Posts by paults

Wow. That sounds wonderful both the profile, and the way you are playing the amp- exploiting its sensitivity and range. My old Deluxe Reverb responds like that, too, but I haven't tried to profile it, yet.

How did you mic this, this time?

KItchen Sink rig idea :

it would do all this at once; baritone guitar with stereo pitch based tripling, a whammy that goes in two directions at the same time when the pedal is operated, and three part intelligent harmony. Reverb and delay are both still separately available , AND there is STILL one more open effects slot.

Too subtle?

Aha! I recognize your user name from there, too - I think I had you figured out already from some of your gear history comments. I had followed the development of the Kemper there since before its first NAMM show, and ultimately sold my two GR-55 and some GK pickups to cover the cost of my lunchbox. I still participate in the Kemper thread - as does whippingpost That hole in the back of my Kemper might hold a small synth...so, maybe a Fishman Triple Play at some point.

AND - A few practical (as opposed to special effect) Pitch Shifter suggestions:

1) If you are currently playing any covers by bands that tune down, but using standard tuning to play them in the original key (as in physically playing a U2 song in Eb that was originally played on a guitar that was tuned down a half step):

Make a "one half step down" patch, and you will be able to use all the open strings and chord voicings that were originally used, instead of trying to use exotic fingerings to drone an open Eb under moving chords.

2) If you do casual gigs, sit in gigs, last minute favor gigs, and are asked to play a song you know in a key you don't know:

Use pitch shift to "auto-transpose" into their key - think of it as a virtual capo If you know it in G, with a lot of open chords, and they want to play it in Bb, use +2 half steps. If they want to play it in E, use -3 half steps.

3) as, in, where 1) meets 2) If you find yourself doing a last minute gig with a band that doesn't use standard tuning:

If they tune to Eb, make a -1 half step stomp, and LOCK IT ON for the entire gig. You can play everything just like you are used to doing, with no need to change the set up on your guitar.

4) maybe the most obvious: You know how hard it can be to keep a guitar in tune when you use the trem bar/vibrato arm/bigsby/wang bar/etc?

You can use a whammy pedal to do all of that, without going out of tune. A subtle flutter, scooping up to a clean chorusy chord, classic Surf music lines and chord wiggles. Generally speaking, setting it to 24 half steps (a two octave range) will give you the dive bomb range, as well as let you do the above subtle things with less pedal movement.

5) Whammy set up choices for direction of movement - some like a forward movement to drop the pitch. Some like normal pitch to be with the pedal parallel to the stage, and pull it back to drop the pitch. Try both - one or the other will likely feel more natural to you.

It looks like velcro squares are used to hold them in place.

LOL! I don't know that is the case, but thanks for the compliment

I've been using Harmonizer effects and synths since the days of the Eventide H910 and the Minimoog. So, plenty of practice!

With today's guess, I had the benefit of making a GR-55 patch awhile ago, with a virtual acoustic guitar playing a different chord inversion than the real guitar, on just some of the strings. I did it with individual + and - octave pitch shifts on various strings, so it would play in tune with whatever is played on the "real" guitar.

Hmmm.......

........Facebook pic of Performance Mode.

........New firmware for the Behringer pedal, designed especially for the Kemper.

"Accidents never happen, in a perfect world"- Blondie

Five songs per view (and KPA bank).

Allows the combination of MIDI bank and MIDI program number to be assigned to each sound.

And, a master EQ that is always available to suit the changing dynamics onstage.

Am I at Musikmesse? Nope.
On the beta team? I wish!
I looked at the picture. LOL

For bands that have variable sets (we vary from night to night, and will often do instant requests), five sounds per bank can work pretty easily. I have five "specialty" sounds per bank with my G-System. I cheat a bit with another five main sounds that are instantly available, regardless of what bank I am in.

I've not downloaded it, but My guess would be a custom scale that is all E.

Whoops! A reply came while I was typing

Thanks for the sounds!

Perhaps this: The post effects slots all have offer some degree of parallel processing. The X slot allows for parallel mixing of an external stereo effect. Modulation is almost always a parallel effect. The reverb and delay offer series/parallel stereo effects.

One last thought on this: the user requests for pitch effects and Performance mode undoubtedly derailed the schedule for previously planned enhancements. If these kind of controller assignment enhancements would further delay the implementation of the things that the Kemper company wants to include in the KPA, I'm more intrigued by those unknown possibilities than the prospect of more CC numbers

If the pedal uses a conventional potentiometer and gear, you can physically adjust the knob position to make the pedal go to Zero. With the bottom off, Pull the straight post away from the potentiometer, just far enough to be able to turn the pot "one tooth" towards off. Try it, and if it needs to be turned more, keep trying a tooth or two at a time.

BTW - doing this with a regular wah pedal is a great way to adjust the range of the wah sweep:)

Welcome!

CK -
Unlike a keyboardist with many knobs and sliders at hand, guitarists just have their feet for real time control of effects and program/rig changes.

With the current pedal1 and pedal2 configuration, we have less real time control than a Yamaha DX7 did. (It had three fixed controls: volume slider, sustain pedal, and a breath controller input)

Separate Pedal assignment for each individual patch/rig is a standard feature in guitar gear- even with the most inexpensive multi effects pedals.

If our guitars had the below control layout we would not be asking for more foot control

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Quote from donbarzini

two men together as one....

Or, Joan and Lita:

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I added a Micropitch Big 80s sound to the Rig Exchange - that is a versatile effect. The Crossover knob has a huge effect on the sounds that can be gotten from Micropitch.

I posted an profile on the Rig Exchange that is an example of Micropitch being used to get the sound of doubled/tripled rhythm guitars that was popular in the '80s.

Quote from ckemper

The Micro Pitch works pretty much as you describe: TWO pitches, so we can make one up a bit and the other down a bit.
They are fully panned. The Detune works for both shifters in opposite directions.

Thank you for the quality of these effects! I've used everything from the old Eventide H910 to current TCElectronic products, and the sound of these effects is pristine, compared to all the others And, the detune sounds really great!

I think the delay feature most people are requesting is pre-delay of the harmonized note(s). A short pre-delay makes harmonies sound more like distinctly separate sounds, especially if the pre-delay is slightly different on the Left and Right side of a two voice harmony.

The classic '80s big guitar sound is +7 to +10 cents on one side, -7 to -10 on the other side, with the harmonies delayed 10ms to maybe as much as 50ms, depending on the tempo of the song, and the regular guitar panned in the center.

An Allman/Eagles/Boston/etc '70s dual lead guitar effect also benefits greatly from a small pre-delay on the harmony part. Instead of sounding like Dickey Betts with a harmonizer, the pre-delay makes it sound more like two people playing together.

That was a VERY nice thing to do - this will give people unfamiliar with these a really great head start.

Yes - think of it as being because of this update, and more good things to come.

This sounds great - I have a slow Leslie organ patch next to a fast Leslie patch on my pedalboard. That gives the ability to play some really convincing parts. A fast/slow speed foot switch with a single profile would be an even better plan, but I haven't gotten around to that yet. With the added pitch effects, A B C D could be used like drawbar presets.

BTW - At least some Leslies had EL34 poweramp tubes in them - so, you can use a Marshall amp profile to get a realistic overdriven sound, ala Deep Purple, etc.

Somebody record Boston's "Long Time", and use the pitch effects for organ, bass, and guitars. Extra credit if you play the instrumental piece right before it. I would name it, but any reference to playing organ during it would start to sound too much like something you would read about elsewhere on the Internet LOL