Posts by slateboy

Similar to the related conversation, (Tap button blinking irregularly) my conclusion is the "less important " functions of the remote (and toaster/rack) are given a low priority over the audio-processing of the main unit, quite rightly so and Visual feedback is probably lowest in terms of importance.
Im guessing the "polling" of buttons is limited to occasional cpu cycles rather than a priority task and more often than not it will (eventually) get the tempo correct from an average measurement of tempo-button taps (main unit and remote alike?) based on a few bars worth of taps, *after* its done all its other business, ie, a new performance load seems to consume processing resources for a second or two after its been executed.

Be interesting to hear the K-team's response to this to confirm if my theory is correct or perhaps there is another reason...

Just been discussing similar:
tap tempo button reliability
Still an ongoing issue that im confident the K-team will sort.

Quick question to all those using the remote and the tap-tempo function:

Often i find, shortly after changing slot within a performance, i have to make several attempts at tapping the tempo button for setting my delay times as the BPM is noticeably several BPM out.
The indicator is not a reliable guide as it flickers occasionally (this issue has been discussed in other threads) and consequently is not a good enough visual representation of the delay time.
The true result is obviously listening to the delay times. Its not always possible to use the beat-detect function, especially if you are setting up the delay prior to making any sound.
(I i can save delay times as part of the performance but often i use the same preset for multiple songs)

How reliable and how easy do you find you can achieve the desired tempo setting by foot-tapping the delay-tap button?
I understand it should set within two taps but its more like 3 or 4 attempts of 4 taps or more to obtain the correct BPM value.

Quote from Dean_R

In the video you linked at that level of gain and well above, I don't think that noiseless are really needed for single coil. Proper grounding and conductive shielding paint might be all that's needed. Based on the sound, they all sound in the same ball park, however the SD had a little more snap and definition. I think more importantly is the way the individual player feels the response of the pickups so what sounds great in someone else's hand, can feel not as responsive to be enjoyable in quite a few situations, however if they sound good, after a short period the player can adjust to the feel.

I agree with you.
My problems arrive when i have high gain sounds where the difference in tone is less of a concern. I switch between these clean sounds where the character of the pickup shines through.
The shielding is all in place. If the pickup sounds nice when its clean then its dirty/gain tone isnt really a problem, only the squealing when i am in the proximity of a FOH pa cab that spills its EMF in all directions.

Anyone played a Lace Holy Grail pickup?
A slightly different design, so i understand.

I've done a bit of a demo on some noiseless pickups.
Would like to hear your opinions of the sound of each (not the playing )

thanks

You looking for KPA rigs or presets to load into an amplifire?

Quote from Morty

its a bit anoying that the Kemper is more noisy than a tube amp! But i am a stratplayer and love strat and tele with magnetic pickups, so i guess i have to deal with it! but it was kind of disepointiing that it was so sensetive to noice.. in live situations wich i use it 99% its ok! noone hear it

I dont think the kemper is to blame anywhere, if anything its the pickups and external EMF factors.

thanks for all your comments, everyone.
I've used lace sensors on a previous guitar in neck + mid with a HB in bridge. this works fine but the output was relatively low but i didn't mind that.
The problem is that a few venues i've played at have a PA cab on the corner of the stage and my single-coils pick this up and i get the most awful screaming feedback (and not in a nice guitar-useful way) Problem is only with the higher gain settings. solution is switch to humbucker or turn 90 degrees to the PA cab or move further away. None of which are ideal.
So rather than avoid hum, i'm trying to avoid this shitty-feedback, which on the occasions it has happened has been delivered by a HK actor top unit. Maybe these spill their EMF unnecessarily.
Annoyingly, soundcheck on friday night was great. When it came to the gig these cabs were obviously turned up (or on?) and the nasties came to fruition.

Had some blade (seymour duncan hotrails) years ago but never warmed to them as they were more humbucker than single coil, even trying series/parallel/split config.

Looking at just one stacked single coil for neck. Maybe replace the mid pickup at a later date. I love the stratty neck tone but willing to compromise enough to avoid that deathly feedback.

Anyone have experience with single coil noiseless pickups?
The usual/standard strat setup of having the middle pickup reverse wound/magnets cancels noise in the positions 2/4 of selector switch.

Changing the neck pickup for a noiseless one (which utilises a dummy reverse coil underneath to cancel hum/noise) would surely have a different effect when combining neck and mid pickup as its employing two reverse wound/magnet pickups?
Anyone advice or experience on getting the best results in this situation?
Should the middle pickup still be a reverse wound one or regular when using a noiseless neck pickup?. Also may impact the combination of bridge and mid pickup too.

Be worth checking what midi output youre getting from the cymatic. (Midi ox?)
I understand you have to export/transfer the midi file (into the correct cymatic folder) that gets played back in parallel with the audio track, so effectivley its like pressing 'play' on a midi file player and audio-multitrack player simultaneously.
And what @paults said too.

Only just discovered the freqout device. Intriguing!
Has any one managed to recreate anything similar with the kpa in its current state?
Guessing some part of the circuitry (or algorithm) has signal feedback and I'm not aware of any way to recreate this in a constructive way with current stomps or by physically wiring output back to input (which would be a dirty/nasty approach anyhow)

Quote from Nick

Airline Newport with mini humbuckers into a FuzzDog Jordan Bosstone clone into a Catalinbread Topanga for reverb into a WayHuge EchoPuss for slapback delay into a profile of a Supro Coronado

can you confirm- is this a demo using mr Britts profiles? (Be useful to know the pack name, etc)
Othewise perhaps it would be more fitting for the "link your music" forum.

Quote from Burkhard

Performance Tempo can be activated in any Slot of a Performance. If activated, the current Tempo survives Slot changes within the same Performance, however only affects Slots where Tempo is enabled.

Lock Tempo makes the Tempo survive all Slot and Performance changes and affect all Slots regardless if Tempo is enabled or not. Keep in mind, that Locking in general is separate in Performance and Browser Mode.

If "To Tempo" is activated in a Delay, it follows Tempo.(set in bpm) regardless, if Tempo is enabled, or locked. If Tempo is disabled, it falls back to its default of 120 bpm. Delay Times are never set in bpm, but in note values, which work in combination with the Tempo set in bpm. This way multiple effects can follow Tempo simultaneously, but still have their specific time patterns.

If "To Temp" is disabled in a delay, Time it is set in milliseconds and doesn't follow Tempo.

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many thanks for the explanation.

mS calculation for 1/4 note (crotchet values) formula is 60,000 divided into bpm,
ie, 120bpm as mS = 60000/120=500mS, 160bpm = 60000/160 = 375mS, etc

I had a similar experience and was advised to hold the rig button on whilst powering up to clear the edit buffer, which, if corrupted, throws these kind of problems. I didn't know at the time and resolved it with the longer alternative of restoring a backup. Not a comfortable scenario mid gig

Quote from Burkhard

Keep in mind, that locking is independent between Browser and Performance Mode!

Just to clarify, if i've understood correctly, if you lock the tempo in any slot of ANY performance the "global tempo" will apply to all slots on all performances.
This in turn disables "rig tempo" which otherwise would affect each of the 5 slots in each performance independently and per slot.

so...
To use a "slot tempo" you need to un-check the "to tempo" setting on, for example, the delay stomp.

... and finally...
to use global tap-tempo, enable "lock tempo" but you can set a delay (in any slot of any performance) to a fixed tempo by unchecking its box.
However, this has to be set in mS rather than BPM. (correct?)
Otherwise please tell me, anyone, if you can set the delay using a BPM value whilst the global tempo lock is enabled.

Noticed too that the global "lock tempo" option got disabled.
where can this be found so that it applies to ALL performances?
thanks

found a fix but it appears to be a bug.

to get it working i go:

edit-->slot--midi setings (which then turns into "midi transmit") then it works. Weird?!

On first impression it appears that this button enables/disables midi transmission but once its pressed it continues to work regardless of the state until i exit and return to that performance. Now making a back up of the faulty data before i attempt to save the performance hoping it maintains the fix...

Sorry if this has been recently addressed but i've only just discovered the problem and have a gig in 24 hours.

I'm on the current public release 5.3.1 and noticed that the KPA is no longer sending out midi prog change data on one of "current FW created" performance banks.
I've found the midi PRGCHG option in the "edit slot" settings and these appear set the same way as the performances that are working correctly.

I know it was working in the previous firmware as i rely on midi prog data to change external devices.

Any help please?
thanks

I have a similar situation.
Someone may correct me for being wrong here but this works for me:
Save an input "setup" for each guitar adjusting the clean and distortion sense accordingly. This should get the input gains somewhat the same between guitars. Doesn't account for tone differences between guitars but then plugging your strat into a marshall stack then swapping to a les paul and tweaking the gain is no different in a "traditional" setup.
Having said that, using another digital-amp-modelling device, I have a second/duplicate set of patches with gains and tones adjusted to suit the different guitars, only because it doesn't have the "input config" saving ability that the kemper does, which results in twice the work when creating a new sound.

Mentioned similar to this here:
noise gate goes to -0.1 ?