Posts by paults

12 minutes delay time? That's enough delay memory for a built in Looper!

Yeas, I've been updating individual patches, one at a time, since I bought it to use the Kemper internal effects.

Quote from Zappledan

Paul, seems as though you're right on Bill Ruppert's heels!

Thanks for the compliment! I talk a good game - we'll see what I ultimately deliver.

Don,
I was thinking of your rig when I wrote that. I have a couple of similar TC things that I use for synth lines on a couple of songs. The TC is not clean enough to generate full chord inversions like the Kemper can - I'll be upgrading my current sounds

Quote from Zappledan

Paul, seems as though you're right on Bill Ruppert's heels!

Thanks for the compliment! I talk a good game - we'll see what I ultimately deliver.

Don,
I was thinking of your rig when I wrote that. I have a couple of similar TC things that I use for synth lines on a couple of songs. The TC is not clean enough to generate full chord inversions like the Kemper can - I'm upgrading my current effects

I think the chance of feedback depends on how loud the band is onstage, and where your guitar speaker is.

A floor vocal monitor is pointed at the singer's head, and the microphone is pointed away from the monitor. With the monitor pointed at the back of the microphone, feedback is minimized.

If you play loud, and there is a direct path from your cabinet to the microphone at an angle where the microphone is sensitive, it may feedback.

Test it at stage volume, before you use it at a rehearsal. - your bandmates would never stop teasing you if you fill the practice room with horrible noises.

You mentioned pitch and harmony effects in a other thread. They are in the current public beta, and sound better than my G-System. There are many pitch effect rigs posted on the exchange, including some from me with pedal controlled bend. At whatever point you install 1.8, you are welcome to them - try them out, use them, make them better. That'a why the Rig Exchange is there

Synth effects:
Take the regular guitar out of the mix of the first harmonizer, and you are squarely in synth territory. You can alter the basic waveform, before or after the effect, with fuzz, shapers, vowel wah.

I saved some rigs last night, but its hard to say how tired my ears were at that point. I'll check them tonight, to see if anything sounds musically useful.

In the meantime- everyone start tweaking! The sounds are in there, just waiting to be set free

I listened to the Pitchfactor demos last night, and started to play with the Kempers pitch effects with it in mind.

Yes, it is possible to get similar sounds to the Crystal effect. They won't have reverse echo in them, but:

You can use ducking to control the fade in of the harmonies, based on how hard you hit the guitar. Positive and negative values work in opposite ways, depending

The mix control controls the maximum volume compared to the unaltered guitar, and also affects the fade in/out rate, depending on the amount of ducking.

If you set pitches of fifths and octaves, the key doesn't have to be specified.

You can run one in series with another, producing complex harmonies. Each one can have different pitch changes, and ducking speeds. Detune is very powerful with these.

Modulation effects can be put in between harmonizers. Or shapers, fuzz etc. The crossover of the modulation can be used to determine how much of the signal is modulated.

Other pitches can be used to produce more angular effects. They are especially effective used in the second or third harmonizer effect, mixed in at a relatively low level.

And:

If you do set the key to use intelligent harmony, you have additonal harmonic options, including using combinations of intelligent and fixed intervals.

That metal grille cloth is the problem. It produces a comb filter effect that time delays partial harmonics. Even though the Kemper does its best to compensate for that sort of thing, it is inevitable that a profile of that will sound metallic and boxy.

Try a web search, to see if anyone has had any success with a banshee that way. The Danelectro stomp used two little mics to send the signal into an amp - look for reviews if how well that worked.

IMO, If you sing, this is unneccesarily complicated. And, the risk of feedback is huge.

If you don't sing, if there is an available channel on the mixer for that mic, use it.

That XLR is active for profiling - if it is not active all the time, you would also need a mic preamp or small mixer to get the sm58 signal at line level.

The banshee has plenty of gain. No dirt box needed.

Where is the monitor physically placed, compared to the mic? How loud do you play? If the monitor is not in front of you on the floor, and you play as loud as a drummer, it will be squeal city.

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Is your Kemper in the PA? Use a cheap sub mixer - Kemper in channels 1 and 2, the mic in channel 3. The output of the mixer goes to the PA.

Negative number values give you intervals below the source note

Offhand, i don't remember which is which. The are described pretty well in the Kemper doco.

That's the joy of absolute statements. They absolutely can be refuted

Perhaps the extreme scoop exceeds the maximum Frequency cut amounts designed in the Kemper.

Welcome! That's a great looking rig. Pointing the cabinet toward the back of the stage to suppliment your in ears is a great approach.

Needless to say, you are more than welcome to download from, and post rigs to the Rig Exchange.

Turn the monitors up. Loud.

Without headphones, You can hear the actual strings on the guitar, in standard tuning.

I'll counter there is no amp/preamp that can be captured more accurately on a recording than it can be profiled.

I may not be able to get it right, someone else might not, but that's based on the profiler's inventory or microphones, ability to place them, as well as ability to physically place the speaker in a room that is well chosen for the task.

And, if "the box that must not be named" can be successfully profiled over and over again, getting any other "ampless" processor right would largely be matter of level matching and refining.

It suggests the Pedal is sending both CC1 and CC7 . And, both the volume pedal and wah are active in that Kemper rig.

It is still assigned to CC7 somewhere in the GCP patch, or globally (and oddly enough, when you attempted to turn it off in that patch, you ended up configuring it backwards).

In my best "Master of the Obvious" voice: That ROCKS.

Yeah - thanks!!

OK, Slick and Simple -

Slick:
(in reference to the original question)

The POD manual tells how to set the MIDI out channel, and which MIDI program number is sent by 11,12,13 etc.

The Kemper manual tells how to assign MIDI program numbers to Rigs, and how to set the MIDI channel to match the one you select in the POD.

Simple:
(in reference to flashing attitude because no took the time to suggest the the most productive approach is self-directed research on how to perform basic operations on your complicated gear)

RTFM

No need to get all Harry about it !

LOL