Posts by DonPetersen

    Hi....On the off chance that all that stuff delivers similar outcomes, it's either how you are seeing things, the real room, or something different essentially normal. It's absolutely impossible that all of that stuff has an issue when utilized in various arrangements.


    Record a tone you believe is sloppy and allowed us to hear it.

    issue has been solved already (see post above yours)

    OP supplied an audio example in the first post.

    Thanks for the feedback everyone, I'll try some of those ideas.


    Attached is actually the original clip that I wanted to share. It has lower overdrive and effects, but still has an overall lack of clarity that I'm calling muddiness. It sounds clearer out of the monitors, but I'll try some of the tips above as well.e jam4.mp3.zip

    here's something obvious to try ;)
    increase 'Definition' and/or increase 'Clarity' - both parameters are available in the AMPLIFIER module


    you can also put a Kemper Drive stomp in front of the AMPLIFIER, using one of the Tubescreamer presets - low drive on the stomp, you only want the midrange emphasis from it.
    Lead Booster is also an option.


    hth

    weak compared to what other transpose/octaver?

    polyphonic pitch shifting is a complicated matter, the PROFILER actually adds features like Formant that make the effect much more pleasing that aren't available anywhere else.

    for the pitchshifters to work properly you'll need reasonable clean strings that produce a somewhat stable root pitch, whereas older strings (or a really bad setup) can introduce artifacts either by dirt on the strings or excessive fret buzzing that can make the pitch detection unnecessarily hard.

    to me, that's just way too much reverb for that amount of gain and that's where the impression of 'muddiness' comes from.

    record again without any fx to make sure your core tone is alright (I think it is),

    then, if you do want reverb (and who doesn't), set the Reverb mix to 100% wet, reverb only and dial in the sound of the reverb.
    personally, I go for as much as needed, as little as possible, make sure the low mids, bass isn't getting cluttered up and try a predelay of 90ms or more - I feel that this way the reverb will still be connected to the note, but have enough separation to avoid cluttering up everything.

    Then just play, adjust Mix and keep switching the effect on and off to make sure you are actually improving the tone.
    With something as gainy as you posted, I'd go for 'not totally apparent, but something is missing when I turn the reverb off'


    hth

    that's been my experience too. I loaded my Own Hammer IRs into the Kemper and tried swapping out Cabinets for them but always went back to the Cabinet.

    I can relate - the vast majority of IR sellers seem to be pretty good on the systematic side of things - this speaker with this mic at this distance and this angle - and go through all the permutations, but they don't have very good ears - or don't trust them.

    One night, the owner of the club insisted I mic the amp. “….last time I was here, I ran direct and it was great….”


    Some jackhole the week before ran a Fender Twin on the boil the entire night. Even after being told to turn down. In a room small enough for a Deluxe Reverb would need to keep a lid on it.

    But how is mic'ing an amp quiter than running direct?
    I mean, that's one of it's main advantages...

    not quite:


    Git Studio

    Similar to “Git+Processing”, but here the instrument signal is sent out at studio level, which is much louder than the original level. Thus, no separate DI box is needed to record the pure instrument for reamping purposes. Since the instrument volume is high, the recommended leveling of “Clean Sens” in the Input Section is important.


    Git Analog

    The pure, clean instrument signal is sent to the DIRECT OUTPUT/SEND 1 by an analog splitter, no AD/DA conversion is taking place. The analog signal level is the same as on the instrument input. Useful for reamping or running a second amp in parallel.

    PROFILER Stage: default and only available for SEND 1 output

    all other PROFILER variants: default and only available for DIRECT OUTPUT; needs to be used in conjunction with the Front INPUT as the guitar input

    I'm not much of a two amps at the same time kinda guy, but if I go that way I make sure to use two sounds that complement each other gain- and tone-wise.
    Get your definition from the cleaner tone and the mids and power from something slightly overdriven.
    Also take care when adding distorted sound to distorted sound - you are in some way doubletracking in real time, so just piling on large amounts of distortion will make a muddy mess.
    But in break-up / lighter overdrive territory this can be a fantastic setup (see SRV)

    have fun! :)

    Hey,

    very glad to hear you like the Profile :)

    It is in fact a Profile of a Nobels FU-Z Fuzz going through an IR of a 2x12 cabinet, so there wasn't any amp involved, but IIRC there might have a bit of power amp modeling.

    think one of my problems is the pickups in the studio bass. I believe it has Dimarzio Billy Sheehan Will Power pickups in it. To say it has a woody tone would be an understatement. Been thinking about just throwing some EMG P-Bass pickups in it. Any suggestions?

    one thing I learned from my G&L SB-2 with quite hot P & J pickups is, that you should turn up the vol pot(s) on the bass only about half to get 'traditional' sounds.
    Precision type pickups already have a mid-heavy, woody quality to them, it seems like the Will Power pickups were made to make this even more pronounced. Personally, I set my base (haha) tone with the Jazz pickup und then dial in as much Precision as I want.

    The Brass Diver Profiles in the Bass Rig Pack are generally a pretty good base-line (again, haha) soundwise - tried and tested tones.
    The Focus R. Pita and E. Dan WTDI are probably even more neutral.
    So by using one of these, try putting a Studio EQ in front of the STACK. With a small bandwidth and quite a bit of boost, 'scan' the lo-mids/mids to find the troublesome area (the woolyness will get really pronounced), then turn the EQ band gain from boost to cut and widen the bandwidth slightly.


    hth

    Mick took an Ebony Les Paul Custom and had the top stripped of paint, claiming is sounded better - it certainly looks cooler!

    this reminded me of the Les Paul Bill Bartlett (Ram Jam) plays in the "Black Betty" video - it started out as a Gold Top, but when the finish deteriorated & turned green he removed it and was disappointed to find a very plain piece of wood.
    This is of course done on purpose, if the wood doesn't look nice, it gets a opaque coat of paint - conversely, nobody would hide a beautiful maple top under paint (simply because it increases the guitars worth).

    this is not directed at you V8guitar ;) I just noticed a few people here and there stripping paint from guitars and being suprised by what they found. (80's Yamaha SG owner here - I removed the clown burst and gave it an oil & was finish 30 years ago - plain but beautiful and it sounds just wonderful.)

    One last thing, figured maple has no tonal advantage over plain maple - the exception being Birdseye maple (it's not really just a look, it's very dense knots in the wood), that actually can create dead spots on the fretboard, but that's more likely/pronounced on basses.