles in what seems like an almost assembly-line fashion is a cause to make you wonder. Then add the time for load-in, setting the amp, the mic...... Makes you wonder.

    I hope everything with this person is legitimate. I really do. With the information we have? At minimum questions are warranted.

    The irony of "How genuine are your Profiles?" Suddenly, the question has more than one meaning. :)

    I've gone down this rabbit hole several times over the years. I do not mean to cast any shade on a person's preference. This is not everyone's reasoning. Just mine.

    I got tired of trying different picks. I stopped when I admitted that I was trying to compensate for a lack of skill and wasting time with a search for the 'right' pick. Sometimes you just take what you have and make it work. The apparent lack of freedom turned out to be the exact opposite.

    Two very similar designs. I don't care which and will choose based on which ones I come across first when looking.
    Fender 351, Heavy

    Dunlop Delrin 500 .95mm

    Tonally, I hear no difference and can only tell which one I grabbed by the feeling of the label imprint. As long as they aren't worn to visible deformity, they work.

    Unless their process requires the manipulation of each knob and switch on the amp AND moving/switching them into all possible configurations, there is no practical way to do it. Sometimes (most of the time?) the knobs interact. So the only way to capture that with any level of accuracy would be to sample the changes. All possible changes.

    I'll go with a resounding 'no'. One, because of the difficulty associated, and two - if they were emulating the knobs and switches, their marketing copy would be screaming about it left, right and center. That would be an enormous achievement worthy of great praise.

    As it is - they tout how powerful it is over just about everything else. Not a good sign when how it sounds is far more relevant than how much horsepower it has.

    I would agree if the pedal had been a complex digital device that send values/numbers when moving, but that is not how it is done. I wrote above that it is a simple resistor, but it is fair to say that there is a bit more to it. What the pedal does is to take a constant control-voltage (typically 5V) and feed back a signal somewhere between 0 and the control-voltage. However, the designs I am aware of will all produce an output voltage depending on the pedal-position as soon as they receive an input voltage. The Kemper remote should thus know the position from the get-go provided that calibration-info is stored from the previous session. Here is a typical expression-pedal design:

    [Blocked Image:]

    I understand that it is not desired to have the remote suddenly changing the sound of the KPA if it gets connected while playing, but this case is eliminated at boot-up when the connection between the KPA and remote is established instantly at boot-time. Again an example of how initialisation depend on the current state, as is normal for gear that permit peripherals to connect and/or disconnect during operation.

    I'm familiar with the design. I'm in the midst of converting an Ernie Ball from volume to expression.

    Without engaging in a drawn-out discussion, it is technically possible. Sure. Practically speaking? Doing it right will take more effort than it's worth. There are several scenarios where simply measuring voltage invites potential problems. It's never that simple.

    I mean no disrespect, but I see this as potential work and development time for a rather fringe use-case.

    The KPA flatly ignores the position of the pedal on power-up.

    My understanding of the expression pedal is that the Kemper does NOT 'ignore' the pedal position. An expression pedal is passive. The pedal itself imparts no information as to where it is in it's throw. Only when it moves does the KPA 'see' it. Which is why they should be calibrated.

    The fact that it hasn't moved on startup means the KPA has no idea of its position (and can't). It cannot ignore something that isn't present.

    Promising, at least. But I am still hoping that Kemper is going to drop the bomb, soon.

    I don't see what 'bomb' they could - or even need - to drop. CK has said more than once that their profiling tech is about as advanced and as optimized as they can make it.

    I'm not sure where you're coming from with this. Your disdain for 'metal button pushing' is odd. You only want to push *one*.....multiple times. Yet the rest of us are 'switch-lovers'. That Pedal Show must give you a nervous tick.

    Then you take a swipe at Kemper in general. How mature.

    My comment of 'learning from others' is trollism? Really? How exactly did you learn to play your guitar? Or any other skill down to learning to tie your shoes?

    Your apparent failure to see - or accept - anyone else's point of view on this without responding in criticism says more about you than it does the community. Especially when some of us have *agreed* with your premise - and tried to get there and failed. Failed in front of hundreds, more than once. Forget learning from the experience of 'know better'.

    What you call failure to 'accept a new idea' is actually a group of people trying to explain that we've been there, done that - and here's what to expect.

    If that's 'mediocrity', give me more of that. Heck - I may call my next project The Mediocre.

    EDIT: I think "Algado's Mediocre" has a nice ring.

    Well, I'm absolutly certain it ist THE goal :)'
    whether your name is Santana or the guitarist of the radio orchestra, it's more than a certainty :P

    I don't know where you play, but at my church the arrangements are close, but frequently change. Your idea failed miserably......

    ....and I know this because I had a very similar idea and tried it. Each sound was the next slot - at slot 5, set Tap button to Performance up, auto-load slot one. Keep going in the new Performance. Sounds great in theory and failed *miserably* the instant something changed.

    Like altering the verse sound. 4 verses? Four rig changes....and you've got maybe a minute before the next count off.

    In a Rock/Blues/Jazz setting? Forget it.

    I don't see adding this feature as a negative - but in live performance, I'd find it unreliable at best. I quit naming slots by section names (verse, chorus etc.). I was forever getting lost when arrangements changed (are they calling *this* the tag...or that a refrain?).

    What sound do I want? Clean, Breakup, Dirty, Ambient...etc. Also - it's rare for me to use ONE rig tone in a performance. A Twin will not sound like a Soldano on the boil no matter what pedal you stick in front of it. The reverse is also true.

    Arrangements often change in rehearsal.....then on stage *that* arrangement often goes straight out the window. One previous section repeated screws the one-button idea up. Then, on the fly, you have to find the sound you want on the buttons you never use.

    The only way I see the loop approach working is if you're playing a song that is always played *exactly* the same way, every time. Even in a worship context, where the services are supposed to be identical and arrangements are supposedly frozen due to tracks - that's often not what happens at all.

    Sorry for OT..

    But out of pure you get paid for these worship gigs?And if much?:/

    In the states, *some* churches pay their band members. But it certainly isn't the norm. Personally, if a church is paying to have a band - and they aren't on staff or at least comprised of members of the congregation - I'd be a bit wary.

    I've served on my church's worship team for over 5 years as a volunteer. It's not every weekend (nor would I want it to be).

    Even so. I find it hard to believe it outsells a pack of strings at any given time. There must be a reasoning behind it.

    Or it's not quite true?


    That list is probably engineered to show higher-value items. No one wants to look at a list with Ernie Ball strings/Fender picks etc. as a top-ten.

    This! Very pleasing indeed how this is done here and for sure another sign that the politeness level in the Kemper forum is pleasingly high. That's a cool thing and makes it one of the very few forums which I read or even write in.

    I was convinced this thread would fly off the rails into a poo-flinging mess. It still might with some malcontents around.....but this is good stuff.

    At least here in the States, personal savings are at a peak, and credit card debt is at levels so low, we haven't seen them since before the 2008 housing crisis. That's not to say people aren't suffering financially, because they are. But there are also many who have continued to work, and saw expenses go down from remote work.

    If you look at Chris Kemper's history - this is not at all how he and his company will react. You need only to look at the original 'Kemper' - which is the Access Virus line of keyboards. The Profiler is the second time Kemper was well ahead of the industry. He's been here before.

    The industry caught up....and Kemper didn't 'pivot' nor react to try and follow. Think about it. You're suggesting that Kemper will suddenly begin to follow the people that created their product by following him.

    That's not how innovators work.

    Clear evidence can be seen looking at the $3,000 Access Virus TI keyboard. Which uses - physical buttons and (the horror!!) an LCD screen with font eerily similar to the KPA's. Clearly, Kemper and Co dance to the beat of their own drummer.

    I don't discount the idea that someone is working to develop their own version of profiling. They'd be fools not to try. What I disagree with is the idea that Kemper will attempt to 'keep up' and stumble while doing so. That would be completely out of character for a guy that's spent the last 30+ years doing almost the exact opposite.

    For me it's the opposite almost. You would have one or two yell "Play some Blues" and I would scold them going "Go to one of the blues bars in town, but oh yeah every single one of them is closed down because nobody wants to hear that except for you." I'll hear a couple people now and then tell me "We need a blues bar" but ALL of them fold. It just doesn't draw.

    True enough. Blues doesn't draw anything close to the way it used to. At one point - you had your pick of numerous places.

    Now it's fallen back into the shadows. If only SRV had survived......

    We center our selves more doing corporate gigs now but for many years around here we had many good paying clubs that hired good bands. Way better music scene than 95% of big city scenes I've seen. We were often making $1,000.00 + a night playing covers. Minimum $750.00. The crappy bands that never made enough dough or had their S**t together to have their own P.A and crew played at the pay to play clubs. I remember one of the work for the door clubs really wanted us to play and we wanted a guaranteed amount. We told them to stick it, why should we play for the door and take a risk when we can go down the street and Play for $1,200.00?

    I recall going to Chicago to the guitar center and asking the salesman "Where do people use all these guitars as there aren't hardly any clubs that have live music" I asked are you in a band? Where do you play? He said we just drove to Wisconsin (in the snow)to play last week for $150.00. That's just one of the visits I've had to big cities and come back raving about how great our music scene was. The whiners (that had sucky bands no one wanted and played coffee houses with P.A. on a stick) were always complaining in the local entertainment section that our scene sucked and we needed to have it more like the big cities! The grass was not greener and for a long time I was making killer money driving less than a 5mile radius from my house. I always said, the better you are, the less far from home you'll have to travel. Some of the sucky bands around here travel 2 hours away to gig where people haven't found out they sucked yet.

    We were lucky for a long time around here but now clubs have dried up a bit. It's still better than most cities though. So yeah I played a lot of bars but was paid way more than all of the "original bands" were that were at the work for the door places. Screw that, Musicians and bands are treated so poorly now. Bar owners don't see all the work and commitment it takes to maintain a good band. The bar scene here was nothing to complain about!

    I've never made a living out of playing music. But I've played enough gigs and been around enough types to know.....Corporate gigs are the best. Good (to great) money.....better locations, better food and you don't have to listen to drunk girls WAY past their prime (but refuse to accept it) scream "Play sum Jjjjourrneeyyy!!"

    "Sorry little lady. We're a Blues band. Neil Schon wasn't even born when a lot of this stuff was written."

    " sum J-johnny Ccasshhhhhhhhh. That's Blues."

    "I'll see what we can do....."

    One thing I can agree with from my experience is that anything that goes on the floor in a live performance, should be made tough enough to take a high heel, a bottle or a 58 dropping on it. Or sitting in 1/2" of beer puddle. My controllers have done all the above.

    That's the real world unless you are either consistently playing gigs where you are on a big stage far removed from the audience on a high wire, or in your bedroom where only your cat could step on it.

    Sounds like a bar circuit. The ones like that around here don't pay well (or at all) or want you to play for the door. Or, they're all that AND populated entirely by the local college kids - or - hard-living biker-types on the wrong side of what was already the wrong side of town.

    I prefer the bikers. You generally know where you stand and they *work* for a living. Drunk college kids in college bars don't care about anything but themselves.