Posts by and44

    Which makes 99.9% of all Kemper profiles bad per autamatic?
    Since they need so much post processing (especially EQ, according to Ozone)

    No it does not. - The kemper is a perfect tool, but you need to understand the correct way its "meant" to be used. - it was never meant for people to sell profiles, or to have a zillion profiles to go through.. its about your amps your setup and snapshotting your own sound. therefore, working the way it was intended. - just sop happens that the kemper community took on to Profiles. (and they used them well) - so noting wrong with whats out there from me or anyone else. but if your making a commercial record, then loading up a random profile is never going to get you the full way there.


    But.... Making the amp ready, prepping it for studio recording, then snapshotting that for the live gigs is however an amazing thing to do!. - we all have different applications, needs and wishes, the Kemper by now covers everything. - its a tool, uses it the best way you can.


    And if one knows what they are doing, the kemper with a random profile can also sound amazing.. Ive seen ti done, Ive heard and witnessed this on many occasions. - so yeah... but I WILL SAY THIS!!. - IF you really cant get your thing with it using other profiles. then this means one thing.. you need to profile your own. to get your own footprint done. there is only that way!.


    There are soooo many equasions out there that interfere with a Great profile. - Room, Speakers/moniters, cables, strings, woods, room size, ears, fingers, guitar, the wind etc etc. if you can eliminate all of those to your own desires then it will always be a better outcome.

    So I should have an analog compressor after the Kemper going into my interface? Also, use the compressor on the master bus for the entire mix post? Stupid question, you said this earlier "time the attack/release with the timing of the song". How is this done?

    Well no you dont _need it_ of course. - but for me as a studio owner when i track bands, I do Mixing as I go.. so I will try and mix the song in the live room, with the right sound, right mix, and attitude. so when it hits the board its already going to sound the way I want it too. - this you cant adjust in post without loosing a great deal to "processing". - this way at Mixdown, you can simply just sweeten. no corrective stuff done. this is why commercial records sound the way they do. because the Live room is where its all at!. and rather turning 540 knobs to get you there, you simply multitrack the band and move mics instead of reaching for EQ knobs..


    In fact, I dont use EQ either unless I really have too. - this is the benefit of having such a great Live Space and accurate mixing room, is that you can really hear the details of what you need or what you dont.


    So in terms of compressing, that will always be a choice thing, sadly having it from the kemper to board wont make much of a difference as the sound is not naturally live. you need it as per <source>>mic >Channel strip >Compression >EQ>Tape


    Compression is a key element in ones toolbox as it helps keep consistency in a busy mix. if you add a Mixbuss compression to control this then your on the wrong path. - adding EQ and comp there is fine, but not for control, but to solidify the mix better. they are 2 different things. - everything needs to be seperate but to sound as ONE. - and the bigger you try and make the mix the smaller it will become.


    In terms of attack & release, these settings on a compressor are the most important. - attack meaning how fast it attacks the transient of the sound, and relese how fast it lets it go after compressing. - the way to use a compresser is to get the sound to be immediate but in time with the song, so time the attack and release with the riff or song.. - using nothing but ears to tell you that. - hopefully that makes sence : )


    Sorry for the OT discussion guys I was simply replying to a question.

    @and44 thank you very much for sharing your tips. It is always greatly appreciated hearing from those who have a professional studio.


    You prefer analog compressors vs a cheaper plugin? Analog gear adds more warmth?

    Your welcome : ) - Well I will always go analogue as that's preferd. but you can get some great tones from waves or UAD plugins (or others) but as said above.. AS long as the Source is right first.. it does not matter so much on the post gear. Compression is more important at tracking on the way in, than it is at post btw.


    What is reaslly important in making a record is the room.. its all about the live room and how accurate it is. - this is why we exist (our studios) : ) haha

    your trying to get a tone from a completely different tone to begin with, this is the problem.


    No matter what you add or do,m it will always sound processed. normally the SOURCE is the target. must get it right here.


    SO, I suggest you record the track with a DI, then re-amp it with a real cab with room amb or use some other platform. its your only way really.

    @Cederick but there is also a hugh difference in kemper vs bias, as as you know, the Kemper supports 2 formats, Studio profiles and DI profiles.


    Are those profiles you are using Studio or DI? - as if you turn the cab off on the kemper it wont be an accurate representation of the amp as some freq resonances still remain.. if using external IR's you must always use a DI profile. and FYI: an IR still wont be able to accurately capture a room mic unless its very high res.


    I think you need to work on production more, you have the tools to do the job your just not applying common rules to your recordings.


    What your trying to achieve is relative easy, Try the space, Try compression (but first read about what compression does) - try tape saturation, try harmonic filters try applying room ambience via a reverb plugin then compressing that to the guitar tone. etc etc. - most importantly try and find a capture of a speaker you like using a ribbon mic.


    All the recordings you have provided so far are using direct micing approaches. there is still too much proximity going on, if you move a mic further away )even a foot away) then the high will be attenuated more and the bass will roll off evenly. this way the highs will be present.


    And what i meant by pushed back more is the guitar is pushed back into the ambience more.. this is true of the original recordings you posted.

    @SonicExporer nope. its not a case of the profiles "ignoring" - its just the kemper does not allow it. the kemper captures the "room" or the cab portion similar to a IR, it will flatten the captured file removing the space before the sound starts, thus eliminating the ambience part. - the Kemper captures frequencies as thats its thing. - but it does not capture depth or air. as technically a "void" is not a frequency.


    We have captured a lot of these in our packs over time. but they dont offer the same result.. sure it gives you a different sound, but not the ambience sound when compared to the live room amp.


    I use room mics all the time, but not for the kemper. its all about substituting the close mics. this i where the kemper shines. (In fact no digital product can do "room" thing very well. memory and CPU to allow this will be high.

    you will find all of the recordings above (the originals) have been compressed on the way in, and a room mic was used rather than direct mics, you can hear this clearly as the ambient footprint is there., also Im betting it was a ribbon, or a large diaphragm mic...


    (Just a bonus fact) - far away mics, AKA Room mic or Amb mic, are more detailed in the mid/highermid/highs range as there is no proximity effect. but will still retain some body!


    @Cederick as the kemper cant do"room" profiles, I suggest you try the space parameter. then add a compressor into the mix too. (not via the kemper) something like a Fairchild 670 or a LA2A and time the attack/release with the timing of the song. - the compressor will help lift the ambience and push the guitar back a bit.


    Furthermore, sounds like some tap distortion too on the high end. you can add it through a plugin tape machine too..
    Being a engineer takes a lot of work. but take the time. lean and conquer.


    Best
    A

    Hope you all have your chocolate guitars ready for a munchin week!.


    In celebration of easter! we are doing a sale. so - enjoy it :)





    Use it as many times as you like. - and here is hoping you and family/friends enjoy the vacation time!... \m/


    Andy

    Yes it would have been guessing of course. but perhaps 4 guitar parts on the chorus. - although I only really hear one guitar in the verses. (but this is normal)


    The bass, is very very rounded. - Im guessing its finger played, then put thought some transient machine to remove the attack. - you can try that too. no idea what bass/or amp they used here..


    The kick also has a 40hz trigger too. - you might want to add that in for using ducking with the bass guitar in its sidechain. but also they have a "click" in the bass drum to compliment the timing of the guitar, im guessing around 600 hz to once again make the guitars a bit bigger in chorus.

    to me, its a marshall sound, 800 with low gain, and then double tracked with octave apart. - you can really hear the "higher" octave guitar in the mix. - a bit too much for my liking.


    But those guitars + bass = big guitar sound.


    try it.

    well the voxy voxy profile is all 3 channels jumped together (including the vib/trem) - brilliance was dimmed and the others blended to taste. - maybe this has somet to do with it.
    But all I can say is.. HEY down complain, if your getting the chiks, then dam.. Im off to play it!! haha

    Yes - I would say so - you can go back and forth between the similarly named patches in the two folders and the Eq settings on the front panel of the KPA do not change but the brightness etc of the patch does. These have been dialed in for the respective pickup styles SC vs HB.
    So for example, the third patch in each list - 2Rock Clean, definition is 7.0 for the HB and 6.1 for the tele.


    As far as the sound of these with humbuckers I am seriously impressed - the sound of these with a 335 or an LP is just superb. Classic rock tones of every stripe. Andy is not kidding about his new setup.

    Ha!, thankyou good sir. - Indeed this set is special. Im glad its made you guys happy. - Thanks for the nice feedback though and helping to spread the word!. appreciate it.


    A

    Definition is an important part of the profiler, Like a real amp, you set the controls to suit whatever guitar, environment your playing in. - and a profile is then captured from this point. - but then playing this with a different style of guitar may or may not work too well.


    humbuckers are more wounded pickups, so this makes them darker, singlecoils are brighter. - the definition is a good way to tell a singlecoil guitar to make it darker, and vice versa with a humbucker. - it brings the guitar backinto the range that is required.


    of course this is not a "humbucker maker button or a Singlecoil Maker button" but it really helps with that.


    Likewise the Definition is also useful on other things too. - such as if you want bit of a "flabby" tone or "loose" then you can roll down the definition to get you there. or if your wanting more modern "chugga" sort of thing, then roll up the definition as it will make the sound tighter.. but beware as it will also attenuate the low end and boost the upper mids/highs and might make the sound harsh!


    Lots of things to play with. :)


    Cool!.

    well we equipt TRV (SRV offcical touring tribute) - with a setlist of exclusive rigs for this purpose, - Mostly fender brownface and blackface delux's with a few editions.


    With SRV you need the tightness of the bass strings but looseness of the others, its hard to get via a normal rig (He used varible string gauges same as Hendrix used too), so a lot of post is needed, - but you can start with putting your strat on the neck, raising the "Clarity" and "Definition" until you get a equal balance of his !Quack! sound.., then adjust from that point..


    Good luck though!

    yes there will be after a grace period..- I have to respect the kind folks that lent me the amps.. then we will be good to go!.


    Soon(tm)