Posts by mollydyer

Quote from Casparus

I just realized something else. I'm using the Kemper's stereo out (XLR main) to two channels of the X32. However, I'm using the P1 monitor amplifier with only one XLR and mono. Could this be the problem?

Try muting one of the channels your kemper is plugged into. If it sounds good (but only one side), then yes - what might be happening is the X32 is summing the L&R channels on your bus out to your P1, and that's causing a cancellation effect. If this is the case, check the POLARITY on one of the channels. I've not powered up my X32 since before COVID so I can't remember where that is on it- sorry, but you should be able to find that pretty easily.

I realize this thread is more than six months old, but I'm going to chime in anyway here for QLab. It's Mac only, but if I'm not mistaken, even in its most BASIC form supports almost all of your needs - the one that I think is missing is being able to control your Kemper- for that you would need the audio license.

QLab is effectively industry standard in theater for running shows and cues. The audio license is spendy, but it's overall feature set is exactly what you need: Multichannel audio, Setlist (you would set up a cue list for each song), midi output, timecode...

I've used it in even smaller production shows and it's incredibly powerful.

The alternative: Find a used Cymatic LP15 or 24 and deal with the fact that they're out of business and had crappy software.

My backup is a headrush mx5.

It doesn't sound as good, but it fits in my gigbag. I've never had the kemper go down, so it'll probably never get used, but it's there if I need it.

Quote from V8guitar

Mine was slightly different - turned out my battery was failing on my wireless! I was checking leads and the settings etc!

It happens, right? I gig with a flat of fully charged Eneloop Pros now just in case. (My mic and guitar and in ears all take AAs). Nothing worse than having gear choke out mid set. I used to use the energizer industrial batteries, until one day I forgot I was out, and just grabbed a set of shitty gas station batteries - still energizer, but they died in my mic mid way through set #2. I did a battery change during an extended solo.

Must have looked funny from the crowd.

Quote from G String

yes, you're right. totally sorry, I was intending to say macOS (that's why I've made the bullet point in the first place). my bad.

All good. I know y'all are working on it. Not worried. I managed to get my settings all set up for the new band, so we're good

Funny story. Few years ago was doing a bar gig. Kemper -> PA, IEMs. Second set, I sounded like shit. Turns out the gain switch on my belt pack somehow got changed. lol.

As others have stated, it sounds like master mono is the culprit, if anything, on your side- but I'd lay the blame soundly (pardon the pun) on whoever was at the desk. Since it sounded good in your IEMs, logically the problem was with the board.

Toss my vote into the hat for this too, but after the RM bugs are sorted out.

I've got this bug on MacOS, latest RM. I just edit the names on the rack itself, and go about my day. Looking forward to the next fix.

Quote from moskito42

Der Kemper unterstützt meines Wissens (noch?) keine Synth Sounds. Das würde ich auch nicht erwarten.

Das SY-200 sollte sich aber ideal als Ergänzung des Kempers verwenden lassen:

- Einbettung im Effektweg

- Anschluss über Midi

In diesem Fall kann man z.B.:

- Presets vom Kemper aus umschalten

- Synth parallel zu Gitarren Klängen legen

- den Synth Klang mit Effekten aus dem Kemper anreichern

und das alles vom Kemper aus steuern.

Oder übersehe ich da etwas?

In einer Band mit 1xKeys und 2xGitarre sollten sich dadurch etliches mehr an Liedmaterial anbieten.

Einziger Nachteil: Die Klänge vom SY-200 sind alles analoge Synthesizer Klänge. Z.B ein Piano bekommt man damit nicht hin.

Dafür passen Latenz und Tracking.

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Google Translation:

Quote

As far as I know, the Kemper does not (yet?) Support synth sounds. I wouldn't expect that either.

The SY-200 should, however, ideally be used as a supplement to the core:

- Embedding in the effects path

- Connection via midi

In this case you can for example:

- Switch presets from the Kemper

- Place synth parallel to guitar sounds

- Enrich the synth sound with effects from the Kemper

and control everything from the Kemper.

Or am I missing something?

In a band with 1xKeys and 2xGuitar there should be a lot more song material.

The only disadvantage: The sounds from the SY-200 are all analog synthesizer sounds. E.g. you can't do a piano with it.

In return, latency and tracking fit.

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Very cool idea, posted a translation to get a wider response.

Quote

Sehr coole Idee, eine Übersetzung gepostet, um eine breitere Antwort zu erhalten.

Quote from creative360

? Not sure what this means but don’t forget to take a break every once in a while!

Nothing wrong with your post.

^{In many languages (C derivatives like C, C++, Java, Javascript) starting a line with '//' has the compiler ignore that line. It's useful for putting comments in, or disabling a small block of code.}

Quote from creative360

///Please show me the guitarist who sounds better because of these supposedly better effects; I mean on a record or stage, not a youtube video isolating and comparing these tools in ways that we’d never use in the wild.

You know you've been developing software for too long when this comment was commented out.

Thanks a mill for taking the time DamianGreda - I'm on a Mac. I'm in a session RN so I won't be able to play around again until after these tracks are finished. I set it up using the analog io for now.

But I *really* appreciate your suggestions. Very much.

Yeah- I track at 96k for latency reasons only. At the end of the day, everything gets popped down to 44.1/24 for streaming anyway.

I'll keep messing with it.

Thanks DamianGreda. Analog is how I'm going right now (I couldn't get it set up, and I had stuff to track )

And the studio capture IS changing it's sample rate automatically- to 44.1, no matter what I have it set to, and no matter what the kemper is set to. Always back to 44.1. I track at 96k (only for reduced latency) and wanted to keep it there.

Anyway...

For those curious, the routing is the same as if it was digital - I'm going out from 9 into the kemper, and then back into 15/16- just over analog. I can now patch in to channel 2 on the interface, record (and hear) through the kemper, but then print the kemper when I have the tone dialed in perfect / take comped the way I like it.

I just couldn't get the digital to work.

GearJocke Yeah- I did - I had everything set to 96k- but the interface still 'snaps' back to 44.1.

EDIT: Yup. Both coax cables are connected.

I've had the Kemper for a couple of years- I'm actually not sure of the build date- and the roland always wants to be the slave unfortunately (it doesn't let me assign master/slave with the kemper plugged in)

Hey all -

Just got a new interface for the home studio. It's the Roland Studio Capture. I tried connecting my Kemper to it via S/PDIF, but the interface always locks to 44.1 no matter what the output setting is on the Kemper. Is the Kemper stuck at 44.1?

I worked around it by creating an insert path / bus combo in Protools over analog, but I'd love to keep it all digital.

Is there a trick I'm missing?

(It's an unpowered Kemper rack)

Thanks All

D

Quote from ckemper

comparing an apple in front of him, to an orange he has in mind.

Quote of the day. Thanks ckemper

ITT: Band that hasn't actually been relevant for 20 years tried the Kemper once and didn't understand how to use it.

Quote from Sollazzon

Just found this article

where Richard Fortus says:

"Slash and I both tried Kempers out in rehearsal once, and it doesn't work for us,” he said. “For what I do with GNR, it doesn't work. Because we rely so much on our volume knobs on our guitars.

"So, in other words, I use a single-channel amp with Guns, and it's all about the volume knob. So if I want a clean sound, I just roll my volume down. With a tube amp, it gets clean and sparkly. And Slash does the same thing."

He continued, “There's always so many tones just within your volume control, you know? And if you watch live videos both of us are constantly on our volume knobs. We’re always just subtly adjusting things to get the exact sound that we want.

"Now, if I was in Muse or Metallica, and I was just playing open, and I was either getting a really clean sound or a really dirty sound, a Kemper would work, an Axe-Fx would work,” Fortus concluded. “But all subtleties and nuances are lost with that stuff.”

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