Hopefully jamming with Cliff Gallup at the great rave-up in the sky....
He was the guy we all chased - and I don't think anyone ever caught up with him.
Incendiary and saccharine all within the space of two bars...
Immense humour, and hands on the instrument which may never be equalled.
Geoffrey Arnold Beck - thank you, thank you, thank you
Respect
I hate belt packs so I just want a bug type, makes guitar swaps as easy as a cable.
yep!!
I’m running sennheiser EW-D… it’s expensive, solid, but the belt pack is a PITA
Rule of thumb with wireless: Cheap is usually shit!
Bring back the capacity to name a set of stomps on the stage the same way you can on the rack/toaster.... and grant us an extra layer of flexibility when we lock them
Example:
Let's say I have a blues outfit and a covers band
typically I would want a tremolo as the 'wobble' with the blues band and a chorus in the covers band - and there are plenty of other permutations as well
What I am looking for is the capacity to bring up named sets of stomps that remain locked over different performances... ie. I want to lock "blues" over my MBritt Vox performance but on say my TJ Tweed I want to lock "covers"
Secondly:
Have a dynamic number of "locked and named" sets but have those able to be edited globally.
Example:
If I edit the locked reverb on "blues" it doesn't affect the locked reverb on "covers" BUT it flows through to all performances where I have nominated "blues"
My mate, Mick Brierley, from Adelaide does these >>> they're great!
I've changed slightly in using one amp for Rhythm and solo to avoid ear shock for users
Yes, that makes a lot of sense!
Slightly off topic: but I am finding that using one amp profile definitely works well if you put the time into it.
Off the strength of our legendary AC20 profile (the one a lot of us use) and in the spirit of "one thing leads to another" I bought MBritt's Morgan pack... Needless to say it's great (as you would always expect) and very "giggable"...
When I bought it I held the expectation that the AC20 profiles would be the ones I would use - wrong!
The Morgan PR12 is quite a versatile critter indeed across a wide range of gain stage. I like it more as a single amp solution.
Conclusion: For something I have never even seen in the flesh (I live in regional Australia) Morgan amps are quite something...
Boss have had this for years on Multi Fx as old as the GT6... it is a good feature
To go one step further i could also connect a MIDI Voice processing Tool to my Kemper and set the respective MIDI Programm in each Performance which in my case is a song and wouldn't have to take care of any effect / vocal adjustments anymore as a guitarist/singer..Yes,
Yes, I've done that... Takes some configuration but saves a lot of tap-dancing.
Yes
Forscore can send a bluetooth midi message to the Kemper via a Yamaha MDBT01... Bottom line: as you progress through a set from one PDF to the next (say with an Airturn) it will automatically send a program change selecting a new performance on the Kemper.
I store different gigs and different repertoires in separate folders in RM, and ditto, within Forscore I arrange songs into separate libraries.
This takes some setting up but it is "set and forget" on a gig and you can vary the sequence of the sets on the fly with Forscore.
Don't rule out the possibility that gigging with vintage amps will eventually be a thing of the past..... The Kemper is THAT good... Welcome
Yep - you nailed it... That's exactly what I hear
3) Sound blends into a band really well
Innovation... true innovation
Put a graphic EQ in slot X and morph the midrange freqs up as you push up the vol… it’s amazing
With the Freqout you get about 5 seconds of "feedback tone", then it just cuts off suddenly in a non-musical way. They'd really want to do better than that.
Yes, agreed... This is what I hear as well. The "non-musical" decay....
I played with the FreqOut in a pre-stack loop with dirt pedals in front and behind it. Overall it didn't make much difference so basically I have resolved to park it in front of the Kemper input.
We need some Kemper engineering magic here - If there is one thing I despise it's going back to ext power supplies, pedals and patch leads
Mono for live… definitely
Stereo is “pretty” but not worth the drama: phasing etc etc
These things are really cheap and a lot of fun.....
But wait there's more... much much more.. A whole YouTube channel including this classic
The secret is:
Put an EQ in front of a dirty amp (via a stomp) and the push the two mid faders of the graphic equalizer really hard. Roll down the lows and the presence...
Ignore what it sounds like on its own (which is kinda weird) and just focus on how it sits in the mix
Ideas:
1
A second Morph "Pedal" - that way one could be set to Vol/Gain and another to delay volume.. Yes the volume pedal can do a lot of this but I also want to push the midrange higher as I increase the amount of stick.
2
A Feedback processor like a Freqout
3
A function for the Rotary to "go random" - ie. every x bars it transitions from slow to fast and back (in a loop) - this frees up the player to concentrate on the playing instead of the tap dance to alter the speed
