Posts by Grooguit

Quote from quemper

To give some insight into how valuable this feature is, I am thinking of adding manually triggered swap of morph states feature in my (atypical) midi controller.

I think the Kemper midi supports the required operations to read and write this info. I might give wrong about that. It won't be fast or pretty, but it will help me. This doesn't help anyone else and it would be so much better, easier to not build this and use a Rig Manager feature.

That’s interesting. That’s always a big question with these feature requests. Some ideas are simple to explain and don’t sound complex, but might be quite difficult to develop.

This should have happened a lung time ago. If 2.0 KpAs have more power, in my estimation it would take a negligible about of it to be able to send pc or cc messages from the effect buttons, even if the limitation is still four assignments per switch. In that drop down you show, you should be able to select midi message 1,2,3 ,&4. If you select one of of those you get to assign type pc or cc, channel, and the values to go with both on or off toggles. For that matter there doesn’t seem to be any reason why at rig change they should be limited to just pc commands or even in morph settings to be able to assign cc values with the option to either slide up and down between them, or to be at one value in heel and another in toe with no in between for folks who like to use morph with the rig switches and a zero rise and fall so it functions like a second scene.

Quote from salmosa

Can’t you just save it with morph activated?!

Cheers

Unless I’m missing something obvious, I don’t think so. If you save a rig and the morph is active, it saves the settings of both the base and the morph state, but it doesn’t assign the morph settings as the base settings or vice versa. Point being as if you ever want to take the settings that are in the morph there doesn’t seem to be a way to make them the settings of the base. Even by creating a new rig. Other words, there’s no way to take the morph settings and how configured when morphed and use that as the starting point of a new rig’s base state. At least to my knowledge; if you know a way to do it let me know.

I often add morph settings to various parameters in my rigs and then later find myself wishing I set them up in reverse, so that the morph settings are the base settings and base settings are the morph settings. programing them to be opposite is a slow painful process, going to each and every morphed parameter and manually reversing them. It would be cool if there was a reverse morph feature that reverses the settings of all the parameters I've programed to morph.

I personally use the Rig morph button setting, and set the rise and fall to zero. This lets me create a second scene of sorts within a Rig, accessible with a quick second press on the Rig selection switch. This turns a performance with five Rigs into ten almost instantly accessible combinations. (If I'm in Rig 1, I can double tap Rig button 4 to instantly get to the morph state of Rig 4. But if I find I use the morph state more often than the base state, I'd rather the morph settings be the base settings and vice versa, so that when coming from another Rig in the performance, it's only one tap to get there.) In particular, morphing generic gain is a pain, because the liquid gain may have several values within a single value on the generic, (8.6 generic was coming up 4.5, 4.6, 4.7 and it was super hard to get it to stop precisely on 4.6, even when holding the shift key down).

To me the value of capturing drive pedals is negligible, whatever format. But if one did exist for KPA, I'd want it to function like liquid profiling, giving me the ability to tweak it like the original pedal, not a frozen snapshot of a pedal like NAM. While I prefer profiles/captures to amp-cab modelers, I think drive pedal models are superior to pedal captures. After all, pedal drives are mostly solid state attempts to emulate tubes and most really need to be played into a tube amp (whether set clean or on edge of breakup) to sound as intended. Many drive pedals don't provide much value in the digital world at all; their main value was allowing a single channel amp with fixed knobs to be more versatile in a live setting, while changing the value of that same amp's gain with additional volume control in the digital world makes a lot of boost pedals less beneficial as effect models (or captures) to push an amp capture. There are a small number of ways/variety in how various analogue drive pedals distort, and the endless pedals that exist of a small number of basic circuits are mostly the paint jobs and unique tone controls and switches they come equipped with: which you can't access when you make an un-tweakable capture of the pedals in question.

Now, when it comes to Amp-In-A-Box drive pedals (meant to be used into a fully clean amp or in effects loop after the preamp) YES, there's some good-sounding ones out there. But why in the world would you want to use one of these when you can use a capture/profile of a real tube amp? And if you DO want to use one of these, you want to use it as your amp profile and pair it with a Cab or IR anyway, not as a stomp.

Don't get me wrong, if Kemper ever offers the ability to capture pedals and use them in the A-D modules, I'll play around with them, I just wouldn't PERSONALLY find much benefit to them for my uses. The greatest value that external drive pedals have for me is that they have FIXED knobs that I can place in front or in an effects loop and tweak ONCE, rather than using a model (or hypothetical drive capture) that I'd want to use in a dozen rigs that I'd have to tweak the settings of in each Rig to keep them consistent. (unless Kemper ever adds the "lock parameter but not active status" feature request I made last year.)

Quote from tedtan

The main manual is updated for all of the point updates? They’re not labeled that way (e.g., the current main manual is 14.0, though it’s dated the same as the addendum, so maybe they are in fact updated simultaneously).

I think the difference is that the addendum is just an update document: here's the newest features and how to use them. Whereas the new features are simultaneously added to the main manual in a logical place; that is where it would make sense for a new user to discover it. For example, were they to add a new parameter called "warmth" to the amp section, you'd see this at the top of the addendum when it's released, while they would add info to it on main manual around page 182, where it explains what clarity and tube shape do.

Now have they ever missed adding new features to the main manual? Perhaps. I've been around since whatever firmware was current in 2013, and I'm not aware of them forgetting to update the main manual. If they have, they probably fixed it before too many people noticed. But it's been my experience, that they share the new features in the latest addendum and update the main manual then as well. That said, when they've added new features, I've gone to the addendum to learn how to use them, since the new info is conveniently at the top of the PDF.

If I were you, I'd read the addendum manual, where you quickly read about all the updates that have been added to your KPA since 7.5. The most recent are at the top of the PDF. You can get it here: https://www.kemper-amps.com/downloads In the "Category" dropdown tab, select "User Manuals." and Addendum 14.0 will be displayed first. Download it. You can also download the latest Main Manual, 14.0 here, if you scroll down, which will give you specific instructions on how to backup your KPA and how to update it to the latest version. It may contain special steps you should take if you are updating to 14.0 from a really old OS like you are using.

But before you update, go into System Settings, as well as Output, and Input and jot down what all your settings are in these places. Sometimes updating your KPA changes certain global settings. *If you see a lock icon in the input section, then these settings stay the same in every Rig. So if it isn't locked, this means that these settings might be different from Rig to Rig. If this lock thing sounds confusing, go to any rigs you have that are special to you and write down what the settings in the input section are set to before updating. Then if any of these settings get changed after updating, you will know how to set them afterwards.

However, you don't need to update, unless some of the new features seem worthwhile to you.

I'm gonna get this 2.0 pack asap! Last year I got the 1.0 '62 JMI AC30 and love it. The 2.0 version should be every bit as good as 1.0 version, and likely better. I've loved his 3p cabs in the various packs of his I own. I WANT to like other cabs more in his packs, but I find the 3p just seems to work best more often than not. I also have the IR pack of his, and liked using it (in particular the 3p cab) with the amp models in the Tone Master Pro, before I sold that.

You could always upload the PDF of the manual on ChatGPT and ask it to answer questions from it.

Quote from carloswalter

I mounted my Kemper Stage to a Pedaltrain Novo 24, drilled four holes on the pedalboard to line up with the four feet, vent lines up with the slots. Works great!

Using wooden standoffs sounds like a great idea, though!

So you mean you drilled holes into the frame of the pedal train the size of the rubber feet? So the Stage frame can then sit flush with the Novo frame and be adhered with velcro, but in such a way that the vent on the Stage's bottom lines up with the empty space between the Novo's rails? Were you able to position the Stage so that it set reasonably close to flush with the bottom edge of the Novo?

An ideal set up for me would be to leave the feet on my Stage and have a couple pieces of velcro secure the stage it to a board (with the feet having holes to sit in so that the Stage as a whole sits as low as possible, but without blocking the vent. Then I could take the Stage off the board with not a lot of trouble and use it by itself with its rubber feet still attached.

The stage itself has very ergonomic foot switches which sit quite low. Putting it on a board is already a slight compromise since it raises the height by an inch and a half or so. I wouldn't want to go the route of making it sit any higher than needed in order to accommodate its own feet, or have to push it back from the edge of the board to make a vent line up.

Quote from BayouTexan

Something like this piece. You can cut to size and paint it black, screw it to where the feet are and velcro the bottom. Save your feet.

Tools required: Saw, drill, screwdriver, and paint.

https://www.homedepot.com/p/1-in-x-2-in-…60954/100009348

Good idea!

Quote from BayouTexan

Mount it with the feet attached.

Like just put velcro on the feet?

I’m looking to mount my mk2 stage on a pedal board with a couple pedals and an expression pedal. I’m worried about covering the tiny air vent on the bottom. Is that an issue?

I am considering the Pedaltrain JR max, which is 28” x 12.5”. Given this frame is barred with large gaps between, it may turn out that the air vent lands between them, but there’s no way to know that until I buy it and have it shipped to me.

I don’t think it can. The stage doesn’t have any cat 6 jack that is meant to send that kind of information out of it.
it can be programmed to send PC messages, but only on rig changes. Specifically each rig could send one PC message on each of two channels.

So in that way, you could use a stage to control another Kemper with midi, but you would be limited to five commands per bank. It wouldn’t give you the simplicity of using the dedicated remote.

You have to read between the lines. If you go to the test one, test two, and test three sections of the video, I couldn't tell one unit from another. They all sounded the same to me with my good headphones on. (The only time you could hear or see a difference was the null tests. But actually comparing the original amp to the captures of the units, THEY ALL SOUNDED THE SAME.) The guy even admitted as much. His complaints about "low end" was only in what he saw on his screen and perhaps heard in the null lack of cancelation.

So if they all sound the same as the original amp at this point, the reason to prefer one unit over another should come down to other factors. So why choose Kemper? The other units can only give you an accurate snapshot of the amp's knobs in one place. Kemper can give you that along with accuracy throughout the range of the original amp's gain and EQ thanks to Liquid tech. Kemper also gives you the best tools to modify your profiles, such as definition, clarity, pick, and the new cab resonance controls.

They've indicated that they are working on that. The big difference here is that unlike when liquid profiles came out (if my memory serves correctly) that was a surprise announcement, whereas 2.0 was announced in advance and tied to new hardware, with 2.0 taking them a lot longer than anticipated. So it's anyone's guess whether the liquid profile beta availability was delayed until they had a robust pack of liquid profiles to go with it.

And this distinction is relevant. You can't start building a collection of profiles to share with an update, unless the development of that update has reached the point that profiles can be made using it—AND your development needs to have reached the point to where you are confident that the format of the files you are creating today will be compatible with whatever changes you still need to make to the OS. So they really had two choices:

1. Share the beta as soon as it's ready; likewise when the release version is ready. Then give us a robust pack of 2.0 profiles when they are done.

2. Hold up the release of everything while they build up a substantial library of 2.0 profiles to share with us. (we'd still be waiting on 2.0 beta to drop and wondering if we'll get it by THIS summer.)

I prefer choice 1.

Can’t hurt to ask for it in a feature request if it’s important to you. It may not be possible. But if it is possible, it might require more dsp that they would prefer to save for other enhancements.
But I’d be curious to see some further tests and perhaps kemper’s own data on latency to determine if that test was accurate.
Perhaps better measurement would be if some folks with a good ear for latency who have rigs with a lot of cumulative latency find that the alleged extra 0.5-0.6 moves the latency into the noticeable or distracting range for them. for example someone who uses wireless guitar and wireless IEMs, the two effect loops in serial/mono (twice the da/ad) with the pedals in the loops adding them their own ad/da conversion.

Quote from Kim_Olesen

A clean volume is unvelievable light on the dsp.

Some of us already use the volume and morph for other stuff.

I agree with all of that. If you didn't use morph for other stuff, morph would be a very powerful way to add a volume boost with a drive effect simultaneously.

I found in the main manual (version 14) pages172-173, how an expression pedal set to control volume could provide you with a post amp pure boost without eating up one of the effect modules, IF you wanted to utilize a volume expression pedal for this purpose, as it lets you set minimum and maximum values per rig, which includes boosting higher than unity, if I understand correctly, but then that would have to be a separate thing to control from toggling a drive effect.

IF you don't use morph for other things, you can achieve what you are going for in a superior way than having a post fixed effects pure boost. A forgotten feature is that you can simulate toggling effects on and off by morphing their mix from 0% to 100% (Or 100% to 0%) If you were to, say, morph a Kemper drive in module B from 0 to 100, it will sound like it's off in base state. (You won't be able to hear a difference toggling it on and off if its mix is set to zero). So using morph you can simulate toggling the drive effect on by morphing its mix while simultaneously morphing the volume control up in the amp section to provide you with the volume boost you are after. Even better you could also morph any other controls in the amp section that help your lead sound pop, while increasing the amount of noise gate or lowering the compressor, or whatever else.

A more ergonomic option (if you don't need the in-between morphs an expression pedal provides) is to trigger morph with the five Rig selection foot switches (see manual page 316) Set the rise and fall to zero in the Rig settings of each Rig. This let you instantly jump to from the base and morph by repeatedly pressing the same foot switch you used to select the Rig, (you'll see the LEDs on your Stage or remote indicate whether you are in base or morph state!) So if you are in Rig 2, pressing the Rig 2 foot switch again and instantly jump to your lead sound. If you want your to get to your lead sound in the morphed state of Rig 4, just double press the Rig 4 foot switch. The best part is that you don't have to switch rigs, then lift your foot to press a back row effect switch, like you would if you programmed one of them to toggle on a kemper drive and a pure boost. In this way, in a single performance you can instantly jump between five fully independent Rigs and instantly access a boosted version of them by a double press on the same footswitch. Then you still have all four effect foot switches to toggle other effects in each Rig.

However, I still 100% agree that a simple pure boost is a no-brainer in the post fixed effects, as being able to add a little volume boost to a lead sound would be a welcome feature. (While lowering clean comp helps, being able to fiddle with the amp's gain without worrying about volume balance with other rigs is one of the things I love most about kemper). If it's a matter of preserving as much DSP as possible, Kemper could add a pure boost setting to the post-amp fixed chorus. (so that the pure boost isn't one more independent effect you can toggle in the chain) Then you could leave the fixed chorus depth at 0% and increase it's hypothetical pure boost setting, enabling you to use this effect as a pure boost instead, but without introducing an additional fixed effect in the chain. The reason this could be a logical solution, is because the whole point of offering a post-amp fixed pure boost is because guitarists have other uses for the X and Mod modules than wasting them on a simple volume boost, since these modules are prime real estate for all the advanced stereo modulation effects—including the more advanced choruses that would make using the fixed chorus redundant. However, another way to include a toggle-able post-amp volume boost is to simply add a pure boost parameter to the amp block itself and allow it to be a toggled the same way the freeze function in the delays is assignable. From a DSP standpoint, this volume bump could be processed in mono, because it would be BEFORE the stereo X module, unlike the post amp fixed effects which are necessarily stereo.

Maybe a more efficient way to include such a feature would be to just allow the pure boost that already exists in fixed effects to be pre or post amp in order? So that it either stays in its current location, or can be moved with the post amp fixed effects?

We might be at the cap of what even the new mk2 can handle simultaneously, without running out of DSP or making us users manage DSP to allow more. The Kemper was designed with performance mode and no gap between rigs, so that you could switch between rigs mid song (unlike the competition that gives you an audio gap, but a longer signal path with snapshots or scenes within presets). So you’re better off using all five of the rigs in a performance (like you’re using scenes in the competition’s presets.) to get all the effect combos you need quick access to. Then supplement these five rigs with second row effect toggles and morph for the stuff you use less.