I’m in no way an expert on the PA side of things and I trust the other members of my band to manage that stuff, but this is really putting me off using the stage in this way and makes me consider putting a mic in front of the Kabinet which feels like a massive backwards step.
Don’t do that. The Kabinet is a dual concentric speaker which doesn’t mic that same way as a regular guitar speaker.
While I totally agree, Kemper have said several times that this will not happen. I’m sure they have their reasons but I don’t know what they are.
The Seek Wah uses a step sequencer with eight steps that creates a wah pattern. This is not possible on the PROFILER itself, but you can easily create the effect with a sequencer program that sends MIDI CC#1 values to the PROFILER.
If you prefer a DAW-less solution, something small like the Korg SQ-1 sequencer could supply the MIDI CC data and would give you hands on control.
I’m not familiar with the SEEK WAH but from that description, could you create something similar with a wah controlled by morph ramp or in real time with pedal followed by an aggressive use of the slicer effect ?
FRFR monitor and PA/FOH.
It’s actually not really a setup issue — it’s mainly the Fletcher-Munson effect.At home I have to play at fairly low volume, so I naturally dial in more highs and lows to make the profiles sound balanced and exciting.
But once I bring the exact same profiles into a loud rehearsal situation, those frequencies become much more pronounced, especially the highs.So the profiles themselves sound great at home, but at band volume the top end can suddenly become pretty harsh.
That’s why I was wondering if a few profiles specifically tweaked and labeled for live-volume use could be helpful.
I would suggest taking the opposite approach. Create an output eq preset to boost lows and highs for home use (basically what old hifi “loudness” buttons did back in the day) to make profiles which are optimised for loud use sound good at low volume.
Most people over estimate the Equal Loudness curves and assume that they need to be listening at full on gig volume to get a decent impression of the real tone. While low volumes will over emphasise the mids and make things sound dull the actual loudness curves start to level out by around 80 - 85db which is moderately loud rather than “gig volume”. In theory if the rig sounds good at 80db (ish) it should translate well even at full >100db volume.
Mission Engineering disagrees ....
This is from a convo I had with them way back, where I had asked them if one of the Aero models would work with the Kemper.
The EP1 and SP1 are literally a Crybaby without the wah circuit. My SP1RJM (not the KP) but they are almost identical. When I opened it up it even had a Dunlop branded pot in it. Both EP and SP series are bog standard 10K linear pots.
The conversation about the Aero and the latching switch is correct and the Aero has a 25k pot but that still works even though the Kemper ideally wants to see a 10k.
Type 1 is for things like piano volume pedals and some yamahas. The great majority are type 2
I know but the Mission pedal I have needed to be set to the “wrong” one to work properly.
The difference between the KP 1 and the regular Mission pedal is - one is green and the other isn’t. There’s nothing magical about the Kemper version so its not a midi pedal issue. Funnily enough, I always had the opposite experience. Wah pedal travel felt exactly like a CryBaby (unsurprising as it literally is a crybaby with the wah circuit removed- nothing more , nothing less)but the volume travel was never long enough because it’s a crybaby not a volume pedal.
I also had a similar problem to you at one point and the solution was to change the pedal setting from Type 1 to Type 2 or vice versa (i cnt remember which way round it was.
According to the Manual the Metal DS effect is based on a Boss Metal Zone. It’s not my thing but I thought the Metal Zone and HM2 were the same thing.
EDIT;
I’ve just done some reading and apparently they are totally different circuits (but you already knew that 😉)
OK, thanks for letting me know 👍
Volume pedal settings are stored on a Rig by Rig basis unless you Lock Volume Pedal. Therefore, it’s likely that some rigs have different volume pedal settings. This might be because the original profile maker saved it that way or it may be because you have accidentally changed the settings and saved them without realising
Thanks timo you’re a legend 🤘🤘🤘
timo sorry I was only partially correct.
My keyboard has two ENTER keys. The main return and the numeric pad return. I use the numeric pad return key much of the time (seems logical when I am changing a numeric value in RM). The numeric pad return key does nothing. However, the main return does but only on the SECOND press. i.e. I need to double click the enter key to have a value stick.
I have also just tried the Legacy Delay sync to tempo. No matter what I enter (1/4, 1/8, 10, 250 etc etc) the knob always goes to 1/32
Thanks Timo but nothing is happening on Mac when I press Enter. The value appears to be accepted but the knobs don’t move to reflect this and nothing is transferred to the KPA itself.
I've now had a chance to try it and am experiencing a few unexpected behaviours.
Double Click and type allows me to enter values but nothing changes on the graphic of the knob. When I look at the underlying value on the KPA nothing has been updated.
In the Amp Section I can select a parameter (say Gain) by double clicking and type a value. The value shown changes but the knob doesn't actually move. If I click on the knob the original value is still showing.
Both Enter and Tab seem to accept the change but ideally Enter would accept the value and stay on the selected parameter. Tab should accept a value and move the selection to the next parameter still in edit mode ready to type a value without reaching for the mouse again. Shift + Tab should do the same but moving to the previous parameter instead.
I'm starting to wonder if these are bugs or if this isn't actually meant to be a feature and is just an unintended behaviour that has slipped out in this beta. Has anyone seen an announcement that this feature has actually been added?
That’s fantastic news. All good things come to those who wait 😆
Thanks team Kemper 🤘
I suspect part of the reason for relatively few 2.0 profiles is due to Liquid Profiling and 2.0 handling gain and dynamics so well. In the past users might have uploaded 10 or more rigs all profiled at different “sweet spots” but now find that a single liquid profile covers as much (or even more) ground so no need for so many uploads.
IIRC the Player (which the OP references) does not have this option. Space is only on the headphone out. Not sure the rationale for this.
You can use a space effect in a block, but that has some limitations.
Oh 😕
I never checked that. Just assumed it was the same as the other models in that regard.
I don’t mean to sound like an arse but…….. i have to agree with JoePVblue and DonnaPrima. You can only polish a turd so far. Often it’s better to stop wasting time on something that at best can only ever be a shiny turd and go back to the beginning with a different approach.
You really need to bit the bullet and profile your own amp. It is super easy and pretty much guarantees you get the sound and feel you are looking for. I have made hundreds of profiles with both MK1 (classic) and MK2 (2.0) hardware. I’m pretty sure most others don’t rate them. I don’t care. The key is that they sound and feel like the way that amp was coming through my monitors when I profiled it. It is exactly the sound I wanted/needed for the specific task I had in mind. My tastes and needs might be very different from other peoples which is not only just OK, its actually really cool. The sounds Marc Ribot uses are NOTHING like Larry Carlton or James Hetfield but they are all perfect for their own needs.
in browser mode i have many so called rigs by btitt and meulendijk that consist of 5 sounds and i understand that a performace you can fill with sounds you like or find usefull for a gig set or even aone song, stil i have many rigs consisting of 5 sounds
No you don’t. A rig is only a single “sound” and a performance is upto 5 rigs.
I think what you might be confusing is FX (Som-s if they happen before the amp, effects if they happen after the cabinet) on a rig. A rig can have upto 8 FX as well as the Amp and Cabinet. These FX can be ON or OFF by default but can also be assigned to a footswitch to toggle their state between on and off in real time. The footswitches for doing this are labelled I II III IIII . It is entirely optional whether you include effects in a Rig or not and it is also optional whether any effects you do add are always on or able to be switched in real time.
Think of it like feedback only with data instead of noise.
