Posts by Grooguit

Sounds useful, but only if you have to option to lock pure cabinet to make it global, independent of any other amp settings, such as a "Make pure cabinet global" option. The problem with making things that were global to being savable per rig is that it adds unneeded complexity to folks that want to make an adjustment once and call it a day.
For example, the thing i love most about the Remote compared to my Berlinger FCB1010 w/uno4kemper is that I can customize the effects switches for each Rig, which is also the thing that creates more work for me.
I've found a setting on pure cab, I think around 40% or so from completely off that seems to work for me. At some point, I'll feel like experimenting a bit, and when I do, if I feel a change is needed, I won't want to edit each and every rig with the "lock-arrow-save-save-save-wait" dance several dozen times. Even if it's a change I only want to make to one particular amp, I'm probably using that one particular amp tweaked just so in different slots and performances. The way things are organized on the Kemper (and all other all-in-one devices) means that if you like to use a lot of different effects and combos of effects, with a small number of basic tones such as clean, breaking up, crunch, lead that you've tweaked just so, you'll need to use these same amps tweaked just the way you like in quite a few performances and slots.

It would be cool if you could press the tuner switch on the Kemper Remote and get a second level of functions for the Remote's switches. The tuner switch could be made to go to tuner only if you hold it down for a second or two, the way many floorboard tuner buttons are multi-functional, such as the G system and the Pods, among other. Therefore, if you just press the tuner switch, it activates a second mode for the buttons. Suppose you had assigned the X slot, mod, delay, and reverb to the four effect switches. But if you go into the 2nd level (by pressing the tuner button) you could assign those same four switches to control slots, A, B, C, and D. Obviously, external switches can be added, but the problem there is that they don't light up, and of course the physical space on your board. Another major need is the ability to send more midi data, plus the ability to send midi messages with switches, not just when changing rigs. So hypothetically, you could hit the tuner switch, step on switches I and II to bank up and down midi on an external pedal (say an eventide H9) or whatever you need. If it could be set up globally or per rig, that would be useful as well, as some would prefer one to the other. For my uses, if I plan on using 2nd layer controls to operate my H9, I would rather just do that once than have to program the same thing on every single rig. And while were at it, perhaps you could chose to make the 5 rig select switches be able to have a second layer function as well, or choose to leave them to continue functioning as rig change switches, so you can still quickly get out of 2nd layer and switch to a different rig?

As I've said elsewhere, the more rigs you create the harder it is to manage everything. This feature request would enable much more to be done within one rig. For example, just so that I can have a several different delay/reverbs combinations, I need to create multiple copies of the same rig with different delay/reverb settings. However, if I decide I want to mess with my amp sound, say my standard go-to crunch, I have to go to all my rigs that use the same exact amp, and same OD slot, and the rest and copy and paste and save and wait and switch, repeat a dozen times. Or lock lock lock, switch rig, save x3, wait, switch rigs, save 3x,, wait, repeat a dozen times. Therefore, the more you can do without leaving a rig, the better, because it means you can play with your amp's sound and have fewer rigs that use that same amp sound. (If I tweak this go-to sound, that I'm going to use throughout a set list, I have it in number of different rigs, and don't want slightly different versions of the same thing floating around, some that had the latest tweaks and some that I forgot to do, so the fewer rigs I need with the same amp the better) This is a reason that I like having a separate independent pedal, the Eventide H9. As without leaving a Rig, I can instantly have access to dozens of sounds, rather than have to create several identical rigs all so I can use them with 3 different delay presets. And at least for now, it's a huge pain to keep my H9 on my pedal board, which is why I'm requesting the midi part of this feature. Since the H9 can have as many presets of delay/reverbs as I could possibly need, (I think 100 on the pedal alone) I can get all these sounds from there and use them with one Rig.

In my set-up I have a serious need to not have to run tons of cables back and forth from where I keep my Kemper permanently (in a side stage closet) and where my pedal board is on stage. The more things I can leave in the closet with the Kemper, the better. As it's at a church where I lead worship and need to have all the cables to and fro taped down, therefore making practicing and tweaking during the week a long process of moving stuff back and forth, and unplugging an insane amount of cables.

One thing awesome about the remote is that it is small (leaving room for lots of stuff) but that is also its greatest weakness. This is a way to make it do a lot more, and a feature that could simply be ignored by those that have no use for it.

They better not make one anytime soon, I just bought the remote!

I think it's perfectly ethical to use Kemper and even share profiles. I don't think it's ethical to buy and amp for the purpose of profiling it and returning. And no, it isn't the same thing as buying an amp knowing you might return it if you end up not liking it. Because in that instance, you were at least buying it with the intention of possibly keeping it, knowing that the only way to really make a decision on it was to put it through its paces in real use. Whereas buying just to profile and return, you had no intention of keeping it. '

In this instance, you're costing someone money. The store has to give you your money back. They now have a used amp to resell Perhaps they can themselves pawn it off as new (which brings into question their ethics BTW) or if they are honest, it gets listed as a "open box special" or something. Plus you have created extra work for them.

Buying a amp with the intention of profiling and returning is no different than buying an amp for a big gig or recording session with the intention of returning it. If you think that is unethical to do that, the same goes for buying for the sake of profiling.

Nevertheless, I don't see the Kemper hurting amp sales even in this case. It may have an effect on the return policy of music stores though.

H9 definitely worth the money. Whether or not it's worth it for you personally is the extent that you'll use its presets, especially with the Kemper expanding soon in the area of ambient delays and reverbs. Personally, I'll probably use the h9 a bit less when the built in Kemper effects expand into that territory more. The advantage of owning a separate pedal like the H9 is that it gives you the ability to have sounds and presets that you can access independently from the Kemper, as long as you dedicate a slot to the effects loop.

So, for example, if you have a cleanish rig and want to experiment/quickly access lots of different effects, you can just change presets on the H9, within one Rig. As opposed to having 10 rigs with the same amp copied and pasted and saved over two banks, just so that you can have a different Kemper /delay reverb combination with each one. It boils down to the way you like to organize your sounds. If you get the H9, get a digitech FS3X foot switch and short stereo cable. It's only $40 new. It's 3 switches can be set to control anything on the H9, plus the two on the H9. I had one set up to activate, preset up, preset down, and left the tap tempo on the H9 itself. Allows you to really quickly access all of your sounds and it is maybe an inch wider than the H9. And of course, you can control the H9 with the Kemper's midi.

The H9 has one major flaw though. When it receives the same midi message twice, it resets and cuts of the reverb and delay trail. So for example, if you had 2 rigs in a row on the Kemper that you wanted to use Preset 9 on the H9, (and preset 9 is a long delay) if you program both of the rigs to send PC #9, the H9 will reset the trail once the second rig is selected (assuming that you were previously on the first.) To work around this, you program the Kemper to not send the message to the H9 on the second rig, as the H9 will remain on the preset it was on unless told to change. This solves the problem, but you'll need to mentally remember that if you're H9 is on preset 7,8 or whatever, you'll have to go to a rig that sends a the PC message you want. Of course, if you have the H9 on your board, you can of course opt to not send any midi messages at all, at least in songs where you want the H9 to stay on the whole time and just control it manually.

I have thousands of profiles. If I didn't have a Kemper I'd still own one tube amp, which is all I own now. I wouldn't be playing a $3000 tube amp, nor would I own the dozen or so amps that I actually use in the profile world. Because the availability to actually try out such an expensive piece of equipment using my personal guitar and pedals is limited to what's available at Guitar Center where the sales folks get snippy if you have an amp louder than 2 for more than a few seconds. I only use $3000-amp profiles because they're basically free and I can try them out for hours on end at low volumes in the comfort and convenience of my home. Before Kemper, I owned one decent working-man's amp for live use and filled in my need for other tones when recording with a few extra OD pedals and perhaps a amp plugin. That's what I'd still be using if not for Kemper. So if anything, the profiler hasn't deceased my amp purchases, though it has decreased my purchase and need of OD pedals.

If anything, owning the Kemper makes me more likely to buy one of these high-end amps. I might be willing to shell out the dough at some point for a certain Evil Robot or Morgan, as I've actually interacted with profiles enough to know that I'd really love using those amps, day in and day out.

I put a treble bleed in my strat with vintage 60 pickups (wound by ABigail Yabara herself) and it made a difference, as I like to do a lot of volume knob adjustments to clean up. Still sounds bright when rolling back. Interestingly my favorite rig is the from the amp factory Phil x evil robot

No experience with Tascam, but If decent it's a good price for so many built in mic pres plus musicians friend has a 15% of discount for one item over $200, so you should be able to get it for 255 after discount if you use pres2016 discount code at checkout. Should work fine for school recordings
I just ordered software with that discount

Now that I just ordered the remote after wanting such a floor Kemper, I'd be really annoyed if it came out in the near future. Consider an unpowered and remote now go for $2500 so why not essentially attaching a Kemper rack to a remote and reshaping a bit for $2500? Seems like a no brainer to me. The only thing to develop the exterior

I agree, but then folks usually shopping for budget audio interfaces aren't plugging ribbon mics into them. They're often folks that are plugging radio shack mics in especially music teachers on school budgets.and thus most mics they're getting their hands on of not complete junk fall into the category of not needing crazy amount of gain in a mic pre

Well my focus rite preamps have worked well on both condenser and dynamic mics, and are fairly clean as long as you're not cranking them up all the way- which you won't unless you have a really garbage mic.

The Lexicon Omega is the cheapest multiple input audio interface (with more than two inputs) at $129 street price. I've never used it. Other than that, you're looking in the $250 range for a USB interface that has more than two inputs. The Focusrite Scarlet 6i6 for $249 street is a good option (as long as you only use 2 mics, as it has two mic preamps, but you can plug in other instruments in 2 more inputs.) I have a bigger focusrite which has the same mic pres and their stuff is very dependable and good. You'll have more options if you look in the used market

Ok, that's good to know. Thanks PaulTS, you answer a lot of my questions and I appreciate it a lot!

What would be cool would be to saw off the rear row of switches that can be globally set to effect slots as the front row of switches and exp pedals would be superfluous. Then elevate them two inches and place behind the remote? Wonder if that is possible? I got the remote precisely because I want extra space for pedals not a surfboard sized board

I'd like to eventually add some Strymon, but I can basically do the same sorts of sounds at similar quality with the eventide h9 I have, which covers the ground of the mobious, timeline, big sky all in one, plus all the wild pitch stuff. Not at the same time though. Not identical, but in the ball park, some prefer the eventide stuff over strymon. For me the verdicts out

Cool. If I got a boss fs-7 which has an led for each switch, would that follow the active/ deactive assignments as I switch from rig to rig? That is, suppose on of tne fs-7 switchs was globally assigned to the reverb slot, would the led light up automatically when switching to a rig with reverb slot active?

You also won't find a more helpful forum for any music product than the Kemper one, even the owner Chris Kemper gets on here and helps folks sometimes. 3 years in and still happy as can be with it, and I always used to get gas for new gear ( still do for this and that pedal) but only to use with the Kemper. Even the built in effects are very musical and new ones coming

Just occurred to me that they might be trying to roll out the new delays with the update as well, which would explain why we didn't get to here all of them, as they were less committal on the delays release date

As some sounds that seem the same volume when playing alone but seem to stick out or get burried in the mix when band kicks in (usually because the presence or absence of mids, you want to check that. But if you've practiced with band with your sounds and they balance well, the should at the gig through PA as well. So no worries. Same thing as if you as a few dirt boxes

Awesome thanks!