Yes, this is clearly a bug which is Rig specific but isn’t linked to the Amp Model (I.E it isn’t the SLO model that is the problem.I have reported this a couple of times but it is still there. In my case I only have the issue with some MattFig Dumble clean rigs and some other rigs like GB Fan D’Lux etc. The rigs wil the problems in my case have different tone stacks including Fan DLux Nrm, Fan Bass Nrm, Mars TM45 etc.
Posts by Wheresthedug
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The distortion of the basic sound when connected via USB sounds to me as though you are getting the USB audio through your computer as well as the analog audio via your interface. The USB audio sends a very strong signal and may be clipping something else in your Ableton session.
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Just checked the SWR Manual it covers the inputs nicely on pages 2 and 3.
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As yoda said it is definitely possible however the results are usually not great. The reason is that volume pedals us a logarithmic (audio taper) pot while expression pedals use a linear taper pot. The effect of using an audio taper pot is that the effect of pedal movement is bunched up at one end pf the travel. With very little effect after that. Depending on the actual pot you might get a rapid change in the sound in the first 25 - 30% of the travel then almost no change in sound for the remaining 70 - 75% of the travel. You can control effects with this but it makes fine adjustments difficult and unpredictable. If you are OK with this a volume pedal with a Y cable is a viable solution. If you want a smoother change over the full pedal travel an expression pedal is worth the money. You don’t need t0 spend a lot of money of something like the Mission pedals. A cheap Zoom or Moog etc does just fine.
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You can do the same thing with the Dual Delay (no need for harmony delay etc). Set one delay to ) and the other to Xms. It is a long time since I tried it but think the dual delay was able to go much lower than 40ms..
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As BayouTexan said, what impedance are your headphones. Higher impedance headphones require a suitable amp to drive them. However, the Kemper headphone output is rated to handle up to 600ohm headphones. Unless you have something higher than that you should still be getting a good strong signal.
What kind of headphones are you using? Do they have their own volume control?
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The only pedal I can find is the Z4 which is designed as a replacement for two separate 2 button switches and is compatible with multiple ENGL amps. It appears from the ENGL manuals that they require latching footswitches. If this is correct the the Kartakou pedal is not suitable for use with the kemper.
Also you requirement to use a 4 button switch to change between separate rigs (clean, crunch, solo) isn’t possible as there is no option to set an external pedal to select individual performance slots by number. I.e. set footswitch 1 to load rig 1. You can use a two button switch to scroll through rigs by selecting the two buttons to Rig Up and Rig down. In theory this might be able to do what you want but it would require two pushes of Rig Up to get from Clean to Solo or one push of Rig Down (counter intuitive and potentially confusing in a live setting) to scroll round from Clean to Solo.
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If the bar is moving from 0 to 100% then the pedal and cables,are working properly so the issue must be a setting in the KPA itself.
Where is the Volume located in the signal path? In front of a dirty amp or Od pedal will mean that volume barely changes over most of the pedals travel although the sound may clean up as the pedal is moved towards heel.
How is the pedal range set in the rig menu? Anything less then -5 will restrict the effect of the pedal movement.
Do you have any of the “>” options ticked in the setem menu (Wah > Volume etc). I wonder if having a volume pedal and Wah>Volume could create some conflicts between the two which cause strange behaviour?
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Same as jock here although I am on MacOs. I open two windows and simply drag and drop. I never have any problems working this way.
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I'm not getting into another "I am right and you are wrong" type of debate...
Just asking the question: who actually provided some helpful information to the OP?
Hint: it wasn't any of the "this post is rude" commenters...
Torsten, you are correct. I misinterpreted the original post and jock ‘s reply. The RTFM part of the response was a bit “rude” for want pf a better phrase but my response was equally unnecessary. Let’s all put it to bed now. As Burkhard has confirmed there was a change (which I hadn’t spotted) that required the OP to tweak his settings so hopefully the issue is resolved.
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Is it ok to switch on the Kone section to FOH... i know this is designed for the Kemper cab or Kone but has anyone used this on Line out to PA?
Kone only affects the Monitor Out. it doesn’t get sent to the Main Outs ever.
My main rig is one of the MBritt factory Marshalls and iI have never had an issue with it cutting through the FOH. In fact a couple of engineers have said that and my PRS513 were the best guitar sounds they had ever worked with. I don’t do anything special at all just send a Master Mono signal to the desk and that’s it. I generally play in large bands with horns etc (9 or 10 piece) so a stereo guitar signal can take up too much space and be difficult to cut through. In a trio I might be more likely to use Master Stereo I suppose.
Many people swear by the Cut The Mix EQ preset so you might want to give that a try but I have honestly never had any need for it.
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If I understand correctly it isn’t possible for the Headphone socket to be balanced. Balanced audio works by sending two copies of the exact same signal,down two wires of a 3 wire cable. However, one signal is flipped 180 degrees out of phase before sending then flipped back at the other end. However, the headphone socket sends two different signals (stereo) without phase flipping. So although the headphone socket is TRS I don’t think the signal is balanced.
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RTFM.
A little disrespectful to be honest 😉
The OP has been a member since 2015 so probably know soon their way around the Kemper by now. His post seems to imply that it was working beforehand but isn’t anymore rather than doesn’t know how to make it work.
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I actually had almost uncontrollable feedback recently in rehearsal with a hollow bodied guitar and the Thomas Dill Robert Fripp Heroes rig. Although I call the guitar hollow it is one I made that is closed to the Gibson 336 or PRS Hollowbody II but without F holes (probably closest in construction to the BB King Lucille) so it shouldn’t feedback any more than a regular solid body. Basically, the right frequency range and enough volume and the Kemper with feedback just like any other amp. Another idea might be to lower the noise gate settings slightly too.
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WHAT ?!?!??
I saw someone’s lips moving so they mst have said something but I’m buggered if can hear what is is. My amps all went to 11 when I was younger.
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Absolutely Nothing seems to make sense within the Kemper mindset. It's all too confusing for me and I have neither the time nor the inclination to figure it all out. Perhaps it's time to go back to using real amps?
I kind of get what you mean. For me many things were/are unintuitive about Kemper’s approach but that was more based on the fact that I grew up using valve amps so my mindset is based on that. If I’d grown up using digital modellers I would probably be agast at how people could tolerate all the hassle of valve amps for such a limited tonal experience. The Kemper approach is often very logical because they don’t need to follow the limitations of tradition. I find pretty much everything logical and easy to use now that I have gotten used to it.
I actually can’t imagine going back to “real” amps even though I still own several Mesa Boogies and a THD BiValve. I just keep them because they are sentimental to me not because I think I’ll ever use them again. However, what is right for me isn’t necessarily right for someone else (you). If you feel like going back to valve amps go for it. Whatever gives you sound and experience you want and inspires you to make music is the best solution for you. Nobody else’s opinion matters. Make music, rock out and above all have fun - life’s too short to put up with stuff like amps that don’t excite you.
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I’m not sure that using transpose instead of retuning is a great idea for whole sets but I get your point. One way you could get round making new rigs just now would simply be to use the Transpose effect rather than rig transpose (it’s the exact same thing) and then just lock the FX block with transpose in it. That would effectively make the Transpose a “global” setting.
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Drag and drop them into Rig Manager desktop version and you are good to go.
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There are a series of video tutorials on the Kemper website. One of those covers outputs