Posts by Dynochrome

    Making recordings for bats or other scientific purposes is the only reason to use higher sample rates.

    it’s mostly the armchair and online hobbyists who love to tell each other that “it’s unnecessary” and how stupid the professionals are.

    So I guess CKemper would be considered a "armchair and online hobbyist" then like me. Good to see I'm in good company.

    Firstly, this is about rates, so I don't think it's fair to include the dropping of 8 bits, and besides, "everyone" uses 24 bit whilst recording and mixing.

    I don't. Another audio quality myth is that 24-bit audio will unlock some sort of audiophile nirvana because it’s that much more data-dense, but in terms of perceptual audio, any improvement will be lost on human ears. Capturing more data per sample does have benefits for dynamic range, but the benefits are pretty much exclusively in the domain of recording not human listening.

    do almost every record I make at 96k.
    so do most of the other professionals I know.
    George Massenburg argues for 192k!

    And then sell them as MP3 files or in the past burned them on CDs at 44/16. I have lots of CDs that sound amazing and I have heard 96K files that sound like crap. I'm one to believe it's more your recording techniques than sample rates. I have tons of albums that were done on ADAT and they sound just as good as anything today. IMO above 48K is just cork sniffery unless you're using it for compatibility, not sound. I guess that makes me an "amateur" then.

    Nobody on God’s green Earth is going to hear the difference between 44 &96 because our ears just aren’t that sensitive. The most common range of human hearing tops out around 20K If your hearing can't reach anything higher than 22.05kHz, then the 44.1kHz file will outresolve the range of frequencies you can hear.

    In Kemper legends tribute section there is a Rig TD-Edd v Hal "reworked" byT dill from Bert Meulendjik Looks like it started out as a BE100 profile.

    I'm wondering a couple things :

    1. What Bert pack did it come from exactly? I suppose TD would know. Is there a contact for him?

    2 . Is the sound of that amp in the tribute collection (minus the effects) more the work of Bert or TD? What was altered if anything amp wise?
    Does anyone know if there is a way to contact T Dill? he would have all the answers I am looking for.

    Instead of a complaint I must say the newest rig manager software is much more stable than before. It doesn't get lost like it used to near as much. Occasionally, it may do something unexpected like I'll have a performance slot highlighted and click a profile in there from the list and it will go to the slot that was previously highlighted but all in all the latest updates have it operating much much better thanks! Really if it never got any better I'd be fine with it.

    Storing/using output presets (even though the manual reads output levels aren't included in saves), the -12 db button condition IS and therefore is a potential for having the output volume up, and switching output presets to one with he button off and creating a huge signal.

    The pad probably should be anchored along with the output volumes and condition not included in preset saves just like the output volumes to avoid potentially disastrous jumps in volume.

    Scenario: Someone has the unit set at 0db with -12db button pressed the board gain is set to receive that signal. Then someone autoload switches to a output preset saved with the button out. It would send a cranked signal to the system.

    The shift button works OK for setting values but if entering values is not in the cards I wish a double click could sen the value to absolute zero. That's the hardest for me to hit between the + & - zero that it seems to want to jump to.

    Can't believe it! I've just been told that I can't use the Kemper without a compressor as they think I'll damage the speakers. FFS. Is there anything I can show them to change their mind?

    Maybe taking a look at all the players/bands that have been using Kemper for about the last decade without a compressor or blown speakers. A Kemper has a far less chance of blowing a speaker than a miked cab does.

    If you are storing/using output presets remember even though the manual reads output levels aren't included in saves, the -12 db button condition IS and there is a potential for having the output volume up, and switching output presets to one with he button off and creating a huge signal.

    The pad probably should be anchored along with the output and not presettable to avoid jumps. Make sure all your output presets have the pad buttons where you want them!

    Edit: sent as a feature request.

    I ended up with a Kemper from similar motivations, not so much the complexities (plenty of complexity in the Kemper if you want to do a deep dive) but the fact that I'm not good at dialing in tones and don't enjoy the experience. Now it's just pick a profile, rock and roll.

    However, at the time that I was gigging with the Voodu, the digital stuff wasn't really there yet tone-wise (at least for me), but I wanted the ability to step on a button and go from Eddie melting glass to Bonnie Raitt, and all points in between. The Voodu has a 12ax7 tube in the pre, so I was able to get tones that sounded authentic to me, and then I could simply assign a MIDI program number to it. Whether it was a normal amp or the Voodu, I was stuck trying to get my own tones either way, so this at least afforded me more flexibility than I could get with my Marshall.

    Maybe that's why a week after buying the Kemper when I sold all my amps I still kept the Voodu, because it's my failsafe. I don't think it sounds as good as the Kemper but it is, quite literally, close enough for rock and roll.

    I did the same thing. Not right away, only after I was convinced the Kemper could replicate those amps perfectly. I sold everything except my vintage stuff that I wouldn't gig with anyway . EVH 5153, ENGL Morse, Blackstar, Fender SE HRDIII, all went bye bye. ( Although I liked it the least of all, the HRD III would do some tones that are very difficult to get with other amps. Mine would NAIL the tone from RUSH "Limelight" with my 335!)

    I kept my GSP1101 and a Rocktron poweramp for a backup with control2 if my Kemper might be down until I replaced it or had it repaired, and my trusty spyder I pray I never have to use that goes with me to every show. I'd say the Kemper has been a boon to people investing in tube amps Kemper users sell off.. I still love them and love playing them, but I just cannot see why I would ever go back to them.

    An acoustic guitar. :)

    Of course, I still have my old warhorse, a Rocktron Voodu Valve, which is also MIDI controllable. Mostly, though, I just try to avoid antagonizing whatever deity is in charge of luck.

    In the later 90's I traded my ADA MP1 for one of those. It was a big upgrade because it had effects and I got compliments on the sound even though I didn't think it was super good. That was the device that had all these fancy parameters to set and then I'd see a guy with an amp with 4 knobs have a better sound. And that learning experience is what made me buy a Kemper over an AX FX. Although I'm not afraid of MIDI and understand super complicated editing, I just want to turn something on and have it be great. Too many choices is bad for me. I love the level of editing allowed with the Kemper, it enough but not too much it's really made to tweek the snapshot rather than create something.

    With my current band our singer also plays guitar on most of our songs but if my rig went down I would probably jump to his rig, I also have other combo amps I can take along (although I usually don't) but I am thinking about a simple solution that is lighter and smaller than lugging a heavy tube combo around and I a getting some good ideas from this post. Has anyone ever tried just using overdrive pedals into FOH or a monitor speaker?

    There are lots of little digital amps everywhere made by Fender, Marshall, Line 6, Peavey, etc etc etc. that weigh about (what seems like) 4lbs. available for around or less than $100.00 that would more than get you by with fx & footswitchable channels that you can throw in the back of the van in a suitcase. That's what I do even though I could bring a bigger better backup, This one is always there,takes up little space and will get me up and going again in min. My amps are always well cared for and I never had a total breakdown for 32 years then when I did, my little spider saved the day with little delay. I ran out to the van, grabbed it. uncoiled the footswitch and we were right back on. it was the same one I used for practice so volumes were dialed in and I was used to doing our songs on it. Later I found out I had just blown a fuse and could have just replaced it so I played most of the night in this big club full of people we were new at and trying to impress with my spider and left my full tube amp stack I dragged in there off. :cursing: I don't think it made much of an impact in the show as we all performed well. I think your amp makes much less difference than how you perform, look and amount of personality and charisma you have on stage. THAT's what people really notice.

    Orange 15w Dark Terror.

    At the time I was using a ENGL Powerball II and was spoiled with lots of versatility from 4+ channels but after playing it one afternoon and getting some good sounds from it I decided to do a gig that night with my Orange Micro terror just for the fun of it. It sounded great and although I had to fiddle with it for clean/dirty songs. Those things are pretty loud through a 4x12, more volume than I needed.