It's really a shame to have a LP without a coil split option. There's a whole world of tones out of reach that can be had with a tiny little mod.
I like a good coil split too, but not always a tiny mod. Many humbuckers only have two wires...
Posts by lbieber
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I recognize that you think your tube output section makes your Kemper better. For your conclusion to be factual, you are implying that the your tube output section PERFECTLY corrects all of the errors inherent in the Kemper as is. Did you indentify all of the errors in the Kemper and design a tube output section that perfectly corrects the errors or did you just get lucky or is it just not an accurate statement? I know which is more likely. You state "ears mean everything" and "the guitar experience is about feel as much as sound". Those two statements don't logically make sense. I think you must mean that both matter. Or can you hear the feel?
Again, YMMV. And again, just making a note so others that read this thread understand that there is a rather large difference of opinion on this topic.
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I'm confused about what tone you are trying to get close to. Luke, Landau, Huff tones covers a WIDE range. To me, the clip is dominated by overblown, unartful delay that is creating a sonic mess. Just my opinion. Foxy Lady tone it is not. So, can you give some example of the tone you are after?
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It's very cool that you addded the tube output section and that you like the result. I appreciate the work that you did. It is very novel. From an engineering standpoint, it is just not necessary. I'm only making this post to memorialize my view so that others are aware of a differing viewpoint. As a design engineer , this is a dubious method of improving a Kemper. YMMV and all that...
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In a trio, stereo works...
Definitely maybe
...Stereo works only when the listener is in an advantageous listening position with respect to the speakers. It depends on the room, speaker arrangement, and listening position. -
IM cannot be filtered out per se. Once you pass the gain stage it is part of the signal, especially in push-pull topologies. The most you could try would be to add shelf eqs in front of the preamp section, which again will alter your gain and tone not unlike using a tube screamer or focus type pedal.
Yes, IM is physics. Yes, it could be filtered. The lo cut on the output can definitely reduce the magnitude of ANY 31Hz input to that lo cut filter. Not sure how 31Hz was identified, but I suppose it doesn't matter for this discussion.
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That video is exactly what I am experiencing in the Kemper. "intermodulation distortion."
Be fantastic if Kemper could update to filter those hum, like in this case that 31hz hum. Maybe adding EQ and cut mids would take care of it. I haven't messed around with that.
IM is physics and is not going away. 31Hz is not mids. Have you tried the lo cut?
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I know its really just a byproduct of the camera, but how cool would it be if the kemper had an LED shimmer mode as seen in the first 30 seconds of that clip?
Just blink your eyes real fast instead
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Juat want to mention in case anyone is confused - there is no such thing as a noiseless opamp.
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Ahhhh ok, these are in there, just labeled with Mid, when Mid switch was active. Thanks for clarifying!
I'm not convinced the discussion around the PAB is correct. The mid bosst is not the same as PAB. There are different implementations, but some amps have a three position mid switch. Normally, up is mid boost, middle is no mid boost and down is PAB. Not all amps are the same. PAB is preamp boost and the whole tonestack is bypassed/disabled when in this mode. This is one of the 'magic' modes of the overdrive special. I would purchase your profile if this is included. If not, then it is not interesting to me.
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That's not the whole truth. There is also a third option. Low-middle action and heavy plucking. The buzz as a part of the sound. Not unusual.
"I let the amp do the work not the string." A strange statement. That's not possible.
Yes, it's not the full picture of all possible setups. They why I qualified my statement with general.
The strange statement is possible with respect to high action allows for heavy plucking before the buzz starts. This allows the string to generate more volume compared to lighter. This is where the amp can compensate.
Gary Willis is on example of a low action, light plucker that let's the amp do the work. Jeff Beck also did, but on guitar. There are many other examples of low action players with light touch that let the amp do the work.
Anyway, this is all off topic from the question.
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Thank you all for the wonderful tips! I'm taking notes and hoping it translates into better bass tracks. I guess I know now why Paul McCartney was hesitant to pick one up. ... and then History was made.
And give a listen to the slides on Come Together and She's So Heavy. Flatwounds...
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There are two general electric bass setup approaches. One is very low action which requires softer string plucking and that results in less sustain. The other is higher action which allows for harder plucks and more sustain. These two scenarios are also kind of dictating how the amp/compression is setup. I am in the low action camp and like a hotter amp as a result. To get a smooth bass sound, I want less of a transient when plucking, more sustain from the amp/compression. This creates a smoother bass tone. I let the amp do the work not the string. My opinion is that most bass players in general hit the strings too hard and the result is not as pleasing. This is my opinion regarding fingestyle plucking.
Slapping is very different situation than what I am discussing. Also, many players just prefer a more aggressive right hand approach. Bass strings have always 'told' me to pluck lightly.
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Yes, the compression makes it louder but no way to get a even bass volume without compression. Using the de-esser at the specific frequency helps the best.
It is possible to even out the bass volume without compression, but it takes highly developed technique. Of course, it is a grey area as perfect eveness is not possible. There are some very good players that refuse to use compression.
As an example, Jamerson utilized the one finger technique mainly for this reason. Fingering on one string or minimizing the number of strings used can help even things out as well, but it depends on the part.
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You can change strings to chase after this phenomenon. In my experience, it will help somewhat but never solve the problem. I typically use 40-90 string sets FWIW. This improves things and gives an added benefit of faster transient response of the strings. Lighter strings excite(pluck) and de-excite(damp) faster that larger strings. This can bring the possibility of crisper, faster response. Words are failing me here, but I hope you get the point.
I've found that the depth/volume difference for the same note between different strings is mainly due to the pickup height, the monitor and the room. Lowering the pickups tends to help as well as tilting them. Further away on the thicker strings vs the lighter ones. A monitor able to reproduce lows properly provides the most improvement regarding this. Smaller ported cabs tend to make this worse. Volume, usually a lot of it, can create standing waves in the room which can also impact this. In the end, different size strings on a bass create different harmonics that have to be handled properly to fully solve this. The way your 'system' responds to the differing harmonic content caused by all these parameters is the root cause.
Good luck, this can be an adventure.
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I'm interested in the Dumble profile, but I don't see any mention of PAB. Are profiles included for it as well?
I've built many Dumble clones and have yet experience accurate profiles with PAB.
I saw the sound clips, but the the playing style is not well suited to these amps and therefore doesn't give much information on the accuracy of the profiles. Maybe I'll just buy it and see for myself. I have tried pretty much all the commercial profiles and none have really nailed that sound.
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Flatwounds don't squeak, but will change the tone.
You probably already know this, but you can try different amounts of finger pressure and speed. More pressure tends to reduce the finger noise, but it has limits and side effects. You can finesse it with pressure and speed of the slide to improve the noise. YMMV
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You are nuts. It's going to be tough selling anything of value in this economy. You might suffer a pretty big loss. Keep what you got especially if it's already paid for and wait for better times.
I don't understand this comment. No one actually knows how tough it will be to sell your unit. Put it up for sale and see how it goes. You don't have to sell for a loss if you don't want to, right?
I don't know what 'this' economy means, but it sounds like a fear based, questionable talking point. In any case, it has little to do with your specific question.
Personally, I wouldn't think twice about trading for a player if I was only playing at home.
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Thanks for the link. The analysis in the video was well done and seemed well thought out.
In my opinion, the difference between the ToneX and Kemper is neglible. Both units are more than good enough for my purpose of replicating an amp's tone.
Null tests are interesting, but the biggest takeaway for me is that there is nothing in the comparison that actually matters to me. The Kemper algo is so close to the real amps that I don't think there is really anything significant to improve on. Two units that essentially get the 'same' results.
I already own the Kemper so ToneX holds no interest for me.
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Just want to mention that IME all FR/PA speakers are not the same. I have noticed that PA type monitors provide very different results with the Kemper. My conclusion is that a transparent cabinet is needed to achieve acceptable tones from the Kemper. Knowing that, I would never buy a speaker to monitor the Kemper without trying it first.
