Why would you program drums anyway? EZDrummer and Superior Drummer feature great groove libraries filled with MIDI grooves played on edrums by real drummers. So you get the feel of the "real drummer" with the sound of your favourite library. There are so many MIDI groove libraires that can be integrated...
Posts by tylerhb
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Whether drums are programmed or not will affect the feel, vibe and groove of a song/performance. Using a "real" drum performance is vital but has no impact whether a guitar will sit in a mix or not. The main aspect is the production and isolation of the drum sound. Why does a good album production translate perfectly into a loud live situation without any alteration of the mix and frequency balance regarding fletcher/munson while your band mix does not? It makes no sense. Simply break down all possible causes and identify everything in a live situation that is different from a studio production and try to eliminate as many possible problems as you can.
The major problems in a live situation are:
- too high stage volume bleed makes it impossible to create a decent FOH mix
- crosstalk between instruments and microphones (especially vocal mics) make a extensive use of EQ and compressors and thus a good mix nearly impossible
- traditional monitoring creates additional volume, bleeding and feedback while the lack of a satisfying monitor mix for the individual musician often results in a poorer performance.
- FOH with insufficient power, wrong EQ settings and lacking possibilities of sound processing of the individual signals
- live drums in most cases cannot be processed the same way like in a studio situationUsing KPAs and individual IEM mixes with a digital mixer onstage already solves many problems. However the drums always remain the biggest challenge. Using a transparent drum shield helps a lot but looks strange and isolates the drummer from the the rest of the world. In my band we switched to edrums 2 years ago and i say this was the best decision ever. Sadly there is no stock edrum that will play, sound and look like the way i wanted but with a lot testing and tweaking i have to say this finally is my dream setup. Except from the vocal performance there is nearly zero stage noise. Though playing loud metal stuff we are able to to perform in a living room and still get a decent FOH mix at 100db. The guitar tone is exactly the same live as it is on the recordings and it just works perfectly.
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Most problems of "cutting through the mix" result from the mix itself. As soon as you optimize the sound of the drums and the bass you are 80% done with a good band sound and the guitar sound will fit in naturally.
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Just last week I experimented with a super simple homemade circuit for direct profiling, and had the best tonal success ever. First, a story on how it came to be.
There are pictures available on the internet of the inside of the Kemper direct profile interface, in which it appears to be a few resistors and capacitors, and no active components or transformer. This implies that the interface does not provide any isolation or differential drive for a balanced cable. The entire reason for a direct box is to provide signal attenuation as well as balanced drive capability, along with earth isolation if needed. But the Kemper box does not provide balanced capability, and the Kemper is only a few feet away from the amp, and the grounds of Kemper and the amp are interconnected at the input, so is a balanced circuit (along with the active circuitry or passive transformer) actually needed? All that circuitry in a standard active or passive direct box will affect the tone to some degree, and less expensive transformers will not sound good. Maybe it's best to get all that stuff out of there if it's not needed.
Also others have posted that they have used the recording output of some amps (non speaker emulated) to feed signal to the Kemper for direct profiling with some success. Such a circuit is often merely a level attenuator with a DC blocking cap, and the cap isn't really needed with most tube amps since the speaker output is transformer coupled anyway.
So I took a 1\4" male TS to XLR unbalanced cable, added a simple resistive attenuator from the 1\4" male tip to ground (10k from tip to XLR hot, 220 ohm from XLR hot to ground), plugged it into the extension speaker out of a fairly loud 50W tube amp set to 4 ohms (the amp had its standard speaker plugged in as well), took a direct profile, and it worked perfectly. Made several direct profiles of the amp, and they all turned out spectacular. In fact, one profile I made of my Dumble #103 clone sounded a bit better than the original amp, when the Direct profile was paired with an Ownhammer IR of a 2X12 G12-65 cab (better speaker than I have in the original amp).
I can't think of any reason such a thing wouldn't work fine, as long as the builder knows what he is doing so that he doesn't risk blowing up the Kemper with too hot an input signal. Also such an attenuator cable would not work with many solid state amps, especially ones with Class D outputs as the output grounds must float. So the builder must be very careful in regards to the amps he uses, and if its output ground can be interconnected with its input.
You are missing a very important aspect. In normal operation there is huge amount of interaction between the output transformer of the tube amp and the guitar speaker which acts as a reactive load. This means that the speaker itself has a big impact on the sound of the amp. This is why companies like Suhr or Two Notes produce rather complicated reactive load boxes. They behave similar to a real speaker and help produce the same sound without a speaker attached. A simple load resistor like in your setup may work but in many cases it will sound totally different to the sound with a real cab attached. This is why profiling with the cab conncted will be the preferred method in most cases. If you want a balanced DI signal, simply get a standard DI box. I used the Behringer GI-100 regularly and it worked for me. Make sure the DI signal has a signal attenuation.
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Selbst wenn du das mono/stereo Problem gelöst bekommst, brauchst du vom FOH einen Mix, auf dem die Gitarre nicht drauf ist, sonst kommt es zu üblen Phasenproblemen, wenn du das mit deinem KPA Signal zusammenmischt. Selbst wenn das FOH für jeden Musiker einen getrennten Mix machen kann bist du immer von dem FOH Mischer abhängig, wenn dein InEar Mix nicht stimmt. Auf Dauer ist das keine Lösung. Damit man IEM in der Band voll nutzen kann braucht man einen eigenen Digitalmixer auf der Bühne. Wir nutzen dafür das X32 Producer in einem Winkelrack. Das Teil hat 16 Mixbusse. Damit kann kann jeder Musiker seinen eignen Stereo Mix haben. Über Handy / Tablet kann man seinen eignen Mix selbst während des Gigs schnell nachregeln. Wirklich eine tolle Sache!!!
Das FOH bekommt dann entweder alle Signale vom X32 wieder herausgeführt oder es wird einfach die gleiche Remote Steuerung wie für die IEM Mixe genutzt, dann nur ggf. mit einem grösseren Tablet, PC o.ä.
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You are using a FRFR speaker WITHOUT cab simulation???
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One more question - for you guys suggesting that I just use the X32 app for "more me" and keep my Sennheiser racked with the X32, do you feel that you're missing anything with your IEM mixes by not being able to use the "space" feature? Obviously you can't control the "space" because everything coming back to your ears is the same thing you're sending to FOH. The idea of racking my Sennheiser with everyone is super tempting though.
I have the space parameter set to 4.9 on everything. Works like a charm on the FOH as well as the IEM, even on studio recordings. So i am not missing anything. Hooking up the IEM transmitter to the X32 is the way to go, you will love it.
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Simply create an independant mix for every IEM user in the band. The X32 has 16 Mix buses. If you want a stereo IEM mix, simply pair two mix buses and route these buses to two outputs. You could either the aux outputs, the XLR outputs or even outputs on some expansion like the SD-8 or SD-16.
If you have a wireless router connected to your X32, you can use remote control apps on windows, android or IOS to setup your own mix to your liking. This is completely independant of the main mix on the X32. We use the same setup in our band, it´s fantantastic!!!
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Strange, i checked that back in 2012. At that time SPDIF had a lower latency on my RME 9632. But i never checked that again after that...
[Blocked Image: http://195.37.177.163/public/latency.jpg]
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I recommend the Zoom G3n or G5n. The Mooer sounds not bad, but it doesn't convince me.
Listen
External Content youtu.beContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.I got the Boss GT 1 as well, but my personal winner is Zoom.
Since the GE-200 can load IRs, it can sound like anything you want. The stock cabs are not very good sounding. But like i said if you know to EQ Match the Mooer DI Signal to your Kemper rigs you can create IRs than sound almost identical.
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Mooer GE-200. I managed to create custom IRs that almost completely reproduce the sound of my kemper rigs. The playing feel and the dynamics surely are not as good as on the KPA, but as a backup this is more than enough.
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We have a similar setup. Since we need a lot of inputs due to 10 channels of playbacks + 8 channels for the 2Box EDrum Module, we use a x32 Producer mounted into a rack + SD-8.
I cant´t praise the Inear Stagediver SD-3 enough. Probably the best non custom inears on the market and in many cases even better than custom made ones. They fit as good as custom made one and the sound is just amazing!!!
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Pay attention to the level controls. The dry and processed levels are not completely equal. I had to back up one of the controls a little bit. Better check with some level meter.
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Looks quite interesting. The problem as with all custom InEARs: its difficult to test before buying.
I have been using the stagediver SD-3 for about an year. These were developed by comparing hundreds of custom inears to create a universal inear with the comfort of a custom one. They fit over 90% of all users just as good as a custom one. I really love it.
http://www.inear-monitoring.eu…monitoring-stagediver.htm
If you are using a digital mixer onstage for your inear mixes you could simply use a crowd mic and use a ducking effect on it to attenuate the crowd while you are playing.
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Sure I have no idea when Savage was invented (searched google and found no info)
I remember it was 1993 when i first played the Savage 120...
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I dont get the problem here. If you want a Kemper rig with sound ot the original multitrack this can be done by profiling with the ozone eq for sure.
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Nach meiner Erfahrung sind die Lautstärken beim Gig mindestens genauso wichtig.
Unsere P.A. (2 x 3,5 kW) kann auf Grund der kompakten Größe im kleinen Club wie auch open-air eingesetzt werden (deswegen haben wir sie ja auch angeschafft).
Ohne Änderungen am Main-EQ klingen die Profile in beiden Fällen komplett unterschiedlich. Im Club manchmal muffig und undifferenziert, in der Halle (oder draußen) oft zu höhenreich und manchmal auch durchdringend-nervig.
Der Main-EQ ist trotzdem ein fauler Kompromiss, weil man trotz verschiedentlich erstellter Presets für verschiedene Lautstärkeverhältnisse immer noch nachregeln muss zusammen mit den Anpassungen am Mischpult.
Dies gilt für selbst erstellte Profile wie auch für gekaufte.Das ist vollkommen normal und hat überhaupt nichts mit den Profilen und dem Kemper zu tun. In solchen Fälle kann ein programmierbarer digitaler EQ mit Einmesssfunktion ein große Hilfe sein. Wenn man sich die Presets für verschiedene Arten von Locations abspeichert kann man dann auch schnell mal drauf zurückgreifen wenn man keine Gelegenheit zum Einrauschen hat und eben die Presets durchtesten, welches für den Raum am besten funktioniert.
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It's actually "sort of" close to Denmark
Wacken?
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Teste mal Reaper und nimm den ASIO Treiber.
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habs extra von internal auf SPDIF umgestellt. wenn ich über die Mainouts rausgeh beim Kemper kann ich mit audacity aufnehmen.
Setz mal die Sample Rate auf 44,1 Khz. Der Sync Status muss auf jeden Fall auf "lock" stehen...
