By the way... (off topic but who cares?)... as I said, look at this beauty 
!
Posts by Alienator
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Man, I bought a Fender Bassman 50 head plus its matching cabinet from 1972 in mint condition, recently. I just could not keep my eyes from it. But you know, the User Interface really sucks and Fender still haven't give their customers an EDITOR AFTER ALL THESE YEARS!!! Fender remains so silent about an editor for my Bassman... they suck.
... oh how I used to shout only half a year ago about bad Kemper that did not give me a Floor unit and about being so silent about everything... just like above members do in this thread. But a new floor unit happened overnight a few months later and now I am only thankful that I am part of this community and this company. The editor will come overnight. I don't need it that much but maybe it will make workflow easier. Maybe not. I have created so many performances just from the panel and it is so easy for me. Just get used to it if you haven't done so. Really, creating a patch from the front panel of my Kemper is easier for me, personally, than it was with my Helix. You know why? Because every f***** amp you load immediately sounds good.
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It is a software issue that is already being worked on.
As a temporary workaround please do not use the FX loop in conjunction with hi gain rigs to avoid the issue.
First let me ask: when do you guys sleep
? Thanks so much for the reply, this really calms things down. I'm afraid I've already opened a S.T. I'm sorry. -
Sounds like a broken switch, many of the new stage units have this issue. If that´s the case you should open a support ticket.
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What I have found out now is that with my unit the ticking noise seems to occur only when I put an FX loop (distortion in my case) into the chain - which I do lot and I do not want to stop doing it. Performances that come stock with the unit don´t seem to produce this ticking noise. But when I insert an FX loop into those the ticking starts again.
Hardware again? Software? The external units work perfectly in the loop of my Kemper Head (powered) without ticking noises.
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I thought I was fine after 10 days of waiting. I have mounted my new exchanged stage to my new all in one pedalboard already because the switches work perfectly and now I am expierienceing this same TICKING ISSUE like here:
Please say, that this is only a software thing, I am getting gradually mad. I don´t want to unmount, send back, wait again only for maybe getting a stage that works.
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Ok, what I have found out is that with my unit the ticking noise seems to occur only when I put an FX loop (distortion in my case) into the chain - which I do lot and I do not want to stop doing it. Performances that come stock with the unit don´t seem to produce this ticking noise. Do you experience the same with inserted loops or does it tick all the time no matter what?
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Oh no...
I thought I was fine after 10 days of waiting. I have mounted my stage to my new all in one pedalboard already because the switches work perfectly and now I am expierienceing this same TICKING ISSUE like this:
What the hell?! Please say, that this is only a software thing! I am getting gradually mad! I do not want to unmount, send back, wait again only for maybe getting a stage that works. Sorry for my getting emotional at this point, but the situation begins to suck a little bit.
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Damn, I´ve received my second stage today after the first was broken and I am expieriencing this same ticking noise now! What the hell is wrong? Have you fixed it somehow or does it still tick?
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Update:
exactly 10 days... New Stage has arrived today. After a first glimpse and ckeck of the switches everything is working just fine
.Thank you!
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Its not a cultish if its
it is
. And it is ok to get emotional about the things we love. We love our Kempers. And it is ok to be kidding about our own exaggerations, sometimes. -
Are you surprised to find pro-Kemper shared experiences on a Kemper forum? I wasn't trying to ruffle any feathers. Follow whatever inspires you.
Sorry, I don't understand the meaning of your comment in connection to mine - I guess there is none. Anyway, yes, after having gone from HD500 to Axe FX II, to AX8, to Helix to Kemper, myself, I also love my Kempers most and from time to time I become cultish myself about it. Sometimes I pray to Christoph and I am sure he is listening.
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Oh, how I love these cultish threads. YES! KEMPER FOREVER!
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(Achtung Laberflash - aber du bist ja für ALLES offen und dankbar
)Oh je, das ist sehr allgemein und auch zu kompliziert gefragt und auch gedacht, fürchte ich - zumindest für mich. Aber bessere Experten als ich können mich gerne in diesem Punkt korrigieren...
...vor Allem würde ich das mit dem "Durchsetzen" der Gitarre wirklich nicht überbewerten. Grundsätzlich hat mal jeder Mischer am Pult genau diesen Job: jedes Instrument perfekt darzustellen - oder er kann seinen Job wechseln wenn er das nicht kann. Anders herum kann es dir auch passieren, dass dich der Mischer tonal ausknockt und deinen vorher vermeintlich "durchsetzungsfähig" eingestellten Ton (was auch immer das ist) einfach nur verschlimmbessert. Ich übertreibe, aber du weißt was ich meine. Und umso weniger spielt das alles für dich eine Rolle wenn du sowieso mit InEar spielst, dann hörst du dich selbst hoffentlich immer perfekt.
Ich persönlich fange (logisch) zuerst bei den passende(n) Gitarre(n) an. Gleich danach suche ich die dazu passenden Lieblingsamps (Rigs/Profiles) für entsprechende Gigs bzw. Bands / Musikrichtungen aus. Die Rigs sind bei mir mittlerweile grundsätzlich alle von Michael Britt - die klingen am besten (imho) und fühlen sich ton- und "frequenzmäßig" für mich am besten an. (Mittlerweile spiele ich aber ohnehin wirklich nur noch eine Handvoll Rigs, die gut klingen und sich bewährt haben... aber egal). Dann stelle ich sicher, dass der Sound nicht bass- und nicht höhenlastig ist, sondern tendentiell etwas mehr in den Mitten unterwegs ist, das ist denke ich ein Punkt, auf den man sich grundsätzlich für Gitarren einigen kann. Die Profiles kommen doch aber meist schon so daher - eben so wie die echten, geprofileten Amps sind. Ausgehend davon, kann man dann bei Bedarf im Proberaum im Bandkontext etwas nachjustieren. Nie habe ich jemals irre Bässe einstellen müssen, dafür habe ich ja einen Bassisten. Und schrille, nervige Obertöne auch nicht.
Also mal ganz ehrlich, je länger ich mich hier totschwätze: eigentlich habe ich so gut wie nie ein Profile von MB (sorry, keine Schleichwerbung) eq-en müssen. Ab und an habe ich je nach Gitarre und Pickup mal etwas Höhen und Mitten anpassen müssen oder habe statt dessen mit dem Definition-Knopf im Ampmenu minimal hin- oder hergeregelt. Aber das wars. Das Thema "Durchsetzen" war für mich nie ein Thema. Ein (gutes) Profile kommt schon ausgewogen daher. Einige Profiles von Tone Junkie kommen zusätzlich bereits mit einem zuschaltbaren Parametric-EQ, welches bei Zuschaltung tonal alles nochmal voll in die Mitte des Geschehens boosten - aber das braucht doch niemand. Ich weiß nicht wie andere es sehen aber dieses Denken - "ein Patch machen, das gut im Mix sitzt" - das kommt von den Modellern. Die müssen das ständig machen (oder auch nicht, keine Ahnung, die reden halt ständig davon). Ich musste meine Sounds nie "durchsetzungsfähig" machen. Ich nehme einfach MB-Profiles - minimal geschmacklich verändert oder nicht und spiele über In-Ear. Bei meinen besten Sounds spiele ich die AC30-Profiles live tatsächlich vollkommen unverändert. Aber auch wenn ich mal einen Monitor bemühe... das setzt sich durch, glaub mir... und wenn was zu schrill oder zu extrem klingt im jeweiligen Setting (meistens die Höhen oder die Bässe), dann wirst du es bemerken. Das stört oder schluckt im Fall der Bässe sogar Ton (weil sich Frequenzen auch aufheben können) und wirst es nachjustieren. Gibt es die Regel: "für die Gitarren mit der Band weniger Bässe und Höhen und dafür minimal mehr Mitten einstellen"? Ich glaube schon. Das wäre dann mal so grundsätzlich meine Tendenz. Und warum nicht immer wieder die Bandkollegen nach drei Bier fragen, wie der Sound war? Je öfter man fragt, desto ehrlicher werden die Antworten.
Hoffe das klingt jetzt nicht alles nur nach Gelaber. Das ist so mein Vorgehen, ich hoffe es hat IRGENDWAS gebracht...
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Thanks for sharing your experience Alienator, this information helps to level set my expectations. I have been following your 'effects switch III' issue thread also. Glad to hear you have received yours back fully functional. I opened my case last Wednesday afternoon around 5:30 CST. Got the autoreply and then so far nothing. I anticipate I will hear back today. In your 'effects switch III' thread I saw a support person request that you post you ticket number. I wonder if that would help in my case. Just thinking out loud. I have still been enjoying the hell out of this thing, even with the broken footswitch 2 ;^)
You are welcome. Ecxept I am still waiting
. Today I received a delivery message from UPS. My new stage is arriving tomorrow! I will report about the functionality in the other thread. As I said, about 10 days of waiting. Yes, you are right, it is so much fun to just plug in and play this crazy thing. -
In case you ever WANT to add gear: I occasionally used a Line6 Variax for such crazy sounds (fast "change" of different guitars/sitars/banjos on stage), it used to be the best solution for me at the end.
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Yes, good idea. Also my eyes are getting worse the more beer I drink on stage.
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You could consider a Stage.
That's what I wanted to say. It has already been done and is not called remote but stage.
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As Ingolf implies there is a massive difference between perceived loudness and measured volume. Try comparing the reading on a simple channel meter on a DAW and the Loudness Plugin to see this at work. But even a loudness algorithm isn’t nearly as accurate as you ears.
I don't see this as a contradiction. You can have an evened out "objective and measured" overall loudness and if the one or the other rig still appears subjectively louder after evening out, you can still adjust it to taste or to subjectivity again. The question is if there is a way to program such an intelligent thing and in what kind of impact modes it can or should work - an algorithm (or whatever this thing is called) that can effectively listen and even out differences in loudness. If it is - why not do it? It would help a lot for musicians who set up 30 performances for a 30 song set list with 3-5 slots each. Question is not if this makes sense - it does - but if it is worth a supposedly hell of programming work to accomplish. For me it would be a great tool.
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This is off topic but... A lot of trouble shooting is going on with the new stage, which maybe is kind of normal for such a new "open field untested" device. I wonder if back in the day the toaster had similar beginner's issues... anybody long enough here to remember those days? I only can say that my rack and my toaster never had issues of any kind, they have been working perfectly for two years since day one.
