I sold my polytune bc of the tuner in the kemper. Who needs a third party tuner?
Any guitarist who does everything wireless and is not always close to the Kemper.
I sold my polytune bc of the tuner in the kemper. Who needs a third party tuner?
Any guitarist who does everything wireless and is not always close to the Kemper.
Impressive Kim :). Who builds those boxes for you? Are they arduino based or something?
For all i know there could be a voodoo doll inside them
They are built by a local company called SP Audio Teknik.
I see a couple of people are curious and perhaps confused about what my "boxes of hacks do" and how performances can be used for other things than "one performance per song". Here is a rundown. With pictures below because i am too stupid to explain myself without.
The first magic box (top left) adjusts the boost of ALL lead sounds in my kemper. with the rotation of the knob. In one go. No need for storing or anything. (I've asked for a global lead boost parameter to be implemented, but i guess i am the only one in the world who needs it).
The second magic box adjusts the volume of ALL my lead sounds in my inears. Because if i'm at a gig where i need 5 db of boost, that is just too much for comfortable inear sound for me. SO i can actually send 5 db of boost to the PA but only 2 db to my ears. (I don't expect kemper to address that one, that really is a niche request)
The third magic box sits in the back of the rack. It repeats the state of delay on/off when i send a program change. What that enables me to do (as opposed to locking the delay slot) is that the content of the delay slot can change between all the cool delay types, but the state of the slot behave like it’s locked. (This is a feature i've also asked for; locking the state of a slot but not the contents, but again i guess i am the only kemper user that would like this, because it certainly has fallen on deaf ears)
The second picture is of the FC 200. The 5 lower program switches are my rhythm sounds. The 5 upper switches are my lead sounds. So no need for bank switching since the lower ones corresponds to performance 1, and the upper switches corresponds to performance 2 when in performance mode. Any change of sounds is a single step. I run wireless midi, so no cable rolling under my feet when i move on stage. Wireless guitar and wireless inear as well. I truly hate cables on stage.
The ctrl switch, operates the "independent" delay on/off described above.
Volume pedal is only operational on all the rhythm sounds. It’s there for those short passages ehere you just need to be a tad louder, but not “lead loud”
Also connected but not pictured is an expression pedal for wah, and two switches for other efx on/off stuff.
A very flexible setup that handles all the different contexts i ude my kemper in, with just 10 sounds
Sorry couldn't help it. Apologize.
Kim_Olesen couldn't find the thread but found this one instead: https://gearspace.com/board/so-many-…r-question.html
Did it work?
I had to have a “box of midihacks” made. How i solved the delay on/off thing was to have the magic box repeat the state of delay on/off when i send a program change. What that enables me to do (as opposed to locking the delay slot) is that the content of the delay slot can change between all the cool delay types, but the state of the slot behave like it’s locked.
I have a roland fc200 board. All my rhythm sounds on the lower 5 and all my leads on the top 5 switches
Wheresthedug Uhhh i think they are so old that i wouldn’t know how to find them.
But it stemmed from me playing in so many different situations where i need different lead boosts due to different context. One night a trio, so less need for boost on my lead sounds than a night playing in a seven piece band. And since all my lead sounds are on one performance, a master volume would make it easy to adjust those in one go. Even between songs. One adjustment and then save instead of 5 adjustments and 5 times save. Impossible during a gig.
What i do now us having a boost pedal in the loop, and then the loop is the first slot post amp on all my lead sounds. So if i adjust the boost, then it’s all lead sounds adjusted at once, just as i need.
But i am working on a midisolution to this, since i am lucky to know a guy who builds costum midi boxes. He has already done other magic boxes for me. So if that works, i can FINALLY free my effect loop to use for something else.
I totally see the need for this. And i’ve indeed requested it.
Though my needs are for different reasons.
What people don’t realise is that the results wont be great. In order for a tuner to be a functioning utility, the display response time to what is being played needs to be much faster than what rig manager is currently capable of. As it is now the needle on the tuner will be more than a second behind, and you will find yourself frustratet by endlessly overshooting the target tuning.
Rig manager doesn’t seem to be coded with a fast response gui in mind.
Buy a tc polytune clip and forget about having a tuner in RM.
Today my 25+ years old solo album GEOGRAPHIC MUSIC is released on all the usual services. Presumed lost, but found recently on a harddisc, this is what i was doing before i joined progmetallers Anubis Gate . Somewhat in the style of early 80s Tangerine Dream. Here is a track from the album:
You have answered your own question. On 10 the clean compensation is none, on zero full. Sometimes you have to turn knobs to find out how the convention is.
Try setting the high cut to 6,5khz.
I still use (almost exclusively) my Marshall JMP1 preamp profiles, made directly from the cab emulated outputs.
So it’s perfectly doable.
There is really no way around doing this in a rehearsal. Your ears will trick you without the sound of the context i.e. the other instruments.
A good long rehearsal where you tweak and tweak untill you’ve gotten it in the ballpark, and then a couple of gigs where you take notes and tweak a bit more if necesary.
I will also say this: Not all instrumentalists are good at judging their levels. We all know the ones who never turn down to their initial rhythm level after their first solo and during the gig they just get louder and louder. You have to be honest with yourself if you are one of them, because it will influence how you set your levels. You really have to think like a producer when listening.
And also, as mentioned before, even though you can probably get close to all the original sounds (if you are a cover band) the tonal shifts will make ot much more difficult to get consistent levels. It’s often better to play the stuff with your own personal sound.
No deal breakers.
There are things i wish for, but since i’ve been gigging with the Kemper for 8ish years, it would be contradictory to speak of deal breakers.
Ok. Also a confirmation that the currently used cpus are getting close to their limits.
the only expanded fx on my whishlist a better chorus fx
Absolutely the number one wish on my list as well.