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=== MIDI NRPN ===[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive. The exact specification is below:# CC 99: Value is the Most significant Byte (MSB) of the desired address# CC 98: Value is the Least Significant Byte (LSB) of the desired address# CC 06: Value is the Most Significant Byte (MSB) of the desired value# CC 38: Value is the Least Significant Byte (LSB) of the desired value{{top}}
While the ==== MIDI NRPN ====[https://en.wikipedia.org/wiki/NRPN NRPN spec allows (Non-registered Parameter Numbers)] uses a set of 4 different CC 38 messages to be optional, exponentially increase both the KPA requires itsize of possible addresses and values that a device can send/receive. The 4 '''Since each CC's named above must be received in ordermessage can carry a value from 0-128, NRPN addresses and the NRPN message values each have a range of 128 x 128, which is 16,384.''' The exact specification is processed as soon as below:# '''CC 38 99''': Value is received. Once an the Most significant Byte (MSB) of the desired address has been selected via # '''CC98''s 99 and 98, multiple values can be sent without sending 99/98 each time to reselect ': Value is the Least Significant Byte (LSB) of the desired address - only # '''CC 06/''': Value is the Most Significant Byte (MSB) of the desired value# '''CC 38 needs to be sent.''': Value is the Least Significant Byte (LSB) of the desired value
Some footcontrollers support While the NRPN 14-bit addressing but not 14-bit values via spec allows CC38 to be optional, the KPA ''requires''s 06 and 38it. The KPA allows 4 CC 119 to send 's named above must be received in order, and the value in this caseNRPN message is processed as soon as CC 38 is received. So the footcontroller ''Once an address has been selected via CC's 99 and 98, multiple values can be programmed to send an NRPN as sent without sending 99:address MSB, /98:each time to reselect the address LSB, 119:7-bit valueonly 06/38 needs to be sent. '' The 7-bit value That is mapped useful to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0know if you want to program NRPN to "move" a single parameter over time.
Since each Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38. The KPA allows CC message 119 to send the value in this case. So the footcontroller can carry a be programmed to send an NRPN as follows:# '''CC 99''': address MSB# '''CC 98''': address LSB# '''CC 119''': 7-bit valueThe 7-bit value is mapped to the appropriate 14-bit value from 0-128becomes 16,384, NRPN addresses and values each have a range of 128 x 12864 becomes 8, which is 16192,384while 0 remains 0.
This firmware will instantly turn your FCB1010 into a dedicated {{top}}{{Kemper controller. The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote. The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates. Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.Guide Crumbs|6}}
== [[Category:Guitar]][[Category:Gear]][[Category:Modelers]][[Category:Guides]][[Category:Kemper Remote ==]]
→Morphing
{{Top-Level Crumbs|4}}
{{User Guide Crumbs|2}}
{{Kemper Guide Crumbs|6}}
The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA. The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.
== Expression Pedals ==
{{Crumbs|blue|1
|Kemper KPA External Control#Expression Pedals|Expression Pedals
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers
|Kemper KPA External Control#Kemper Remote|Kemper Remote
|Kemper KPA External Control#DAW|DAW
}}
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches. ''Expression pedals should be stereo and connected with a stereo cable.'' Footswitches can be mono or stereo. Additionally, up to 4 expression pedals can be connected to the Kemper Remote.
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.
* '''Lock Vol. Pedal ''' - this setting will lock the current volume pedal settings below to apply to all rigs* '''Wah Pedal to Vol. ''' - this is a rig-level override of the System Menu page 14 pedal linking option above* '''Location ''' - this refers to a volume pedal's placement in the signal chain. Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.* '''Range ''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center) {{top}}
== Analog Footswitches ==
{{Crumbs|blue|2
|Kemper KPA External Control#Expression Pedals|Expression Pedals
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers
|Kemper KPA External Control#Kemper Remote|Kemper Remote
|Kemper KPA External Control#DAW|DAW
}}
The Kemper also supports analog mono and stereo momentary footswitches. They are set up the similarly to expression pedals on pages 5-6 of the System menu. The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig. In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.
{{top}}
== Using a MIDI Footcontroller ==
{{Crumbs|blue|3
|Kemper KPA External Control#Expression Pedals|Expression Pedals
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers
|Kemper KPA External Control#Kemper Remote|Kemper Remote
|Kemper KPA External Control#DAW|DAW
}}
For more on MIDI foot controllers in general, see [[Foot Controllers]]. MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals. Depending on their nature, they may support some features in the MIDI spec or not. They are typically programmable to some nature, but often within predefined boundaries. Some can be programmed directly from the footswitches, while others require being connected to a PC editor. Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.
=== System Menu Settings ===
{{Crumbs|blue|3
|Kemper KPA External Control#Expression Pedals|Expression Pedals
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers
|Kemper KPA External Control#Kemper Remote|Kemper Remote
|Kemper KPA External Control#DAW|DAW
}}
{{Crumbs|orange|1
|Kemper KPA External Control#System Menu Settings|System Menu
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference
}}
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments. Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.
=== Behringer FCB1010 ==={{Crumbs|blue|3|Kemper KPA External Control#Expression Pedals|Expression Pedals|Kemper KPA External Control#Analog Footswitches|Analog Footswitches|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers|Kemper KPA External Control#Kemper Remote|Kemper Remote|Kemper KPA External Control#DAW|DAW}}{{Crumbs|orange|2|Kemper KPA External Control#System Menu Settings|System Menu|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference}}A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010]. Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price. The FCB1010 can also easily be modified to use alternative firmware. There are 4 possible firmwares you can use: {|class="wikitable"! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]|-! Advantages|* Can be programmed from PC* No additional cost|* Fixes bugs and removes restrictions found in factory FW* Can be programmed from PC* Can save programmed settings on PC|* Makes the FCB plug n play with KPA* Supports 2-way communication to sync effect states* Simple to program directly from FCB1010* Supports accessing all 625 performances on the KPA|* Can access all 625 performance rigs* Multiple "scene" paradigms easily switched to change behavior* Very configurable/powerful|-! Disadvantages|* Contains a number of bugs, particularly early version* Can only reference a max of 100 rigs* Numerous restrictions* Missing features|* Still limited to max of 100 rigs to select from* No 2-way communication to display correct LED states matching KPA effects|* Cannot be updated as KPA OS is updated, have to buy a new chip* No advanced programming, such as firing multiple CC's from one button press* Footswitch and expression pedal assignment is global, not per rig* Expression pedals can only be assigned to CC1 and CC7|* Can be kind of confusing to program* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects* Cannot save configuration to PC and share|} {{top}} ==== UnO4Kemper ====[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author. It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up. This firmware will instantly turn your FCB1010 into a dedicated Kemper controller. The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote. The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button). Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature. The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual]. * Bank (Performance) Up/Down* One row of buttons is used for rig selection and the other for toggling effects on/off* The rows' functions can be swapped.* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume). These can be swapped.* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.* 2-way communication with KPA using 2nd MIDI cable. Keeps footswitch LEDs in sync with KPA effects when switching rigs.* Can display KPA tuner on FCB1010* Can use KPA Beat Scanner function for tempo* Force KPA to enter Browse Mode or Performance Mode === Other MIDI Foot Controllers ==={{Crumbs|blue|3|Kemper KPA External Control#Expression Pedals|Expression Pedals|Kemper KPA External Control#Analog Footswitches|Analog Footswitches|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers|Kemper KPA External Control#Kemper Remote|Kemper Remote|Kemper KPA External Control#DAW|DAW}}{{Crumbs|orange|3|Kemper KPA External Control#System Menu Settings|System Menu|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference}}As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs. How far you want to take your amount of control depends on what you want to do. While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject]. {{top}} === MIDI Programming Reference ==={{Crumbs|blue|3|Kemper KPA External Control#Expression Pedals|Expression Pedals|Kemper KPA External Control#Analog Footswitches|Analog Footswitches|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers|Kemper KPA External Control#Kemper Remote|Kemper Remote|Kemper KPA External Control#DAW|DAW}}{{Crumbs|orange|4|Kemper KPA External Control#System Menu Settings|System Menu|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference}}This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages. These go from least to most complicated, and similarly most to least supported. ==== MIDI Program Change ====Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here. In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance. Even disabled slots are assigned a PC #. Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available. If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB). While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC. It will ignore any CC #0 bank select MSB messages. CC 32 can be used by itself to change which rigs the KPA accesses via PC. Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs. Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load. This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs. There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot. {{top}} ==== MIDI Continuous Control ====
The KPA responds to a number of MIDI CC messages. These are enough for generic MIDI foot controllers to perform normal functionality. You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode. You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed. In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.
{| class="wikitable"
! CC # !! Valid Values !! What it controls
|-
| 0 || N/A || Bank Select MSB - ignored
|-
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if "wah to volume" linking is checked and all wah wah effects are disabled or not present on current rig. Pitch if "wah to pitch" linking is checked and all wah wah effects are disabled or not present on current rig.
|-
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.
|-
| 11 || x || Morph - controls any parameters set to be controlled by morphing.
|-
| 16 || Any || Toggles all stomps on/off
|-
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner
|-
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.
* Bank 0 - performance 1 slot 1 - performance 26 slot 3
* Bank 1 - performance 26 slot 4 - performance 52 slot 1
* Bank 2 - performance 52 slot 2 - performance 77 slot 4
* Bank 3 - performance 77 slot 5 - performance 103 slot 2
* Bank 4 - performance 103 slot 3 - performance 125 slot 5
|-
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast
|-
| 34 || 0/1 || 0: Delay Feedback Infinity Off; 1: Delay Feedback Infinity On
|-
| 35 || 0/1 || 0: Delay Hold Off; 1: Delay Hold On
|-
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]
|-
| 48 || 1/0
|* Performance Mode - : Increases performance index. Value triggers two different modes:** Value 0, increase performance n to n+1 (bank up)*** Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. * Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right”
|-
| 49 || 1/0
| * Performance Mode only: Decrease Decreases performance index. Value triggers two different modes: ** Value 0, increase performance n to n-1 (bank down)*** Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.* Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left”
|-
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance.
|-
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]
|-
| 119 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]
|}
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value. For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on. Now if you press it again, the light turns off, and it sends a 0 (off) value.
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above. MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate. The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.
{|
| 12 || 6 || Cabinet || Character
|-
| 50 || 0 || Stomp A || Type (see belowother table)
|-
| 50 || 3 || Stomp A || On/Off
| 50 || 7 || Stomp A || Stereo
|-
| 50 || 8 || Stomp A (Wah) || Wah Manual
|-
| 50 || 9 || Stomp A (Wah) || Wah Peak
|-
| 50 || 10 || Stomp A (Wah) || Wah Range
|-
| 50 || 12 || Stomp A (Wah) || Wah Pedal Mode
|-
| 50 || 13 || Stomp A (Wah) || Wah Touch Attack
|-
| 50 || 14 || Stomp A (Wah) || Wah Touch Release
|-
| 50 || 15 || Stomp A (Wah) || Wah Touch Boost
|-
| 50 || 16 || Stomp A (Dist/Shaper) || Distortion/Shaper Drive
|-
| 50 || 17 || Stomp A (Dist/Shaper) || Distortion/Booster Tone
|-
| 50 || 18 || Stomp A (Comp) || Compressor/Gate Intensity
|-
| 50 || 19 || Stomp A (Comp) || Compressor Attack
|-
| 50 || 20 || Stomp A (Mod) || Modulation Rate
|-
| 50 || 21 || Stomp A (Mod) || Modulation Depth
|-
| 50 || 22 || Stomp A (Mod) || Modulation Feedback
|-
| 50 || 23 || Stomp A (Mod) || Modulation Crossover
|-
| 50 || 24 || Stomp A (Mod) || Modulation HyperChorus Amount
|-
| 50 || 25 || Stomp A (Mod) || Modulation Manual
|-
| 50 || 26 || Stomp A (Mod) || Modulation Phase Peak Spread
|-
| 50 || 27 || Stomp A (Mod) || Modulation Stages
|-
| 50 || 30 || Stomp A (Rot) || Rotary Speed (slow/fast)
|-
| 50 || 31 || Stomp A (Rot) || Rotary Distance
|-
| 50 || 32 || Stomp A (Rot) || Rotary Balance
|-
| 50 || 33 || Stomp A (Comp) || Compressor Squash
|-
| 50 || 34 || Stomp A (EQ) || Graphic EQ Band 1
|-
| 50 || 35 || Stomp A (EQ) || Graphic EQ Band 2
|-
| 50 || 36 || Stomp A (EQ) || Graphic EQ Band 3
|-
| 50 || 37 || Stomp A (EQ) || Graphic EQ Band 4
|-
| 50 || 38 || Stomp A (EQ) || Graphic EQ Band 5
|-
| 50 || 39 || Stomp A (EQ) || Graphic EQ Band 6
|-
| 50 || 40 || Stomp A (EQ) || Graphic EQ Band 7
|-
| 50 || 41 || Stomp A (EQ) || Graphic EQ Band 8
|-
| 50 || 42 || Stomp A (EQ) || Parametric EQ Low Gain
|-
| 50 || 43 || Stomp A (EQ) || Parametric EQ Low Frequency
|-
| 50 || 44 || Stomp A (EQ) || Parametric EQ High Gain
|-
| 50 || 45 || Stomp A (EQ) || Parametric EQ High Frequency
|-
| 50 || 46 || Stomp A (EQ) || Parametric EQ Peak Gain
|-
| 50 || 47 || Stomp A (EQ) || Parametric EQ Peak Frequency
|-
| 50 || 48 || Stomp A (EQ) || Parametric EQ Peak Q
|-
| 50 || 49 || Stomp A (EQ) || Parametric EQ Peak 2 Gain
|-
| 50 || 50 || Stomp A (EQ) || Parametric EQ Peak 2 Frequency
|-
| 50 || 51 || Stomp A (EQ) || Parametric EQ Peak 2 Q
|-
| 50 || 52 || Stomp A (Wah) || Wah Peak Range
|-
| 50 || 53 || Stomp A || Ducking
|-
| 50 || 55 || Stomp A (Pitch) || Voice Mix|-| 50 || 56 || Stomp A (Pitch) || Voice 1 Pitch|-| 50 || 57 || Stomp A (Pitch) || Voice 2 Pitch|-| 50 || 58 || Stomp A (Pitch) || Detune|-| 50 || 60 || Stomp A (Pitch) || Smooth Chords|-| 50 || 61 || Stomp A (Pitch) || Pure Tuning|-| 50 || 64 || Stomp A (Pitch) || Key|-| 50 || 65 || Stomp A (Pitch) || Freeze Formants |-| 50 || 66 || Stomp A (Pitch) || Formant Offset |-| 50 || 67 || Stomp A (Delay) || Low Cut |-| 50 || 68 || Stomp A (Delay) || High Cut |-| 50 || 69 || Stomp A (Delay) || Delay Mix |-| 50 || 70 || Stomp A (Delay) || Delay Mix Pre/Post |-| 50 || 71 || Stomp A (Delay) || Delay Time 1 |-| 50 || 72 || Stomp A (Delay) || Delay Time 2 |-| 50 || 73 || Stomp A (Delay) || Delay Ratio 2 |-| 50 || 74 || Stomp A (Delay) || Delay Ratio 3 |-| 50 || 75 || Stomp A (Delay) || Delay Ratio 4 |-| 50 || 76 || Stomp A (Delay) || Delay Note Value 1 |-| 50 || 77 || Stomp A (Delay) || Delay Note Value 2 |-| 50 || 78 || Stomp A (Delay) || Delay Note Value 3 |-| 50 || 79 || Stomp A (Delay) || Delay Note Value 4 |-| 50 || 80 || Stomp A (Delay) || To Tempo |-| 50 || 81 || Stomp A (Delay) || Delay Volume 1 |-| 50 || 82 || Stomp A (Delay) || Delay Volume 2
|-
| 50 || 56 83 || Stomp A (Delay) || Voice 1 PitchDelay Volume 3
|-
| 50 || 57 84 || Stomp A (Delay) || Voice 2 PitchDelay Volume 4
|-
| 50 || 58 85 || Stomp A (Delay) || DetuneDelay Panorama 1
|-
| 50 || 60 86 || Stomp A (Delay) || Smooth ChordsDelay Panorama 2
|-
| 50 || 61 87 || Stomp A (Delay) || Pure TuningDelay Panorama 3
|-
| 50 || 64 88 || Stomp A (Delay) || KeyDelay Panorama 4 |-| 50 || 89 || Stomp A (Delay) || Voice3 Pitch |-| 50 || 90 || Stomp A (Delay) || Voice4 Pitch |-| 50 || 91 || Stomp A (Delay) || Voice3 Interval |-| 50 || 92 || Stomp A (Delay) || Voice4 Interval |-| 50 || 93 || Stomp A (Delay) || Feedback |-| 50 || 94 || Stomp A (Delay) || Infinity Feedback |-| 50 || 95 || Stomp A (Delay) || Infinity |-| 50 || 96 || Stomp A (Delay) || Feedback2 |-| 50 || 97 || Stomp A (Delay) || Feedback Sync Switch |-| 50 || 98 || Stomp A (Delay) || Delay Low Cut |-| 50 || 99 || Stomp A (Delay) || Delay High Cut |-| 50 || 100 || Stomp A (Delay) || Delay Filter Intensity |-| 50 || 101 || Stomp A (Delay) || Delay Modulation |-| 50 || 102 || Stomp A (Delay) || Delay Chorus |-| 50 || 103 || Stomp A (Delay) || Flutter Intensity |-| 50 || 104 || Stomp A (Delay) || Flutter Shape |-| 50 || 105 || Stomp A (Delay) || Grit |-| 50 || 106 || Stomp A (Delay) || Reverse Mix |-| 50 || 107 || Stomp A (Delay) || Swell |-| 50 || 108 || Stomp A (Delay) || Smear |-| 50 || 109 || Stomp A (Delay) || Ducking Pre/Post
|-
| 51 || * || Stomp B || Same as Stomp A
| 58 || * || Effect Mod || Same as Stomp A
|-
| 74 || * || Delay (4.0+) || Same as Stomp A|-| 74 || 0 || Delay (Deprecated in 4.0) || Type (see below)
|-
| 74 || 2 || Delay (Deprecated in 4.0) || On/Off (cuts tails)
|-
| 74 || 3 || Delay (Deprecated in 4.0) || Mix
|-
| 74 || 4 || Delay (Deprecated in 4.0) || Volume
|-
| 74 || 5 || Delay (Deprecated in 4.0) || Time
|-
| 74 || 6 || Delay (Deprecated in 4.0) || Ratio
|-
| 74 || 7 || Delay (Deprecated in 4.0) || Clock Left
|-
| 74 || 8 || Delay (Deprecated in 4.0) || Clock Right
|-
| 74 || 9 || Delay (Deprecated in 4.0) || Feedback
|-
| 74 || 10 || Delay (Deprecated in 4.0) || Bandwidth
|-
| 74 || 11 || Delay (Deprecated in 4.0) || Frequency
|-
| 74 || 12 || Delay (Deprecated in 4.0) || Modulation
|-
| 74 || 13 || Delay (Deprecated in 4.0) || On/Off (keeps tails)
|-
| 74 || 14 || Delay (Deprecated in 4.0) || Ducking
|-
| 75 || 0 || Reverb || Type (see below)
|-
| 0 || Null/Empty
|-
!colspan="2"| Wah Wah
|-
| 1 || Wah Wah
| 3 || Wah High Pass
|-
| 4 || Wah Vowel Filter
|-
| 6 || Wah Phaser
|-
| 12 || Wah Formant Shift
|-
!colspan="2"| Shapers
|-
| 17 || Bit Shaper
|-
| 21 || Wave Shaper
|-
!colspan="2"| Distortion
|-
| 33 || Green Scream
|-
| 39 || Metal DS
|-
!colspan="2"| Boosters
|-
| 113 || Treble Booster
|-
| 116 || Wah Pedal Booster
|-
!colspan="2"| EQs
|-
| 97 || Graphic Equalizer
|-
| 101 || Stereo Widener
|-
!colspan="2"| Dynamics
|-
| 49 || Compressor
|-
| 58 || Gate 4:1
|-
!colspan="2"| Modulation
|-
| 65 || Vintage Chorus
|-
| 91 || Flanger Oneway
|-
!colspan="2"| Loops
|-
| 121 || Loop Mono
|-
| 123 || Loop Distortion
|-
!colspan="2"| Pitch
|-
| 129 || Transpose
|-
| 131 || Harmonic Pitch
|-
!colspan="2"| Delay
|-
| ? || Single Delay
|-
| ? || Dual Delay
|-
| ? || TwoTap Delay
|-
| ? || Serial TwoTap Delay
|-
| ? || Rhythm Delay
|-
| ? || Quad Delay
|-
| ? || Legacy Delay
|-
| ? || Crystal Delay
|-
| ? || Loop Pitch Delay
|-
| ? || Freq Shifter Delay
|-
| ? || Dual Chromatic Delay
|-
| ? || Dual Harmonic Delay
|-
| ? || Dual Crystal Delay
|-
| ? || Dual Loop Pitch Delay
|-
| ? || Melody Chromatic Delay
|-
| ? || Melody Harmonic Delay
|-
| ? || Quad Chromatic Delay
|-
| ? || Quad Harmonic Delay
|}
|}
{{top}} ==== MIDI SysEx ====
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages. SysEx messages are proprietary protocols that each manufacturer can create for each of their devices. They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.
The SysEx common format is:
# 0xF0 - 1 byte for SysEx Start(<code>0xF0</code>)# 3 bytes for Manufacturer ID (<code>0x002033 </code> for Kemper)# 1 byte for product type (<code>0x02 </code> for Kemper Profiling Amp)# 1 byte for device ID (<code>0x7F </code> for Omni)
# x bytes for the message (this is the device-specific part)
# 0xF7 - 1 byte for SysEx End(<code>0xF7</code>)
Example: <code>F0-00-20-33-02-7F-...-F7</code>, where ... is variable.
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation]. For most users, SysEx will never be necessary. Where this really comes in handy is for software programs that want to communicate with KPA via MIDI. The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA. These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code. This is followed by an instance code, which is always <code>0x00</code>. This is followed by the address, then the data. Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length. '''The 2 byte addresses use the NRPN addresses above.''' I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any. Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be "-5.0", 8,192 might be "<0.0>", and 16,384 would be "+5.0" - this depends on what the parameter actually is). '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].''' I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings. So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags. ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''
{|class="wikitable"
<pre>F0-00-20-33-02-7F-
01-00-4A-04-40-00-
F7 Addr Data</pre>
|-
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || <pre>F0-00-20-33-02-7F-
02-00-4A-00-00-03-00-01-00-01-4C-4F-..-..-F7 Addr Data1 Data2 ...</pre>
|-
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string. String data is 1 byte per character, encoded as ASCII. String addresses overlap with parameter addresses. || <pre>F0-00-20-33-02-7F-
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || <pre>F0-00-20-33-02-7F-
41-00-4A-04-
F7 Addr</pre>
|-
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message. May contain up to 128 values as byte pairs. || <pre>F0-00-20-33-02-7F-
42-00-4A-00-
F7 Addr</pre>
|-
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || <pre>F0-00-20-33-02-7F-
43-00-00-01-
F7 Addr</pre>
|-
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is < 16,384
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion. The string response is the KPA's string representation of that parameter value. For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as "<0.0>". || <pre>F0-00-20-33-02-7F-
7C-00-4A-04-40-00-
F7 Addr Data
returns
F0-00-20-33-02-7F-
|}
{{top}} === Behringer FCB1010 - UnO4Kemper =Kemper Remote ==A popular {{Crumbs|blue|4|Kemper KPA External Control#Expression Pedals|Expression Pedals|Kemper KPA External Control#Analog Footswitches|Analog Footswitches|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers|Kemper KPA External Control#Kemper Remote|Kemper Remote|Kemper KPA External Control#DAW|DAW}}The '''Kemper Remote''' is the official foot controller for the Kemper is KPA. It connects via the '''LAN port''' on the back of the [http://www.musicKPA, supporting '''2-groupway communication''' as well as '''power over a single cable'''.com It features 14 footswitches (2 for bank/Categoriesperformance up/Behringerdown, 5 for performance slots, 4 for toggling effects on/Accessoriesoff, a tap tempo, a tuner, and a looper). Up to 4 expression pedals can be connected directly to the Remote. Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig. Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access. I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please. == DAW =={{Crumbs|blue|5|Kemper KPA External Control#Expression Pedals|Expression Pedals|Kemper KPA External Control#Analog Footswitches|Analog Footswitches|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers|Kemper KPA External Control#Kemper Remote|Kemper Remote|Kemper KPA External Control#DAW|DAW}}DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper. They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open. Alternatively, you could simply send the CC values you want to control. Volume is actually the least necessary parameter -you can more easily control the volume of tracks inside your DAW. EQ perhaps as well. Compression may also have better options in the DAW. Delay, Reverb, andMod effects is up to you. Things like Gain or rig changes would be things you'd need to access this way. With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist. == Morphing ==OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:* a '''base value'''* a '''morphed value'''* a '''rise time*'''* a '''descend time*'''''* these affect triggering morphing from a footswitch'' On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature. It can also be easily assigned to any effect button for the Kemper Remote-Controls/FCB1010/p/P0089 Behringer FCB1010] with . Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a [http://wwwmorph value.uno4kemper While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.com/ UnO4Kemper EPROM chip] installed Morph values can be set higher or lower than the base value. The UnO4Kemper firmware expression pedal heel position corresponds to the base value, and the toe position the morphed value. The morphing procedure with a "morph" pedal connected is to rock the pedal towards the toe position before changing a value. When you change the value, you'll see an unofficial firmware for "M" appear next to it, so you know this is the FCB1010 made by full morph value (toe position). If not using a 3rd party authorpedal, tap the Rig button. It comes has a bottom LED and top LED - the LEDs switch when Rig is tapped. The bottom is the base value, and the top is the morphed. So press Rig until the bottom LED is on an EPROM chip that can be switched out ; set your base parameters; then press Rig so the top LED is on and set your morph parameters. That's all there is to it. The assigned morph pedals or switches will now control those parameters. Morph settings are saved per rig. To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the factory chip after opening morph value (if base is 1.0 and morph is 4.0, sweeping the FCB1010 upbase value from < 1.0 to > 4.0 will clear the morph entirely).