I have a Whammy DT (which has the drop included) and I find the Kemper cleaner and more accurate. The Whammy seems adds something nice that isn’t there in the original which is probably why people like it. But I don’t get the kind of dalek noises that you do.
As Ruefus says though all transpose effects get less authentic the further away from the original pitch you get.
My experience is the exact opposite. I think that the whammy DT both sound cleaner and is more accurate. And ai feel a slight lag with Kemper. With the DT less so…
I still use the Kemper transpose though, because with midi switching and wireless, the rig is much simpler with just the Kemper…
Naaah, I don’t think CK is the kind of person who thinks he has «beaten the game» and it’s time to move on. That is not how a creative mind works. It’s a creative process, not an engineering one.
That is why we haven’t seen a Kemper 2. Because the hardware has only ONE job: Be a platform for the really important stuff. The software.
And software development continues to this day. And with software, sky is the limit. Engineering and hardware might be bumps on the road, but creativity is key. One is never «finished» when it comes to creativity. IMO.
This volume drop is done in purpose.
Whe have got complaints that the digital volume into a DAW is much too high, compared to usual volumes.
About 12 dB too high.
This is why probably we had multiple user requests years ago for a SPDIF volume control, something that I never really liked.
I had originally planned to make an attenuation of 12 dB, to match the typical RMS of a DAW and thus avoid the use of either SPDIF volume or DAW channel gain to match the perceived volume to the DAW.
What do you think?
What kind of specific problem would that induce?
I like this idea, and this gets my vote!
I think I found a way...
To keep most of my guitars in the safe zone, I´ll use the gain at +21 and AF Out at +18. +24 seems fine on a few of them, but I get the occasional clipping warning if I play hard. To get the distortion to the same level I have to boost distortion sense to +4. Then it feels and responds the same between the cable and EW-D.
So I guess it works, even though it's not unity gain. Does it matter? *shrug*.
Yeah, it’s not that it’s too hot that’s the problem. It’s the opposite. I have to lower the gain. And since the AF output is capped at +18 it sounds like I’m playing through low output single coils. All the time!
+21/+24 would be a unity gain setting for me. But that is not an option. I’m stuck at +21/+18. Meaning I can’t achieve unity gain…
Anyone here have any experience with the EW-D from Sennheiser?
How do you set up your gain? The unity gain settings in the manual doesn't seem to work for me. Even with Aldrich bridge pickup, there is clipping on lowest unity gain setting, meaning that I can't use the 27/18 setting. 24/18 is OK, but then the output suffers. On my EMG equipped guitars 21/18 is the highest I can go for "safe operation". But then it sounds wimpy...
How do you manage if you use the EW-D? Just use clean sense and distortion sense to make up the unity gain and Bob´s your uncle?
There's also the financial reality that a company needs a steady income of new sales to pay people to sit around all day and design updates.
People buying Kemper in 2022 isn’t buying because of 2012 merits. It’s because software makes it up to date. No need for new hardware, as long as they «sit around all day and design updates» the Kemper will be as potent as it ever was, and steady income is guaranteed.
I absolutely adore Kemper for it. Longevity. It’s refreshing!
Bah! I had mine sendt for repair from Norway back in 2013 i think it was. The Kemper was a big seller and pretty new tech, the music store i bought it from got it back from repair and sold it to someone else.
They never told me, and i had to wait 5 months to get a new one from them and only after i threatened with legal conseqenses. Yay
Partly. I spent MONTHS arguing with the norwegian post office because of the same paperwork that UPS made you pay VAT on. They based the value, and of course insurance value, on the document showing a 400-something euros sum.
What a headache. Never again. And I had to buy a new Kemper. Luckily I found one used…
I sent my Kemper for repair. It vanished. Never to be seen or heard of again. Last trace of it was leaving Norway.
So I feel you…
I’m mainly a Cubase user, but use Logic for this. Pretty nifty with midi changes for the Kemper too. All I have to focus on is playing.
New single, featuring Baard Kolstad (Leprous).
This covid-things sucks ass big time, but at least it’s just slowing us down not stopping us.
The «frequency glitches» you’re mentioning, is it the initial attack, pick on string thing?
UA Apollo x6
I’ve used Cubase since version 4. I know how to do what I need to do in Cubase, so I work fast. Tried Logic for a while, but couldn’t gel with it. I also tried UA Luna but that is so caveman yet, it’s practically useless to me.
Cables: Klotz titanium. Used to use spdif. Prefer analog out. Way easier imo, and no danger of clicks and pops. I record DI for «just in case», but try To challenge myself more to commit to the sounds I want in the first place. Plus all the tonechasing means diddly squat when it is someone else that is going to mix it for ya. That was my eyeopener. ?
I see this very often in comments in many blogs and forums.My question is why do so many guys ask for "more fx simultaneously" to create complex,synth like ambient stuff with a dozen delays and even more complex reverbs...but never ever ask directly for a synth module??I mean..you guys look for "new sounds",right?
This is indeed beyond me.
We have 2021 but as guitar players...we still live in caves..
This one I don’t really get either. One thing is sound design. But I bet my ass «real» sound designs are alot more creative than stacking 4 delays going into three reverbs...
I mean, how does all that «soundscape» even work in a setting beside being really «ethereal» by itself? Nevermind a live setting...