Classical guitar tones?

  • An unusual one for me, I'm normally a 7 or 8 stringer, but I still love my little nylon strung classical.


    Can anyone point me in the direction of a good tone for nylon's? I'd love to use my classical through the kemper!

    Kemper rack mount. Mesa Boogie 50/50. Zilla Fatboy 2x12.
    Caparison Dellinger II FX-WM. Caparison Dellinger 7 FX-WM. Spector Q5 Pro.

  • guitar with a mic in front, a piezo pickup, internal mics - what kind of signal are we talking about here?


    It's been a while since I worked with classical guitars, but back then I did a research and listened to a lot of classical solo guitar music and one thing they all had in common: quite a bit of high end was rolled off.
    I'd also stay away from compression unless you're a master of it, since it quite easily interferes with the dynamic structure of the original.


    I'd try a few of the mic preamp profiles in the RE, add EQ if needed (most certainly on the high frequencies, see above).

  • Really sorry it's taken me so long to reply here, forgotten this thread!


    Setup would be my yamaha cgx102 into my kemper rack, Mesa boogie 50/50 power amp and zillion fatboy 2x12

    Kemper rack mount. Mesa Boogie 50/50. Zilla Fatboy 2x12.
    Caparison Dellinger II FX-WM. Caparison Dellinger 7 FX-WM. Spector Q5 Pro.

  • I'm with Paul here, I see no reason to use a guitar amp for amplifying an acoustic instrument as my first choice: I'd start with no amp and no cab, and just use the Eq and ambience fx.


    Of course one can always find a profile that sounds spectacular, but I'd see it as a "special effect" rather than a way to actually improve a sound which has to be born health at the source IMO.


    Never played or heard that guitar live tho.


    :)

  • Most acoustics w/pickups are designed to hook up directly to an acoustic amp or FOH mixer, so amp/cab simulation is unnecessary, or even unwanted, unless you want some special effects. I run many different electric guitars as well a lot of different acoustic instruments (steel/nylon/banjo/mandolin/resonator) through my wireless+KPA combo. It's practical to have the transmitter on my belt so I always know where the plug is as I swap between instruments on stage. With the acoustic instruments I use almost exclusively rigs with amp+cab disabled. With a rig for each acoustic instrument I only use EQ and a few effects (compressor/reverb/delay) and set the volume so that each instrument sit about right in the mix. This works well both for small venues where we handle our own PA, and in places where there are professionals handling the sound.