Posts by OhG

    This may be an easy question for some to answer, but for me, it's not in my wheelhouse.

    I the Delay Widener at the very end of my signal chain to help simulate the sound of 2 guitars. This doesn't really do much for live settings (I run in stereo and am the only guitarist in the band), but it definitely makes things sound good in my in-ears. The end of my signal chain is EQ in the "X" slot, followed by Delay, Reverb, Delay Widener.

    The issue I'm having is that regardless of whether I set the Delay Widener before or after the Delay, it sounds like the Delay Widener is having an impact on the sound of the delay. I guess this makes sense because I'm assuming the Delay Widener is applying a delay effect TO the original Delay stomp before it. It's not incredibly noticeable, but enough for me to hear a slight difference in the delay sound vs what it sounds like without the Delay Widener. This happens even if I use the Double Tracker instead of the Delay Widner.

    My question is, is there some sort of routing that can be done which would have the Delay Widener effect not impact the Delay or Reverb stomps?

    Depends on how you transmit audio to the DAW. From my understanding, the Main Out's EQ section does not affect Spdif or USB. I think it's supposed to apply to any analog output signal, though.

    As far as keeping one over the other, I guess it could sometimes depend on anything beyond the slot-X EQ and the output section. Something between them could be muddying things up, perhaps. If nothing is between slot-X and the output section, then it becomes a matter of taste. Perhaps one of the curves is different in some manner even when set equally. Sometimes stacking the same effects does well verse one broader stroke. I've stacked small EQ cuts inside a DAW before.

    That makes sense. I'm connected to my DAW using SPIDF. It's not that anything is muddying up the sound. I was just wondering what I was thinking by having a low/high cut in both my stomps AND the Output section. I was just thinking maybe I read somewhere that it's good to do, and that's why I did it. But I just can't see a practical reason for doing that in a live setting. I was probably drinking. (c:

    Since I haven't changed my Kemper settings for many of my rigs in years, I figured I'd take some time to look through them to make sure everything is where it should be. One thing I noticed is that for nearly all of my high gain rigs, I've got a studio EQ in the X slot for the sole purpose of using the high and low cut features (cutting all frequencies below 80hz and everything above 9000hz). Then when reviewing my Output settings, I noticed I also had a low and high cut activated in there too.

    Would there be any reason to keep one over the other? I'm assuming that the one in the Output settings is a Global effect which means it'd make those cuts to EVERY rig. But I can't think of any reason to not have it just cut everything globally instead of me having to waste a spot for an EQ in my stomps/slots. Am I missing something, or is that good logic to just let the global Output EQ take care of it?

    I did notice that when playing through my DAW, changing the settings of the cuts in the Output menu made no difference at all. So, I'm wondering if those settings only apply to the XLR outputs? Whereas, when I put the cuts in a stomp, I can hear them through the DAW. I'm using the DAW just for listening purposes - I use my Kemper 95% of the time for live performances. For recording, I'd just use the DAWs cuts.

    For reference, I play in standard tuning or 1/2 step down. Moderate gain stuff (typical cover band rock stuff, 80's hair bands, classic rock, etc.).

    I think I've found something that is as close as I'm going to get. I took the recommended settings in from a post in the long wah thread. I think it's a Crybaby adjustable Q wah on the 3rd position. I just tweaked it a tiny bit (mainly backing off the mix) and it seems to cut through fairly nice. Odd how reducing the mix of the wah helps it cut through more.

    have you tried placing the wah post distortion? (the Michael Schenker thing IIRC)
    the wah will have a much more prominent effect there, use the Mix parameter if it seems too much

    I've never even considered that as an option. I've always used the wah as one of the first effects. I'll give it a shot to see if it helps.

    Edited: Just tried it and it sounded awful. Even with the mix turned down it basically sounded like there was a clean signal with a wah sitting on top of my distorted signal.

    I've used the Kemper for many years now and have never been able to find a wah that I'm happy with for moderately high gain solos. I'm sure this is my fault, not the Kemper's, because I just don't totally understand the Wah parameters. I've always just grabbed a physical Wah pedal and used that.

    I've seen the long list of wah comments in the forum. And I know that in general, the more gain you use, and the higher up the fretboard you go, the less dramatic the wah effect will be.

    With that said, can anyone share some wah settings or tricks that will help me get a much more prominent wah effect for moderately high gain solos, mainly from the 12th fret above. Not specifically for this song, but Metallica's "Enter Sandman" is very comparable to what I'm looking for. Kirk uses a decent amount of gain for his solos and the majority of this solo is played from the 12th fret up. But you can really hear the wah effect coming through. I know he uses a rackmount wah system. But there must be a setting in the Kemper that can get close to this. My solo tone without the wah activated is great (IMO) and cuts through nicely. But when I use the wah, it just doesn't seem like it's as prominent as I'd like it to be.

    Here are my current wah settings (wah is in Stomp A)

    • Manual = 3.6
    • Peak = 8.3
    • Pedal Range = +29%
    • Peak Range = -45%
    • Bypass at Stop
    • Mix 100%
    • Ducking = 0
    • Volume = 0

    I'd LOVE it if someone could help me connect my iPhone to my stage. As usual, with Kemper's OS and processes, nothing is straightforward. Real simple, I've got the latest versions of both the iPhone and Kemper OS. I've done the step of changing my Stage's name. I've restarted it. I've downloaded the Rig Manager app. When I use my phone to scan the QR code on the Kemper, the Kemper then shows up in my Rig Manager app. However, when I press "connect", I get a message saying "Cannot connect to PROFILER. Please ensure that the Rig Manager App has access to devices in the local network. How do I do that? I can't get into the Rig Manager App unless I go in under demo mode. And if I open my iPhone settings, I can't find the Rig Manager app listed anywhere in there (even though it's on my phone).

    It's unbelievable to me that this can't be done using a simple wizard/walk-thru on the Kemper itself.

    We play this song in my cover band. Honestly, those two instances where he uses the ray gun in the Rebel Yell solo happen so fast, it's probably not worth the attention you're putting into it. If you're playing covers, then like the rest of us, you're probably playing to a room full of a couple hundred drunks and only 1-2 of them (most likely musicians) would even notice if you nailed the ray gun part.

    In my band, we play to tracks and I just have Steve's actual ray gun sampled and it pops in at the right time. But if you want another option that still sounds cool, just take your pick and scrape the edge of the pick back and forth really fast on the high E, B & G strings moving from the bridge toward the neck. Not quite the ray gun effect, but still sounds cool.

    Thanks for all the help guys. I've re-done my rigs to have all distortion and clean sense set to zero, and then just rebalanced the gains and volumes as needed. Took a little work, but at least now everything is set up right. I created the 2 input presets that I needed and everything now works as I'd hoped. It was worth it in the end.

    Yeah, for me, I either need this distortion sense thing to be set up the right way, or I need to duplicate all of my performances/rigs and then adjust them for my 2nd guitar. I'm one of the rare breeds that only carry 2 guitars to gigs. For the longest time, I was only carrying one. But I need a backup given the nature of our shows (weddings and events). I'm using a Guthrie Govan Signature Charvel as my main, and my second is a Suhr Custom Classic S Antique with pickups that aren't as hot as the Guthrie. So if I break a string on the Guthrie, I need to be able to switch to the Suhr and have it be pretty close to the Guthrie in terms of the gains. So the only way for me to do that is either getting the DS fixed, or setting up an entirely new set of performances. I feel like the DS is the best option and will be more efficient in the end because if going forward, I want to make a change to one of my rigs' effects or whatever, I'll only need to make it in one as opposed to both sets of performances if I don't use the DS.

    Cool. Thanks guys. I'll now begin an hour-long episode of cursing the previous owner of this Kemper while I reset the DS, gains and rig volumes. But at least going forward I'll have the unit set up the way it should be for multiple guitars. Appreciate the help!

    Perhaps you are focusing on the CS and DS too much? I pretty much set it and forget it. I want the different behavior of each guitar to come through on its own. I also am not interested in tweaking these params during a gig. Focusing on this is diminshing returns for me and it has zero issues that I care about.

    That might work for you. I wish I was in that boat. But the feature is there for a reason. I need my guitars to have close to the same output/input going into the Kemper. I still get the different sound from the guitars. But if I'm playing my main guitar and I break a string, if I go to my backup and it has a lower output, the song isn't going to sound the way it's supposed to and the guitar isn't going to respond the way I'd want it to for that song.

    If someone messed with DS AND the gain on each rig.....then yeah, you've got some work to do. But only once. Whether or not you need to mess with the gain on each rig will depend on what happens when you set DS for the new guitar. If that's no good (and differing DS values per-rig, it sounds like it won't be)....you know what's next.

    Ain't no way they change how DS functions. That's been the same from the very beginning. Besides - even though it wasn't you, the problem sounds like operator error.

    Right. That's why I'm saying, I get how it works. My question now is, for the DS values, if I increase them to bring them back to zero, I'm assuming I'll then need to go into my gain for that rig and turn it down a bit to get the overall sound/gain back to where it was before I turned up the DS levels, correct? Similarly, with the clean sense changes, if I turn those up or down, then I'll need to adjust the rig volume in the other direction to get everything back to the same overall volume as before, correct?

    Think of the Dist sense not in terms of individual rigs, but as a "preset for certain guitar".

    Don't change it for the individual rigs. Instead, lock the input section, and save the input section with its dist sense as e.g. "Stratocater". Forget the individual rigs.

    Right. I understand the concept. I was just hoping it'd function differently due to the fact that I've got a bunch of rigs with different DS values. This is how I inherited them back when I got my first Kemper and I've just left them that way the whole time. So now when I'm adding in a new guitar, I have to go back through all of them, level them to zero, but then if I'm turning up the distortion sense, I'm assuming that means I'll need to turn down the actual gain on the rig a little bit, correct?

    Then for the clean sense, if I turn those up, I'll need to turn the rig volume down to bring those back to the "loudness" level that they're at now, correct?

    Then after I do those two things, I can use DS the way it was intended. Grab my new guitar with lower output pickups, go to the input menu, lock it, boost the DS value as needed and save as a separate input.

    I'm not sure I understand your complaint.

    When you change distortion sense in the input menu - it does change the value for all rigs.

    Correct. What I'm saying is, it just sets them all TO the same value, rather than increasing them equally by the same amount.

    For example, let's say I have distortion sense on one rig set to -5.0 and another rig set to -1.0. If I turn the distortion sense from -5.0 up by an amount of 2, now that rig is set to -3.0. What I'd want is for the other rig that is currently at -1.0, to then be turned up by the same amount (2), resulting in it going from -1.0 to +1.0. But instead of turning each rig up by the same amount, all distortion sense does is turn them TO the same amount. So in this case, the rig that was at -1.0 isn't turned up by 2. It'd actually be turned DOWN by 1 so that it's at the same -3.0 level as the other rig.

    You should set up you 20 rigs with 1 guitar and have all of them with the same clean sense and distortion sense value (use amp gain and volume to compensate), then save the input preset for that guitar. Now you pick up your 2nd guitar on a reference rig and adjust clean and distortion sense 'till it feels and sounds right (keep in mind that different guitars are supposed to sound different, also what the gain goes). Save the new input setting under a different name for your 2nd guitar. Done

    Ok. So that's basically what I found from my earlier post. I'd have to go in and readjust all of my existing rigs. Pain. It would have been much more convenient if this feature would just increase all distortion sense levels in proportion across the board rather than just turning them all to the same number. But thanks for the help guys. At least now I understand how the feature works.

    This. You need to set your all your rigs with the same input settings (=same guitar) and then make a different input setting for a different guitar. It work like a charm here with 8 different guitars. Input settings are not the right place to compensate for different rigs: tone stack and amp settings are there for.

    Okay, so now I'm just confused. Right now, my Kemper is set up for 1 guitar using about 20 different rigs in my performances. Some of those rigs have different distortion sense and clean sense settings. How do I get it set up so that if I grab my 2nd guitar that has lower output pickups, I can plug that one in and have the gains in all my performances increase by the same amounts (about 3-4) so that the rigs have roughly the same gain regardless of what guitar I'm using?

    Will creating an input preset fix this? Or do I need to go through all 20 of my rigs first and set all of those distortion and clean sense settings to zero? If I have to do this, then that means I've also go to adjust the volumes for those rigs as well.

    Wow. The more I learn about Distortion Sense, the more useless it appears. So the answer to my question above about increasing distortion sense by 3 and then turning the gain down by 3, is a no. They aren't the same. So that makes the process even more of a PITA.

    What also makes this feature 100% useless is if I do lock the input section and change my distortion sense to zero for example, it also then locks the clean sense across the board for all my clean tones as well. So for anyone like me who has different rigs with different clean or distortion sense values, if you get a 2nd guitar with lower output pickups, you're basically screwed and have to adjust EVERY rig individually.

    1000% completely useless feature.