Posts by pippopluto

The issue has been there since forever. It used to be much worse with earlier FW versions tho, luckily such impulsive noises have been tamed down.
The suggestion of switching cabs on only after the KPA is on (and the other way round) makes definite sense; OTOH there are many electronic devices where the audio signal is gated off until the ON/OFF transitory is over. I wonder why Kemper did ton think of this when designing their unit.

Quote from Karl

Boss OC3 effect basically.

I've done a gig using one on all the time (when we didn't have a bassist) and it worked well, however, I did have to be much more careful with my playing.

I agree that it's not meant to be on for the whole performance, but there certainly are applications for this.
I for sure have many nice arrangements where it would sound quite good on the low strings (I use some Octaver, but then I have to be very careful in order to not turn the atmosphere into a sonic mess :p ).

Isn't "scene mode" the thing they (and L6) had to invent because there was lag\delay cutoff between presets?

Quote from paults

pippopluto A PS6 would not complicate your set up. It could placed be in the FX loop, and controlled by turning the loop on/off, and could fit in a rack or the cubby in the back of a non-powered toaster.

Mhhh... One more unit, two more cables, power needs (batteries or power supply), two further conversions, no possibilities to switch preset w/o physically reaching the unit out ... How would this not complicate my setup?

Guys, this is the Feature Requests forum, for goodness' sake...

Quote from Bodo612

Yes, that's one of the feature I'm missing too. Exspecially when I'm on stage alone with my acoustic guitar or in an duo with cajon. In some case I would be able to replace a bassplayer and complete my "little band".

The requested feature is integrated for example in the Boss PS6 pedal.

So I'm looking forward to have this feature in the Kemper!

Thank you

Yep, it would be nice to not be obliged to buy a Variax... or a PS6 (which would mess up with my huber-simplified setup: Guitar, Profiler, Controller

It seems to me, instead, that the OP wants to "be able to change slots (within the current performance) and return to that slot with the added stomp and not have it revert to the original saved state."

He doesn't want the added effect to be present in the other rigs.

Yep, I find this very useful too.

There are some tunes (for example I Am The One from Dragon Age) where I am getting a massive orchestral-like sound using lower octave, delay and reverb... if I only play lower strings.

If I could get those only to apply to the root I would have a more controllable virtual orchestra under my fingers by just using different chord fingerings, with less risk to create messed-up sounds.

+1 This is one of the things I'd like to be different in the KPA.
I find the ability to save levels in a preset outperforms the drawbacks Mothership explains their choice with.

Quote from DonPetersen

activate 'Monitor Cab Off' in the OUTPUT menu and use the MONITOR OUTPUT in conjunction with the MAIN OUTPUT.

No perspective phase issues Don?

(Redundant post from threads merging)

Well, as I wrote... those are two different things indeed I was just checking I got you right.
So you want to mix in some cabless signal.
Usually, I either like a sound with no cab (cleans for example) or it needs a cab.

What's the result you're aiming at?

Quote from Awesome_Elvis

I think this could be useful for bass players and extended range guitars. For practical and experimental purposes while still using the amp module.

So you'd want the Amp's output to be sent to the FX section\Out?

Are you aware of the Mix parameter in the Amp section? Which is different of course, hence my question

(Redundant post from threads merging)

Yep, Tap affects the whole rig, because the Tempo settings relate to that specific menu/environment.

I support this.
There might be a flag in every tempo-responding type of effect that allows to exclude that specific effect instance in the rig from reacting to tap.

Quote from Jeeega

so what do you suggest to do, not in theory but in practice

Not sure I can give you the answer you'd expect. It would be like asking so what do you suggest to do in order to become a great guitar player, not in theory but in practice.

How to build a F1 car? Not in theory, but in practice? It requires skills, competence, experience, and a lot of work. You can't just take any frame, install the most powerful engine you can find, design a body you like, and hope that it won't crash at the first turn (provided it actually runs, or even starts, and doesn't gets on fire).

It's the same for a linear cab: a cab able to work in a linear way (that is, with a more or less faithful way to the input) is the result of the optimisation of an intricate set of parameters, many of which conflicting with each other; it's designed and built through computer-aided parameters simulation, going through a number of compromises among physical quantities, and through long listening sessions in order to fine tune the involved parameters and the sound.
Even varying the size of the front panel, other things being equal, changes the sound because border diffractions change.

Basically, the short answer would be "you have to know what you are doing, be equipped with the needed tools, and have a great ear".

IIRC you read Italian. There are several apps meant to guide to the correct dimensioning of parameters for an acoustic cabinet, this one being one of them.

HTH

The pass filters might be accessible\visible only via the menu, while the basic knobs could still be usable from the unit's front.

IMO, we need a band-pass system per rig (be it in the Stack, in the Cabinet, in the Rig menu), because the need/utility to bandpass a tone comes from the interaction between that specific amp and that specific cab.

If we assume that the Profiler generates a mic'ed cab's tone, the most logic (and useful) option is to allow bandpassing that specific tone, exactly the way the soundman does on the strip where the mic enters.

Having such a function in the Output section wouldn't solve the issue bandpassing is expected to solve.

I believe the best place would be the Cabinet section, since (mic'ed) cab is the element that would most likely require bandpassing. But the Rig section would be a sensible location as well, for the above-mentioned reasons.

I've never built a cab, but I've been in electroacoustic since a while.

You can't expect to just mount a speaker in a box and get a great sound: box' metric volume and proportions, resonance modes, front diffractions, distance between the loudspeaker and the ground/base... are all aspects that receive a lot of attention at design stage, and can't be left to chance.

Things get much more complex when you place two loudspeakers in a box: even when they are phase-coherent, the distance between them will unavoidably create a phase filtering which will be (also) function of the listening point.

Things are much easier with a mid-woofer such as those used for guitar cabinets, because there are much less frequencies involved and a linear response is not required. But you can't just place two linear cones in a box and hope they will sound good (if they do, it will just chance).

In this specific case, if the cab seems to produce an out-of-phase sound, it might be worth putting them out of phase: chances are it will sound better (but, again, not the way it was supposed to).

Basically, I believe we can't judge the way these cones sound by a random installation.

Hey waraba, this is not what this FR is about
I use the octave down function(s), but those easily mess up with clarity with cleaner sounds, chords or fast arpeggios.

With a little research, I found I am not alone in this request. Not only the function has already been requested (here), but methods aimed at getting the same results have been discussed (here).

This is true not in the Kemper realm only: one of the first entries I've found in google was this.

What I find a bit weird is that on both Kemper request threads there seem to be lots of suggestions about buying/using different hardware in order to get what the OP is requesting :p
In my mind, people start threads in the Feature Requests section because they are requesting some functions to be made available within the Kemper ecosystem. Granted, sometimes what the OP requests can be already made, and suggestions are more than welcome in those cases. OTOH, when the suggested solutions imply drawbacks (such as slots wasting (we don't have plenty, do we?), third-part hardware purchase, sonic compromises...), the request does make sense.

Naturally, we all have to come to grips with the fact that most requests just can't be satisfied for the most diverse reasons. But, as I wrote, I believe that the function discussed here would certainly be used more - say - than effects such as Vinyl Stop