Ahem.... >steps into the conversation and announces< "I work for a merchandising company that specialises in tour supply for working bands, and we print custom jobs too"
I can beat anybody's prices.... I sold my band shirts for $7.00 each for a profit......
We will change to "b" in a future update.
Not exactly by the reasons you state, but because it seems to be a standard. Win win.
Are you saying you will change it to read the flatted note or be able to transpose the whole unit globally? My wish is not a bunch of custom offests or complicated turnings but just simply to offset the tuner by 1/2 steps chromatically. For example so that when a Eb actual note is sounded, the Kemper tuner reads E and the harmonizer understands this too. The old Digitech 1101 did this and it made programming harmonies with 1/2 step down tuning a breeze.
I would like to know where the center frequencies are for the global EQ for the Mains and Monitor out. I can't remember, is it listed somewhere? That being said, Does the front panel rig EQ have set EQ center frequencies or do they vary per rig type etc? If they are static, is there somewhere that lists the centers for them as well?
Not to me, the center freq of the bass control is higher than where I want to subtract from thinning it out instead of just de-woofing it.
My parents are the same way. They REFUSED to wear anything with advertising logos on it unless they were paid to do it! I bought my Dad a NIKE golf hat once and he wouldn't wear it. To me it's more of a conversation piece. I used to wear my ENGL shirt and it had people approaching me that were guitar players and musicians that I would have never known otherwise. I even made a few valuable connections that way.
Yes exactly what I mean, the "cave stages" we all know and have been in. I don't want it for the FOH, it's fine. I want it for ME and the band onstage,
just been through that thread with a lot of cutting and pasting into translate.
i think its safe to say that CK isn’t a fan of the idea ?
I wonder why? The separate sections have an EQ... IMO having LPF& HPF the same over the main & monitor outs makes no sense at all to the point of making it useless. The issues with lows and highs are never more evident than as heard between your live cab (in a corner on the floor or out in the open on a big stage) and the house or studio out.
Number ONE would have to be having separate HPF & LPF for Main outs and Monitor outs. I know there is separate EQ for both, but my monitor cab with powerhead is very woofy at low volume and just fine direct into the board, and Taking the bass from the monitor EQ isn't the best fix. If Main and monitor outs each had their own HPF & LPF you could better match eq between direct to house/board and your monitor cab sound, and I hopefully wouldn't be too hard to implement.
#2 being the offset able tuner thing where you hit your E string tuned to Eb and it reads E........
4) Freed 50 B 6K (morph a vol boost, rev and delay boost
I went back and played this and could not stop for about an hour for leads/hvy rhthm (Dokken Ratt Whitesnake etc) I forgot how much I initally liked all the rigs he did with the KLON. Darn it, more decisions. I understand what you wrote about the HBE channel. I've had amps where the "super gain" channels didn't sound as punchy & rich. perhaps that is why the Frid pack just has a few HBE and more BE...
Display MoreYeah...I own an actual BE50dlx and I have found (just my personal opinion) that the HBE channel loses some balls when compared to a higher gain setting on the BE channel coupled with a boost in front of the amp). Just my personal taste I suppose...not saying that Dave's amps are at all "muddy" or "thin" but, I just prefer that sound I guess...
Ok, so...on slot 1, I morph from BE50 Cln 4 with low gain setting (0.3) to higher amp gain (2.2) plus I morph in the Green Scream (mix=0% to mix=84% with Drive=6.0 and a bit of volume boost (2.0)). This goes from a "clean" clean to a nice slightly pushed grind! Love it.
Typically, on the first 4 slots, I morph in a vol boost, a gain boost (via the amp gain itself, the Green Scream mix% (morph from 30% to 80% or so), or both), and perhaps a bit more pronounced delay and reverb settings. This gives each slot in my Performance the ability to take that particular tone and make it louder/more of a "lead" tone.
Then, I use slot 5 as a dedicated "lead" slot (vol already boosted over the base sounds on the other 4 slots). I use the BE50 BE 8R profile at a high gain setting, coupled with either a Green Scream or the new Kemper Drive (I have stomps C and D set up to toggle depending on which OD I want...Kemper Drive is thicker with less of a mid-push). I then have slot 5's morph set up to boost the Clarity and the Mid and Treble amp EQ's to bring it "out front" even more. I use this when I think I'm not cutting enough on a given solo...just a feel thing.
LOVE the results I'm getting...consistent too gig to gig!
Thank you for taking the time to write that out & sharing. It's very interesting to see other people's methods and sounds they use and try it for your self. Your last post had me revisit some sounds, and gave me some new ideas!
You don't think it bothers anything leaving the boosts on in the chain all the time?
How do you think the rigs compare with the real thing?
Your approach is almost exactly as mine except for this. (Turning each rig into a lead sound for that tone), although as I have mentioned I use the tap button to do this as I'll punch in pedals,boosts,harmonizer etc, then want everything to to"snap back" when I hit the original button. It's just the way I have been doing it for years being a lead vocalist/lead guitarist in a 3 pc band. I usually have to come right into a vocal and can't reverse my way out of a bunch of pedals.
Love the Crank N Go as well. BE50 is a fine one in that... so all you guys who love it don't forget to check out the freebie in his blog entry here which is a BE100: MBritt Blog
That one is incredible versatile and reacts so super to tweaking of Definition and EQ. One of my very few go to profiles for all occasions, at least in Rock
I'm not crazy about that one. Doesn't sound like the ones in the 50 pack to me.
They aren't for sale in the shop, just as a gift with purchase. I'll send them a begging email. ?
You and 1,000 other people now!
Theoretically yes. But I don't see any company coming after you when they get free advertisement out of it. At least, that's what the judge would say.
Most likely, but it is very obvious Kemper does not want T shirts.
Too bad. I Know how to make 'em fast and ship 'em fast at a real decent price. Less than you pay for a concert shirt of less quality. I've got 8 printing machines at my call. Let's just assume Kemper does not want to do this for some reason because it would be REAL easy. I wouldn't do it without the proper licensing so I can't even have one.
On a related note, I printed many thousand t-shirts back in the 90's. I miss the creative side, but not the chemicals. ?
Under my direction, and careful manufacturing safety protocols, no toxicity will be induced to humans or animals.
Kemper can Kontact me. I would love to produce and distribute these under their licensing.! I could have them ready in a week for low cost!
That's cool! No HBE in the mix? I know a pedal will get kinda similar results boosting gain,& everyone has their own methods. At first, I really dug the KLON add ons (K) but then I started noticing how it altered the tone away from the non boosted amp, so I went to all rigs without profiled pedals and add my own later if needed. Like I said, just different methods, I'm just not used to running a pedal all the time and demand I that the amp I use does rhythm/hvy rhythm distortion on it's own, (or I wouldn't have bought it) so I kinda use the same philosophy when building Kemper rigs.
When you morph the screamer in, what screamer parameters are being morphed? Because to do that, you have to have the module on as you are aware. I haven't done that because I didn't want a pedal "in" all the time so I plan on mostly using:
BE50 Cln 4, BE1, BE2 (more gain a bit fatter) HBE1 for gainier stuff & & HBE3 for lead "shredding". (Warning:,when you start cranking the HB3 with a powerhead into a cab, it can make you maniacal with joy and you may not be going anywhere for a while)
I only am morphing mostly volume & gain boosts using the tap button because I like to be able to step on the original rig button and have everything go back to normal. That way I have one universal "boost" button that turns any rig in the performance into it's version of a lead sound, and if I say, switch on a phaser, then add a delay, then a harmonizer, I can snap right back to the starting sound with one press and no tap dancing backwards through my FX add ons!
I have another performance with acoustic sim, /13, 79 mars, Dumbl that does a bunch and from there I'll have a third bank or more for specials for songs that have particular FX or tones. Thanks for sharing your rig I always like to see how other people set up.
My digitech 1101 lets you put this into the unit globally, so even the harmonizer recognizes it so you don't have to transpose when using harmonizer functions. I LOVED that about that unit. Even though it wasn't the actual pitch, if you played an "E" scale on your guitar, you could set the harmonizer for a harmony in E and it would be correct. Since I tune 1/2 step down, it makes figuring user scales even tougher because you have to transpose everything or write it out.
My #1 request would also include that the unit see that globally, so the harmonizer recognizes that too. Digitech GSP1101 as an example.
I have been asking for an "offsettable" tuner one that if you hit your E string (which is actually tuned to Eb) reads E not Eb or D#. Many other inexpensive tuners do this. My digitech 1101 lets you put this into the unit globally, so even the harmonizer recognizes it so you don't have to transpose when using harmonizer functions. I LOVED that about that unit. Even though it wasn't the actual pitch, if you played an "E" scale on your guitar, you could set the harmonizer for a harmony in E and it would be correct. Since I tune 1/2 step down, it makes figuring user scales even tougher because you have to transpose everything or write it out.
So I guess my request would also include that the unit see that globally, so the harmonizer recognizes that too. Digitech GSP1101 as an example.
You'd need to be able to send Midi program changes and CC data. So a MIDI out port if your soundcard has it or a USB midiport, and computer software that can send MIDI data like a sequencer, virtual midipedal, or something. I'll bet there are tons of options there depending on how you want to control it and what GUI you would like to see. Some computers have some midi capabilities installed already.
