Posts by 1fastdog

Having the setting where they are in 54 is more like where I have found the Freidman BE/HBE to be the most happening to my ears.

Maybe a SB50 in a similar fashion would be quite nice.

Thanks again Tim. I Appreciate it.

Opinions will differ, but a Friedman Dirty Shirley can be dialed to be very reminiscent to my recollection of the Park 75 tone.
How an amp is dialed and captured can make a world of difference.

Using the "Low" Friedman input on the DS would come much closer than the "High" would, but the volume adjustment is going to be key.

Thanks!

Alway give your profiles a listen!!

Thanks!

I appreciate the gesture and purchased the full pack!

Thanks.

Perhaps an upgarde pack will be offered for the person who bought the Essential pack and would like to have the profiles that would add to the Essebtial to get to the Full pack of profiles.

Purchased essential pack.

Would appreciate PDF description file.

[email protected]

Price is a relative decision.

The right amp for a present situation, be it live or recording? Essentially under $11 for the on the money amp is not a bad deal to me.

Here again, it depends if the profile meet what you want to hear.

I think these bring no technical issues that have been "baked in". I don't hear any string separation issues and think it's a song by song taste decision in the end.

I hear some that could be just right for four minutes use in a four minute song. Lots of profiles don't have that going for them.

As these seem to have been with good gear and a a good ear for fitting in a live or recorded mix?

The money is not a big deal if the sonic results work for you..

When I was reliant on "real" amps to get good results I would pass on some amps that were nice to use as the musical situation might be limited when some amps would be needed. Because of this I would rent some amp types for studio use but stick to one or two that cover most of the tonal palette I needed to do live gigs.

The Mixberlin profiles are not a situation where I's buy them all, but I think all that they have done are done well and are a good captures of amps that will be right in particular situations for a particular taste. I'll be interested to hear their future offerings.

Their AC30. for instance, is very representative of why the amp works in a number of situations. It's an amp I know which benefits from multi micing. The offering they have are limited but the what they have offered is quite good and not that commonly found.

Absolutely good that folks share what they think. Not every profile seller is going to suit every buyer.

I like the presentations Mixberlin has for their profiles. I think some of what they have so far is well justified in the pricing. Such deals are, as I said, relative equations.

Interesting. Good choices.

Thanks for the responses.

The "Gainland" from Van Weelden which I am familiar with is a preamp.

What power amp and speaker/s was the Van Weelden "Gainland" run through for the profiling?

I don't disagree.

I think you would find I don't ask that many questions regarding the Kemper.

I've been a professional musician since 1966-1967. Lots of experiences and learning/teaching opportunities along the way.

I started doing audio work i about 1973 as a way to keep money rolling in during times between band projects. Was quite fortunate and over the years have done different mixing gigs along the way in some very wide varieties of national and international acts. It's been a good area of knowledge that works into writing, touring, recording.

I have been fortunate enough to find myself in some good situations. If one truly does music as a serious endeavor for making money and doing things as well and valid in an artistic way there are always high and low points as time goes along.

I appreciate opportunities to learn as well as teach.

I have also learned to do more research than in just one place or source. I think you assume I hadn't already done research and my post here was but one way of finding the best answer and to validate or refute taking just a manual read or internet question as the only part of researching something that needs getting done efficiently.

I would caution that you shouldn't assume someone is lazy when they might actually be better described as being thorough.

I have found the best methods for me involve avoiding assumptions. You might agree researching multiple sources isn't actually lazy or not doing one's homework.

It can be difficult to rely on a non native language to be that certain in translation regarding meaning and some subtle nuance. I did some work with a Russian ballet company years ago and I relied on more than just one interpreter.

Again, I appreciate the responses.

Quote from skoczy

You mean robust cables? I think when it comes to digital signal flow, cables are not that important when using analog connections.

Do you have any progress with reamping?

Not yet as other pressing issues have come up that I need to tend to first. Thanks for asking though.

I should be able to get into it on Monday as a studio session thing should be done this evening, with any luck.

I'll update one way or the other.

Quote from DamianGreda

"The ADAT cable physical hookups have not been made yet between KPA and the UCX interface."

Just connect SPDIF cables and you ready to go - you have good setup on the screen cap.
If RME will detect the signal it will switch to Current : external and SPDIF coax. locked status.

I appreciate the response. I like RME stuff as a reasonably priced interface on USB with Win 64. Their drivers are well suited to their circuits designs.

Most re-amping situations I have dealt with over the years were DI and hardwire involved. Some work has been discussed that makes an in the box approach with the Kemper worth trying. It's a far different music business today than it was when it was much more lucrative to use studios for all stages of production.

It's a hectic weekend as I had to help a friend with a recording project stalled in a studio and he wanted my ears to speed the process. Not helping a long time artist and friend is not something I like to refuse.

Make sure I had my ducks in a row for setting up the KPA for reamping at my home setup is important but shoved to the side. Thus my wanting to make sure it would get bogged down... Add a hard bout with bronchitis and doctors, big pills and lots going on and people needing things yesterday... I think you might get a feel for asking if there was something the manuals don't have right.

I appreciate your assistance.

Thanks for the tip.

I have some a bit more robust but thanks for the kind and generous assistance.

I appreciate any responses.

None are meant to irritate anyone.

I included the info on the interface and DAW for a reason.

That being, different interfaces and DAW software can have their own quirks. Not all interfaces use the same nomenclatures as others, There can be differences.

the KPA manuals are rife with generalities.

[Blocked Image: http://i131.photobucket.com/albums/p308/1fastdog/UCX.jpg]

I include a screen capture of my RME UCX setup screen and think this is the proper deal, but I though it was worthwhile to ask and see.

I really didn't think I was asking an easily found answer but was asking about gear specific combo and hoped there might be tribal knowledge to look out for.

I was thinking that asking was a better method than trial and error.

One might note the Cluck source selection but a notation that it's currently internal.

The ADAT cable physical hookups have not been made yet between KPA and the UCX interface.

The output format can be either SPDIF or ADAT

SPDIF choices are Consumer or Professional.

Clock source can be either:
SPDIF coax
Optical in
Word
Internal

Thanks again.

Thanks skoczy.

I'd imagine the Total Control that RME has for the interfaces is similar to the Focusrite software.

Total MIx is more or less a software "wiring" between DAW or computer recording software. I believe that Kemper has routing commands for in's and out's and levels for clean likely matter for re-amping.

I take a look at the manual, the video you suggest, and any other sources.

That's part of the plan DamianGreda.

Didn't read the re-amping section three years ago as it wasn't an area of interest at the time. I imagine the manual does go into re-amping via SPDIF as well as DI boxes or other methods.

I have recorded a lot since my purchase but it's been studio recording setting where the XLR outputs are the way to go and it's been to a Neve or SSL desk.

I was checking to see if there were folks who use the same or similar interface.

The manual is always a good place to look, but the Kemper manual doesn't read all that clearly to me. Perhaps it was written in German and translated by a non-english speaker unfamiliar with english tech speak.

I though the community might have more to offer in suggestions than "did you read the manual". It appears you are familiar with my questions and my applications and that the manual covers them better than anything else.

I appreciate that.

Long time Kemper user.

Looking to use SPDIF and do re-amping with my RME UCX.

Any advice would be greatly appreciated.

I use Presonus Studio One 3 pro as a DAW.

Any pointers or any vids or well done explanations also appreciated. Thanks in advance.

Quote from Geraldo7

Not at all, meambobbo - i have reamped with it an hour ago and just cannot YET decide if it is my NUMBER ONE profile of all time, or "only" among the Top5

ah well, yes just a little tiny bit too bright, but sits well in the mix, but where is this to be found? 3KHZ?

By no means is anyone that likes the Friedman Dirty Shirley alone in their admiration. Properly dialled in and add a Tube Screamer or pusher of your choice?

I think it's all over some great vintage tones... It's all in how it's dialled.

Here's an example of what I mean....

Looking forward to all you wish to share of the Helios!