Posts by mollydyer

Hmm. K- midi device A and B are not relevant here- that's for controlling external midi devices FROM the Kemper. Are you SURE you set Cakewalk to use Channel 14?

https://www.cakewalk.com/Docum…e=3&help=Playback.29.html

The Kemper midi received icon indicates when MIDI is on the port- even if it's on the wrong channel (Tested that just now, not sure if it's a bug or not)

It's not empty. It has no notes, but it does have control change data.

Unzip it, and import it. Yes. Set your MIDI channel to 14, and hit play. (My Kemper is on channel 1)

Okay- try this. it *SHOULD* set your Kemper to Performance #2, Slot 1.

Midi file was programatically created in Python, but I just ran it through my ProTools rig.

Midi interface is an MAUDIO Midisport 2x2. test.mid.zip

I'll attach it here, so that others may enjoy

yep. Gimme a few.

If the Kemper midi is flashing, it's getting a midi message- but if you're sending musical notes it doesn't know what to do with them. So- try it with the envelope and see if that does it. If you're still having trouble, I can send you a test midi file that works on mine - you can use that as a template.

(LMK, would need to run down to the studio to get my Kemper)

You're sending musical notes?

Your best bet is to send CC47 with a value that corresponds to your performance number.

Then send CC50/51/52/53/54/55 with a value greater than 0 to select one of the 5 slots.

This will give you access to EVERY performance and slot in the Kemper.

EDIT: See here for Sonar stuff: http://forum.cakewalk.com/Send…ffects-unit-m1253614.aspx

PEBKAC

Problem Exists Between Kemper And Chair.

K- so your post doesn't make sense to me.

What do you mean by:

Quote

"I don't want you to everyone I got everything connected"

... this sentence made my eyes boggle a bit. Can you edit?

Quote

I'm trying to switch midi channels

I think you're saying that you're trying to switch midi *programs* or Kemper patches perhaps... because you shouldn't be trying to change midi channels. Kemper should be on a specific midi channel - ie, Midi channel 1.

Now - assuming you get everything set up right and the Kemper is indeed seeing the midi commands hit it - which is what I'm guessing you mean by

Quote

I get a flashing music note

- this is on the Kemper? If so - what specifically are you sending it?

X32 midi isn't a midi interface - you can't output from it to the kemper. Think of the midi ports more like those found ON the kemper. or a keyboard. It's not a midi interface, it's meant to send and receive midi from the X32 (the mixer).

You'll need an actual midi interface for this. I use an MTP AV and route midi to a bunch of stuff.

Hmm. Can anyone tell me where the tubes are in my Kemper? I can't seem to find them.

jk. I wasn't a huge tube snob with my mesa, but once I got it where I liked it... I loved it. I think I had JJs in all positions.

Ok- coming off last night's gig. There really IS more than one way to skin a cat.

Years ago, when I started playing at this venue - they had no house engineer. Last time I played there, they did, with older analog gear that would not have been capable of running our monitor world for us. That gig was just our fly in set (so we use house everything, including monitors)- so we didn't do a full set up. Last night was a full set up.

The venue now has an amazing M32 console setup with lots of channels.

The rack stage right (left side of this pic) has: Laptop, vocal processor, IEM rack, Kemper, backing track interfaces, X32 / splits/ inputs.

House engineer was great. He really was fucking amazing.

First thing - and I need to clarify this on the plot/tech rider - he thought we had Y splits and not the rack mounted transformer isolated splits. So we had to do some juggling and discussion on how to set this up. We ended up running XLRs from his mics to our split input, and out my 16 channel tail-snake to HIS cable drops on stage. That seemed to be the path of least resistance.

V8guitar We're a 3 piece. I'm looking at the monitor mixes right now:

Mine - vocals and guitar - is nearly identical to our 'self' FOH mix - although I cut the bass back a bit.

My bassist's mix is VERY different. More kick, more bass, more backing vocals.

Our drummer has just kick in the mix- the snare is down low and the overheads are almost all the way down. Makes sense, he doesn't need that with everything right in front of him. ( EDIT: he has guitar and bass too, but it's not as hot as the FOH. )

In our case, it's worthy overhead- as each member has different needs.

You make really really good points- and I think each band, and each musician is different. Starting simple and building from there is the smart way to go.

We didn't jump into this rig, it's evolved considerably.

According to the dude's soundcloud, it's something you plug into your guitar track in your daw.

Personally, I suspect that the turbo-encabulator Imprecision Compensating Impulse is a culmination of work that has been proceeding in order to bring perfection to the crudely conceived idea of a transmission that would not only supply inverse reactive current for use in unilateral phase detractors, but would also be capable of automatically synchronizing cardinal grammeters. Such an instrument is the turbo-encabulator Imprecision Compensating Impulse.

Now basically the only new principle involved is that instead of power being generated by the relative motion of conductors and fluxes, it is produced by the modial interaction of magneto-reluctance and capacitive diractance. The original machine had a base plate of pre-famulated amulite surmounted by a malleable logarithmic casing in such a way that the two spurving bearings were in a direct line with the panametric fan. The latter consisted simply of six hydrocoptic marzlevanes, so fitted to the ambifacient lunar waneshaft that side fumbling was effectively prevented. The main winding was of the normal lotus-o-delta type placed in panendermic semi-boloid slots of the stator, every seventh conductor being connected by a non-reversible tremie pipe to the differential girdle spring on the “up” end of the grammeters. The turbo-encabulator Imprecision Compensating Impulse has now reached a high level of development, and it’s being successfully used in the operation of novertrunnions. Moreover, whenever a forescent skor motion is required, it may also be employed in conjunction with a drawn reciprocation dingle arm, to reduce sinusoidal repleneration.

Honestly, it sounds like an EQ to me, but it's probably just an IR that your DAW uses to soften the harshness a bit. At least that's what it is from what I hear.

It really depends on who... and where you are.

That said- yes, over-engineering sounds about right for me.

Quote from kingsxman

Now maybe I'm not understanding you: My definition of a splitter (which very well may be wrong) is a device that essentially allows you to plug your mic/instrument XLR cable into...which then sends that signal to 2 different locations: So mic into splitter: 1 side of splitter runs into the inputs of your EIM mixer and the other side runs out to the inputs for FOH. (Probably running into a snake box on the stage).

I know your whole band doesnt use the EIM's. But I think for a normal "whole band" EIM you need a splitter of some sort so you can send your mic/instrument signal 2 different places. For you, yes you just need a mix from FOH just like you'd get for a wedge sitting in front of you.

Nope. You're right. And, so is V8guitar and EdwardArnold.

If you want to run your own monitor world, you'll need the splits and your own mixer. We have absolutely no problem doing this.

If you want to let the FOH do it, and it's a bigger venue, they can usually provide auxes to you as needed. (A lot of smaller clubs don't have this as an option- at least not around here. Asking them to patch you into the monitors can result in pained, confused face scrunching). GOOD clubs have no problem doing this though.

There's more than one way to skin a cat... and in no cases is the cat required to mic his own drums

Quote from kingsxman

So Mollydyer, I dont understand what you mean by "we have 16 splits". If I understand you right...your saying that the rest of you run your own mics/cables into your own mixer (snake) and run them into your EIM from your mixer, but the sound guy sets up all the drum mics and then just gives drum signal back to you in a feed from the FOH? Thats kind of what I'm hoping we can do. That way we can also get by with just a 16 channel board. (Behringer XR18?)

Yep - exactly...ish?

When the venue wants to set up mics, we let them. Hell I prefer it. Sound guy knows the room better than I do, and usually has a lot more experience than I do. So it's just like a normal set up- except our mixer is inserted BETWEEN the mics the sound guy sets up and the FOH via the 16 microphone splits. SO my Kemper, the bass, the vocals, and the drums all go through the mic splitters on their way to FOH. The splitters are transformer isolated on OUR side of the split - the FOH gets directs.

Specifically, on our rig- channels 1-6 are the drums - so the house will plug the cables from the kick, snare and overhead mics etc into our rack. Out from the splitters into his stagebox. kemper is the same (channels 7&8). Then bass, backing vox, lead vox... you get the picture.

I'm also just as happy to use the venue's splits if that's what they prefer. We've done that too.

I'm also looking forward to a show in the near future where we just slave our X32 to the house (no need for splits, we become the stage box).

Bottom line is.. it's about the show. There's a compromise. Your drummer's argument about setting up his own mics is invalid, because if the house wants to do it, the house should do it.

Actually, we have a gig like that this weekend.

That reminds me, I gotta get our plot out to him.

Quote from kingsxman

2nd gig update. 2nd gig much better than the first. Had a good sound man and once I figure out how much higher to bring my own vocal (as opposed to the other 4 singers) it was pretty good. Biggest issue at this point is I didnt have any drums in the mix and I cant hear the high hat for keeping time. He doesnt mic the high hat so I'll maybe need to feed the snare in lightly so I can hear the high hat.

One other thing: the band has talked a bit about moving to a full IEM setup but the drummer is steadfast in his refusal to do it. We play nice bars and right now the sound men for the venues set up all the mics, etc. He doesnt want to invest the money and doesnt want to take the time to have to mic all his own stuff himself (and run cables). I get it. So....give that....if the rest of the band moves to IEM's...I'm assuming it'll be possible to get a feed from the FOH board back into our mixer each night with a drum mix. Or would it be better to throw an ambient mic on stage and just get them that way?

We run a full IEM mix... and I'm totally happy to let the venue mic the drums. We have 16 splits- and our IEM mix only uses OHs/Kick/Snare for the drums. So this is still totally doable without 'taking the time to mic his own stuff'. As far as spending the money - our drummer uses a wired behringer P1 wired pack. IIRC they're around 100 bucks. (maybe 150?). Compared to the thousand-dollars-a-man wireless, it's nuthin'.

We use an X32 as our monitor mixer. 16 channels in, and the aux outs are our monitors. Each band member gets their own stereo mix (there are 3 of us)... and we also have a stage mix available should the FOH guy decide to let us patch the floor wedges in for sidefill.

I'll let those more seasoned than I comment on how common a problem this is - but...

Man, for that kind of money, I'd want everything working. If I came across one with failing leds, I'd think that it had a lot of hours on it, was way out of warrantee and ... what would die on it next?

Exercise caution, IMHO.