Posts by Wheresthedug

Quote from mariosoldano

i think the experience is always the same

It might be but it also might not. Those ONLY way to be sure and to help solve the problem is to raise a support ticket and deal with them dirt. Making assumptions doesn't help anyone.

Quote from Sollazzon

I Also have a LP and I've put a Vibramate to put a Gibsby tremolo on it without drilling the top. .. but You cant do dive bombs for sure.

I Use an exp pedal to pitch in case ..

What's wrong with it?

The short answer to the Player’s question is no. No pedal can so8nd like a Fender style vibrato (trem) bar. A pedal can do some cool dive bomb effects but it will never be the real thing.

I know we are drifting off topic a bit but, i am currently build a guitar for a customer who loves the tune-o-matic string height/neck break angle like a Les Paul but also needs a crazy whammy and has always used a Kahler for over 40 years. I am having to fit a Kahler 2200 series trem on this guitar. It does require a little routing to the top (nothing on the back) and mounts directly onto T-O-M style studs. It works like a dream an can be locked into a hard tail with the turn pf a single allen screw. Rather than mess around trying to make a pedal do something it can’t, I would bite the bullet and fit a 2200 series (or the cheaper 7200 series version) to his Les Paul and have the real thing.

Quote from creative360

Anyhow, maybe off topic, but I think that after putting feelers out a couple of years ago, the CK team is quietly experimenting behind the scenes with new/extended morph implementation and it'll be one of those things where they drop it unexpectedly while everyone is clambering and whining about something completely different that they wish the Kemper would do, and of course the new morph blows everyone's minds.

No idea what they might be working on but you are spot on about how they will do it with whatever they are dreaming up now.

Quote from creative360

I'm hoping it's about a whole range of features that the internet peanut gallery (including me) never even thought of.

That seems to be the Kemper way 😎

There are obviously a a number of people on the forum and elsewhere experiencing the problem but in terms of overall users it is statistically not a big proportion. The vast majority of users are not having an issue. This is what makes it hard for a manufacturer to track down the issue. The best way to help them is to c0ntact support directly and share your experience in detail with them.

Have you reported it directly to support?

The issue only affects a tiny minority of users so it is difficult Kemper to fond the problem unless they have detailed information on the user’s specific systems to troubleshoot.

Quote from RosboneMako

The issue comes with situations like EQ -> Gain - > EQ -> Gain -> EQ. LP's are not going to be great with a single shot for this amp. You will probably need multiple profiles.

But there aren’t any real world amps that have such a signal path.

The closest is probably a Mesa Mark Series with a pre gain tones stack and a post gain GEQ. However, the GEQ is a totally different beast from a passive tone stack. Even the Mesa GEQ is an active eq which can cut and boost frequencies unlike a tone stack which can only ever cut. Therefore, a Mark style amp would need a modelled tone stack and a new GEQ with the same frequency centres and Q to get a “dead nuts copy”.

Yes, in RM right click on the amp block and select Lock All But Amp. Then manually unlock the Cab. Now just load a new Rig. Only the Amp and Cab blocks will be loaded. All Stomps/FX and foot switch assignments will be retained. Once done right click again and select Unlock All.

Quote from jcgpdx

DeoxIT is your friend!

I believe the buttons on the stage and remote are not physical switches so DeoxIT would have no effect. They trigger a pressure switch beneath the switch rather than make physical electrical contact.

You need to contact support and help them find the cause of it can't be fixed. It is working perfectly for most of us. I'm on an M1 Mac Mini running Ventura and it works flawlessly. Therefore. The issue must be user dependent. Unless all users experiencing the issue can talk to support and provide details they have nothing to chase the issue and find a solution.

Unfortunately there isn’t any way to change modes other than directly on the KPA.

The Kemper compressor is apparently based on the Ross/MXR pedals. I have an MXR and absolutely hate the bloody thing. I also have a Cali76 which is amazing. I would love to see the Kemper compressor getting a full overhaul similar to the Kemper Drive etc.

Quote from Lindsay

Im 74 and the frizzle is loud and clear. Cant hear my wife that well but........................

That’s called selective deafness 😆

Slicer would be nice. A more flexible tremolo in general would be great. Particularly if it could include a symmetry comtrol to get asymmetrical rise and fall.

Also a more flexible Vibe. The existing one might be accurate for a Uni-Vibe but its nothing like the Roger Mayer Voodoo Vibe for example.

I don’t think that’s enough. Dream big!

The whole modulation group should be updated like the reverbs and delays. Including things like flexible rotary speed for fast, slow and ramp. Different wave shapes/symmetry etc. And above all - the ability to have modulation effects ignore tap tempo if desired. I often want to tap tempo delays but not change my modulation speeds.

You’re totally confused there ,Guy.

When the sound is bad, we all know its the gear’s fault.

When the sound is good it must be the player ‘cause we all know tone is in the fingers 😉

10 years on and your fingers still sound great 🤘

Quote from Johne04

Thanks for the feedback but that didn't work.

I want to keep the drive down, just add a little crunch but having no luck doing it

It all depends on the -profile you are trying to boost. If it is already distorted then clean sense won’t help. However, if it is a clean profile then clean sense should help as it balances the global relationship between clean and dirty. I always find clean sounds are way too loud relative to dirty. Therefore, I need to run clean sense around -6db at all times to compensate for this. A good way to test this is to take a rig and move the gain from 0 to max. If clean sense is set correctly for you the volume should stay the same or increase slightly as the level of dirt increases. If the volume reduces as you increase gain then clean sense needs to be lowered. This is effectively what is happening when you add that gain via a Stomp too.

Micael Britt is my no 1 go to profiler

After that its tie between Bert Meulendijk and Guido Bungenstock.

I have the Tone Junkie everything pack and they are nice but I never use any of them other than to mess around at home.

For acoustic I use an electric with a Piezo pickup and run it through some Bert Meulendijk acoustic rigs.

A - yes

B - i would use a reamp box. However, your idea of using the Kemper AS the reamp box might actually work. Definitely worth trying.

Try lowering your clean sense.

This looks like a good explanation of how to use it.

I hit the quote button to try to answer this a couple of times, but realised there was some holes in my knowledge. So I went away and thoroughly tested recording (the return signal) from I/O plugins (over 200 test recordings!).   Here's how I think it works, depending on which type of channel strip you have the I/O plugin inserted on. Let's start off with an easy one...     Recording an I/O Plugin from an Audio or Instrument channel strip   Simply route the Audio or Instrument channel strip to a bus via it's send, and use another audio track to record from that bus. You can have latency inducing plugins before and after the I/O plugin in you want, but if you want to record a completely *dry* return signal, you'll have to bypass any plugins inserted after the I/O plugin.   With audio/instrument channel strips, you cannot record direct from the inputs you've set in the I/O plugin. You must record through a bus, or you'll get recordings that are a minimum of a roundtrip early.     Recording an I/O Plugin from an Output   Recording a dry return signal from an I/O plugin that's inserted onto an output channel strip only works* if the following tough restrictions are met:   You've correctly tested and set your Recording Delay in Preferences Audio. (see Recording Delay Test)     You record direct from the same inputs that you've configured in the I/O plugin. You must record the return signal direct from inputs, you cannot record through a bus.     The I/O plugin must be the first latency inducing plugin on the output. Also, you can't have any tracks that route signals through a latency inducing plugin on an aux before the output hosting the I/O plugin. In other words, all signals currently routed to that output must be latency free prior to the output's I/O plugin. And bypassing any latency inducing plugins prior to the I/O plugin won't help, you have to completely remove them. This is why recording an I/O plugin on an output is so restrictive.   Latency inducing plugins on audio or instrument channel strips are fine, they won't affect recording alignment. Latency inducing plugins inserted on to the output after the I/O plugin also have no effect on recording alignment. You just can't have any aux/output plugin latency before the I/O plugin.       The latency through an output's I/O plugin must be exactly the same as your normal roundtrip, which probably means you can only record the return signal sample accurately when using zero latency outboard (i.e. analogue). If the I/O plugin's latency is higher than a roundtrip you'll get late recordings, and if less than a roundtrip you'll get early recordings.   * If you don't mind a small recording misalignment (due to say 1 - 2 ms of digital processing latency), then you can also record the return from non-analogue outboard that has AD/DA conversion and processing latency. It really depends on wether you want sample accuracy or not and how high the outboard processing latency is.   I personally never put I/O plugins or other latency inducing plugins on outputs anyway, because it's caused me too many (seemingly) unpredictable problems in the past. I've just included it here for completeness, and because the restrictions above can also sometimes apply when recording from an I/O plugin on an Aux:     Recording an I/O Plugin from an Aux - Method 1 (restrictive, record from inputs)   This method also allows you to record a completely dry I/O plugin return signal direct from the same inputs set in the I/O plugin. But exactly the same restrictions (1-4 above) that apply to recording the return signal from an output's I/O plugin, also apply to recording from an aux's I/O plugin (unless you use the easier method 2 below).   So, if you want to use this method, the roundtrip through the aux's I/O plugin must be exacty the same as your normal roundtrip (4), and you can't have any other latency inducing plugins in the signal's path before the aux's I/O plugin (3), etc.   The only real advantage I can see with this method is that it allows you to record the dry signal when you have plugins inserted after the I/O plugin, and you don't want to bypass those plugins (see below).     Recording an I/O Plugin from an Aux - Method 2 (almost foolproof, record via bus)   Simply, send (or output) to a bus directly from the aux that the I/O plugin is inserted on, and record from that bus*.   This is much easier than method 1, because you don't need to worry if the signals you're routing through the aux's I/O plugin have already incurred latency prior to reaching the aux; and you can also freely insert latency inducing plugins before the I/O plugin (on the same aux). Also, you don't need to worry if the trip through the I/O plugin isn't an exact roundtrip, so can also sample accurately record (digital) outboard that has processing latency.   If you want to record a completely dry return signal, just bypass any plugins inserted onto the aux after the I/O plugin (if any).   * You must feed the bus from the aux channel strip that the I/O plugin is inserted on, using the send (or output). You can't feed the bus from an input monitored Audio Track (i.e. Input Bus), and you can't feed the bus from another (Input) Aux, and you can't feed the bus from an Input Object. This method only seems to work if you feed the bus from the actual aux the I/O plugin is on - this had me baffled for a while.     Realtime Bouncing   For every test I ran, I also soloed the aux or output and did a realtime bounce. Perfectly accurate every single time.   The problem with realtime bouncing, apart from not being able to multi-track record, is that you can only get a dry recording if you bypass all plugins after the I/O plugin, including plugins on later auxes and outputs.   But, if you're pressed for time and need to print the I/O plugin's return when all other methods are out of sync, it'll give you sample accurate recordings every time. They certainly wrote the Bounce code very well.   --------   So that's my current understanding of the subject.   Hope this helps. I think I elaborated.   dD

Found it in this forum

Best way to record I/O plugin

Hi fellow Logic users What's the best way to record the I/O plugin (the processed signal coming in)? How do you do it? For a single channel, for multiple…

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