Posts by tylerhb

Quote from OhG

We never play gigs with just one FOH speaker. There is always a set of speakers on both sides, but that doesn't mean the system can handle stereo. Having speakers on both sides of the stage doesn't mean the system is in stereo. So those are the systems I'm worried about. When we use those, it's basically like having one speaker (even though there is one on each side). So I'm worried that in those instances, I'll get that garbage room/slapback/phasing sound.

Like i said, the mimiq is mono compatible. It will not gain you any bigger sound on a mono system but it will not destroy your sound either.

Quote from OhG

I just watched a bunch of videos about the Mimiq and I think it could work, but I have a couple questions for you.
In the majority of the shows I play, we'll be running sound ourselves and using our own PA systems which are set up to run in stereo. So my plan would be to use the Mimiq with the stereo main outs of the Kemper, each output going to it's own channel. I'm assuming this setup would give me that great guitar sound as if it were doubled in the studio (that's what I'm hearing from the Mimiq videos). I like the sound of it. But what about situations where we then play on a system that is mono? If I were to leave everything set to stereo, and still use the main outputs exactly as described, I know it probably wouldn't give me the stereo spread, but would it end up sounding like this person describes in this video beginning at the 11:00 mark?

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To me, the Mimiq sounds awesome when run in stereo. When we play on mono systems, I'd still be running out of the Kemper via stereo and into 2 different channels. But I'm just wondering if it would end up sounding like crap (like the 11:00 minute mark), or if by using 2 different channels will keep from having that room/metal/phasing garbage sound.

And how do you hook the Mimiq up to your Kemper to achieve the stereo effect?

Put the mimiq in the Stereo FX Loop of the Kemper in the X slot. This way you can program per preset if you want it or not. You can even lock it in on/off position. Don´t worry, with 1.1 Firmware update it is mono compatible and won´t cause any bigger phase problems. Apart from that, when would you have a single Speaker as FOH?

Quote from OhG

To clarify, my goal isn't to highlight effects. I don't use a ton of them. I'm trying to find a way to just get a more monsterous sound. The type that you get when you double or triple your guitar tracks in the studio. I know there have been tips on the forum with people suggesting using a detune or really short delay, but none of that really sounds good. IMO the detune just makes it sound like an 80's sound (like anyone who played for Ozzy).

In this case the mimiq doubler is for you. It is the only ADT that provides a nearly realistic tone to a double tracked guitar. But it only works in a stereo setup.

Using full stereo over an X32 feeding the IEM and FOH. Since i am using the mimiq doubler for rehearsal and live a mono setup simply would not work.

I have the EW300 G2 and though the general sound is ok, i really hate the basic hiss due to the compander system when there is very little input signal.

Yamaha DXR10 vs. DXR12 – comparison incl. audio samples

I was thinking about a procedure like this:
1. backup the recent OS+RIGs+Settings to the the USB stick
2. erase all rigs from the KPA
3. Restore the rigs from your own backup
4. Import the OS from your backup, this will also force the KPA to check your rigs

5. Play your gig

6. Revert your changes by restoring the backup taken in step 1.

Of course it would be better to have the backups inside the internal memory but i doubt that this will be possible.

I have been to several festivals this summer and the KPA seems to gain popularity more than ever. Traveling to gigs by plane is great if you only have to take your KPA with you. But wouldn´t it be even cooler to only take an USB stick with you? However i see problems when using your own backups on rented or shared KPAs if the firmware of the KPA does not match the firmware version that your rigs were created with.

Maybe an additional backup/restore function that would include and deploy each and every aspect of your own KPA to other KPAs could provide some extra comfort here. Maybe this method could be temporary only so that after finishing your gig the previous state including OS+Rigs could be restored while leaving no traces of you on that KPA.

Quote from BasementBluesBoy

But for some reason I cannot see myself playing in a small bar with IEM on a silent stage. On bigger stages I can see that the silent stage is an advantage.

This is a common understanding, but in fact the opposite is the case. The smaller the venue, the more you will profit from the silent stage approach. On a big festival stage, instruments bleeding into other instruments mics are far less of a problem because the distance is higher as well as the separation from monitor to FOH sound. With the silent stage approach you can have a death metal band perform in your living room and still produce a crystal clear sound over a small PA.

Quote from BasementBluesBoy

I recently read a post of @tylerhb and his band. I think they strictly follow that silent stage approach. You may want to contact him and ask about his experience. To me this concept is completely new. As we play Classic Rock the traditional way. But it is an interesting approach completely different from what I know.

bbb

That´s right, this is exactly what we do and probably the best decision ever. We use Kempers, X32 Producer, stagediver SD-3 InEars (which are awesome), and most important an EDrum kit. I have been struggling with EDrums for a very long time since the drum sound is essential for our music (mostly metal). Even the Rolang flagship drum modules are unsatisfying if you are used to the sound of Superior Drummer or other VSTis. The new Pearl Mimic seems to be the first module to natively provide good sound with the right amount of sample layers, but is a closed system without the possibility of importing own multisamples. We use a 2Box and load all custom sounds onto it which were converted from all the big VSTis. We use a Jobeky Drumkit with real size wood shells plus e-cymbals made of metal... It is just and great and satisfying experience having this in your band...

The most essential benefit of that silent stage approach it that you have no bleed from the drums into the vocal mics. This makes it possible to put the same amount of compression/limiting onto the vocals mics which comes close to a studio quality vocal sound. The lack of noise and monitor bleed coming from the stage also makes the job so much easier for the FOH tech. As long as the PA is properly adjusted with EQs all you need to do is turn the faders up with nearly zero need to eq anything since you are able to bring your studio sound onto the stage.

If you are interested here´s a pic of the drumkit. By now all cymbals have been replaced with the jobeky metal cymbals...

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Quote from nightlight

I would not use this pedal with one amp. You'll notice the stereo output on the pedal. The idea is to feed two amps rather than one, as I'm pretty sure there aren't a lot of amps with a stereo FX loop. Try using that instead of feeding a doubled signal on the same output. That's what causes the phasing. If you run the pedal in a stereo setup, it sounds pretty damn good too, much better than sending a delayed and modulated signal along with a dry signal into a single amp.

The idea is to feed either the poweramps of two separate amps or to feed a stereo poweramp. As long as you run your KPA in Stereo (only possible with FRFR), putting the mimiq in the stereo FX loop is the best way to go. as long as you use both outputs of the mimiq into the return and alternative input of the KPA at the same time. Just give it a try, you will love it.

Quote from bbgie1223

Are there certain types of profiles that are more prone to this?

Most modern high gain amps that apply a lot of high pass filtering before the gain stages. Mostly modern Marshall like amps like the JVM, Diezel, 5150...

Mesa amp mostly are the complete opposite...

It is the result of your guitar having much "twang" like a strat or tele and using a profile with a high "definition" setting. Lower "definition" and you will be good...

Quote from nightlight

Ah, I'm not sure that's the best way to use the Mimiq, Tyler. Ideally, you want it right after your guitar without any effects or distortion to mess up your tracking. That's why I would want to have two Kempers and not one.

In case you want to do this kind of ADT with just one amp, I'd recommend looking into the Strymon Deco. That thing sounds great, it was just double the price of the Mimiq and had more features than the ADT I needed.

At any rate, it's a moot point for me at the moment: Traded away my Kemper for a couple of amps, trying to save up money for another one, but I need to buy a nice set of acoustic drums first.

I keep hearing tell that Kemper is going to come out with a floorboard version, that will be my top choice if it comes through.

Like the Rolling Stones song, "Time is on my side".

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You are wrong here, it is meant to be put inside the fx loop after the preamp... Putting it before the amp produces very strange results. Check my audio samples using the Kemper and the mimiq:

TC Mimiq and Kemper

Quote from nightlight

I bought one of these and tried it out. It is quite pointless if you have only one Kemper. There is no point using it in mono based on my experience. Think about it, would you feed two signals into the Kemper using a Y-cable?

But for someone like @ashtweth with two Kempers, it will be quite killer.

Here's a track I recorded using the Mimiq into two amps. There was very little phasing that I could tell. Keep in mind all instruments except for the drums were played at once, i.e. the guitar into two amps, the bass via guitar, and the synth, in one shot, one take.

It's not Kemper tone, but should give you a good idea of how the Mimiq sounds in a "live" setting with no cutting up of the audio.

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Why do you not simply use the mimiq in stereo with your Kemper? Activate the Stereo Loop in the "x" slot und run both outs of the mimiq into the Return and Alternative Input of the KPA. Even the Reverb and Delay after the mimiq will remain stereo... I use this setup for all my sounds when rehearsing or playing live...

Either use the Main out TS outputs for your monitoring or get an active splitter for XLR.

Another cool option would be to get a used Behringer DEQ2496. You could connect it with SPDIF to the KPA and from there use XLR to connect your monitors. In addition with an RTA mic this will get you a very nice automatic EQ calibration system which might improve your monitoring a lot. Before i went IEM i used this a lot with great success. I had a number of presets with different EQ curves simply chose the best preset yout each venue.

If you want to use an EDrum Kit, definitely go for the 15s.

there was no profile pack of those eq matches. Most of them still can be found on the rig exchange. Those profiles were pretty spot on (depends on the guitar of course) but i lost interest soon since i enjoyed regular profiles more.

It is definitely possible, i have done this excessively in 2012 already...

classic metal tones done with EQ matching

You just need an amp that roughly that has the same amount of gain and a similar gain structure (resulting in a similar definition value). And a DAW with ozone of course.

I would simply get a monitor controller and a second pair of nearfields with 8" woofers. This will probably change the frequency response of your system quite a bit. i used a Behringer DEQ 2496 with an RTA mic in order to compensate. I really got great results this way.