Kemper KPA Effects - Revision history

Meambobbo: /* Differences in Delay Types */

2017-03-08T23:57:42Z

‎Differences in Delay Types

Meambobbo: /* Differences in Delay Types */

2016-08-24T20:27:45Z

‎Differences in Delay Types

Meambobbo: /* Differences in Delay Types */

2016-04-21T23:13:52Z

‎Differences in Delay Types

Meambobbo: /* Shapers */

2016-02-22T03:45:52Z

‎Shapers

Meambobbo: /* All those Wah Choices */

2016-02-08T04:54:16Z

‎All those Wah Choices

Meambobbo: /* All those Wah Choices */

2016-02-08T04:53:08Z

‎All those Wah Choices

Meambobbo: /* Delay and Reverb */

2016-02-03T13:34:03Z

‎Delay and Reverb

Meambobbo at 13:30, 3 February 2016

2016-02-03T13:30:19Z

Meambobbo at 13:23, 3 February 2016

2016-02-03T13:23:45Z

Meambobbo: /* Emulating Real Devices */

2016-02-03T05:54:50Z

‎Emulating Real Devices

@@ Line 115: / Line 115: @@
 ''Note: OS 4.0 converts the 3 delay types in the legacy section below into a '''Legacy Delay''' type, preparing for 5.0 to introduce a slew of new delay types.''
 ==== OS 5.0 Delays ====
@@ Line 128: / Line 126: @@
 But perhaps the most interesting new feature is '''Super Stereo''' on the Stereo parameter.  Stereo can be set to <0.0> at dead center, which means each of the delays will be panned to center.  Moving left to -100% or right to 100% pans each delay full L/R or the opposite R/L.  Going beyond 100% up to 200% in either direction engages "Super Stereo", which uses some EQ or phase trickery to make the delays sound even wider and even three-dimensional, like they are coming from the sides and back of the room.
 ==== Legacy Delays ====

@@ Line 115: / Line 115: @@
 ''Note: OS 4.0 converts the 3 delay types in the legacy section below into a '''Legacy Delay''' type, preparing for 5.0 to introduce a slew of new delay types.''
 ==== OS 5.0 Delays ====
@@ Line 126: / Line 128: @@
 But perhaps the most interesting new feature is '''Super Stereo''' on the Stereo parameter.  Stereo can be set to <0.0> at dead center, which means each of the delays will be panned to center.  Moving left to -100% or right to 100% pans each delay full L/R or the opposite R/L.  Going beyond 100% up to 200% in either direction engages "Super Stereo", which uses some EQ or phase trickery to make the delays sound even wider and even three-dimensional, like they are coming from the sides and back of the room.
 ==== Legacy Delays ====

@@ Line 114: / Line 114: @@
 }}
-''Note: OS 4.0 converts the 3 delay types in the legacy section below into a '''Legacy Delay''' type, and introduces a slew of new delay types.''
+''Note: OS 4.0 converts the 3 delay types in the legacy section below into a '''Legacy Delay''' type, preparing for 5.0 to introduce a slew of new delay types.''
-==== OS 4.0 Delays ====
+==== OS 5.0 Delays ====
-While there are a large number of delay effects listed in OS 4.0, they all boil down to a few core delay types with different features available:
+While there are a large number of delay effects listed in OS 5.0, they all boil down to a few core delay types with different features available:
 * '''Two-Tap Delay''' - features two delays that function in tandem, not independently.  The first setting is the baseline setting, while the other is the offset of the first.  So you can get pairs of delays such as 100ms, 120ms, 200ms, 220ms, 300ms, 320ms...
 * '''Serial Delay''' - this is essentially two delays built into one effect, with the output of the first feeding directly into the input of the second.  The second delay will repeat the raw guitar as well as the trails of the first.

@@ Line 202: / Line 202: @@
 [[Category:Guitar]]
 [[Category:Gear]]
 [[Category:Guides]]
 [[Category:Kemper]]

@@ Line 32: / Line 32: @@
 |Kemper KPA Effects#Shapers|Shapers
 }}
-All those Wah Wah choices can initially look intimidating and confusing.  Here's the break down:
+All those Wah Wah choices can initially look intimidating and confusing.  Many are simply manual control over typical modulation effects, but their own type here to be automatically controlled by an expression pedal assigned to CC# 1 (Wah).  Here's the break down:
 * '''Wah Wah''' - this is the basic wah wah pedal, a band pass filter.
@@ Line 44: / Line 44: @@
 * '''Wah Frequency Shifter''' - a ring modulator that only allows for harmonic frequencies - sounds like radio tuning modulation
 * '''Wah Formant Shifter''' - controls formant shifting of single notes.  center position is normal, basically no processing.  while the vowel filter changes an EQ-like sweep over one formant type, this shifts the formant types themselves
 == Mono vs. Stereo ==

@@ Line 60: / Line 60: @@
 === Tone Controls ===
 Both the Delay and Reverb blocks feature Frequency and Bandwidth settings that affect the frequency response of the blocks.  The Bandwidth control is essentially a Q control, narrowing the range of frequencies allowed to pass through as you turn it higher and higher.  At 0, it is doing nothing.  At max, it is only allowing a very, very narrow range of frequencies through.
@@ Line 73: / Line 81: @@
 === MAB Advanced Reverb Effects ===
 A big complaint about the KPA is its lack of great reverb effects, particularly a spring reverb.  I attempted to create some advanced reverb presets that fill this void until '''''Kemper''''' adds them.  See the [[Kemper KPA MAB Advanced Reverb Presets|MAB Advanced Reverb Presets page]].
 === Differences in Delay Types ===
 ''Note: OS 4.0 converts the 3 delay types in the legacy section below into a '''Legacy Delay''' type, and introduces a slew of new delay types.''
@@ Line 99: / Line 123: @@
 === Tempo Considerations ===
 Tempo can be viewed, locked, changed, and disabled from the [[Kemper KPA System and Rig Settings#Tempo|Rig block's settings]].  This mainly affects the Delay block's operation.
@@ Line 104: / Line 136: @@
 === Space Effect ===
 In addition to Delay and Reverb, there is an effect called '''Space''' that operates similarly to a reverb, perhaps with very subtle delay thrown in, as well as a stereo widening type effect.  This effect was designed to make the sound of headphones sound more like the sound of a room.  It was originally created just as an option in the Output section for headphones, but can now be applied to all outputs, or assigned as an effect block with different settings per rig.

@@ Line 8: / Line 8: @@
 == Noise Gates ==
-{|Crumbs|blue|1
+{{Crumbs|blue|1
 |Kemper KPA Effects#Noise Gates|Gates
 |Kemper KPA Effects#All those Wah Choices|Wah
@@ Line 15: / Line 15: @@
 |Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options
 |Kemper KPA Effects#Shapers|Shapers
-|}
+}}
 The Noise Gate controlled by the big Noise Gate Knob on the front of the unit is actually part of the Input block.  If you lock Input (I recommend doing so), you will always use that Noise Gate setting.  Also, it is not a traditional noise gate but more of a noise remover or noise suppressor, which can leave artifacts when set fairly high.  For these reasons, I like to use a rather low value here - just enough to suppress ''some'' noise when muting the guitar strings.
@@ Line 24: / Line 24: @@
 == All those Wah Choices ==
-{|Crumbs|blue|2
+{{Crumbs|blue|2
 |Kemper KPA Effects#Noise Gates|Gates
 |Kemper KPA Effects#All those Wah Choices|Wah
@@ Line 31: / Line 31: @@
 |Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options
 |Kemper KPA Effects#Shapers|Shapers
-|}
+}}
 == Mono vs. Stereo ==
-{|Crumbs|blue|3
+{{Crumbs|blue|3
 |Kemper KPA Effects#Noise Gates|Gates
 |Kemper KPA Effects#All those Wah Choices|Wah
@@ Line 41: / Line 41: @@
 |Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options
 |Kemper KPA Effects#Shapers|Shapers
-|}
+}}
 Although Stomps A-D, X, and Mod can all load the same effect types, some of them will function differently depending on placement.  The Stomps section is limited to mono effects.  Their stereo nature would have to be mixed down to mono to get processed by the Stack section anyway.  For such effects, you may notice an extra Stereo Separation parameter when using them in the X or Mod slots.  These use various techniques to "widen" their sound.  Many effects, such as the Air Chorus and Stereo Widener, will not sound correct unless used as stereo effects.
 == Delay and Reverb ==
-{|Crumbs|blue|4
+{{Crumbs|blue|4
 |Kemper KPA Effects#Noise Gates|Gates
 |Kemper KPA Effects#All those Wah Choices|Wah
@@ Line 53: / Line 53: @@
 |Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options
 |Kemper KPA Effects#Shapers|Shapers
-|}
+}}
 The KPA's Delay and Reverb blocks are special in that they can only load those types of effects (Delay will actually open up for general purpose usage in OS/FW 4.0).  This is for good reason - the KPA's design treats them special.  The wet portion of the combined Delay and Reverb blocks is accessible through the "Delay/Reverb Wet" output option that can be assigned to the Main or SPDIF outputs.
@@ Line 102: / Line 102: @@
 When tempo is disabled, the Free and Analog Delays use the Time parameter to determine how quickly they repeat.  The Tap Delay uses a default tempo of 120 bpm.  When tempo is enabled, the Delays ignore the Time parameter and use the tempo setting.  The Tap Delay defines the left and right repeats separately in terms of a beat.  The Free and Analog delays use a single Ratio parameter - the beat synchs up to the larger one.  For example, a ratio of 1:4 on a 120 bpm tempo means the left delay is set to 30 repeats per minute and the right delay is set to 120 repeats per minute.
 == Pitch Shifter Options ==
-{|Crumbs|blue|5
+{{Crumbs|blue|5
 |Kemper KPA Effects#Noise Gates|Gates
 |Kemper KPA Effects#All those Wah Choices|Wah
@@ Line 111: / Line 114: @@
 |Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options
 |Kemper KPA Effects#Shapers|Shapers
-|}
+}}
 The KPA offers chromatic and intelligent (harmony) pitch shifting effects, which function like traditional [[Pitch Shifting|pitch shifters]].  The Harmony Shifter goes a step beyond and allows custom user scales to harmonize against.  But even beyond these functions, the KPA's shifters offer somewhat unique options to adjust how the shifters work:
@@ Line 127: / Line 130: @@
 == Shapers ==
-{|Crumbs|blue|6
+{{Crumbs|blue|6
 |Kemper KPA Effects#Noise Gates|Gates
 |Kemper KPA Effects#All those Wah Choices|Wah
@@ Line 134: / Line 137: @@
 |Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options
 |Kemper KPA Effects#Shapers|Shapers
-|}
+}}
 While most effects are more common for guitarists, the "shaper" effects may seem a bit confusing.  Essentially, they attempt to "shape" the waveforms of the input audio signal.  This is essentially what distortion is, but most distortion circuits use ''clipping'' to reshape the waves.  These do something different entirely, but most end up adding harmonic overtones.  The best advice is to try all of them at mild and hot settings, run both into a clean amp profile as well as crunchy one.

@@ Line 82: / Line 82: @@
 The Formant option enables a formant parameter which defines a resonant peak (formant) in the pitch-shifted part of the signal.  Formants determine what the tone sounds like, with the human voice making use of different formants to create the different phonetic sounds of the alphabet, particularly for vowels.  Thus, the pitch-shifted sound can become quite different from its normal sound.  It can reduce the "Chipmunks" type sound to upwards shifted settings.  It can also make the guitar sound like a different instrument altogether.
-== Emulating Real Devices ==
+== Shapers ==
-Most of the KPA's effects are generic - they are not modeled after specific devices (with the exception being several of the Distortion effects).  Instead, they provide lots of parameters to make them fully tweakable.  Some devices can be emulated by simply using the right settings for that type of effect.  Others may require using multiple KPA effects in combination to get their unique sound.  [http://www.wikpa.org/FX_Settings_%26_Presets This WiKPA.org page] contains lots of settings to emulate real-world effects.
+While most effects are more common for guitarists, the "shaper" effects may seem a bit confusing.  Essentially, they attempt to "shape" the waveforms of the input audio signal.  This is essentially what distortion is, but most distortion circuits use ''clipping'' to reshape the waves.  These do something different entirely, but most end up adding harmonic overtones.  The best advice is to try all of them at mild and hot settings, run both into a clean amp profile as well as crunchy one.
-=== Getting Good Fuzz Sounds ===
+Looking at stomps presets, many tend to use a combination of a shaper effect and distortion effect (and sometimes an EQ as well) to emulate various real-world distortion boxes, particularly fuzz type distortion.
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