Posts by lightbox

    higher sample rates can be very relevant for you. And audibly superior.

    Yes, but here's the little flaw in my example with a sports playing field. :D

    In sports, most attention will be on what's going on near the goal, right at the end of the playing field.

    Our ears though are way more interested in the "midfield" action.

    So it's typically not as dramatically "bad" and often not even audible in a negative way in a full music mix.

    It's very easy to make these terrible effects audible by using e.g. pure sine sweeps through a distortion (saturation) stage.

    But these are "lab conditions", not real world music.


    People with trained ears can hear the difference when they can compare.

    Is it even possible to produce good music in a digital environment without heavy oversampling in each plugin used? Yes, of course. Just like it was possible to create good music back in the day of vinyl when there were (are) physical limitations to e.g. bass response and bass transients.

    Am I close?

    Yes, you are very very close :)

    Now when you think a little further from that point:

    It's not so much about the "capturing" only. It's also about audio processing once you're in the digital domain.

    To use my previous layman's example:

    Even if all players agree to stay inside the playing field at all times ... once the game starts and the players want to make the game interesting, they will likely ignore the rule and e.g. hammer the ball towards the goal. Damn, that shot went over the goal to the stands behind the goal. But hey, it looked great and made the game exciting.

    In audio terms, you often want to create e.g. "saturation" to color the sound, make it more exciting. This automatically creates frequencies beyond the "agreed playing field" ... and you need to take measures to prevent that from happening.

    One way to do that is to enlargen the entire venue dramatically (aka 96 or 192kHz) and only take care of the remaining unwanted effects at the very end of the digital processing chain .... or .... make sure that each individual "saturation stage" plays by the rules and stays within the agreed limits. The latter requires time and calculation power which results in added latency.

    This added latency doesn't matter in post production but can be a serious issue in live production where latency must be kept to a minimum. :)

    Was this helpful as "the second stage" of explanation?

    I wonder, if it wouldn't be useful to include a "Bias" parameter ... and a specific gating effect like requested above could easily be implemented there to recreate the sound of "wrongly" biased transistors.

    Yep, that would be awesome but so far no one of the Kemper team has chimed in on that.

    One more thing I noticed in my (limited) tests so far: The Kemper Fuzz generally doesn't quite clean up as nicely with my guitar volume knob as with my real fuzz pedals.

    If 192 is ‘better’ than 96 and 96 ‘better’ than 48.....why then has the lowly vinyl record been resurgent with listeners?

    Just for fun, let me try to give you a layman's example/explanation:

    Digital recording adds a rigid wall somewhere behind the end of your playing field. At 48kHz the wall is "24 meters" from the opposite baseline. Say you're right in the middle of the playing field and you throw a ball at the wall. Obviously it will bounce back from the wall towards you.

    In analog audio, there is no wall. Throw your ball the same you did before ... the ball won't bounce back, it will just keep going away from you until its energy is gone. It will not come back and disturb what's going on on the playing field

    Now back to digital audio ... At 192kHz the wall is 96 meters from the opposite baseline. Throw the ball towards the distant wall with the same energy like before. There's a good chance the ball doesn't have enough energy to bounce (or roll) all the way back to you.

    Now finally imagine all players on the field constantly throwing balls at the wall. You can certainly imagine that the "reflected" balls from the "48kHz playing field" coming back from the wall will have a negative impact on what's going on on the field. They add unwanted chaos, especially in the upper part of the playing field.

    Hope it's at least funny to read this but I think it explains the issues with the sample rate creating a rigid wall inevitably reflecting everything that wants to go beyond the wall.

    Use the same wall outlet for all the equipment that is connected (computer, Profiler, powered cabs/speakers, ...). The buzz might be caused by a ground loop. If all equipment is hooked up to the same wall outlet and the buzz isn't gone yet:

    1. Something has died and caused this to suddenly happen.

    2. Try the Ground Lifts on your stage (OUTPUT menu page 9/9). Just make sure you never lift all at the same time!!!

    Phasing issues should be solved by the DAWs latency compensation. Doesn't it work?

    Read again, Christoph :) I was talking about live sound (e.g. broadcast or live shows), not studio work. I was just adding another real world application where higher sample rates like 96kHz do actually make sense. Maybe you got confused from me using the term "plugins" (in quotes).

    My comment wasn't related to the Kemper Profiler by any means.

    PS: Seagate harddisks sound the best IMHO.

    Hahaha, that was hilarious. Thanks for the good laugh and good luck with your tests with Seagate. As you certainly know: "Sie Geht, Sie Geht Nicht" ;)

    There is one reason to use high sample rates: When plug-ins on your DAW sound better with that.

    And another reason would be in situations where latency is crucial (live sound e.g. in broadcast or even concerts). You just don't want a bunch of oversampling linear phase "plugins" in your signal chain considerably adding to the overall latency (and potentially even severe phasing issues between "parallel" busses. So you rather use 96kHz (if you can) instead of 48kHz on your desk and keep most of the nasty stuff happening in low latency "plugins" well above the audible spectrum ... and have the DA stage take care of that.

    Global EQ adjustments can be expanded

    If you want global EQ, put a Graphic Equalizer or a Studio Equalizer in your signal chain. If you want it not to affect the distortion characteristics, put it post stack (or even in the very last slot (REV) of your signal chain.

    all sounds can be amplified more vividly by adding Limiter

    That's the first time in my life that I hear someone saying that a limiter makes the sound more vivid. But this being said: Have you tried to put a Compressor in your signal chain with Attack set to minimum and Intensity in middle position (or less)? That's basically a Limiter because the Compressor stomp has a fixed ratio of infinity by design.

    On a more general note:

    You seem to struggle with this topic since day one, as I can read from your past posts. Maybe you still struggle with basic things like:

    1. Pick a profile that suits your taste and requires only minor adjustments. Ideally make your own profiles that give you exactly what you're looking for and at the same time make you understand your Profiler much better.
    2. Don't use too much additive EQ, You much rather get used to subtractive EQ.
    3. I noticed that your latest video on Youtube clips quite a bit on the Profiler output. Fix your gain staging.
    4. Also I noticed that in this video you play a profile with gain at around 5.0 although the overall tone is just at the edge of breakup. Is this because you dialed back the guitar volume knob or did you mess around with Clean Sens & Distortion Sense in the Input section?

    To be honest, I don't see anything you couldn't already do, nothing that needs to be "fixed" by new features.

    the profiles he does for his clients can be seen as their intellectual property, something he's always keen to respect.

    Almost correct.

    1. The profiles I make are my intellectual property cause I made them. If I make profiles for my clients, they can be sure they are the only ones (apart from me) who can use them.

    2. I'm a strong believer that custom profiles, specifically crafted for an artist, his/her playing style, musical genre(s), guitar(s), will always be better than stock "one size fits all" commercial profiles that need to please many people with many different preferences.

    3. I'm not interested in maximizing my income/profit by selling profile packs. I have a very decent income and love that I can do whatever I want, not what someone else wants me to do. :)

    Back to topic ... Kemper Fuzz:

    From a quick initial testing it seems like I can get some usable "distortion" sounds from the new Kemper Fuzz.

    What I miss though is a way to get some whacky sputtering, spitting, gated craziness. I think weird feedback and self-oscillation effects (think Zvex Fuzz Factory) would be something for another future Fuzz effect. But gate/sputter/spit kind of craziness should be possible, imho.

    Thanks, found it in the downloads on the main page. Just had to scroll down a bit because it doesn't show in the top with a current date. :)

    Nevertheless, here's a screenshot of what I get when I click the attachment in the announcement. It happens logged in and not logged in:

    Let's discuss here :)

    First small issue while installing:

    The attached PDF in the announcement can't be downloaded ... "Access Denied"