Posts by chu

    I tune to Eb but when I drop the bottom string, I'm in drop C#.

    This is clearly ridiculous and just the way my brain processes it all. Whatever method is available will make no difference to me, I'll twist it up in my head!

    But given a preference, I'd think that flats are better. In a busy environment, I know immediately what Eb, Ab, Db, Gb, Bb and Eb are. But D#, G#, C#, F#, A# and D#?

    That took an embarrassingly long amount of time to work out....

    I forget exactly why, but I had the stereo mimic and it didn't work right. I tried it in the loop and after the main outputs but I was never satisfied.

    If I recall correctly, it worked best after the main outputs but it didn't want to have the mimic and all the cables needed on the stage floor and it definitely didn't sound right on all the time so needed to be able to switch it on and off.

    I'm not doubting that it sounded fun, but for recording I would always double track for real and live it wasn't working for me. It just became a cute toy for practicing and so I moved on.

    The Kemper DT was actually better for me in terms of control but i just find that a double tracked sound is not usable in a live band situation for how I play.

    I think you're overthinking it.

    For a variety of reasons, most of us get caught up in the panning of guitars but how many times have you played in/heard bands that aren't putting the guitars through the PA, with two guitarists wide apart and wished the solos were panned to the centre?

    I always suggest keeping a narrow stereo width live but if you set your profiles well, it won't matter.

    I've had the 'dropouts' consistently too. I don't know if it's noticeable to those listening but I definitely feel it when playing. However, it only catches my attention when playing at home, with the band playing i don't notice it.

    However....... I surprised myself at how much I committed to using it live. I've never been a believer in the benefits of playing in stereo with a band, so didn't expect me to adopt it so thoroughly. It sounds marvellous through IEMs but at band practices, we often just plug the bass, vocals and Kemper into the PA at the rehearsal space. The cabs are widely spread and the DT sounds really good alone but when the bands gets excited, the guitar loses clarity and punch and disappears. Everyone in the band agrees.

    We're a 3 piece rock band, a little energetic and hard edged and I'd persuaded myself that the double tracker would make us sound bigger live, even when all my previous experiences suggested otherwise.

    Tonight, I've removed the double tracker from all my performances. It's a great feature and through no fault of its own it takes far more than it gives.

    Happily back with mono guitar with the odd stereo delay for fun.

    There are arguments on either side.

    One of the reasons why Kemper have been so stable is the resale value. With second hand prices remaining so strong even after all these years, many many people will still buy it brand new.

    PRS have stated for many years that their main competition is their own used guitars. If the used prices tumble, people will buy those instead of new ones. You want your used prices high. It ensures new customers. Adding a lower price, different device has very real potential to destabilise this. You might sell a load of compact devices but is your brand now tumbling down? It's not all about bringing in new sales for something. There are pitfalls.

    Again, not saying they won't but satisfying a demand might have consequences for a smaller company.

    There have been numerous requests for something smaller and I respectfully understand the benefits and desires to have such a thing.

    There never seems to be any suggestion that this is being considered though, and again I understand why.

    If Kemper brought out a smaller version, what would it be priced at? Because when you pay £1200 for a Kemper Floor, it didn't cost anywhere near that to build. You're not paying for the cost of the components plus labour. Making it smaller and maybe losing the ability to profile would use slightly less components, a few footswitches and XLR sockets less but it would need extra investment in a product line and infrastructure. It would also possible lead to people selling off their Profilers, who like me have made great use of all the free profiles made by other but never returned the favour. That might then upset those contributing to RigManager, knowing that people can now access what they've shared without paying the same price for the privilege.

    To be clear, the Virus synth funded the creation of the Kemper. The money from the sales of Kempers pays the wages, the pensions, the mortgage of the company but also the R&D for their next project, whether that is a Kemper 2 or something completely unrelated to guitar. Kemper have rewarded the early purchasers with stability and second hand prices. I doubt they will change their practices any time soon.


    I mean no offence when I say this (I have done incredibly similar things myself) but how many times have we seen posts where people state they've changed nothing at all only for them to go on to document the opposite in later posts.

    Glad you got it sorted though ? ?

    I'm not a metal player but my baritone has become a very close second to my favourite guitar.

    I'll frequently record with it, if only to double track or follow existing parts. I can't think of many better purchases and it would see you through something like this with ease.

    I used to sell car parts for minimum wage and people would expect me to be able to troubleshoot and tell them how to fix their cars. All you can hope is Sweetwater is better then the rest and actually pay to train these people. But they probably do not have 12 interfaces at home and years of personal experience with them. One thing about Sweetwater is the sales people are usually there for a long time. That may indicate they are paying them well because they are training them and want them to stay???

    Yeah, i hope so. I mean no disrespect to anyone in retail, they're doing a job and I'm just fine with that. My mother is one of the most frequent at asking for advice, she'll literally ask any store worker, as if the 17yr old student working part time in a huge supermarket will know which product is best for her needs.

    It's good. I haven't been able to get it changing programs by midi yet (due to the last remaining midi out socket in my setup not allowing pass thru) but hopefully I'll be there soon. I was using an electro harmonix synth 9 which was great but I came to the sy200 for the midi switching, which I don't have yet.....

    I am growing to not fully trust Sweetwater anymore. I really dislike my rep there. He is never helpful anymore. I don't know if I don't spend enough money with them these days or what has caused the change. They have missed out on quite a few sales in the past two years because of him not being responsive or not cutting me any deals or not having things in stock. I have taken a lot of business to other places due to that. I wish I knew some place that was trustworthy to get advice from that wasn't just trying to sell me something they have extra stock of.

    I've frequented a bunch of different retailers over the years, whether music related or otherwise. My relationship with my rep at the tool supplier where I work is excellent, they know about new tooling, the specs and what parameters to use with it. They're selling thousands of items and are getting feedback constantly as they speak to their customers every week.

    But for music gear? Nah, they're not comparable. They're salesmen, not reps. They're not speaking to their customer a week later and asking how they got on with that $1000 interface and are offering a swap because they know you'll be back each week spending thousands. They expect you to buy your gear from multiple sources and are pedalling opinion and looking at targets. I know with stuff such as interfaces you can end up going round in circles but they're things that i would research and decide for myself and then make the jump. I may have misinterpreted your post but I would reconsider your relationship with your retailer.

    I agree mate, however you get your thrills is fine by me. The line gets crossed when people try to steer others to suit their own passion.

    Persuading someone why Fishman Fluence pickups are an abomination and should be avoided (because of how they are built and do not constitute a real pickup) or lecturing people on how to achieve great tone live (and the finer points or acoustic coupling) when you've no experience playing more than a few notes in your bedroom gets up my nose.

    I am also on this pool, very few players actually "play", and in my experience, people who actually care for tone, instead of getting a kemper/axe/line6, they just fall in love with one amp and build its tone around it for a decade or so.

    I used to post on another forum, where one of the resident posters was a full gear nerd. From balanced string gauges, custom pickups and fancy wiring/switching, cables, pedals, amps, attenuator and speaker it was analysed to the end of the world. He would guide others down the path that suited his passion best and got angry when things such as Fluence pickups or modelling was compared to 'real' gear. He'd advise people on building pedalboards, the necessity of acoustic coupling with your amp and all sorts of things he believed were essential.

    It transpired that for 'reasons' the chap could barely play anything. I mean almost nothing but he justified it that it was all about just playing one glorious note and revelling in the marvellous tone. Fine, if that's your thing but many of us just want to play, to have gear that gets us tone that is good enough. Those tiny details might be noticeable when playing in isolation at home, but when the drums hit and the bass player with a five string bass gets excited, most of it gets lost.

    But that's actually when I like it the most. So for me, tone is massively important but also irrelevant. I've found sounds in the Kemper that hold their own everywhere, loud, quiet, headphones or live. I cannot say that about anything else I've tried.

    I use a Midi foot controller. It defines what the expression pedal does for each profile. I use just one expression pedal for everything, morph, wah, volume and pitch.

    I'm a little confused. I mean no disrespect at all and maybe I don't understand but my take from this is that you wanted it to do something but didn't put in the required time into understanding and configuring how the device functions and have decided to give up.

    Most of the points you raise in your first post are dead simple to rectify and are deliberate options in the Kemper.

    I honestly believe that the Kemper is way more capable of benefitting you than you think. However it's not for everyone and I understand why you may not want to.

    Whilst not aimed at you, I do see a number of posts lamenting the complexity of getting the best from a device such as a Kemper and comparisons are drawn with the simplicity of an amp and pedalboard. But I think that's overlooking the huge learning curve that we all went through with getting our first amp, then adding a pedal. Then adding a few more and resolving power supply issues. The problem with something so powerful as a modern digital device is that you get the full rig all at once, missing the slow growth and gradual learning curve.

    yes, Rig Manager has the library function and the editor function however you cannot edit without the Kemper connected.