Check Rig Manager for profiles by r.u.sirius. I'm less of an XTC guy and more of a Shiva guy, but his (or her) Shiva profiles are amazing. Some of my all-time favorites actually. r.u.sirius also has some XTC profiles - definitely check those out.
I also have Guido's Soldano profiles, and they're fantastic. And I can't stress how great Pete's are. I wish Pete got a little more recognition for his work - I find they are some of the best out there, IMO.
To expand on your idea, it would be great to have an "Info URL" slot. This way, you don't have to limit it to pictures, and the rig file isn't being expanded in size by orders of magnitude. A Kemper rig file is about 4k, whereas a photo can be megabytes in size.
If Rig Manager had a Dropbox/Box.net/Google Drive connection where, when editing a rig, you could drag and drop a photo, text document, or a PDF, and it would be uploaded to your cloud storage solution of your choice that you've connected to. Once the upload is complete, a link would automatically be added to the rig and saved. It would be a really nice addition, and only taking up, at most, 250 characters of space for a URL, probably less. You would need to be able to remove or replace an already uploaded file as well.
Kemper would also need to limit this to a few file types - PDF, PNG, JPG, GIF, TXT, DOCX, XLSX, and maybe a couple others - primarily for security reasons. Uploading to popular cloud providers would ensure a degree of safety as well - uploading files to these platforms typically includes a quick spyware/virus/known bad file check when uploading, but that would have to be verified.
If it's an image (PNG, GIF, JPG), a small version could be displayed in the sidebar that, when clicked, opened the URL in the user's browser. If it's a document (XLSX, DOCX, PDF, TXT), a simple link would suffice. This could also be cached in the application cache, so, once a rig is added with this information, it only has to hit the URL once, verify it exists, and download the content locally into cache.
Additionally, this would probably circumvent copyright infringement, but that would need to be checked by someone that's got lawyer smarts, and not a software developer (like myself), because the images, documents, whatever, are being hosted externally. All the rig would provide is a URL to a resource on the web. It could be argued that an attached URL with a photo of a Marshall JCM-800 and a Klon Centaur has as much validity as someone uploading a GIF of a popular meme, but, again, not a lawyer here.
Just to chime in - what you hear over YouTube and Vimeo and the like are representative of several things:
Then, of course, the profile includes the tone stack, which may be what you would dial in, or may not be. For instance, I love Eric Johnson's tone. It's milky smooth. But when I play with similar sounds, it just sounds too muffled. The right tone in the wrong player's hands results in a poor experience.
Also, buying a pack from a commercial vendor does not guarantee you will like them. They don't have a magic formula that makes everyone love them. For me, the MBritt sounds just don't work as well as I would like them to, but I've only tried out the free sample rigs. I've had fantastic luck with Pete's Profiles, and I'm probably picking up some more of them this week. Some people swear by TAF, but I think they all sound harsh and abrasive. What you do for your playing is going to be different than someone else, and that doesn't mean what you're doing is wrong; what it means is, for the tone you want, the "popular solution" isn't your solution. You will, if you buy rigs, spend money and be unhappy with the results. But hold on to those rigs anyway; you may find you like them for a particular scenario one day.
Yeah... I'd actually second the uploading of your rigs to Rig Manager. I'm not saying that to get free rigs either. If you're not going to sell them ever again, and you're not going to open a business with them, might as well let others enjoy the beautiful profiles you've made.
That's pretty neat! The one suggestion I might have for something like this is to have either the MIDI in or MIDI out to the remote as a 7-pin connection. This way, you could have another toggle switch somewhere that would:
1. Normal mode: MIDI In and MIDI Out function as standard MIDI cables, transferring data on MIDI pins 4 and 5 (standard) with 2 being ground. Additional pins not in use.
2. Bidirectional mode: 7-PIN remote port acts as a combo MIDI In and MIDI out cable, allowing you to run both leads on one 5-PIN cable (In on pin 4, 5, Out on pins 1, 3, or vice versa). Pins 6, 7 are ignored.
3. Bidirectional mode w/ phantom power: Same as bidirectional mode, except phantom power is supplied on pins 6 and 7, allowing you to power your remote and have bidirectional communication via a 7-PIN MIDI cable.
Other thoughts:
1. You could simplify the switch and ALWAYS have 6 and 7 active for power, but only transmit when connected (i.e. when a 7-PIN MIDI cable is connected). This would make that switch "normal/bidirectional" instead of "normal/bidirectional/bidirectional powered."
2. You could also make both remote outs 7-PIN, ensuring compatibility with any device. For example, the MIDI In would, in bidirectional mode, use pins 4 and 5 for MIDI in, and 1 and 3 for MIDI out; the MIDI Out would, in bidirectional mode, use pins 4 and 5 for MIDI Out, and 1 and 3 for MIDI In (the reverse of the other port). Power could still be sent on 6 and 7.
This is very similar to how RJM Music's breakout boxes are. I have two 5-PIN cables going to a phantom power box in my rack, then a single 7-PIN MIDI cable goes out of my rack, through my snake, and into my controller on my pedalboard. All power is in the rack itself for my controller.
Obviously, the remote would also have to support your particular pinout, but there are a lot of mod guides out there, especially for the FCB1010, that can direct you on how to phantom power and communicate bidirectionally with one 7-PIN cable. For me, I generally run a snake of cables from my pedalboard to my rack (4 instrument cables (to amp, from amp fx send, left and right stereo fx returns), a MIDI cable, and a power cable). It was actually amazing how much smaller my snake got and how much lighter it got from just running one less cable down the line when I went to a 7-PIN cable. For those situations where all you have is a controller, you don't have to find a power outlet close to your controller either - you can just run one cable and you're set.
Just my 2 cents, but I'm digging this.
Display MoreWell, as a sound engineer and producer, I indeed spend way more time auditioning sound and sculpting them than playing... I'm not seeking for "MY" tones and sounds... I'm seeking for everyone else tones and sounds. That's why, the more the better. I already spend a week with the Kemper at the previous studio, and it went from 50 to 500 profiles in a week... and it was just some test.
So yeah, a dozen of profiles wouldn't work at all and wouldn't be more than enough for me. We already have more real amps at the current studios. But it's a real PITA to carry them now that I have back injury. That's where the Kemper could become handy and I could still get the same sound at home by only carrying the Kemper around.
Anyway, no need to argue about that. As said, to each his own. I got the info I was looking for.
Thanks guys!
Just a suggestion, but you can get a Microsoft Surface and just leave it in your rack (I know, you said you have an iPhone - I'm an Apple guy myself, but these are seriously nice tablets), connected via USB to the Kemper, and store all you want on there. You can find a used one for pretty cheap, though I'd opt for at least the Surface 3, which you can get new for $500, used for probably $300. You don't need anything more than the base model. Each profile only takes up approximately 4k of storage space, so you could easily store 3k rigs on a device like this, and connect to WiFi to get more if you need to. Plus, it's lightweight, and would fit in a rack, possibly even between the top or bottom mounted unit and the case itself, or in one of the lids.
Additionally, it's a much better interface for searching, as you can type in what you need and find what you want quickly. The "filtering" functionality on the Kemper works well for a few dozen rigs, but it loses its usefulness when you get in the hundreds. And, if you're recording someone, you want to work as quickly and efficiently as possible to nail down the sound they should use; putzing around on the front panel of the Kemper for 10 minutes trying to find that one rig that's awkwardly named is going to make the client mad at you and less likely to return to your studio. Being able to search, filter, make folders, and instantly preview and load a profile onto the device with a few taps and keystrokes will make your clients much happier.
As an added benefit, you can then make performances of the band's setups, save them on the tablet, and remove them from the device. If they need to come in at a later time to, say, retrack a solo or redo a rhythm part, you have their sounds available to you on your tablet - load up the performance for the song, and you're right back to where you were before, edits to the profile completely intact.
The Kemper not being able to store 3k rigs is understandable, because it's not feasible to use it in that manner, nor was it designed to be used this way. Each rig is pulled from the database and loaded into memory (RAM) from flash storage on boot, which is part of the reason it takes time to boot up the Kemper, and why, when something gets messed up, it often takes a long, long time to load the database into memory. Even though each profile's file may only be 4k each, at 1000 rigs, that's only 4MB. But then they need to be processed each individually, which expands the memory footprint. That said, my best guess is the Kemper probably only has about 32MB of memory (RAM) on board. There's no need for more for a device of its nature - it does what it needs to do, keeps costs down, developers paid, and updates coming. It's the same reason your internet router in your home doesn't have a Core i7 processor in it - it doesn't need it to handle what it does.
You won't find other devices that can handle that much either. An AxeFX has 768 presets you can choose from, but it's with a specific set of predefined amplifiers. Line 6's typically have 32 banks of 4 presets, totaling 128 presets you can use, but, again, with predefined amplifiers. Out of the box, the Kemper is still more capable than all of these other devices in terms of storage. The only thing more capable would be something like Logic + a ton of plugins.
Not trying to argue or persuade, just trying to bring up some concepts, as a fellow researcher that wants to know everything about everything before a purchase, that you may not have thought of. Good luck!
Can confirm. I updated from 3.0.2 to 3.1.4 tonight. I'm loving the pure cab - I was playing through headphones and honestly I thought, at one point, I needed to turn down, because the amp was cranked up too loud! But the update to performances certainly has a bug.
I have about 10 performances set up. I only use #1 and #2 now; the other ones were for one-off gigs where I was trying to get the hang of the profiler. 1-4 were overwritten with "Sample Song 1", "Sample Song 2", "Sample Amp 1", and "Sample Amp 2." I made a backup before updating, and restored the backup in 3.1.4, and they still did not restore.
If anyone wants to know how to fix this:
Hope that helps anyone that's having issues.
It is true. Those additional 60 to 90 seconds, required for refining a profile, can be downright exhausting. I sometimes have to take a nap after refining a profile. In any case, I strongly recommend having a high carbohydrate meal, at least two hours prior to the refining process. It also would be prudent to first ask your doctor if you are healthy enough to engage in profile refining activity.
I've had some profiles that I've made that take multiple times through - for some reason, my AC-15 wouldn't profile the top end - it sounded muddy in comparison to the mics, for instance. And when you're making a bunch of different profiles and you just want to get it done, yes, that time and effort adds up.
A lot of players are perfectly content with the sounds they get when profiling, and don't feel the minuscule changes made via refining helps enough to justify the time and effort. It really depends on what you're after - the Kemper gets it, in my best guess, about 90-100% right on the initial profile. It depends on how much of that 10% is off, and how much you care about it whether you need to refine or not.
Man...i'm already merried....but....
love enough for two!
(off course i'm speaking over her playing skills
)
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TBH... she's a killer player, but her looks don't do a thing for me. I've never been one after the types that flaunt everything they have and leave nothing to the imagination. A little modesty, combined with confidence, is much more attractive to me than "hey look at my giant fake boobs, and oh, I play guitar too."
I can think of a couple of reasons why you might be drawn. However, IMHO, if it's a female guitarist's take on Hendrix you are looking for then look no further than Chantel. Simply amazing!!
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Once they get going, this rocks. That intro is pretty rough though... you can tell she knows the band's dragging, and she's trying to slow down, but the band just keeps slowing down even more.
I would actually recommend that you find a way to map out your breadboard to an official schematic, and get some test boards printed based on your schematics. If you do that, you'd probably chop the board's footprint by at least half, and you'd have a beautiful chip that you've built. Reproducing this for clients who already own this board would be a matter of them shipping it to you, your costs for a printed board + wiring time, and load up the software that you have. If you can figure out a way to load up the firmware via Bluetooth or by USB, you can provide firmware updates to users.
That said, anything of this nature will suck up your time and your life. But you could make some good money on this, especially if you adapted it to work with other popular units on the market (Fractal, Line 6, Eleven Rack even, etc.), or adapted it to work similarly with a Behringer FCB1010. I'd pay decent money to make that POS controller worthwhile with a great display, as a viable backup for what I currently have.
I should add AccuGroove and Xitone have passive options, OP.
I just received a Friedman ASM-12. So far impressed. Also went ahead and ordered a passive CLR Cab. So next week, I should have a review comparison to post here.
Greg
I've heard good things about these, but I've also heard that they have a mid cut and don't sound exactly like a FRFR. Your thoughts?
Just gotta say... software synths can do a LOT more than an analog box can ever do, and preset management is a lot easier depending on what you use (Reason, MainStage, Ableton, etc.). I have a MicroKORG, and, while it sounds fantastic, it's been delegated to MIDI duty, because every sound on it I can generate out of Logic.
You'll love the XL+ if that's what you're looking for though.
(I almost feel like this is convincing a tube amp user to switch to a Kemper...)
The more I play around with the Kemper, the more that, while I'd love additional delays in additional slots, I think my biggest problems are:
1. Delays and Reverbs should be able to function like other mod slots. I don't really care if it's labeled "Delay" and it doesn't have a delay. I'd love to have a stereo loop into a compressor, EQ, and, possibly use a reverb at the end.
2. I would love for FX loops to be assigned within the rig's settings, and to not occupy a stomp/mod position. Honestly, if I could specify, in the rig settings on a new rig page, Loop Position: [Before/After Stomp A-D, Amp, X, Mod, Delay, Reverb], Loop Type: [Mono, Distortion, Stereo], I'd be much happier than having it occupy a block. Additionally, by doing it this way, this could also become a global setting (lockable) or a per-rig setting without having to worry about "well, I'm using X on this rig, but Mod on this one, and if I lock this effect, I have to unlock, edit this other rig, go back, and re-lock."
3. Additional delay and reverb types. I don't personally need anything too crazy, but I would like to have some tape/echohead-style delays and the ever ominous Spring reverb. Plus, allow for wider ranges of delay times and reverb decay.
4. A desktop editor. I honestly get pissed off every time I have to tweak something. I've actually considered selling the Kemper for this very reason. I can configure my Strymon patches via a desktop editor. I can configure my MIDI controller via a desktop editor. All I can do with Rig Manager is copy rigs back and forth. Performance editing will be a huge step in the right direction, but real-time communication to edit every parameter via an external editor would give the Kemper so much more usability, at least for those that are always around a computer.
<p>I use an eventide h9 and line6 m5 in loop. In need to regularly move rigs from one slot in one performance to other performances. I wish the slot settings would follow the moves. Rather it seems that the slot settings are fixed so that when I copy and paste a rig, it retains the midi settings that were in the slot. </p>
In other words if performance three slot 4 is one rig with messages sent to my devices, if I copy it and paste it in performance 7 slot 2, the rig and all its effects copy fine, but the midi slot settings don't, I'm stuck with whatever the slot settings were in perf 7 slot two were before I copied my rig there
OH MY GOSH YES!!! I completely forgot about this. When moving around performances or individual rigs, MIDI PCs should follow that performance slot. Or at least the option for it to follow. Maybe a confirm dialog that says "Move MIDI settings?" as well if any MIDI devices are enabled. Ideally, it would show what the old settings are vs. the settings in the slot you're copying/moving/swapping to.
That's gotta be a lot of drinks.
#2. Sounds the clearest.
only in browse mode, in performance mode you have to turn the dials to see what they are set at
Yeah, you're right. I've been using a Kemper for about 5 months now, and, honestly, I've never noticed. Once my rigs are set up though, I don't need to touch them again.
I don't understand why that's a problem.
1. The "Gain" knob DOES show the LED ring on the rack model. I have the rack version. I'm looking at it right now. I promise.
2. As far as "rig volume" and the "eq" parameters are concerned, they do not have the LED ring. However, the display does show the EQ values, and changing the rig volume displays it on the display. Personally, I've never noticed there isn't a ring on these, because I can just glance at the display. I've never had to make adjustments when performing live, and, if I did, it's more of a problem with the EQ curve of the speakers and mixer at the venue. For those changes, you'd want to globally adjust the EQ via the main out settings, because it would affect every rig you're playing through.
