Posts by lightbox

Here's the actual curves:

4 Main EQ Knobs - Question

4 Main EQ Knobs - Question

Quote from nwmusic32

Can you run just run XLR from the Kemper Stage to the XLR inputs on the interface?

You should NOT do that. Most audio interfaces expect a microphone level signal on the XLR inputs. Go with an XLR->TRS cable as mentioned here.

Harry Häussel, a popular german pickup manufacturer, has a good selection of P90 pickups and all of them are available in HB-Format.

https://haeussel.com/index.php…62093cdfc24ad090567d81d0d

If you click on one of these pickups to see product details, check the "Varianten" (variants) box, you'll find the "HB-Format" versions there.

FYI:

Maybe you've heard of "Nik Huber" guitars? They also use Häussel pickups (for a reason)

Quote

How do you make these incredible paintings?

"Oh well, I use Schmincke Mussini oil colours on Artina 3D Premium artist canvas and da Vinci Brushes. I must say, since I switched from Daler-Rowney brushes, my paintings have improved a lot. So much more depth."

Read the above imaginary interview with a successful artist ... and try to notice how ridiculous our musicians' focus on gear brands actually is

If it's not clear enough, I could continue with writers/poets telling us which pens/pencils they use, hehe.

Quote from Wheresthedug

why would you favour Git Studio over Git Analog for use with reamping?

1. In his last picture he (wildgrass) uses Profiler Master Out L -> Motu Line In 3. Neither does the Master Out L have Git Analog option nor does the Motu have Hi-Z guitar input option on Line In 3.

2. Your suggested Git/Stack is also "Git Studio" on the left channel.

3. If you recorded Git Analog (through Direct Out / Send 1), you would need a Reamp DI box to reamp through the front input of the Profiler to convert the low impedance Line Output of the audio interface back to a high impedance "guitar signal". If you want to reamp through S/PDIF, recording Git Studio is the way to go.

Generally speaking, Kemper makes our lives so much easier regarding DI tracks and reamping. No need to worry about Hi-Z on the way in and out.

Your last picture was pretty close. Instead of using the Main Out, I would recommend using the Direct Out set to Git Studio.

I don't think I have to "prove" something that is as basic as stereo being dedicated left channel and right channel.

And when it's mixed down to mono, a pan law is applied so you don't get a +6dB level bump when summing left and right channel into mono. I don't know what the actual pan law applied by the Kemper Profiler is, haven't measured it. But it's likely -3dB because that's "common practice".

Quote from BayouTexan

... I will assume that the Left channel will always play in true mono whether Kemper Main Out is set for Mono or Stereo, and the Right Channel has an algorithm applied by default ...

It's a long way to become an audio engineer. In other words, your assumption is fundamentally wrong.

Quote from V8guitar

I looked at this but couldn;t find anything under £400 but agree its better.

Just as an example:

https://www.thomann.de/gb/millenium_nonapad.htm

To be honest, I would have the drummer take care of this.

If money isn't an issue, I would go for a Roland SPD-SX.

If you're on a budget, there's other cheaper options but make sure it does what you want it to do.

No need for a reamp box. See manual:

Quote

GIT Analog

The pure, clean instrument signal is sent to the DIRECT OUTPUT/SEND 1 by an analog splitter, no AD/DA conversion is taking place. The analog signal level is the same as on the instrument input. Useful for reamping or running a second amp in parallel.

PROFILER Stage: default and only available for SEND 1 output

all other PROFILER variants: default and only available for DIRECT OUTPUT; needs to be used in conjunction with the Front INPUT as the guitar input

The Profiler's headphones output (330mW @ 32 Ohms) is way more powerful than the headphones outputs on a MOTU M2 (21.6mW @ 32Ohms) or e.g. a Focusrite Scarlett 8i6 (32mW @ 32 Ohms). We're talking about roughly 10 to 15 times as much.

With the MOTU M2 compared to the Profiler this means roughly 11dB more on the Profiler. That's quite a bit and it's VERY likely that you just turn it up a bit more until you feel great. You're likely a victim of the Fletcher-Munson effect. Try to level match the headphones outputs properly and the difference will be much less pronounced.

Quote from tinybike

I'm not sure what zero latency DSP mixer(s) you're referring to -- do you mean the Focusrite control software

Your audio interface has built-in 'mixers' you can control with Focusrite Control. This way you can send different mixes to different hardware outputs with (almost) zero latency input monitoring.

One basic example:

You have a singer and a guitarist in your home studio. They want to jam (and record) over a backing track you've loaded or arranged in your DAW.

1. You're the recording engineer and you want to hear the DAW playback and the singer and the guitarist on your studio monitors in a nicely balanced raw mix. So you create a dedicated monitor mix for your monitor outputs.

2. The singer wants to hear a bit of the backing track coming from the DAW and just a little bit of the guitarist. But he needs to hear his own voice (microphone) loud enough and without any noticable latency to feel comfortable to control his performance and pitch. So you create a separate mix for e.g. headphone output 1.

3. The guitarist obviously needs to hear his guitar the most and e.g. snare, kick and bass. He doesn't mind to also hear the vocals and other stuff ... but he wants these other parts to be lower in volume. So you create a separate monitoring mix for headphone output 2.

Your audio interface provides all these things/features/options with pretty much zero latency .... IF you can control it and setup these mixes through Focusrite Control.

If you setup monitoring mixes in your DAW (because you can't use Focusrite Control), it will inevitably come with quite noticable latency cause the input audio has to run through USB->DAW->USB.

Quote from tinybike

I'm making the (possibly incorrect?) assumption that the settings are saved to the interface when I set them in Windows.

I can't tell you whether the Focusrite 18i20 automatically saves all settings made in Windows. But what I can tell you for sure is that you don't have access to 'internal' settings unless you have driver and control software. Only settings with dedicated 'hardware' access (knobs, buttons) on the interface will be accessible in 'class compliant' mode.

On Linux you're forced to run the audio interface in 'class compliant' mode ... which is basically the smallest common denominator for using an audio interface without dedicated driver. Very rudimentary implementation of audio provided by the OS manufacturer, not the hardware manufacturer. If you want to leverage all features and possibilities of your hardware, you need to use it on a supported platform with the software provided by the manufacturer. No way around that, sorry.

Quote from tinybike

Tbh I don't know much about audio drivers; I did it this way because if I understand correctly that's what Bitwig recommends

Quote from the page you linked:

"To record audio in Bitwig Studio on Windows, you will need to use another driver called ASIO. Most audio interface manufacturers release their own ASIO drivers for Windows. If your audio interface does not have a dedicated ASIO driver, we recommend that you use ASIO4ALL:"

Focusrite does provide ASIO drivers, so it's recommended to use that driver instead of ASIO4ALL.

Troubleshooting:

1. Is the audio interface compatible with Linux?

https://support.focusrite.com/…ct-compatible-with-Linux-

Ok, so it may only work in class compliant mode and there's no drivers and/or control software for Linux available.

2. You get clicks and pops under Linux but not under Windows when using S/PDIF.

You've set the audio interface to sync to S/PDIF under Windows, how do you do the same under Linux without a driver and/or control software? You probably don't because you can't without a driver / control software.

3. You state that all works fine with a Yamaha THR30II connected to the audio interface.

Well, the Yamaha THR30II doesn't have S/PDIF ... so you hooked it up through analog IO, e.g. TS cables. Try the same with your Kemper Profiler, just don't use S/PDIF when on Linux.

This particular issue should be solved now. But here's a few more words:

Why do you use ASIO4ALL on Windows when the audio interface comes with ASIO drivers?

ASIO4ALL only makes sense for audio interfaces without ASIO support.

Also, even if you use a 3rd party software like Pipewire for low latency recording and playback, you still can't use the zero latency DSP mixer(s) of your audio interface. So you're missing out on Linux, no matter what. If you can, stick with Windows for your audio related work ... saves you from a lot of headaches.

Quote from Kim_Olesen

There is a huge difference between in revenue between iTunes sales and spotify streams. ITunes sales is the outlet that puts the most money in the artists pockets.

I totally believe you. But just out of interest, can you tell whether "album sales" made a huge portion of the difference? Or was it pretty much "single sales" only?

Personally, I still buy albums (no singles) because I'm interested in the full package of an artist/band. Often it even turns out that I like other songs of an album better than the most popular song. Maybe you're lucky and have loyal true fans who also want to "own" an entire album over a single?

Quote from Kim_Olesen

iTunes sell a song for about 1$ (ballpark figure). So in my world, 1$ per 100 streams would be a reasonable scenario.

I'm afraid that you won't end up with 1$ in your pocket per sold song, maybe more along the lines of 0.50$ as a rough estimate.

But let's have a look at Spotify, again very rough estimates:

A Spotify user might listen to 500 "streams" per month, on average, across the world.

With Spotify Premium the users might pay 5-6$ per month on average, across the world.

I'm sure Spotify tries to generate similar revenue from ads ... for non-premium users.

So in my very rough estimate, Spotify will generate a total revenue of 0.01$ per stream.

I think a realistic pay for artists (and labels, song writers, etc.) would be 0.005$ per stream.

So I think there's not much difference between e.g. iTunes sales and Spotify streams in terms of pay for the artist.

Things were different when artists produced and sold albums. Even if the album had only one, two or three successful tracks, still the artist sold e.g. 10 tracks in one "transaction" ... basically generating the same "split" revenue for each of the 10 songs.

Just imagine, each of your album's tracks would generate the same 1.5 million streams on Spotify ... and consequently the same payout. I think life would be much easier for the artists.

Bottomline:

The extreme and exclusive focus on "hit singles" makes it so hard. Nobody gives a bloody damn sh*t about your other songs anymore, nobody "buys" them.

Real life example:

Marillion's album Misplaced Childhood (with 10 tracks) sold close to 1 million times to date, not counting single sales. Some serious revenue even though people will only remember Kayleigh and maybe Lavender or Heart of Lothian.

Some folks here might know that I have strong links with Nepal (and especially its capital Kathmandu) and the vibrant music scene there. The Toure Kunda track reminded me of this awesome track and video by Cadenza Collective. They are the organizers of the annual Kathmandu Jazz Festival "Jazzmandu". Hope you'll enjoy.