Yes, please add the lock function!
Posts by WS
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I really miss the lock function, especially for transpose applications. If you want to transpose several sounds for a song, it's very impractical to have to recreate all the rigs. And if the singer isn't in a great mood one evening and suddenly wants the song to be two or three semitones lower, you'd have to start reprogramming on stage because you can't just downtune the Floyd Rose guitar and the song is in E minor with lots of open strings...
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It would be cool if there was a global transpose function in the input menu (same as in the rig menu). If you substitute for bands that have a different tuning and use a Floyd rose guitar, that would be very practical. Otherwise you have to create countless rigs with the new transpose and remember all the new program change numbers. This could all be avoided if transpose were available as a global function.
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I would like to buy a used Kemper rack. Is there a way to do a hardware self-test? If yes how? Maybe with the Maintenance Mode? How to get there?
Thanks in advice!
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https://www.youtube.com/watch?v=aKwSRNRU8b8
This is one of my "just for fun" projects: To the original studio tracks from Fagen (voc), Becker (bs) and McDermott (dr) all guitar tracks were re-played. All new instrument tracks except a synth brass track are guitars through the Kemper Profiling Amp.
Enjoy listening! -
then tuning your guitar(s) for that gig a semitone down is well worth the 'effort'
Since I have a Floyd Rose system, this is time-consuming. The truss rod may even need to be readjusted. Too much effort for just one gig. All sounds are tuned to this guitar, so using a different guitar is not optimal.
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A total transpose function in the input section would be very useful. I know I can transpose every single rig. If I'm substituting for a band that's playing a semitone down, for example, I'd have to transpose every single rig. With an entire function in the input section, I could do it with one click for this one gig and revise it back to normal tuning for the next gig. The locking function ist not so useful, if I lock a Transpose -1 e.g. in Stomp A, all my rigs with other Effects in Stomp A loose their "normal" effect in Stomp A.
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I am selling my Yamaha DXR 10. It is 5 years old and in very good condition, as I take very good care of my equipment. The box is in a custom case. This is completely covered with foam inside. The covers of the Case can be clamped together and can be used as a stand for the case. Since I only use inEar Monitoring, I do not need it anymore.
Price for box and case: € 450, -
Article location is Graz / Austria
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It would be very handy if you could define in rigs whether to use the front input or the rear input. So you could operate two guitars alternately. I know that currently the front input has always priority - but if that is not hardware-related, it would be cool to use this possibility by programming.
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Basically, I'm completely with you Burkhard. With more than a thousand gigs in the last 6 years (where my KPA has always worked smoothly), I have certainly substituted in 50 to 70 different bands. Everything was there from the pub gig to the stadium thing. During this time I was mostly dealing with very professional people, digital console and app for mixing the inear signal included. I would call that the standard today. Unfortunately, I also had to deal with sound technicians with hair-raising knowledge and miserable equipment, or with small acts with bands that completed the gig without sound engineers and only have minimalist sound systems.
Since I always work with Inear monitoring, I usually send the inear signal to the Kemper to be able to add it to my own guitar signal in the volume as needed and use the KPA as a monitor mix console. This works perfectly in 90% of all cases. If the Inear signal from the console already contains the guitar (for example a main mix or a mix signal, which I have to share with other musicians, as there are not enough aux channels), a mute function of the guitar signal in the headphone-out would be extremely handy to avoid a duplication of the guitar signal. This feature would be very helpful for all these exceptional situations. In these cases I could save an external Inear system and use the KPA for inear monitoring as usual. -
Yes, the ability to mute the guitar in the headset would be very helpful if the incoming monitor signal needs to be shared with other musicians and the guitar signal is already included in it. In such a case, monitoring via the headphone output of the Kemper is not acoustically usable due to the duplication of the signal.
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Does someone of you folks use the Keith McMillen Softstep to control the KPA? I bought the Softstep Midi controller, which is very handy. Since the possibilities of the programming of the controller are quite extensive, I am interested in presets/scenes for the Softstep which are useful for the work with the KPA. I know that there are some presets for the Kemper available on the KMI website but I'd like to check out presets, which are tried and tested by other users.
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This is easy to solve with a midi splitbox. If you connect this splitbox to the Midi-In of the FCB, you can lead one cable to the midi-out of the DAW and lead a second midi cable back to the Kemper.
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Here is a live recording of the young Stanley Jordan. What an impressive playing technique! (He has never had a problem with lost picks! )
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Here is one of my favourites, Jarle Bernhoft from Norway. He plays with a Boss Loop Station and has a special guitar with the E and A string of a bass guitar. Enjoy!
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This is a fun project - I get the original studio tracks from Fagen, Becker and McDermott and re-played all other tracks. All new instrument tracks ("piano", "organ") except a synth brass track are guitars.
- The lead guitar is played with a Epiphone Joe Pass - I used a M Britt Dumble profile
- The "E-Piano" is a Ibanez RG 550 and TAF Fender Twin profile with a lot of chorus
- The "Organ" is the same guitar and TAF profile with a pitch shifter.
- The muted guitar is a Gundy Keller rig
- The backing guitar is the Ibanez and another dumble from M Britt.
https://www.youtube.com/watch?v=aKwSRNRU8b8
Enjoy listening, I hope you like it!
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That was my first thought. It is certainly better to make the DXR at a high volume and to reduce the KPA in order not to overload the input of the amplifier.
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Here are my settings:
KPA Monitor Out, -20 dB
Monitor Out (Treble +1,2, Presence + 0,6) > DXR10 Line Input
DXR Settings: Volume 0, D-Coutour Off, HPF OFF -
It is neither the DXR10 nor the KPA. To avoid this problem it is essential to adjust the profiles at very high volumes. Human ear hears different frequencies at different levels. The explanation for this phenomenon can be found here: Fletcher Munson curve