2 track reel to reel spotted! Proper old skool 
About myself - A long time AXE FX II owner with my newly acquired KEMPER - along with some observations from an objective user
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sampleaccurate, how do you deal with the perceived "hole" in the stereo landscape caused by the wide spacing of the monitors?
I imagine you'd have to sit quite-far-back in order to create an equilateral triangle between your ears and the monitors.
I've had to stick with a single, 15-year-old Dell 30" monitor in order to not mess up the central phantom image. Oh, how I'd love to run two monitors, let alone big ones, but alas...
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Hi Monkeyman ,
Do like I do - stick a Laney IRT x on the floor in the middle of the monitors - Needs a little balancing of the volumes so that neither the monitors or IRTx dominates the sound, but this gives a Wall of sound feeling
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Hmm... that's a bit Wild West for the serious s#!t I intend doing, man, but thank you for the advice.
It'll help your situation 'though, no doubt. At least it'll help somewhat with the low frequencies involved in the phantom image, which is better than having nothing but a gaping hole there.
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Welcome, and from what I've seen from the Fractal crowd on other forums, Papa Cliff disciples treat everyone, just like he does. The only people more insecure are Helix owners. Having great gear(it's all usable if you know what your doing) isn't enough, you need to crap on everyone that uses something different in order to make yourself feel better about your purchase.
This "IS" the friendliest forum I belong to for gear. Happy Holidayz my Kemper family.
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Nicky, my understanding of studio design (admittedly fairly rudimentary) is that the triangle doesn’t need to be equilateral. Any triangle will do (within reason) and you won’t have a hole in the stereo image. However, the wider the triangle becomes the narrower the sweet spot becomes. That can be a big issue if you are building a control room where an engineer, producer and clients are all sitting together on a 96 channel desk and need to hear a similar perspective of the mix. However, if you are working alone in a fixed position and mixing in the box you can learn to keep yourself in a fairly constant position (unless you are rocking out so much that you just have to boogie).
Anyway, all of that is irrelevant if you follow Will’s hard left hard right panning methodology as there is nothing in the middle but drums and vocals anyway
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Welcome to the forums! The internet has a long memory, it would appear that Cliff will never get away from the past.
Perhaps it’s time he deleted some of those threads too, hahaha!
It’s the great thing about the Kemper. The rabbit hole is as deep as you want it to be. Some like to tweak, others like to browse, some like a bit of both. Suitable to everyone’s workflow!
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My workspace
Cool monitors!
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The rabbit hole is as deep as you want it to be.
It's all fun and games until you actually catch the rabbit.
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sampleaccurate, how do you deal with the perceived "hole" in the stereo landscape caused by the wide spacing of the monitors?
I imagine you'd have to sit quite-far-back in order to create an equilateral triangle between your ears and the monitors.
I've had to stick with a single, 15-year-old Dell 30" monitor in order to not mess up the central phantom image. Oh, how I'd love to run two monitors, let alone big ones, but alas...
I've had similar considerations. My mixer, MCU, keyboard / mouse and rack pres are all in a fairly large Argosy console. For a long while I ran a 42" monitor behind the console. While that looked cool, the ergonomics weren't great as I had to look up at a slight angle. Doesn't sound like much, but over the hours of long sessions it's a stiff neck waiting to happen.
I recently revamped and moved to a 27" monitor on an arm that comes out of the center of the console and positions over the MCU. With it close enough for me to read (over 40 eyes being what they are), 27 was as wide as I could go without interfering with the speakers. I'm lucky enough to have the space to do an equilateral triangle, and the monitor no longer requires neck strain, so it's all good.
Would love dual monitors, but I have nice enough toys that I probably shouldn't whine.
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Welcome Sir
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Welcome, extremely jealous of your high end hearing but you’ll enjoy the KPA
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High end is anything above 500hz right
Too many years with a Dual Rectifier, loud drummers and a 4/5 piece horn section Morph.
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Welcome to the Family
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Nicky, my understanding of studio design (admittedly fairly rudimentary) is that the triangle doesn’t need to be equilateral. Any triangle will do (within reason) and you won’t have a hole in the stereo image. However, the wider the triangle becomes the narrower the sweet spot becomes. That can be a big issue if you are building a control room where an engineer, producer and clients are all sitting together on a 96 channel desk and need to hear a similar perspective of the mix. However, if you are working alone in a fixed position and mixing in the box you can learn to keep yourself in a fairly constant position (unless you are rocking out so much that you just have to boogie).
Anyway, all of that is irrelevant if you follow Will’s hard left hard right panning methodology as there is nothing in the middle but drums and vocals anyway
IMHO, equilateral is best, Alan.
As for the "hole", I'm obviously referring to the phantom image in the centre and its level relative to what it should be; it's not a simple matter of whether or not it's there (it's always-there to some extent).
Even if using Will's preferred-panning technique, you still need a reliable level (and tonal) reference in the centre.
An old-school trick is to sit in the listening position and have two people slide the monitors from the centre outwards whilst "observing" the phantom image, thereby determining an ideal spread just short of one where it starts to disappear.
Aussie Michael Stavrou discusses this in this excellent (I highly recommend it) book of his:
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Welcome!
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Welcome! You made the correct choice. The KPA sounds warm to my ears and WAY more amp-like than other products.
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Welcome. Having owned about every product from L6 over the years and being a Roland V-guitar player, I can relate to the pain of endless tweeking. Crafting patches is a lot of work, but can be rewarding if you have the time to invest. The main reason I love the KPA is the simplicity of getting really great sounds quickly and almost effortlessly. For me, the KPA is like working with a real amp/cab/pedal board setup. I already know what type of delays and reverbs my ears like hearing. With the lock function, I have the ability to have my "pedal board" and instantly run that thru a myriad of amps via rig exchange or saved/ purchased profiles in my unit. It makes for a super simple and fast auditioning process across a broad range of amp profiles. I am also using Rig exchange to see how others setup tones/ cabs/EFX. Couple all these benefits with warm sounding, dynamic responding amp tones...winning!
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Welcome!
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Great to hear your story from that perspective. I went with Kemper simply based on internet research and it's always nice to hear from someone who has used other devices and confirms how much they appreciate Kemper. Welcome to the forum!
