Posts by lightbox

    would it be wise to buy Kemper now or is it better to wait after the NAMM on June?

    If you like what it does now and if you want it now and if you can afford it now ... buy now.

    The long time users here have seen myriads of users asking the same question over the last 8 years. Why wait? It will still do the same for you after NAMM. Playing it is so much more fun than waiting for something nobody knows if it ever happens and what it might be.

    1. PC & KPA sound TERRIBLE. Nasally & trebly and honestly unusable. The subwoofer barely functions. Just high end.

    2. I installed a program called Scarletrite Mix Control after reading the 6i6 manual but that says "no hardware installed".

    1. This might be some nasty phase cancelation. Probably wrong cables/wiring.

    2. Maybe you have a Scarlett 6i6 2nd Gen which requires a different software called Focusrite Control. The software called Scarlett Mix Control only works for the 1st Gen 6i6.

    ... da es leicht zerrt, was nicht am Rig liegt oder am eingestellten Amp oder am Effekt

    Nimm ein Rig deiner Wahl (wo dieser Effekt auftritt aber nicht auftreten soll).

    Als erstes schau bitte (und schreib uns), welchen Wert das Gain hat.

    Als nächstes schau bitte (und schreib uns), ob die INPUT LED grün oder gelb bleibt oder ob sie ordentlich rot wird.


    Wenn die INPUT LED deutlich rot wird, dann (und nur dann) kann es sein, dass der Eingang ins Clipping geht. Nur dann musst du das eingehende Signal (vor dem Profiler) etwas dämpfen.

    Wenn aber an der Stelle alles in Ordnung ist, dann kann es eigentlich nur sein, dass du das geladene Profil mit den gegenwärtigen Einstellungen leicht in die Zerre fährst. Das kannst du auf 2 Wegen beheben:

    1. Dreh das Gain runter ... und/oder

    2. reduziere den Pegel (Level) mit Hilfe des Pure Booster Effekts in Stomp A. Hier kannst du das Signal um bis zu 6dB reduzieren (bei -5.0). Im Grunde ist das ähnlich wie einfach das Gain im AMP Block zu reduzieren. Wenn das Gain (wie vermutlich in deinem Fall) eh schon ziemlich niedrig ist, dann hast du im Pure Booster zusätzlichen Regelbereich nach unten. Außerdem kannst du das als Stomp ganz einfach bei Bedarf ein- und ausschalten.

    Do the cables need to be XLR female? There are 2x normal jack outputs on the KPA.

    The XLR female -> TRS cables are the best way to connect your Profiler's analog line output to your audio interface, no matter what others say.

    These cables provide a balanced connection which dramatically reduces the chance of interference (e.g. hum or other noise).

    Of course you can also use TS cables but with the risk of getting these mentioned issues that are not present in balanced audio.


    TS cables work perfectly fine and you don't have to worry if the interface turns on phantom power automatically for XLR's.

    Not an issue with the cables I recommend because they don't connect to the mic preamp of the audio interface. And there's no audio interfaces that turn on phantom power automatically either.

    it's just sitting there with barley any progress on my mac status bar

    In your screenshot I can see that Rig Manager is still downloading rigs from Rig Exchange (the spinning circle near the Rig Exchange folder). I've had issues in the past trying to update the Profiler while this process was still ongoing.

    So please start Rig Manager and just let it do its job until you don't see anymore spinning circles before you start the update process.


    If this doesn't help, you might have to update through a pendrive. Can you figure out what the currently installed firmware version is? You can find this info on the last page of the SYSTEM menu.

    https://d2zjg0qo565n2.cloudfro…te-control-user-guide.pdf


    Go to page 29 and see the little screenshot.

    In the box called Clock Source you need to pick S/PDIF.

    If you want to run your audio interface with the Profiler off or disconnected, switch back the Clock Source to Internal.


    General recommendation:

    If you don't know what you're doing, stick with analog audio. Buy two cables XLR female -> TRS and connect the Profiler Main Outputs to 2 line inputs of your Scarlett. Then you don't have to worry about digital audio clock, sync, sample rate and so on. ;)

    How about a bigger non-touch screen with more contrast?

    With growing age I feel like my ears are still perfectly fine.

    But my eyes have learned to hate that glorified "LCD-watch fom the early 80s".

    do you know if I could use my current iLok device for Cubase? Or do you have to buy their device?

    You can't use iLok for Cubase. Currently (!!!) they still use eLicenser dongles. But since you're not in a hurry right now, I would suggest to wait anyway. The next version of Cubase (Cubase 12, probably in spring 2022) will get rid of the hardware dongle requirement.

    So no need to buy one that likely goes to the trash soon anyway. ;)

    Most rock songs the signal is full on every moment of the song ... an example I use as a complete studio noob to try and get the loudest song I can

    No matter how "loud" you mix, streaming platforms will take measures and turn it down.

    Check the line with red text to see how much they turn these stupid maximized tracks down ;)

    You can check that on your own by right-click in a Youtube video and select "Stats for Nerds". ;)

    Also ... if you want loud, turn up your amp, monitors, headphones. You get a LOT more punch out of a dynamic track compared to a track that's been compressed to death.


    From an electrical engineering standpoint I cant imagine any gear worth its weight would have an issue playing full volume (normalize, peaked) audio. You know ahead of time the loudest possible voltage your DAC can possibly make. But I am noob. Curious what lightbox as talking about.

    The problem is that checking the individual samples' level isn't enough. Between samples the level can go beyond what one thinks. If you normalize a sample (or multiple samples) to 0dB, there's no more room for the proper "curves" that can go beyond the highest sample. People always think in these kind of staircases when it comes to samples. But once you convert the digital audio back to analog, the "analog" curve is recreated ... unless it's clipped.

    Check the image below to see peaks between individual samples (inter-sample peaks):

    ... Crossgrade to Cubase Pro 11 for $332.
    But Logic Pro costs ony $200 ...

    To some degree I totally understand that cost of ownership is a factor for most.

    And I know there's cheaper options and more expensive ones.

    But let me put it into perspective from a strictly professional point of view:

    Learning and mastering a huge box of tools takes quite some time. Build your workflow, get used to differences to your prior tools, adapt, create templates, presets etc.

    You can't simply add this time to your clients' bill. It's not their fault that you're not yet fast and proficient with your new tool.

    You really don't want this "waste of time" to repeat every other year. You want to be confident that you'll use this tool and the skills you've acquired in this tool for 10 years plus. You want your tool to be able to grow with your tasks and you want the tool to have enough "hidden" power so you can grow as well.

    No matter if you buy 100 Dollar/Euro software or 1000 Dollar/Euro software, the 100 (unpaid) hours you'll spend to get up to speed cost you a lot more (again, as a professional). ;)

    lightbox any good recommendations for this? You knocked it out of the park on the interface.

    Thanks for asking me and I'm glad you like the interface :)


    Regarding your DAW (and any kind of investment, really) I feel your pain. I very much dislike subscription models in general.

    So what is important to me:

    1. I want perpetual software licences with a clear, upfront information on upgrade/update paths even after years of not updating.

    2. Since I run 2 recording studios (one in Germany and one in Kathmandu/Nepal), I need to be able to easily share entire projects back and forth.

    3. With all sorts of recording/editing/mixing projects hitting the studios, I need a DAW that does it all, no matter what. So I've not been looking for the cheapest/easiest to learn solution but for the most versatile and capable workhorse. Complexity isn't an issue for me since I'm in the business of audio engineering since well over 30 years. Limitations (in software features and workflow) are a serious issue for me.

    4. Cross platform compatibility (Win/Mac) is yet another important thing for me. I need the DAW of my choice to be available on both major platforms.

    5. I might have to sometimes revisit old projects from years and years ago. This can be a tricky one, sometimes. But I get it done without too many troubles and difficulties.


    All this being said, my choices were dictated by the above. And to make a long story short, I use Steinberg Cubase Pro and Steinberg Nuendo, the latter mostly for work on movie score and for Dolby Atmos.


    Now does this mean I would recommend these products to you? No, because so far I don't know what you're actually doing in terms of recording/mixing work and what your mid to long term plans are. I don't even know why you have used Reaper and Studio One in the past and why they haven't become your weapon of choice.


    So I would kindly ask you to provide some info on what you're currently doing and what you're planning to do in the long run.

    Do you really need one of the "big" solutions? Would you rather go for a smaller or medium solution with the option to upgrade to the big, professional solution without starting from scratch? Do you need a (relatively) simple solution that doesn't kill your creative moments with its complexity or do you need something that has all the bells and whistles in case you need it?


    And last but not least (before we might get into more detailled discusion) ... your statement regarding third party plugins. I totally understand what you mean by "expensive rabbit hole". (Waves plugins would become a rabbit hole in no time, by the way)

    But keep in mind that even a lucky bastard sitting in front of an actual SSL console every single day can't get the sound he's looking for without "some" outboard gear. You basically just need to figure out what exactly you need and why. Stay away from plugin hoarding! And stay away from plugin subscriptions! :D
    I might be able to help you in this field as well but let's try to walk one step after the other, haha. :)


    Cheers

    Martin

    Is the Kemper Stage an headphones-desroyer?

    All Kemper Profilers (Hear, Rack, Stage) have powerful headphone outputs so they can even drive higher impedance cans loud enough. But they can certainly also destroy headphones easily if you overpower them. You must have listened with insane volume ... and loud bass doesn't help either.


    Let me put it this way: Better you've blown your cans than your ears. You haven't been far from that for sure. Be careful in your own interest!