KEMPER PROFILING AMPLIFIER The deeper view & reference manual 1.
Legal notice This manual, as well as the software and hardware described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. The content of this manual is furnished for informational use only, is subject to change without notice and should not construed as a commitment by Kemper GmbH. Kemper GmbH assumes no responsibility or liability for any errors or inaccuracies that may appear in this book.
Table Of Contents Reference Manual 8 The deeper view Volume Master/Output Section Volumes and Volume Link Output Sources 17 Stack Section Amplifier EQ Cabinet 22 Stomp Section Wah Stomps (orange) The Wah Parameters Compressor and Noise Gate Stomps (cyan) Noise Gate Distortion Stomps (red) Chorus and Modulation Stomps (blue) Vintage Chorus Phaser and Flanger (purple) Phaser Flanger 3
KEMPER PROFILING AMPLIFIER Equalizer Stomps (yellow) Graphic Equalizer Studio Equalizer Metal Equalizer Stereo Widener Effect Loops (white) 44 Effects Delay Reverb 50 Rig Tagging Snapshots Pedals 53 System LCD/HW Setup Pedal Settings Date and Time Version Information 56 Pedals, Program Changes and MIDI Expression Pedals Switches Double Switches Operation of a MIDI remote pedal 60 External Storage Managing large amounts of rigs
67 MIDI parameter documentation Index 5
KEMPER PROFILING AMPLIFIER
Reference Manual 7
KEMPER PROFILING AMPLIFIER The deeper view Welcome to the reference part of the KPA documentation. We assume that you have already read the first part of the documentation (“The Basics”) by now, and therefore know your way around the product fairly well.
THE DEEPER VIEW Master/Output Section In the Output Section you find all settings that control the physical audio outputs of the Profiler. You can set individual volumes and route different signals individually to several outputs. The whole Output section settings can be stored as a local preset, in the way you have learned already with the stomps and effects. ✔✔Note: The volume level settings are not stored with the local output presets, as switching the presets would result in dangerous volume jumps.
KEMPER PROFILING AMPLIFIER ✔✔Note: Linking or unlinking a volume never causes volume jumps. So it’s save to change the link settings even live on stage. Output Sources In the second page of the Output menu you can modify the routing to the physical outputs, or in other words, select the signal sources for the outputs. If you feel that every output delivers the signal that you need, then feel free to skip this chapter.
THE DEEPER VIEW Mod Stereo (Not available for Direct Output and Monitor Output, as these are mono outputs). This stereo signal is tapped directly behind the MOD section and contains the whole signal, but without Delay and Reverb. Mod Mono Delivers a mono mix of the “Mod Stereo” signal. Mod Left (or Right for Direct Output). Delivers only one side of the stereo signal of “Mod Stereo” . This will sound similar to Mod Mono but often less dense, depending what stereo effects are used.
KEMPER PROFILING AMPLIFIER Now after the straight explanations of the output sources, here are some useful applications and comments for your inspiration: The Direct Output acts as an analog buffer amp for the instrument input, when set to “Git Analog” – the default setting. It qualifies well for reamping purposes as it provides a ground lift switch, as well as the other analog outputs. Try different combinations of ground lifts for best hum and noise suppression.
THE DEEPER VIEW If you don’t need the Monitor Output on stage, you can expand the Wet/Dry/Wet setup to a four cable Wet/Dry/Dry/Wet setup. Set the Monitor Output to “Mod Left” and the Direct Output to “Mod Right”. Both Monitor and Direct Output form a new stereo sum, containing everything but Delay and Reverb. Now you can send two stereo sums to the front mixing desk, where the Delay and Reverb signals are separated from the non-reverberant effects (X and MOD).
KEMPER PROFILING AMPLIFIER Running your Profiler through a guitar speaker cabinet is a special case, that needs some more explanation: The guitar speaker is a special speaker, as it is only capable of transmitting a limited frequency response. Listening to music through a guitar speaker is not fun, due to that reason. But for guitar playing, especially for distorted sounds it is a must, as it damps the harsh high frequencies of the distortion.
THE DEEPER VIEW Focused means, the high frequencies are the loudest when you listen on the axis of the speakers. The high frequencies are damped when you listen off-axis. Every speaker has a bit of this focus effect, but guitar cabinets are really bad. The closer you stand by the cabinet, the more you get of axis and out of the focus, because your ears are positioned much higher than the axis of the speakers. You will need quite a loud volume to sit well in the musical mix on stage.
KEMPER PROFILING AMPLIFIER This way you can run profiles of different amp models by the same monitor cabinet, even if your cabinet does not match perfectly to certain amp models. Of course we cannot anticipate the exact sound of the speaker cabinet you use. Some little finetuning on the global Monitor Equalizer will help you to create the perfect “amp in the room” sound. You can use tube power amps, too.
STACK SECTION Stack Section The Stack section is the heart of the KPA. It represents the raw virtual guitar amplifier as defined by the profile. Every profile is represented by the 3 modules that make the Stack section. Amplifier The AMPLIFIER button calls up a list of parameters that allow you to change the character of the profiled amplifier in numerous ways using the soft knobs. ♦♦ Definition The “Definition” parameter controls the characteristic fingerprint of the preamp.
KEMPER PROFILING AMPLIFIER ♦♦ Power Sagging “Power Sagging” models the interaction between the guitar signal and the distortion stage. Increase the amount of power sagging to emphasize the velocity and energy of crunch sounds. The guitar sound gains additional energy and presence, without raising the perceived volume of the distorted signal.
STACK SECTION Turning down the volume knob on the guitar results in a very natural, clean sound with full dynamics and lots of energy. Power sagging cannot be reproduced using a conventional compressor, but it can be further enhanced with our dedicated compressor circuit. The breathing of the tubes becomes most apparent with dynamically played, semi-distorted or so called crunch sounds.
KEMPER PROFILING AMPLIFIER ♦♦ Tube Shape “Tube Shape” controls the distortion characteristics of the tubes, ranging from very soft to very hard. All kinds of crunch sounds can be dialed up, from warm blues to singing metallic to harsh. Depending on the gain setting or the playing style, the resulting effect can be rather subtle; completely distorted sounds are mostly unaffected by this parameter, as are clean sounds. Set the value to 3 o’clock to simulate the typical sound of preamp tubes.
STACK SECTION ♦♦ High Shift, Low Shift Both of these parameters influence the characteristic formants of a cabinet profile, thereby simulating a change in size. “High Shift” will make the higher formants more prominent, whereas “Low Shift” does the same for the lower frequencies. ♦♦ Character Use this parameter to change the overall character of the cab. Turning the knob to the right of center will enlarge the peaks and notches in the frequency response curve.
KEMPER PROFILING AMPLIFIER Stomp Section The STOMPS section holds 4 Stomp modules called A, B, C and D which are placed in the signal flow before the amplifier stack. The modules represent your choice of virtual stomp boxes. The STOMPS section is all mono because the amplifier will only accept a mono signal. In difference to that, the X and MOD stomps in the EFFECT section work in stereo, if desired.
STOMP SECTION select the phaser by turning TYPE to check the same settings with the phaser algorithm, that is somewhat relative to the flanger. Some generic parameters, common to most of the stomp effects, are: ♦♦ Mix Controls the amount of effect in the signal. At the default setting of 100% you get the most intense effect. With some effects, such as Wah or Compressor – only the effect signal is audible at the 100% position to give the strongest effect.
KEMPER PROFILING AMPLIFIER stereo effects as with positive values, but the left and right sides are reversed. With extreme settings of the stereo parameter, you can exaggerate the stereo width. Wah Stomps (orange) The Wah effects are a versatile collection of different effects, that can all be controlled by a Wah pedal. Alternatively, you can switch from Pedal Mode to Touch Mode and control the effect using your picking strength. Wah Wah This is the classic Wah pedal effect.
STOMP SECTION Ring Modulator Here, the signal is modulated by a sine oscillator. The pitch of the oscillator is controlled with the ‘Manual’ parameter - note that the ‘Manual’ parameter is bipolar, therefore a setting of ‘0’ will have no effect. Lower settings produce a tremolo-like effect, whereas higher settings bend the complete harmonic structure of the instrument into a bell-like character by shifting every frequency component either upwards (sum frequency) or downwards (difference frequency).
KEMPER PROFILING AMPLIFIER The Wah Parameters ♦♦ Manual This is the base value for the Wah effect. It determines the zero or heel position of the pedal. When “Pedal Mode” is set to off, “Manual” controls the static pedal position. ♦♦ Peak This parameter controls the intensity of the effect. The actual choice of the physical parameter depends on the effect type: for Wah Wah, and other filter effects, the “Peak” control varies the Q-factor or resonance of the filters.
STOMP SECTION Off The pedal has no effect. The effect will be static, and can still be controlled by the “Manual” soft knob. Touch Uses the picking strength to control the effect, as described below. On The Wah pedal is active. Control the impact of the pedal by the “Range” parameter. Bypass @ Stop The Wah pedal is active. The stomp effect will be smoothly faded in when you start moving the pedal, and smoothly faded out when you stop moving it. Bypass @ Heel The Wah pedal is active.
KEMPER PROFILING AMPLIFIER Compressor and Noise Gate Stomps (cyan) Compressor A compressor for guitar is mostly used for clean sounds, as the strings of the guitar decay pretty fast. On distorted sounds, the distortion itself adds compression as a side-effect; this means the compressor could even be in the way, as additional compression will kill the dynamics and touch-sensitivity of the distortion.
STOMP SECTION ♦♦ Attack Adjusts the reaction time of the compressor. The higher the “Attack” value, the longer it takes for the compressor to kick in. This will let the first peak of the signal pass unaffected when you hit a string, thus increasing the percussiveness of your pick. ♦♦ Squash This gives you control over the dynamic behavior of the compression. At the center position the compressor will work as you expect.
KEMPER PROFILING AMPLIFIER ♦♦ Gate 2:1 This noise gate is a soft expander, with an expansion ratio of 2:1. That means when the guitar has decayed to half its level below the treshold, it will be attenuated even more, resulting in a quarter of the original level. It is triggered earlier than the 4:1 gate, and the effect is more subtle. ♦♦ Gate 4:1 This noise gate is a more aggressive expander, with an expansion ratio of 4:1.
STOMP SECTION ♦♦ Tone Some of the original distortion pedals that inspired this collection are equipped with tone controls. Green Scream The sound of this one just screams ‘tubes’ - a very special kind of overdrive which results in a wonderful, smoky tone. Good for achieving a subtle distortion effect whilst still retaining headroom for dynamics. Use the Tone control to soften the sound with a lowpass filter. Plus DS A more extreme distortion.
KEMPER PROFILING AMPLIFIER Type Diagram Recti Shaper This is the characterictic curve of the Recti Shaper. Regular Distortion This is the characterictic curve of the regular distortion. Soft Shaper This is the characterictic curve of the Soft Shaper. Hard Shaper This is the characterictic curve of the Hard Shaper. Wave Shaper This is the characterictic curve of the Wave Shaper. ♦♦ Treble Booster A classic sound-shaping stomp pedal, that doesn’t feature a built-in distortion.
STOMP SECTION Before you reach for the Treble Booster, please try the “Definition” parameter in the AMPLIFIER menu first. This will also modify the distortion result, but directly in the profile, and with less changes to the residual frequency response. ♦♦ Lead Booster This is a tunable peak filter that can emphasize specific frequencies of your guitar. Set the desired sound by using the “Tone” control.
KEMPER PROFILING AMPLIFIER stereo. This is because there is a separate chorus for the left and right sides, modulating in opposite ways. If you prefer the original mono sound, set the “Stereo” parameter to the middle position. ✔✔Note: If you happen to own an original chorus unit from the analog era, you may notice that our choruses don’t feature a volume boost when you switch them on.
STOMP SECTION Hyper Chorus The Hyper Chorus is probably one of the most complex choruses ever made; it is a six-voice chorus with up to three delay lines for both the left and right sides. Despite this, it is staggeringly simple to use, as you only need adjust the “Depth” parameter to achieve a huge, warm sound.
KEMPER PROFILING AMPLIFIER resulting chorus sound happens in the air between the speakers, where both signals are added together hence the name. This is actually how the famous Jazz Chorus amplifier works. ♦♦ Depth In most circumstances, as with the Hyper Chorus, the “Depth” control will be the only control you need for achieving the sound you want.
STOMP SECTION ♦♦ X-Over Use the “X-Over” parameter to blend out the vibrato effect for the lower frequencies of the signal. This will result in an old-school modulation effect, quite similar to a scanner vibrato of a Hammond organ. Rotary Speaker The Rotary Speaker chorus type is a faithful recreation of the sound produced by the legendary Leslie speaker - best known for the classic effect it has on the sound of the Hammond organ.
KEMPER PROFILING AMPLIFIER ♦♦ Stereo Use the “Stereo” parameter to adjust the angle of the two virtual microphones relative to the speakers. If you want the effect to be mono, set the Angle to 0° (center position). Negative values will reverse the rotation direction. Only the high rotor is tapped by two microphones, the low rotor is mono with one microphone – a regular practice of recording a rotary speaker, whether live or in a studio.
STOMP SECTION Phaser and Flanger (purple) Phaser Our Phaser is a huge filter bank comprising up to 12 filter stages for each stereo side. ✔✔Note: There is a similar phaser in the group of Wah effects, that can be controlled by the wah pedal. ♦♦ Rate Determines the rate or speed of the Phaser modulation. When the Tempo is engaged, the rate will be displayed in musical values. ♦♦ Depth Determines the modulation depth of the Phaser in relation to the “Manual” value.
KEMPER PROFILING AMPLIFIER ♦♦ Peak Spread You cannot find this parameter in any vintage phaser, because it would have been too expensive to realize in the analog domain. With “Peak Spread” you can control the spread and width of the phaser peaks and notches in the frequency domain over a wide range. At a narrow setting (more to the left), you can hear the phaser peaks being focused to a narrow field. At a wider spread the phaser seems de-coupled, and dominates the whole sound spectrum.
STOMP SECTION ✔✔Note: You can find a similar flanger, called Wah Flanger, in the group of Wah effects, that can be controlled by the wah pedal. Equalizer Stomps (yellow) This group of Stomp effects offers you a nice selection of high-quality equalizers. They can be placed either before or after the stack section, as each configuration has a different impact on the sound. The “Mix” parameter is common to all the equalizers, and controls the impact of all the EQ bands combined.
KEMPER PROFILING AMPLIFIER Metal Equalizer This can be thought of as the little brother of the Studio Equalizer. It’s a 3-band, half-parametric EQ, inspired by the equalizer of the Boss Metal-Zone stomp (you can find a model of this among our stomp distortions). The Metal Equalizer is perfect for creating the mid-scoop that characterizes the typical metal sound, but since it is also a regular equalizer, it is also suitable for many other sounds and genres.
STOMP SECTION In the X or MOD sections you can even choose an effect loop with a stereo return (Stereo Loop). In this case, the ALTERNATIVE input will work as the right input. The Distortion Loop is made for connecting distortion pedals to the KPA, and is only in mono. The feature unique to this loop, is that any volume boost of a preceding effect will be applied to the send jack, thus driving the distortion pedal. This is actually what you would expect, anyway.
KEMPER PROFILING AMPLIFIER Effects Delay The Profiling Amplifier provides three types of delays, each of which can be found in the DELAY module on the right hand side of the panel: Tap Delay The delay time is linked to the tempo as selected in RIG settings, or by the TAP tempo button. Free Delay Delay time is freely adjustable in milliseconds, and is independent from the TAP tempo. The delay time can be changed transparently, with no audible artifacts, which is also true for the tap delay.
EFFECTS ♦♦ Mix Determines the volume of the delay signal relative to the direct signal. It works like a send control on a mixing desk. At three quarters of the range, the delay signal is as loud as the direct signal; beyond this point it will start to attenuate the dry signal. Eventually, with “Mix” turned all the way to the right, you will only hear the pure, delayed signal. ✔✔“Delay Mix” is always accessible via the row of knobs in the upper half of the panel.
KEMPER PROFILING AMPLIFIER When “Feedback” is at zero, there will only be one audible repeat. As you increase the feedback, the number of repeats increase until, at 100% (center position), the delayed signal will continue repeating infinitely. As you push the values above 100% the delay is slowly driven into the tape saturation. You will notice that the first values above 100% have a very fine resolution - this allows for very subtle control over the amount of tape saturation.
EFFECTS ♦♦ Volume For regular delay applications you should leave delay “Volume” at the center position, as the volume of the delay is usually controlled by the “Mix” parameter. However, when “Feedback” is above 100%, the delay’s volume increases with each repetition, until it’s caught and compressed by the tape saturation. In this state, the delay has turned into a sound generator - the level of which cannot be controlled by the “Mix” parameter any more.
KEMPER PROFILING AMPLIFIER delay and reverb are working in a parallel configuration. You will hear delay reflections and a reverb tail, but the delay signal doesn’t feed the reverb. As you turn the “Delay/Reverb Balance” more to the right, the opposite happens: the delay reflections keep their reverb tail, but the dry signal loses its reverberation and becomes completely dry. This will emphasize your instrument, as the reverb will not appear until after first delay reflection.
EFFECTS ♦♦ Damping The reverb tail of a natural room gets darker over time because the high frequencies decay faster than the lower frequencies. As sound waves travel through the air, the oscillation of the air causes friction that attenuates the sound as it travels; because high frequencies oscillate faster, they cause more friction per time, resulting in a faster attenuation. This effect is simulated by the “Damping” parameter.
KEMPER PROFILING AMPLIFIER Rig This button is used to access all rig-related parameters that are not covered by the knobs on the front panel. Tempo The “Tempo enable” soft button enables or disables the tempo for a rig. When tempo is disabled, all tempo-related values in the KPA fall back to a default tempo of 120 BPM and the values are displayed in milliseconds and hertz. The “Tempo” soft knob sets the tempo in beats per minute. Tagging “Show Tag” enters the tagging mode.
RIG Character Use the “Character” soft knob to select a character Insert Use the soft button “Insert” to insert a space to the left of the currently selected character. Delete The soft button “Delete” clears the currently selected character and closes the gap. Done When you finished inputting the text, press the soft button “Done” to complete the procedure. Snapshots Back in the RIG page, the soft button “Browse Snapshots” allows you to browse snapshots with the BROWSE knob.
KEMPER PROFILING AMPLIFIER The Volume pedal does not have its own effect type, as this would block a stomp or effect slot every time you wanted to use the pedal. Instead, you will find two parameters for the Volume Pedal in the RIG menu. ♦♦ Volume pedal position Selects the position of the volume pedal in the signal flow: Off The volume pedal has no effect Pre-stomps Directly before STOMP A Post-stomps Right after STOMP D. At this position you control the gain of the amplifier.
SYSTEM System Press this button to access the global settings pages. Global settings do not change when you switch to another rig. LCD/HW Setup On this page you can control the settings for the display and adjust the “Line Frequency” parameter. The soft button labeled “Factory Rigs” will allow you to reload all the Factory rigs that came with the KPA. Please note that your own rigs and profiles will not be overwritten.
KEMPER PROFILING AMPLIFIER Quick On this page you can determine the function of the QUICK button using the soft knob “Quick Function”. This function allows you to use the QUICK button as a shortcut to get to often used pages like “MIDI Settings” or “Browse Snapshots” directly. Rig Autoload On the same page you can use the soft button “Rig Autoload” to activate the Rig Autoload function. This will automatically load a rig when it is selected in the rig browser.
SYSTEM Date and Time On this page you can set the date and time using the soft buttons “Edit Date” and “Edit Time”. Make sure the correct date and time is entered as this will help you to organize your rigs and profiles. Version Information On this page the Firmware version of the KPA is displayed. KPA Version is the version of the KPA operating system. KPA Date is the date the version was released. DSP Date is the date the DSP version was released.
KEMPER PROFILING AMPLIFIER Pedals, Program Changes and MIDI The Kemper Profiling Amplifier features two jacks for the direct connection of expression pedals or switches. Expression Pedals An expression pedal works just like a wah or volume pedal, but is made for digital devices. It only needs one cable with a stereo jack, connected to one of the dedicated pedal inputs. The PEDAL 1 INPUT is routed to the wah stomp effects, as well as a few others, including the phasers and flangers.
PEDALS, PROGRAM CHANGES AND MIDI ✔✔Note: the Profiling Amplifier expects so-called “momentary” switches. These close the contact when you step on them, and open it again when you lift your foot off. Channel switches for tube amps are not compatible with the KPA, as they use a latching mechanism instead.
KEMPER PROFILING AMPLIFIER ♦♦ Expression Pedals The two expression pedal destinations can also be played by MIDI controllers. Pedal 1 (Wah Pedal) responds to MIDI controller #1 (Modulation Wheel). Pedal 2 (Volume Pedal) responds to MIDI controller #7 (Channel Volume). ♦♦ Effect Switches Some MIDI pedals allow you to assign control change numbers (CC#’s) to individual foot buttons. These can be used to switch stomps and effects in the KPA.
PEDALS, PROGRAM CHANGES AND MIDI #31 Tuner Select #33 Rotary Speaker (slow/fast) #68 Delay Mix #69 Delay Feedback #70 Reverb Mix #71 Reverb Time #72 Gain The respective effect is engaged by a value greater than zero, and bypassed by a zero value. If you use CC’s #26 or #28 to bypass the Delay or Reverb, you will cut the effect tails abruptly (the same happens if you bypass them from the front panel of the KPA).
KEMPER PROFILING AMPLIFIER External Storage In the regular play screen of the KPA you can press the soft button labeled External Storage to create or restore backups, import or export rigs or format a USB stick. Pressing the soft button labeled “Backup” will take you to a page where you can either backup all of the rigs and presets in the KPA using the soft button labeled “Backup” or restore a backup from an USB stick into the KPA using the soft button labeled “Restore”.
EXTERNAL STORAGE Let me explain this process step by step for PC first. Please scroll further down for MAC instructions. If you should be using different tools, this process could vary slightly.
KEMPER PROFILING AMPLIFIER ♦♦ PC/Windows Instructions •• Download and install 7-zip on your PC http://www.7-zip.org/ •• Create a backup of your KPA data on your USB-stick (KPA User Manual page 36). •• Remove the USB-stick from your KPA and plug the USB-stick with the backup into your PC. •• Open the USB-Stick using the File Manager on your PC. •• Open the Folder Backups, which contains your KPA backup archives e. g. 2012-07-13 17-27-25.kpabackup.
KEMPER PROFILING AMPLIFIER •• Double click on the unpacked backup folder on your PC desktop e. g. 2012-07-13 17-27-25. •• Select all the files and folders contained (Amplifier, Tonestack, MIDIAssignments,….). •• Right click, select 7-zip and Add to an archive. •• A new 7-zip window will pop-up suggesting name and format of the new archive. •• You can leave everything as suggested e. g. archive format tar, but you need to change the file extension in the first row from tar to kpabackup.
EXTERNAL STORAGE ♦♦ Instructions for Mac users •• Download and install GuiTar on your Mac •• http://download.cnet.com/GUI-Tar/3000-2250_4-48290.html •• Create a backup of your KPA data on your USB-stick (KPA User Manual page 36). •• Remove the USB-stick from your KPA and plug the USB-stick with the backup into your MAC. •• Open the USB-Stick by double-clicking on its icon. •• Open the Folder Backups, which contains your KPA backup archives e. g. 2012-07-13 17-27-25.kpabackup.
KEMPER PROFILING AMPLIFIER •• Go back to the unpacked backup folder on your MAC desktop e. g. 2012-07-13 17-27-25.backup. •• Select all the files and folders inside that folder. •• Open the GuiTar program by double-clicking on its icon in your applications folder and click on Compressor. •• Drag all the selected files and subfolders from the KPA backup to the GuiTar window and select tar as the compression type. •• Click on “Compress“ and give the archive a name like 2012-07-13 17-27-25.
EXTERNAL STORAGE We strongly recommend, not using a hex-editor or similar tools to manipulate content within any of these rig or local preset files e. g. for tagging purposes. This can cause file corruptions which could force hangs of your KPA. Stay away from these tools! By the way the main reason, why we are packing all user data into one backup archive, is, that it speeds up the transaction significantly. The time to write data on USB-sticks is primarily scaling with the number of files.
KEMPER PROFILING AMPLIFIER MIDI parameter documentation The Kemper Profiling Amplifier features over 400 different Midi Parameters. Those will not fit into the 128 possible Midi Controller. This is why we support the extended Midi Controller format: The NRPN (Non Registered Parameter Numbers). NRPN allow to address 16384 different parameters (that is 128 x 128) and even have a parameter resolution of 16384 values (14 bit) compared to 128 values (7 bit) with regular controllers.
MIDI PARAMETER DOCUMENTATION $B0,$63,Address Number $B0,$06,Parameter Value $B0 is the Midi Start Byte for controllers at Midi Channel 0. The Kemper Profiling Amplifier will listen to the Midi Channel that is set as the Midi Global Channel in the System Menu. The standard setting is “Omni”, saying it responds to every channel.
KEMPER PROFILING AMPLIFIER 4 5 Input Clean Sense Input Distortion Sense Amplifier Address Page 10 2 4 6 7 8 9 10 11 12 15 On/Off Gain Definition Clarity Power Sagging Pick Compressor Tube Shape Tube Bias Direct Mix Equalizer Address Page 11 2 4 5 6 7 On/Off Bass Middle Treble Presence Cabinet Address Page 12 2 3 4 5 6 On/Off Volume High Shift Low Shift Character
MIDI PARAMETER DOCUMENTATION Stomp A Address Page 50 0 3 4 6 7 Type On/Off Mix Volume Stereo 8 9 10 12 13 14 15 Wah Wah Wah Wah Wah Wah Wah 16 17 Distortion/Shaper Drive Distortion/Booster Tone 18 19 Compressor/Gate Intensity Compressor Attack 20 21 22 23 24 25 26 27 Modulation Modulation Modulation Modulation Modulation Modulation Modulation Modulation 30 31 32 Rotary Speed (Slow/Fast) Rotary Distance Rotary Balance Manual Peak Range Pedal Mode Touch Attack Touch Release Touch Boost Rate Dept
KEMPER PROFILING AMPLIFIER 33 Compressor Squash 34 35 36 37 38 39 40 41 Graphic Graphic Graphic Graphic Graphic Graphic Graphic Graphic 42 43 44 45 46 47 48 49 50 51 Parametric Parametric Parametric Parametric Parametric Parametric Parametric Parametric Parametric Parametric 52 Wah Peak Range EQ EQ EQ EQ EQ EQ EQ EQ Band Band Band Band Band Band Band Band EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ 1 2 3 4 5 6 7 8 Low Gain Low Freqency High Gain High Freqency Peak Gain Peak Freqency Peak Q-Factor Peak Gai
MIDI PARAMETER DOCUMENTATION Stomp D Address Page 53 Same parameters and Address Numbers as Stomp A Stomp X Address Page 56 Same parameters and Address Numbers as Stomp A Stomp MOD Address Page 58 Same parameters and Address Numbers as Stomp A Delay Address Page 74 0 2 3 4 5 6 7 8 9 10 11 12 13 Type On/Off (cuts tail) Mix Volume Time Ratio Clock Left Clock Right Feedback Bandwidth Center Frequency Modulation On/Off (keeps tail) 72
KEMPER PROFILING AMPLIFIER Reverb Address Page 75 0 2 3 4 5 6 7 8 9 10 11 Type On/Off (cuts tail) Mix Volume Del/Rev Balance Time Damping Bandwidth Center Frequency Pre-delay On/Off (keeps tail) System / Global Address Page 127 0 1 2 3 Main Output Volume Headphone Output Volume Monitor Output Volume Direct Output Volume 11 S/PDIF Input Enable 12 13 14 15 Main Main Main Main 17 18 19 20 Monitor Monitor Monitor Monitor Output Output Output Output EQ EQ EQ EQ Output Output Output Output Bass
MIDI PARAMETER DOCUMENTATION 74
Index 75
KEMPER PROFILING AMPLIFIER Index D Damping 38 Date 43 Delay/Reverb Balance 36 Delay Time & Delay Ratio 34 Air Chorus 25 Amplifier 9 Analog Delay 33 Attack 19 HW Setup 42 Hyper Chorus 24 Definition 9 Delay 14, 33 A High Shift 13 I Intensity 19 Direct Edit 43 Distance 27 Distortion 14, 20 Double Switches 45 Drive 20 L LCD 42 Lead Booster 22 Line Frequency 42 Loop 14 B E Effect Loops 31 Backups 40 Effect Switches 46 Balance 27 EQ 12, 14 Bandwidth & Center Frequency Equalizer 30 38 Expre
Peak Range 17 Stomp 14 Wah Vowel 16 Peak Spread 28 Studio Equalizer 30 Wah Wah 16 Pedal Booster 22 Switches 44 White Balance 42 T X Tagging 39 X-Over 24 Pedal Mode 17 Pedal Range 17 Pedals 40 Phaser 14, 28 Pick 11, 19 Talkbox 16 Ping pong 33 Tap Delay 33 Plus DS 21 Tap Left & Tap Right 34 Power Sagging 10 Tempo 39 Pre-delay 37 Time 37, 43 Prg # Assign 43 Tone 20 Program Change 44 Tonestack 12 Touch Attack 18 Q Touch Boost 18 Touch Release 18 Quick 42 Treble Booster 21 Quick
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