You set up your expression pedals in System (page 6 through 11), with the appropriate mode and function, then calibrate. Make sure it's plugged in the right spot (in one of the 4 remote inputs or 2 of the KPA), then in the stomp block set the wah at whatever pedal mode you want (bypass at heel?). If by "activating" the wah you mean turning it on/off, well you can assign that stomp to a remote button or leave it always on if it's set to Bypass at heel/toe or touch.
Posts by JedMckenna
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Nice! While Kemper is still my primary rig, I've actually been using a similar small board a lot this year. The scene has shifted a bit since the pandemic and live sessions have been mostly with jazz artists, singer-songwriters, duo/trios and other situations that don't justify the KPA horsepower or a bigger board so this makes it much easier. I also use another H9 with the Kemper and it's pretty crazy what you can get out of them once they're programmed properly.
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I usually put a graphic EQ on the X slot, crank the mids by doing an inverted "V" shape and add a bit on the EQ Volume parameter. Check in your DAW that the volume when the EQ is engaged goes up about 4dbs. I usually combine this with a Kemper Drive stomp pre-stack and a short stereo delay.
That being said, not sure why you say "increasing volume in AMPLIFIER is not recommended, increasing VOLUME beyond 0.0 dB is also not advisable". Regardless of what you heard, increasing amplifier volume or rig volume is certainly doable but if volume boost is your issue, it is easier to just put a Pure Boost stomp post-stack.
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Live, I either use an Eventide H9 in the stereo loop with a midi controller, or nothing at all depending on the gig. When I record, I rarely use external effects, (maybe a Digitech Freqout sometimes). However, Kemper has pretty much all you need already and I usually record dry anyway. Those Youtube pedal/gear videos are a nuisance, making people shift their focus from where it's supposed to be.
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More of an observation than anything… How are touring musicians not using Kemper (or other brands) on fly gigs and touring…
Most touring pros do exactly that btw.
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It's a cool design but I think it doesn't send CC, so can't send tap tempo among other things unless I'm misunderstanding. I think something like the Morningstars would be much more flexible controllers.
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I only use my headphones to practice at loud volumes
I heard you say that in another thread and at the risk of being annoying and patronizing, please be careful. Every loud session kills cells in your inner ear and sooner or later, you'll wake up one morning with last night's ringing still there, like usual, but that time it will never go away. You'll go see an audiologist and he'll tell you that there's nothing to be done and you'll have to live with it. Hearing loss is not a quiet paradise.
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When you think these software algorithms sound better than the amps they emulate, it's time to reevaluate your perception of how amplified guitar should sound. Your mix engineer doesn't want this baked-in reverb/compression and will always prefer to work with a raw amp tone rather than with the "ear-candy" frequencies these software emphasize.
Also if your studio monitors sound significantly different than your Kemper headphone jack, either check what you are doing wrong or change monitors.
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Id14, I suppose you are talking about Audient ID14? This interface is fine and there won't be any "degradation of sound quality" or noise whether you use the preamps or a converter to go SPDIF. I wouldn't worry about changing interface if you have an ID14 because nothing in it's price range (and quite a bit above) will make your sound any better. Save your money.
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I put a green scream and an a graphic eq (in slot x) on the same remote button. With the eq, you can push the mids and fine tune the volume boost.
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Been there brother and that's annoying. Not sure what your "super-strong hook-and-loop tape" is, but I'd still try some good, wide, industrial grade 3M velcro both on the pedal and the top of your lid (even maybe put small screws + washers through the velcro on the lid side so that it doesn't un-stick), and then cut yourself a big piece of foam/pillow to put over your stuff so that when it's closed, nothing moves inside. Good luck.
That being said, despite all the complaints against the official Kemper bag (if you have a toaster), mine is still going strong after 4/5 years of decent use. The remote +2 pedals fits well inside and it's certainly the lightest alternative.
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I think just playing loud in the headphones is the best you can do.
A fast way to tinnitus, that's what it is. But you won't know about it until it's too late.
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Usually those drastic EQ change tells me I'm not quite using the profile the way it was intended to when it was created, which is not necessarily a bad thing, but I'd rather get another profile that's closer already to what I need for that situation. Especially with the highs... I feel cranking those up to make it sound good at low volume is a rookie mistake. For example, many people whine that M Britt's sounds are too dark and muffled but while they probably wouldn't be my go to for recording as is, I found they have huge body/tone at gig volume and sit well in the live mix with minimal adjustment.
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I've had the same issue pretty much since I had my Kemper and it's very dangerous on a gig. A serious design flaw in my opinion. I took a 1' extension cord that I duct taped to my back panel (I make sure the extension goes very deep in the socket and it's secure) and now I plug my remote cord into that extension instead.
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The sounds you get from commercial profilers and from Rig Exchange are made from amps that have been tweaked with various purposes in mind and you might find them inappropriate if you try to use them for a different purpose than what was intended from the creator. For example, if you use profiles made with a live sound in mind, you might find them too muddy and not clear enough once you lower their volume and try to record with them. Getting an Axe FX or other gear won't solve someone's misunderstanding of acoustic properties, which I feel it at the core of most sonic problems people run into with the Kemper. They often pick a flashy sound on rig exchange or from a commercial profiler that sounds great on youtube and then show up at rehearsal, the volume goes up and it's being played through a different system with a less/more neutral sound and all of a sudden their nice profile sounds terrible. If you don't want to make your own profiles, the solution is just to try a lot of profiles in a variety of different sonic situations and on different systems (headphones/in-ears/studio speakers/FRFR). Also, since you're talking about harsh and fizzy - you can try to isolate sounds from recordings if you can to see what you should aim for - it can be pretty eye-opening to see how a sound can be great in a mix and not so great in isolation.
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Maybe I'm not getting this right but you can only set up one fx loop on the KPA, so if you want to use the Kemper pre-stack stomps before your amp, bypass or disengage the stack section and use the Kemper post-stack effects in your effect loop, I don't see how that's possible. Again, I'm not sure I get this right. Mostly though, I don't see the point. Maybe what you want is a multi effect unit (like an Helix FX or something) to use with the amp using the 4-cables method?
Or you know, perhaps just use the Kemper as intended and profile your amp...
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At the moment, the Kemper is not very stable while it is connected to the editor. For example, turn the browse/type knob in performance mode on the KPA while it's plugged to a computer and it will eventually freeze and crash (a known issue.) Since the purpose of having the editor on an iPad would be to allow editing on the go (at rehearsal, etc), in my opinion it is useless to develop this until those issues are solved and the KPA can be stable while connected to the editor.
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There are usually a bunch of backline amps and stuff at most important concerts that could be used in case the Kemper goes wrong so I never bring a backup. Besides, I know of Murphy's Law and all but in 5 years of everyday use of the Kemper, it never just "stopped working" all of a sudden. There has been a few crashes and reboots maybe, a non critical hardware issue as well but not a full stop "I suddenly can't use it anymore." So statistically, 0 occurrences in 1825 days. Do what you will with those odds but imo there are more important things to worry about before a gig. If something goes wrong with Kemper say the week before the show and it needs repair, I do have a large pedalboard (containing an Atomic Amplifier 3) that does the job just as well.
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Kemper has been asleep at the wheel on Rig Manager for far too long. They need to shake up whatever group is responsible for RM or add better engineers to fix it. The whole application is a fucking mess ...
As Rush puts it... "quick to judge, quick to anger, slow to understand."
I'd go ahead and say that at this point, at least 80% of problems users come across with RM are because of an improper workflow (not saving, screwing up their performance by loading random slots, accidentally using the lock function, etc). This workflow might be counter intuitive to some (it used to be much worse pre-editor days) but there is definitely a logic and a workflow to follow to have stability. This program has come such a long way and combined with the editor and all the features like drag-and-drop (none of this existed 2 years ago), this system now checks all the boxes. There has been 4 or 5 updates of RM these last few weeks so I wouldn't call that "asleep at the wheel".
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A lot of demos from commercial profilers are deceptive in the way that EQ/compression/reverb is added after recording. Many are even double/quad tracked. Of course if a profiler doesn't do this and everyone else is, his profiles will sound weaker in comparison, therefore a lot are doing it in spite of what they claim. Thankfully, there is Rig Exchange.