Posts by JeremyMScoot

    You can go with a RJM Mastermind LT. It can do nearly everything you would wanna have done by a remote. I like the thought of a "mini remote", too.

    Actually I use a RJM PBC to have space for different additional single pedals, what is missing (for me) in the player: I real good polyphonic pitch shifter= Virtual jeff. A digitech freqout. a stutter-hold and real good tape rewind effect=BOSS DD8. A versatile sustain compressor= drybell U67. BOSS Slicer....I am looking forward the promised "weeks, not months" update for sliceresque sounds. One of the reasons for the RJM PBC: you have a programmable insert point for the player. so I can add 3 FX pre and 3 effects post kemper. AND I have added a tuner, because the internal 3LED "tuner" is the worst and most useless idea I have ever seen in a pedal. a harley benton guitar for 80 bucks is having a little display, every cheap mutliFX is able to show you a regular display and kemper can´t? Mhm, kemper was not willing..ok. I woouldn´t need a tuner, because the RJM is able to show the kemper internal tuner in it´s RJM display...very nice! But I love my KORG pitchblack for it´s nice 3D display. After the end of the PBC I use a RADIAL DI BOX to have XLR for FOH and stereo through I send my signal into a little mixer for my IEM. the player is a very useful tool and makes everything a little bit more compact. For my next gig I will use the OTTER DUO+ SWITCH directly with the player, nothing more (but a tuner is needed to added), to have it really small.

    Wah is a a simple sweeping filter there shouldn’t be much too the algorithm. I would be very surprised is the Line 6 or Fracral or anyone else formthat matter uses a different algorithm for each of their wah effects. It is much more likely that they use a generic algorithm like Kemper and create specific wah effects by tweaking this in a similar manner to the Kemper Wah presets.

    I am really shure they do have different algos...including different parameters and behaviours. I use Kemper for so many years, and alongside that different products from line6 and eventide for multi FX. Before the "kemper chapter" I collected Wah pedals. My most beloved..a snarling dog.. ..the line6 conductor is very close. I have had different morley pedals, some of them with modifications.. I can find it in another algo. ibanez wheeping demon was a very special one..you can find it. and so many Crybaby and VOX and and and..(the digital sonuus was interesting, too). there is really more than a sweeping filter, what makes so many wah pedals unique. kemper is very close to the classic cry baby and the vox wah. and yeah...maybe with the tweaking possibilities in the kemper algo 85 to 90 percent of users will be happy. and I am very happy with all my kempers, coz their main feature, the amp sound, was my entrance to the kemper world (with the right profiles) and the exit from stereo tube amp walls and up to three gigantic pedalboards and rack equipment. I hope that different FX in the kemper will be updated soon. It would be ok to pay something extra for that. like eventide did with their H9 pedal. so everyone can consider, what he is willing to pay depending on his or her needs.

    what do you like better in these wah sounds?
    which one in particular?

    All Kemper Wah Sounds have the same algorithm. Everything sounds like little variations of the same "butter and bread" baiscs. It´s ok, you can work with it. I like the different wah sounds in the cheapest Line6 M5...the same eco system goes, like kemper, to their highest priced models. But unfortunately there are only ca. 140 "curated" FX in the player, and from HX ONE till HELIX they have ALL FX to work with. including a very nice conductor wah, wheeping Ibanez model and so on. And I would understand a limited range of FX slots more (just like a HX ONE can only handle one FX at once) than the limited algorithms. Just like friends of mine, I have a kemper Head at home to record and to work with all FX. I can use my stage and work with every FX live. But I am not the only one who would like to have all FX in the player and save presets with the limited slots, just as a backup or for little venues or, when you´re at a wedding and play only three songs.

    I am shure it´s already done and ready. But I think CK, maybe, will implement a store to buy different algorithms as it was done with the eventide H9. Then you can add different functions for the player. Hopefully. It is not the cheapest competitor out there alongside HX STOMP/ EFFECTS/ ONE with every algo for free and "morph" like features. Yes, it´s nice to get updated algos for free and to feel happy about that. But LINE6 has delivered their range of gear with much more FX since day one, including very nice synth, filter better wah sounds then kemper. Yes, Kemper is by far the best sounding device (for me), but regarding the facts what is missed for years.. ..it is not as holy as felt sometimes. And the useless flashing TAP TEMPO LED is a shame for such a expensive device.

    Seit Ewigkeiten Kemper Nutzer mit InEar von Sennheiser samt Ultimate Ear 5 pro (früher).

    Daheim liebe ich es mit halboffenen Kopfhörern zu spielen Sennheiser HD 650. Was ich damit einstelle, klingt dann auch im Pult für FOH im wesentlichen, wie ich es gerne hätte: Ziel neutraler EQ am Mischpult im Sinne von einstöpseln, Gain anpassen, gewünschte Lautstärke. Gerade bei (Stadtfest-) Veranstaltungen mit stets neuen Pulten und Technikern. Bei der Probe spielen wir häufig bereits über eine kleine PA, da wird feinjustiert und passt dann.

    ABER: Meine schönen teuren UE InEars (jep, teurer geht natürlich immer) übertrugen NIE die Gitarre annähernd so rüber wie meine halboffenen Ohr umschließenden Sennheiser daheim. Das war stets ein halbgrausames "Ich mach das Beste aus dem Gig". Sämtliche Vorabmischversuche etc. samt eigenem Minimixer brachten nur marginale Verbesserungen.

    Dann ging ein Kopfhörer kaputt und ich dachte...hmm...nochmal maßgeschneidert und noch teurer investieren, aber so ganz weißt du nicht, ob es dann wirklich besser ist, Ambientbohrung weil daheim halboffener Kopfhörer ja doch anderes Empfinden liefert...schau dich doch erstmal (nach vielen Jahren) um, was gibt der Markt an Standards her? Und so probierte ich mich durch mehrere Fischer Amps InEars durch, bis ich den fand, der doch deutlich besser als die mittlerweile reparierten UE klang. Aber die einzelnen Unterschiede in der Harschheit oder Dumpfheit des Tons waren schon merklich hörbar. Dann habe ich einfach mal meine Abhörkette beim neuen Digitalpult auf Vordermann gebracht und einen subtilen EQ auf meinen Monitorweg gelegt. Es entspricht weiterhin nicht dem schönen Klang meiner halboffenen Kopfhörer..das wäre ein Traum. Aber solange ich nicht wie der Gitarrist von Linkin Park mit großen Kopfhörern auf die Bühne gehen möchte.... ....Mein Sennheisersender hat ja auch einen Kopfhörerausgang, da hört man auch ohne die Funkstrecke die unterschiedlichen Kopfhörer sehr gut raus. Für mich persönlich weiß ich, dass ich noch meine LieblingsInEarKopfhörer finden muss. Ein Kumpel ließ mich mal seine UE live für 2.500,- Euro testen..leider nur mal schnell mit Handy verbunden...WOW. Aber keine Ahnung, ob das wow dann auch für Gitarre klingt. Thomann hat in Stairville eine InEarStation, wo man sich reichlich durch verschiedene Modelle und Preisklassen durchhören kann. Halt nur mit wie immer perfekter Musik vom Computer, aber für eine Vorauswahl war das sehr nützlich, da hörte ich schon sehr intensiv die für mich wichtigen Anspruchskriterien an meinen Wunschmonitorsound heraus.

    Die Fischer Amps habe ich lieber als meine UE im Ohr. Da nicht maßangefertigt, ein ganz klein wenig "offener". Nachteil: Man muss sie schon recht fest reinstopfen (eigentlich dann ein Widerspruch zu "ich hätte es gerne offener"), da sonst beim Singen (der Smile-Effekt) sich der Ohrkanal verändert, der Ohrhörer nicht richtig sitzt und dann im Wechsel ein schöner Klang oder ein kalter, heller Klang entsteht, da die Stöpsel weniger mit dem Schädel verbunden sind, um Mitten und Bässe über die Knochen hinzuzuaddieren.

    I found out a very nice and maybe helpful solution for other lovers of the MORPH function.

    I use a RJM Mastermind LT as midi controller. A BOSS FS-7 is the external dual switch that I connected to it.

    In the Kemper menu set "momentary" to ON.

    Now I take the latch function of the BOSS to ON and see the MORPH state with the LED ON or OFF. (..and pressing it once, not twice for the action, maybe some people know this problem, too).

    I use CC#11 to have an immediate MORPH without rise and fall time from zero to hundred percent (0-127).

    the other button of the BOSS FS-7 I assigned to CC#80 and the latching switch works including the rise and fall time.

    Can't await to figure out what is possible with both function. (I don't want to use an expression pedal.)

    A slow vinyl stop function...or a immediately pitch shifted tone or crazy stutter effects with the drive sections...

    all the best, maybe it is helpful for someone in the Kemperuniverse, Jeremy

    wanted to write Kemper + universe = kemperverse first...but when I read this a second time...better not. :)


    EDIT: Together with an BOSS FS-6 I can set button A to LATCH (with rise and fall) and button B to momentary (immediately ON).

    Ja, das gehört leider zu den mit Abstand schlechtesten Scherzen für so ein teures ansonsten gutes Produkt. Leider scheint es dem Chef..so muss das deutlich gesagt werden..seit Jahren nicht peinlich zu sein. Ich muss mich mit externen Pedalen behelfen, denn wir haben live Clicktracks/Sampler beim Schlagzeuger, teilweise aber atmosphärische Spielpausen, wo ich nur zum Blinken spiele..leider nicht zur LED vom Kemper..

    a functionally TAP TEMPO LED.

    smaller. Rack with 2 HE instead of 3.

    Tremolo Section..software.

    no need of the extra pots for delay and reverb.

    2 fx loops like in the stage. and a better fx loop send / return adjustment. it delivers very hot SEND and the digital distortion receiving my walrus audio R1 isn't so nice.

    independent line out/monitor solution like in the stage

    bigger remote for bigger feet..the size of the stage for the remote..

    for me less knobs on the remote. or the A B C D knobs for looper. including much more time for the looper.

    A real CAT5 connection on the rack like on the remote.

    faster "ON".

    faster scrolling through presets or performances. my H9 shall have the same chip I heard.

    stable rig manager like EVERY other digital "manager" delivers. H9, Helix, never had any issues there.

    better knobs with steel instead of plastic pots.

    a better presets management. I like to scroll directly from WAH to LOOP. but with the left pot I scroll through every way type in the middle section, every chorus type...every....

    and a little mini stage like the line6 M5.

    Ich habe einen Kemper Rack non-powernd und hinten im Rack ein Rockboard MOD2, neue Version, mit USB2 Durchschleifmöglichkeit. Kurzes USB Kabel dran von Kemper zu MOD2. Von MOD2 USB2 auf USB3 Kabel für neuestes MacBook Pro geht nicht. Das kurze USB Kabel von Kemper an USB Hub von Verbatim, dieses am Mac...geht. Hätte aber auch gern die Möglichkeit es direkt anschließen zu können ohne dauernd das HUB nehmen zu müssen. Ach ja..und sagt bitte jemandem in der Entwicklerabteilung, endlich mal die TAP Tempo LED als TAP TEMPO Led ohne rhythmisches Gezucke zu programmieren. Das ist mittlerweile seit der Erfindung des Kempers nur noch peinlich. Meine Geigerin lacht mich mit ihrem gebrauchten Line6 M5 aus, der Drummer spielt ein 23 Jahre altes Roland E-Drumset mit ordentlich im Takt blinkender LED, der Gitarrist spielt Helix..und der teure "State of the Art" Kemper bekommt das nicht hin? Echt nicht?

    I play H9 units since they came on the market. First in my pedalboards, one in front of the amps (stereo setup), one in the FX loops. Then the Kemper arrived, I sold all my pedals including the H9, because I was nearly able to get all my desired FX sounds with the Kemper. Then one unit was bought again, because I missed some sounds we had on our records. Actually I have one H9 in front of the Kemper for special sounds and mostly for the Wah Sounds, because I don't like the internal Wah sounds of the Kemper. It is in my live rack hidden behind the Kemper, with MIDI out from the Kemper, annoying, that it is only usable in performance mode. But it is small and I still need only the remote in front of me.

    It would be so fine to have an updated tremolo section.

    What I would like to see:

    -different waveforms

    -the basics: tube, harmonic

    -included filter

    -envelope

    -modulation

    -grit

    -rhythmic tremolo options with different volumes for 8 or 16 "peaks"

    -variable length of the peak from long to "plucky" short

    -random mode

    After a very nice REVERB and DELAY section (I sold different STRYMON and Eventide pedals after these updates) it would be fine to replace other pedals like ZVEX, Flux effects, Möbius, Line6 M5, that are all more versatile than the Kemper tremolo part.

    Thank you in advance, I love the Kemper and believe in you, guys, hope we don't have to wait for so long.

    I love my Morpheus Bomber. It´s the fastest polyphonic octaver actually. I have the eventide H9, too, I had the POG2...
    A lot of pitch shifters are able to pitch one note...but in CLEAN mode you hear the difference..
    How old are all of these pedals? Why it isn't possible to create a real glitchy free polyphonic octaver for the Kemper like the Morpheus can do years earlier?