Posts by Verminante

Unfortunately this issue has still not been fixed in the latest Beta...

Oh, thanks for the info @paults that's a really useful resource! Still, the only reason I went for CC10 when setting up Ableton back then was that it was not yet implemented in the KPA. Heck, a hell lot of things weren't. "Panorama" didn't even exist for that matter

Ableton itself does not have any pre-configured Midi assignements. (It does, however have a list of "Control Surface Devices" which probably abide by these standard Midi parameters. Unfortunately, the FC 300 is not one of them)

I guess the safe thing to do at this point is just to send midi streams on separate channels for the DAW and the KPA.

So, here`s the deal:

I've been using the KPA in combination with Ableton for a couple of years now. I use two Midi pedalboards (an FCB1010 and an FC300) to control both the KPA and the DAW. Midi goes from the pedals to a merge-box and into the KPA. From there I use the Midi Thru output to send the stream to the Laptop.

Anyway, one of the main functions of my setup has to do with being able to pan phrases in a loop on the fly with my foot. In order to do that, I assigned the pedal switches a specific Midi value, allowing me to "place" the phrase in the stereo spectrum of the looper mix. This panning happens within Ableton though, so my main signal goes straight to the FOH and thus does not “move” around as I play.

So far so good? Ok, so I was recently trying every damn thing to get latency as low as possible on my new laptop and after a program crash noticed that the KPA seemed to be responding to the panning commands.

First thing I checked, was whether I might have accidentally activated monitoring within Ableton and was just hearing the KPA through the DAW. Nope, that wasn´t it.

Next I reinitiated the computer thinking that for some weird reason, something had happened to my soundcard configuration. Nope, wasn’t it either.

Next I plugged in my headphones directly to the KPA to check out the improbable case that … the KPA itself – that is, the panorama setting – was reacting to my panning commands!! WTF!!! I was totally confused, trying to figure out whether by some crazy computer-midi-DAW interaction I had just re-programmed the KPA and it had “learned” to associate the Midi command with the panorama feature. But … yeah, right … for all the KPAs amazing features and coolness, I still didn’t consider it to be at THAT level of AI.

So, the next obvious place to look was at the KPA’s Midi documentation. It just might be possible that there had been a new implementation of midi for the panorama setting in one of the latest updates and by some freakish coincidence it happened to be the same CC I’d been using for panning all along…

So, I looked for the info in the manuals – addendum first, then reference manual, then the midi parameter guide from the website (which is still the one from 2012…) – and I couldn’t find it… Still hoping my KPA had not grown a mind of its own, I started skimming the Kemper announcements on the forum. Wrote MIDI in the search function…nothing.

And then, right when I was thinking about giving up, I searches for ‘Panorama’ and… Bulls-eye! Hidden in the 5.4.0.13150 Public Beta announcement!

So, yeah, ‘Panorama’ can be now controlled via CC 10, which is just the same CC I’ve been using for panning within in Ableton since 2012…

So, anyway, sorry for the super long post but I just wanted to say that while I’m happy I found it out, and that everything will be fine, and that the sentient Kempers will not take over the world (yet), it would be really great if we could have this kind of important info updated in one (prominent) place. This might avoid further trouble as the green beast keeps growing more and more features.

Cheers!

Nice Vocals, reminds me a lot of Peter Steele

Ha, I can totally understand what you mean!! I definitely wish you luck in finding the right people for the musical mix you're after

Thanks for the feedback guys!

@Nikos I'm really curious about that "ethno-influenced stuff" you mentioned. Any chance we might get to hear some sound samples?

@808illest Thanks for checking out the YT channel. I haven't really had enough time to record my own stuff lately so in the meantime I'm doing these "naked covers" and free improvisations to try things out so your comments are much appreciated

Saludos!

David

Hey, first of all thanks for the feedback!

Quote from 808illest

I gotta behonest though I was hoping for that classic Grappelli lick

Yup, I know what you mean. Thing is though, with a song like Minor Swing, its sorta difficult finding a balance between the established and the new. Its sorta like staging a Shakespeare play I guess. I mean, how is one supposed to say the "to be or not to be" soliloquy and have it sound fresh after the thousands and thousands of people that have done it before (and likely much better than) you... In the case of Grapelli its just almost impossible to try to top his lyrical virtuosity and my personal issue is that I sometimes have the feeling, when using one of his trademark licks, that I can easily fall into mimicking his style too much. And since I'm a million years away from his talent and groove that just doesn't work so well for me...

Anyway, maybe I'll still give it a try with one or two licks next time

Quote from 808illest

A bit busy for me when everything is looped, maybe abit loud in the mix?

Any specific passage you're referring to here or do you mean it in general? Is the loop itself what you find to loud or the violin?

Cheers!

So, I've been trying out a few different techniques for recording and mixing my acoustic violin. Here, I used a Fender Champ profile mostly to beef up the signal from the Mid-Side and Vocal microphones (somewhat like a paralell compressor). For the second half of the solo I used the KPA overdrive on the same profile. Both the looper and the octaver are external though. Anyway feedback for further recordings would be appreciated. Hope you guys enjoy!

p.s.: Full disclosure: While I really love Gypsy Jazz, its not my main musical style, so sorry for the somewhat sloppy playing...

I think you can fix it by changing the polarity settings for the foot switch.

Hope that helps!

Quote from M0rtan

ch habe mich heute mal mit meinem Techniker Kollegen auseinander gesetzt. Und die Lösung scheint ganz einfach zu sein. Die Ausgänge mit Klinke sind am Kemper unsymetrisch. Das bedeutet das ein Adapter auf symetrisch nicht so mal eben mit Kabeln gelöst wird. Dazu muss man das mit den unsymetrischen/symetrischen Signal erst mal verstehen. Mit einem unsymetrischen Signal an einen symetrischen Eingang zu gehen ist pracktisch so als hätte man ein defektes Kabel oder im Stecker wäre ein Kontakt abgerissen.... Veranschaulicht: Das Signal klingt "einbeinich" "Out of Fase" oder anders ausgedrückt dünn.

Tja, das ist was ich oben meinte eben, aber keiner hat es mir geglaubt/verstanden. Liegt aber wahrscheinlich an meiner Unfähigkeit mit technischem Vokabular zu überzeugen

Studiomonitore haben in der Regel TRS Klinkeneingänge, also nur für symmetrische Signale geeignet.

Schön aber, dass du es jetzt geklärt hast!

Cheers!

Huch, mit den genauen Technischen Details kenne ich mich nicht aus. Ich meinte nur, dass ich mich mit TRS Kabeln am Line In Eingang am Mischpult angeschlossen habe, statt am Input Eingang. Wie auch immer, der Sound war tatsächlich ziemlich mies.

Hab übrigens gerade festgestellt, dass beide KPA Main Outs (also xlr und Klinke) in der alten Anleitung (März 2012) als symmetrisch angegeben werden (so hatte ich es eben in Erinnerung). In der aktuellen Version werden sie explizit als "balanced" und "unbalanced" differenziert. Ich gehe also davon aus, dass man mit TS Klinke am "normalen" Input auch gute Ergebnisse bekommen sollte, habe es aber noch nicht ausprobiert...

Cheers!

Eine Sache, die noch zu beachten ist, dass die Klinkenausgängen vom Main Out nicht symmetrisch sind. Ich habe mich auch letztens über den dünnen Sound gewundert als ich mich mit Line Kabeln an unseren Mischpult angeschlossen habe. Als ich auf XLR gewechselt habe, war das Brett wieder da

Wenn ich mich kurz hier auch einklinken darf: Ich habe einen Ordner bei Rig manager erstellt, um meine Favorites aus den offiziellen Rig Packs unter einem Hut zu haben. Und, siehe da, ich habe jeweils 4 Profiles von den Wagener und den Top Jimi Pack.

Unbrauchbar? Na ja, manche der Wagener Profiles haben wir tatsächlich auf dem neuen Album drauf. Ich finde deren Sound geil gerade weil sie so charakteristisch und ungewöhnlich sind im vergleich zu vielen anderen Profiles.

Ich will nur sagen, dass das mit der Bewertung der Profiles extrem Relativ ist; nicht nur weil es so Geschmacksabhängig ist, sondern auch weil - und das ist eben das coole beim Kemper - die Gitarren/Pickup/Saiten Kombis einen Profile ganz anders klingen lassen können. Ich merke oft, wenn ich durch meine Favs durchgehe - und ja, ich habe einige kommerzielen Packs auch, also nicht nur "unterirdisches" Zeug zum vergleich - dass ich nicht weiss, warum ich ein bestimmtes Profile vorher gewählt habe. Dann beim wechseln der Gitarre oder des Pickups passiert es aber: DA IST DER SOUND! Und umgekehrt kann dasselbe passieren. Irgendwelche Profiles werden überall extrem gepriesen und, wenn man sie dan ausprobiert, dann kommt ein "meh" raus.

Was die factory presets angeht, ich weiss noch, als ich damals den Kemper zum ersten Mal auspackte, war ich von vielen der (mittlerweile) ganz alten Profiles tatsächlich nicht so begeistert. Insbesondere kann ich mich an die "Gondwana" Serie erinnern. Die haben mir überhaupt net gefallen. Dasselbe gilt f[ur mich bei einigen der späteren Signature Packs wie z.B die Profiles von Merrow oder Englund. Aber dann gab es Leute auf dem Forum, die gerade diese Profiles toll fanden. Na, dann alles gut!

Von daher, kann ich @DonPetersen verstehen. Klar darf jeder seiner Meinung sagen, und es ist genau dass, was die Kommunity hier so cool macht, aber ich denke auch, dass man respektvoller damit umgehen kann. Einerseits, weil da die Arbeit der Profile Produzenten und vom Kemper Team steckt und, "last but not least" weil selbst wenn es einem wundert, kann es immer sein, dass jemand gerade das gut findet was man selbst für schlecht hält

Cheers and beers!

Nice question,

well, I've been starting to upgrade my performances to make use of the morphing feature. My main uses so far are

- to transition between clean/crunch sounds and full-out, "in your face" riffing tone. So, for example, I'll morph the reverb to increase towards the clean sound and decrease when the gain goes up. Gain is morphed correspondingly, of course.
- I also have a solo where I begin by echoing the other guitar player's riff and use the morph function to slowly transform the sound from the regular guitar sound without efects into an almost 80s tone with a good amount of reverb, delay and a green scream. Works like a charm

Cheers!

Ha, thank you Monkey Man, now you're making me blush!

Thanks guys, I'm really glad you enjoyed it. Actually, now that I come to think of it, the initial idea of this track was directly inspired by the profiler. I remember how completely blown away I was with how responsive the amp reacted to the volume pedal and to the strength of the attack when playing. That realization made me focus much more on the dynamics and the use of that lovely sound of the amp going from slightly cracking up to full strength.

So, the first video of our new album is finally up and despite the colors and warped psychedelia, I'm pretty sure you'll be able to recognize the little "green machine" lurking in the background... Check it out and spread the word if you like what you hear and what you see

Cheers!

Hey Cederick,

what FW are you using? Me and a couple of users had this issue a while ago but it has been solved with the newer FW updates since then...

Cheers

Thanks so much guys, I appreciate your feedback. The KPA really helped us make the most of the new album

Thanks Mr. Schreck, glad you dig it!