Posts by 1fastdog


    As of yet, I haven't heard any profiles of one of Howard's amps that have the switches and knob tweaks that achieve the "Dumble tone" that many are after.


    His amps were not "unobtainium" years ago so I was fortunate enough to play a few. I'm excited to hear your idea of a well dialled Dumble. :thumbup:

    Mmmmm.


    I do my best to avoid discussions about this kind of deal.


    Let's see.... if my electricity is not good coming through the miles of wire from the power providing company, and is not good or truly perfect coming from the transformer into my home wiring, a few feet of special wire will "FIX" or "enhance" the subsequent audio quality?... Sorry... not buying what's being suggested.


    Making sure the power cables meet standards for the type of use is important. Proper wire gauge for the intended length matters, yes, very good idea.


    However, spending hard earned money for "dinosaur repellant" is off my list.

    If I was starting to gather mics for guitar recording or profiling, i'd start with a Heil PR20 or 30 over an SM57 or i5 or e609 every time. The Heil mics are great!


    Bob makes fantastic microphones. I was infolve in live audio and was fortunate to get to know Bob's live rigs quite well in the early '70's. He's a really great guy as well. I was chatting with him a few years back about his mics and we came to agree that a problem with a number of audio/musical equipment manufacturers offerings is that many don't apparently LISTEN to what they are selling. I think most would agree that having a good set of ears would help prior to putting an audio/musical product into commerce. I suppose opinions will vary.



    I like the PR30 far better than a 57 for guitar. If you ever get a chance to pick up a used Beyer M88 that's in good shape? Buy it. Relatively famous for kick drum, but a very good guitar cab mic. Smooth top and cohesive low end. My favorite mic for a cranked Vox or Vintage Marshall with pre-Rola speakers if 121's just aren't in the sound company's mic locker to allow a dual mic setup.


    Bob's PR 35 is an enormously impressive live vocal mic as well.

    Now it's time for appologies.
    We have compared the profiles in question on a data basis. They are absolutely identical for the sound part. Bit by bit. However Lasses null-test was an equivalent test.
    We can also tell that those two profiles are not the only stolen ones.
    We'll have more facts later.


    " "credit where credit is due", proverbial saying, late 18th century; in its earliest form, the proverb often had honour (meaning ‘obeisance, homage’). There may have been an echo of the translation of Romans 13:7 in the Rhemish Bible (1582), ‘Render therefore to all men their due:…to whom honour, honour."- Oxford Dictionary of Phrase and Fable ;)

    I take Wagener's explanation as being the sum total of the reason some thing will not make it to the final pack release.


    I am also confident that some companies aggressively try to exert their "rights" of their products.


    I think the real issue is the use of real product names, model designations, and product logos in photos.


    What someone entity has a right to is theirs to defend. I don't see any issue for folks that use profiles.


    Being wise in marketing should remove allegations of infringement.


    I'm not an attorney. My personal guess is the trademarks are the deal behind such things.


    I don't see any need for rancor if one friend asks another not to do something and the friend that is asked agrees to honor the request ;) .

    Yeah this is a little worrying??? I know Andy from TAF has been contacted about using branded names on his web site. Obviously the amp companies are worried because the KPA sounds so close to the original amp. But I don't know how you can copyright a sound ??


    A major league high profile lawsuit where Harley Davidson suggested infringement of exhaust sound by another manufacturer failed.


    The issue comes down to use of name and model and use of an image of the product to encourage sales is likely the grounds some manufacturers are suggesting as infringement.


    The fact of the matter is defending one's self in a legal action can be very expensive and repeated lawsuits can overwhelm a small cottage industry.


    The bottom line isn't the right or wrong of an issue as much as it can be the amount of money involved in defending the right or wrong of it can exceed any profit possible to be realized.

    I have purchased profiles from a number of folks on the list.


    In all honesty, it's a matter of rating each profile on it's merits for me.


    Sometimes I am thrilled with a profile and it's staying on my KPA for regular use or for particular recording situations. I have also purchased some that have not been what am after whatsoever.


    My criteria is rather particular. That's why I have the KPA. It's possible to get the amps I want the way I want them.


    Sometimes the amp or the the placement of mic/s or often the settings on the amp which was profiled will make or break what I'm seeking. There are instances where the speaker that was used for the profile just misses the mark.


    Here again, there's always some difference between amps of the same brand and model. I have been playing for a long, long time and the KPA really is THE solution for someone like me that needs very specific and sometimes subtle nuance from an amp to be just right for me.


    There's profiles from folks on that list that have been remarkable keepers and some which have not done it for me.


    For that reason I can't say someone's the "best". It might be accurate and inaccurate depending on a particular profile.

    I watched and listened to the video describing the profile packs.


    The soundtrack which runs as background includes some of the profiles in the pack.


    I can't tell you the offering will work for everyone.


    I'm fairly confident I'll be an early adopter. What I hear an have heard sounds very useful on a number of track that come through my door and projects of my own.


    Maybe I am more familiar with hearing parts in and out of musical context.


    I also found this which might be of some interest. https://www.youtube.com/watch?v=-CL4aQAXsx4

    Wow. Here's a thread that went south. I don't see anything wrong in someone saying "This profile is great..." There are plenty of threads like this on the forum, why complain about this one?


    In the meantime, I request anyone who got offended in this thread, please don't start putting commercial profiles up in torrents or on the rig exchange.You will be killing a cottage industry.


    I don't have a problem with people stating an opinion regarding any profiles.


    I have a issue when commercial entity comments on another commercial entity's offerings in a negative manner.


    This forum is a very civil place and a nice mouse click to read about something I own and have passion for.


    I don't care for vendors sniping at others... I don't see anything good for the community when one a seller complains or criticizes another seller's product in a thread they didn't start..


    I appreciate the hands off manner that this place is run. I also appreciate that Kemper is wise enough to encourage the folks that do profiles, even those that sell them are a part of the community, as it were.


    My concern with Sinmix is his conduct here and not what he profiles and tries to sell.


    That kind of thing doesn't evoke professional courtesy.


    On the reality side of things, the folk that own the site determine what can be said or not said. ;)

    I just wanted to chime in on what I like about this community we have here. I appreciate keeping up on what is coming from Kemper and others.


    I have been playing for money since the 1960's. Played through a lot of amps, used many guitars, pedals, etc..


    I think most folks can decide what they want to have loaded into their KPA.


    I truly have no interest in what one commercial entity has to say about another. I'm interested in info and have zero time for snarky crap.


    If you spend time here to sell your wares it's a better idea to confine the comments to what you are selling. I'm not interested in what one seller thinks of another.


    For the folks that sell profiles I would suggest to look to who buys your stuff and who doesn't. That's the sort of editorializing that makes much difference.


    I appreciate Kemper for the profiling amp. I also appreciate then offering this forum for fans and owners of their product.



    "STAY CIVIL !" ;)

    layer multiple takes, not reamps.
    the subtle imperfections will make it sound bigger.
    use sounds that complement each other.
    4-5 guitar tracks are not uncommon (2 left, 2 right, 1 in the middle <- often a 'odd' sounding midrange heavy sound mixed in low works nicely.
    sometimes a otherwise undesirable tone will do the trick - turn down Character for the track in the middle to give it a speaker-sim type flair.


    :thumbup:8):thumbsup:


    Yes.

    Nope no idea..the entire pack sounded wonderful.. then suddenly everything sounded boomy and midrangey..I think it has something to do with RE/FW although cant be sure. - the ones on my profiling RIG (the ones I did not include) still sound great..but sadly there is not enough of the amps..so Im having to fill in the pieces.


    However, Im concentrating on getting the pack completed for you guys to enjoy fully.. after that I will investigate the causes..


    Its just one of those things.. its a mystery, and has never happened before..


    Looking forward to the corrected Friedman S.S..


    Also interested if the R.M. has the added "unbonus" of altering profiles that folks are happy with in their own profiler. That would be something worthy of knowing and correction...


    I am also holding back with further purchases from the bundle until they are what TAF thinks is correct quality. :thumbup:

    I was quite impressed with the examples shared! Far less "hash" than some high gain offerings out there to my ear upon quick review. I also appreciate the single track/doubled presentation of the pack. I have hopes the pack will be mix appropriate for a number of things.


    I bought G1 JVM410 pack.


    I'm in the midst of mixing a couple of client projects but intend to give your pack some session time on my own project.


    I will report back once I have had the chance to delve into the pack.

    Yeah that's the amp, but don't let the name fool you.. its very very far from a "metal" amp!.....


    I figured such was the case. :) Dave Friedman is a well rounded guy and builds what some guitarists are looking for. I like the amps he has built from the mod days through the Friedman branded amps.


    My one beef is that most folk that have done profiles of his amps tend to dial them in to early "Eddie Van Halen" top end territory. < a minor personal peeve > It really isn't the only useful high gain or crunch tone his amps do.


    Dave's store, Tone Merchants, does some very nice work and he does truly build a versatile amp that does high gain covering a wide ground.


    I'm hoping the Z-Wreck is part of the upcoming releases as well!!


    As usual, I'm excited to see what you have coming next!!


    :thumbsup:

    I have most of those on my to-do-list so all looks good : )


    Regarding the 2Rock. - Ive already (just) profiled a very rare and early tworock, (the JM sig was based on it) the ToneMerchants one.. only 2 was ever made, and I have #1 of 2. - its a dumble style amp structure, similar to that of the JM Sig amp. - so you might find that as a good option too.


    Best
    Andy


    I'm interested in that one. :thumbup: Is that a "Tone Merchants Metal" amp or am I confusing it with something else?


    I hope to see some of the new Supro amps as time moves along. A friend has seen their lineup and says they are pretty true to the originals.

    I think most folks have their mind set on what "in the room" means. I gave up on embroiling myself in the suppositions and often erroneous description folk use for tone and the live "experience".


    "Moving air" is but one thing to one person and quite different to another. I am inclined to think folks usually mean the experience of hearing multiple reflections from different directions in a closed space such as a room or hall, etc. The reflective surfaces add to the different tonality depending on the nature of the surfaces in the space. Nice spaces are enhancing to a performance, problematic spaces tend to get ugly results that get uglier the louder the performance gets. Our ears coupled with our brain is quite amazing in making us aware of the size of the space and the comparisons that we have learned over time that allow us to make very accurate determinations of the size and other feature of the space we are performing in.


    Placing mics at multiple distances and/or heights is done a great deal... problem is the room has to be "cooperative", the mics well selected, the skill of the mixing well though out. It's a lot harder than one might presume.


    The shorter, cheaper, and more manageable route lead to reverb or echo chambers which were/are real spaces with essentially a speaker at one position and mics at differing distance or distances from the speakers... also tape machines with multiple movable playback heard, spring reverbs, plates, etc. Algorhythm based reverbs have been and still are in use. Many of the settings on digital reverbs are meant to reproduce some of the chamber, spring, or plate devices.. they also are designed to simulate actual smaller or larger spaces.


    If one wants to have their Kemper and amp/speaker or FRFR sound like an amp in the room, the room is going to matter. The volume being employed will matter... The room will still be a factor.


    If what folks really mean by moving air is multi-directional experience of the performance? That usually means LOUD and not multi miced profiles. Real high volume in an actual space. More than enough to generate lots of reflections coming to the listener.


    I will share what I see as the best solution, First and formost is using whatever monitoring in STEREO.


    Listening to stereo reproduction is light years more convincing or 3 dimensional space than mono. Delay or reverb which is stereo is the ticket. Want a room of you choice to "play" in? Use a reverb which is good at it. The Kemper has a decent stereo verb. It is not abundant in room choices which can be dialed up quickly, but actual room are what they are unless someones is opening and closing curtains and add or subtracting materials which alter reflections.


    There are lots of players who do a good deal of live work and firmly believe stereo sound system use is silly or not good for an audience. Well, they are WRONG. Stereo does not mean the use of radical panning.


    Stereo reproduction is light years more convincing in regards to the illusion of experiencing 3 dimensional space than mono. Surround is the next level but the expense and logistics make it over the top practicality wise.


    At the very least, take a hard look at using a room reverb, even in mono there is some degree of dimensionality to be gained. The more convincing the reverb used and adding it as a part of a stereo reproduction or captured recording, the more "in the room" you can have at you disposal.