Posts by scratch17

    No. I wrote this entirely myself. And I repeat: I am in no way affiliated with Universal Audio. Just trying to point out some helpful information. It seems that all of the multi-effects boxes out there make everyone sound the same. The UAD2 plugins are different from the off the shelf models you get with other boxes. If you tried to buy the plugins the actual hardware would cost a fortune.

    And frankly, Don, while I understand what you are saying, I think that by relegating this post to the 'other gear' thread is doing a disservice to other forum members. My point was to let forum members know how to integrate a piece of other gear with their Kemper. So that they could get better value from their Kemper. It was not to try to promote anything.

    And by the way, I post all sorts of positive info about my Kemper in the UA Forum. And I've responded in the past to help members get their Kemper and Apollo set up to connect via S/PDIF without issue for re-amping.

    Frankly, I am now loathe to post anything here. I don't like being called a shill.

    Traverso said: This should be moved to "Commercial Announcements".

    No. It should not. I don't work for UA. I have zero affiliation with UA, other than having owned many of their products since 2015.

    So why did I post this? To sell UA equipment? Hell, no. If a member here wants to get into the UA ecosystem, I'd be happy to provide advice. But I could not profit from that advice if I wanted to.

    Quoting myself: I am posting this for anyone who owns an Apollo and hasn't seen this news. Or for anyone who might be looking at an Apollo as an audio interface and now a multi-effects box.

    I happen to know that there are a lot of other Kemper owners here who use Apollos. So my post was mainly for them.

    Today Universal Audio released a software update to their Console application that adds MIDI controllable scenes to their Apollo audio interfaces. This turns the Apollo into a multi-effects box with presets that can be changed via MIDI. I am posting this for anyone who owns an Apollo and hasn't seen this news.

    Or for anyone who might be looking at an Apollo as an audio interface and now a multi-effects box. See below for an example of the price of entry to the Apollo / UAD2 ecosystem.

    Now to the guts of this post.

    Since the Apollo has built in DSP and hosts the plugins, audio does not go through your computer. It only passes from the Apollo's analog inputs, to an A/D converter, through the Console app internally on the Apollo, to a D/A converter and out the Apollo's analog outputs. As a result, RTL is sub 2ms. That's about the same RTL as a Tonex One pedal. In fact, for the purposes of this discussion, think of Apollo as a pedal. It just does way, way more than any of your pedals.

    The UA Console is a virtual mixer and routing application. It exists on your computer only so that you can access its features. It's essentially a graphics package that allows the user to control its features. What you see on your computer monitor doesn't actually mix or load plugins. And no audio passes through the app on your computer.

    So why are MIDI controllable scenes a big deal?

    The best way to understand this is to think of the scenes as presets on a pedal. You send a MIDI program change message to the Console app and it changes instantly to a new set of plugins. Or plugin parameters. Or plugin chains. Or change the effects order.

    And one program change message can affect multiple plugins on multiple channels. That's also a big deal. How so? The H9 pedal could do one effect at a time. The H90 came out so you could do two effects. In series or parallel, and in different order. Nice.

    My Apollo X6 has 6 DSP chips with 6 analog inputs that can host 6 chains of plugins. And a single program change message can change any parameter, turn any effect on or off, or even change an entire chain to a new one. And of course, you can route the chains in series or parallel. And since your Console app is also a mixer, you could combine multiple parallel effects back to mono or stereo output.

    Now I've given a pretty wide view of what you can do with this, what are its limitations?

    First of all, it only works with UAD-2 plugins. You cannot load a native plugin, no matter what format into Console. That even includes UAD native plugins. So no AU, VST, etc.

    Second, as of now, there is no CC messages accepted via Console. You can save scenes (presets) but with a few exceptions you can't connect a MIDI expression pedal and vary a parameter in real time. There are a few UAD2 plugins that have built in MIDI control. If any of you want to know about how to control the Console app via a MIDI controller with MCU let me know and I'll cover that in a later post. To be clear, you don't need an MCU controller to change scenes; just a controller that can send program change messages.

    So what kinds of plugins do the Apollos have? Every kind from studio and guitar gear to highly sought after iconic effects. Many of which are not available anywhere else. It's not like buying a traditional effects box. You won't end up sounding like everyone else with a Fractal or a Helix. Go to the UAudio.com website and check their plugins out. It just so happens that there is a huge sale on UAD2 plugins through July 22nd.

    These plugins are considered to be among the best emulations of gear you can buy. And they encompass some of the most historically sought after gear. For example there are mixing console preamps and channel strips from Neve, API, Solid State Logic, Manley, Universal Audio, etc. There are studio compressors like the Iconic LA-2A and 1176, the EL-8 Distressor, DBX 160, etc. Want some EQ for your guitar? How about a Pultec passive, or a Hitsville from Motown, or a Trident A-Range parametric. How about some amp sims? There are loads of them. Fender Tweed '55, Marshall Plexi, Bluesbreaker, Fuchs, Ampeg, etc. And most of these can be used as preamps or speakers with a Kemper profile. More on how to use these with your Kemper later.

    What about effects? I kind of lead you to believe there were some good effects.

    How about spot on emulations of a Roland Space echo, or an Echoplex EP-34, or a Korg SDD-3000 delay, MXR Flanger / Doubler, Eventide H910 Harmonizer, Dytronics Tri-Stereo Chorus?

    Not enough? OK then. Go to the Capitol Records building in L.A. Plug your guitar into the basement plate reverb that's won grammy's for hundreds of artists? Too expensive? Not if you own the Capitol Chambers reverb plugin. You have never, ever heard a more gorgeous sounding, ultra-lush reverb. UAD2 is the only way you can get it. You can also get reverbs from Lexicon, EMT AKG, and more.

    Oh, and did I mention Autotune Realtime X? Want to keep your guitar in tune even when playing a chord at the twelfth fret? Want some Moog filters? How about a Softube Vocoder?

    There are literally hundreds of plugins to choose from.

    So how would I use the Apollo with my Kemper as a multi-effects platform? This depends largely on what I want to do.

    For example, I could connect my guitar to a Hi Z input on the Apollo, load a Unison plugin like the Tube Screamer pedal, add a compressor and an EQ. Then route that channel to an analog output on the Apollo connecting it to the front of my Kemper. (For an explanation of Unison technology, go to the bottom of this post).

    Or I could put an Apollo into the effects loop of the Kemper. Use the Kemper's send and stereo returns by routing the send into an Apollo line level input, and a stereo track with time based plugins.

    Now you have a front end effects device before your Kemper, and an effects loop with a time based multi-effects box in the loop too.

    Note that using the effects loop with line level signals disables Unison technology from a Unison plugin. Unison plugins only work when you connect a Mic to a Unison mic input or an instrument to a Unison Hi Z input.

    However there is one way to add a Unison plugin to the Kemper's effects loop. It works like this.

    I connect my guitar to a Hi Z input on the Apollo. Load up a Unison amp sim. Turn off the cab in the amp sim. Route the track to an analog output on the Apollo and connect that to the stereo return of your Kemper. You can add stereo effects if you want to or keep it mono. Once the Apollo's amp sim is in the Kemper, you can use it with your Kemper Kabinet and speaker imprints for 'amp in the room feel' with your Apollo amp sim. Just because Kemper didn't expect you to use the effects loop this way doesn't mean it doesn't work. It does. I've tried it. But more in line with the reason for this post is that on the Apollo side, you could change sim parameters or even change the sim to a different one with a single button press on your MIDI controller. BTW, this trick will work with native plugins hosted by your DAW. It's just that the RTL will be higher.

    Not enough? You can simply route the Kemper into the Apollo via S/PDIF I/O. The Kemper can now be followed by the Apollo into a recording chain with more effects. And don't forget that this connects the Kemper and Apollo digitally so you can record what's coming out of the Kemper into your DAW without requiring a pair of analog inputs. That can be the Kemper's stereo outputs, or one mono wet output and a DI on the other channel. So it becomes an alternate DI in a pinch.

    And the reverse is also true. Connecting the S/PDIF I/O between the two devices allows you to use the Kemper as an effects box for your recordings. It also allows for easy re-amping via the Kemper as well.

    *Unison plugins work with the mic and Hi Z input hardware on Apollos. As UA explains Unison:

    Unison™ technology is an audio processing breakthrough that starts right at the source — the input stage — allowing Apollo audio interface preamps to sound and behave like the world’s most sought-after tube and solid-state designs by using UAD plug-ins. By capturing the all-important impedance, gain stage “sweet spots,” and component-level circuit behaviors, Unison gives Universal Audio’s Apollo and Arrow audio interfaces the tone and feel of legendary mic preamps, guitar/bass amps, and pedals from UA, API, Neve, SSL, Manley, Fender, Marshall, and more.

    The RJM Mastermind LT would cover all of your requirements and more. It has two way device control with the Kemper Profiler. It should also work with the Kemper Player out of the box. But the Player doesn't have all of the capabilities of the Profiler. While the PBC isn't cheap, it is a fantastic MIDI foot controller that can also control loopers, pedals and multi-effects.

    If you also need a looper, check out the PBC-6x. It combines the same MIDI foot switcher capabilities with a looper that's small enough to fit on a pedalboard. Its loop order can also be arranged any way you want.

    We have for example testet a Behringer FCB 1010 (with Uno4Kemper) connected to a Player via a cheap USB-MIDI-Interface. and found no functional limitations.

    I have an RJM Mastermind GT/10. It has had a KPA preset for a long time. That said, the Kemper preset has not been updated to stay current with the KPA's new features. Considering the FCB 1010 with Uno4 Kemper works with the Profiler Player, is it likely that the MMGT will work with these basic functions?

    Also, can the Profile Player connect to the Kemper Remote via a USB to MIDI host?

    2011 MacBook and 2012 Mac Pro and no "mobile" devices here.

    Will I be able to use the Player with Rig Manager on these 'puters? They're both running MacOS 10.13.6 High Sierra.

    Bear in mind that I'm not able to run a KAOS 10-compatible version of Rig Manager on this OS.

    Thank you!

    I finally spent the money on an M3 MBP with M3 Pro chip. I had been limping along with a 2011 iMac (Core i7) and a 2012 Mini (also i7) until a few months ago. So I can relate.

    You might consider checking out Open Core Legacy Patcher as an interim step until you can afford a new Mac. It will allow you to run any of the new Mac OS versions on unsupported Macs.

    I don't play live. I just use my non-powered rack in my studio. So I look at the Player from that standpoint and ask myself: how would I use it?

    My immediate thought is that I'd like to use it the way MuddySludge suggests.

    Running two Kempers both in stereo has been a consideration for many years. 8)

    I can say that I've almost bought a Stage a few times to do a stereo rig (two profiles in parallel) with my Rack. I have also been toying with the idea of wiring my pickups with two mono outs. Having a Kemper for each pickup makes me drool.

    A $698 solution is a fantastic value IMHO if you already have a full size KPA, regardless of your use case. It's not like you have no way to make profiles. Now if I didn't have a full size KPA and needed to be able to make profiles, I'd get a Stage instead. But if you don't need to make profiles, the Player is a great entry point into the Kemper ecosystem.

    Speaking of value, think about how many of the full size KPA features the Player has, right out of the blocks. When I bought my Rack in 2015, it had almost none of the Kemper effects, no audio interface, no liquid profiling, etc., etc. It cost me $1950 back then.

    As far as the 'limited' effects slots (2 pre / 2 post), everyone is forgetting that you can run outboard effects in a chain with the Player in the middle. Would a pre and post loop have been handy? Sure. But I can live with selecting four Kemper effects on the Player. Note that only the Stage has two loops, BTW.

    There will obviously be some who have created profiles with more than 4 Kemper effects. There will be some profile tweaking necessary, and I suspect that some users won't want to do that.

    In the meantime, I am going to buy a Player early this next year.

    Universal Audio has two native tape emulation plugins, the Oxide and Studer A800. The Oxide is a basic, easy to use tape recorder with only a few adjustable parameters. The A800 is a full reproduction of the entire multitrack recorder with tape type, speed, etc., available for tweaking. There are also UAD2 versions of the plugins for ultra low latency while tracking through a UA Apollo.

    I use a lot of my UAD2 plugins with my Apollo X6 with my Kemper rack. The two make a killer combination.

    All programs (including the program that creates and implements profiles) rely on a translation of an algorithm into machine code. Most often the machine code is translated from a high level language by another program called a compiler.

    If the author of the algorithm cannot refine it to improve the device’s function, the product cannot be improved.

    Physical assets such as more memory and DSP might provide the algorithm a greater functional level. But only the author knows the requirements for those needs to be met. You can bet that Mr. Kemper knows the limits of his algorithm and what assets it needs to function optimally. In fact if I remember correctly I seem to remember hearing him say that adding memory and more DSP wouldn’t improve the profiling process.

    Of course more memory and DSP could potentially allow for more and better effects processing. Based on Mr. Kemper’s statements however, a hardware revision simply will not improve the profiling process. That doesn’t mean a Profiler V 2 won’t be built. Just don’t expect it to make ‘better’ profiles.

    I’d like to point out that Mr. Kemper decided to stop development and driver maintenance of the Access Virus, his first really successful product. He might do the same at some point with the Profiler considering his statement that the profiling process has been developed as far as possible.

    There is a UK made guitar (BOB O’reilly Expressiv MIDI Pro 2) with wired frets. It tracks very well. It has a lot of on board controls including an X/Y pad, switches and pots. It is also expensive, retailing for $2990 €.

    Alternatively, the Sonicsmith Convertor E2 + Midvertor system seems to track well based on the video Sonicsmith has released. It not only does pitch to MIDI it also does pitch to CV with all of the necessary I/O to connect each string to a different modular synth. And each E2 module has a built in mono synth. It is also expensive ($430 per E2 module x 6 + $290 for the Midvertor module = $2400 after 15% discount). And you need a modular case with power supply, a guitar with a hex pickup, and a breakout box. So figure about $3,000.

    I am waiting and hoping for Keith McMillan Instruments to release its Stringport 2 guitar which will be a wired fret design.

    I won’t buy an expensive high tech solution from another continent from a small company that may not be able to do fast service.

    For now, I use an FTP and Melodyne Studio with a hex pickup. FTP is the best live tracking I have experienced. But it does make mistakes and has some noticeable latency.

    Melodyne does excellent pitch to MIDI after I have recorded each string to a separate track in Logic. The program can do polyphonic pitch to MIDI but it isn’t as accurate as doing mono conversion.

    The KPA won’t get alternate tuning feature anytime soon. But a Roland or Boss GK device can do the trick.

    A Roland VG-99 will do this easily and accurately. And much, much more. You can dial up any alternate tuning you want.


    I suggest the VG-99 because a used one is a relatively inexpensive choice compared to a Boss SY-1000. But VG-99 still has great sound quality and even some features not on the SY-1000. The Boss does work in a limited way with a mono input from a standard magnetic pickup. I’m not sure if the pitch shifting feature works with the mono input though.

    Yes, the VG-99 requires a hex pickup. I have a Brian Moore i213 which has a built in RMC hex piezo. I also have an external GK-3 on my Hamer Duotone. It will soon be replaced with a Cycfi Nu2.

    I feed my unpowered KPA with a mono signal from my VG-99 for alt tunings all the time. The GR-300 built in is a really accurate model. Wanna sound just like Pat Matheney? Here you go…


    There is no noticeable latency, And there are all kinds of HRM sounds that add synth like tones to your guitar. It is really easy to create instant 12 string guitars, too.


    I plan on adding a Stage soon to my Kemper rig. The VG-99 can output a stereo signal. So I can feed each KPA its own signal. That will be really cool.

    Top section is a rectangle. It, or the same size bottom section should have the jack plate. Use a rectangular middle piece that is wider than the gap between the top and bottom sections. The middle section should have two thin vertical cleats at the sides of the opening.

    A gasket should form a ring to seal the opening. It should cover the vertical cleats with horizontal strips along the top and bottom sections. That will seal the back when the middle section is fitted over the opening.

    I’d use threaded inserts in the top and bottom sections with bolts to connect the middle section in place. Use knobs on the bolts to enable quick close / open changing.

    The sections must be cut with precision. Otherwise air gaps will be caused due to poor fit. Use a table saw or a track saw. These are not tools that should be used without caution and safety instructions. I’d pay to have the job done properly. It’s cheaper than losing a finger.

    Wired fret guitar to MIDI has been around for years. Keith McMillen (KMI) has a fret wired MIDI controller that he is ready to produce. He showed a prototype at NAMM a few years ago.

    Richard McClish (RMC) sold a fret wired guitar to MIDI controller in the 90’s called the Zeta Mirror 6 that was really expensive ( > £3,200 ). It worked but the fret / string contact had issues over time.

    It looks like Bib O’Reilly has overcome many of the issues of fret wiring used as a switch to (almost) instantly determine pitch. I saw mention of the contact degradation issue on his web site.

    Also, the pitch bending function seems to work really well.

    Having said that, I have some big issues with this product.

    1. I won’t consider an instrument that must cross the Atlantic for service. I see no mention of a warranty, what it covers, and what the return time expectation might be.

    Further, the site says that there is a 6 to 12 month wait once you place an order. And that the guitars are ”hand built”. So how long will I be without my guitar if I have to send it for service.

    And I hate the “hand built” description. That is great for a standard guitar; it’s silly for a guitar based on specialized electronics. A human is far more likely to create a production flaw than a robot when it comes to complex electronics. And humans cost more and take longer to do the job.

    2. Why do I have to have to pay for all of the extra switches, joystick and X/Y pad? Why can’t I have a basic guitar with fret wiring? At half the price. And as a far less complex instrument, I’d expect less chance of failure.

    3. Where is a full operator’s manual? How can Mr. O’Reilly expect a potential buyer to buy his instrument without knowing its specs, MIDI implementation, and a complete description of the software it comes with?


    4. Mr. O’Reilly is terrible at demonstrating his instrument in the online videos. He misses key points about MIDI guitar controller requirements like matching pitch bend range to the target. And he never explains the need for either a Mode 4 or MPE target if you need polyphonic pitch bend.


    With the potential of this technology, it seems that it could be a home run. But I suspect that the company is woefully under funded based on my above observations. I can’t see it surviving long.