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When you start modifying the Profile that's when the 'magic' begins.what happens on the KPA if I want to modify the profile? How well does it hold up when you want to create a newer "alternate" version of a profile?
The range off all parameter controls is far beyond what we are used to from real amps and other digital gear (with the exception of the Axe-Fx, TBH). When you move a knob the sound change immediately. Tweaking is quick, easy and damn effective. The EQ fx (Graphic and Studio) are very efficient and is question of a few seconds to fit any sound in to a mix.The KPA sounds very close to the Axe sound. Ironic though, that we are listening to a profile of a model of an amp.
But although the Axe sound is damn good to start with, what happens on the KPA if I want to modify the profile? How well does it hold up when you want to create a newer "alternate" version of a profile?
I ask this because I work with producers who like to ask for more or less of this or that, so I often create "versions" of a sound for use in a track.
Apparently he got hate mails for doing that video.
This post has been edited 1 times, last edit by "HappyKemper" (Jul 15th 2012, 5:11am)
Well, I may be wrong here, but I can hardly see a producer missing the Axe. Not because it sounds bad, but just because, with almost 2,000 profiles of real tube amps available, what's the need for adding a modeller to the palette? Specially with all the tricks you can make in studio (EQ-match, overlying tracks & the like). Unless, of course, a producer wants to sound "Axe". But then, why not using a real one?I ask this because I work with producers who like to ask for more or less of this or that, so I often create "versions" of a sound for use in a track.
This post has been edited 1 times, last edit by "HappyKemper" (May 29th 2012, 9:27pm)