This is similar to music copyright. Education I believe is the only way forward, albeit a painful one. In other words people need to realise what they are actually doing when sharing someone else's work.
Posts by Ampsound
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Following requests I have added an OR120 guitar head profile set tracked via a 1073. Clean to flat out!
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I have also added a mid seventies Orange Bass Head (GRO/OR based). Somewhat more woody and in your face (for lack of better words) than the current AD200. Profiled through tape.
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Hi is it just me or if I remember well you posted a MarkIIc+ profile out there ? Any chance for you to propose a Iic+ pack ?Hi there,
unfortunately I do not own a Mark IIc+. I profiling my Blue Stripe Mark III at the moment having done A Caliber Plus and a Mark IV. I do have a friend that hopefully still has an original Cream tolexed USA version IIc+ . I'll see if I can get round to borrow it when he is not busy recording or touring.
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For bass players or guitarists doubling as bass players when recording we have just added an Ampeg inspired profile named Av4b. Shouldn't be too hard to guess where the inspiration came from. This is a classic running on 7027, similar yet different from a SVT.
Tracked through an Helios Type 69 preamp with a Neumann CMV3 (large diagram valve mic) , Sennheiser MD421HN (classic dynamic) and Neumann KM86 (small diagram capsule using cardiod and omni patterns). Through a Studer A80 so these are "tape" profiles (Basf 468).
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Taking SSL as an example you could profile either one the several Eq iterations (G had more than one version built, E, 9K) and/or the dynamics, namely one of the channel comps. These would work on the way in (i.e. profiles after the microphone preamp). Profiling the desk would be out of the question for the above mentioned facts. A large format console responds to the way you use (or abuse) it, the way you bus and multi your tracks, subgroups and in case specific of certain SSL desks (but not all) if and the way you use your VCAs that as mentioned in some of those desks are part of the sound. people who have used both the E, iterations of the G and G+ and )k series will know what I am talking about. For others let's juts say that profiling a chain would work, an entire console makes very little sense.
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Have you tried doing an A/B of say, reamping a bass di track through a good coloured preamp and its profile (or just use an y-splitter to record through both simultaneously)? Sounds as good as the real thing?
Yes it does. Extremely close, most of the times indistinguishable from the real thing.
For me (personal opinion and workflow) it is either a time saving option when I need to reamp because we did not have enough time (or budget) at the tracking stage, or the bass player is not well experienced or simply because the production has steered towards a different sound later on at the mixing stage. In other words if I have time and budget I will record the real thing and keep a D.I. track for emergencies, on the other end with limited time/budget or very inexperienced players I will usually go straight into the KPA (still keeping a D.I. track as a spare).
In an ideal world I would do what we used to do in the (now distant) past when most if not all players would have their sound and their rigs dialled in and the engineer would have some time to listen to the rig and mike it accordingly. Having said that I find the KPA is about 90% there with both bass and guitar sounds, not 100% yet.
Talking to several producers (award winning ones) in the past few months I have also realised that opinions are well split, close to 50%-50% between those who fully endorse the KPA as a very useful tool and those who discard it altogether without even giving it a go.... -
So can place a whole mix through the kemper and use it like a mixing desk and how
Not really as large format consoles are used "to mix" rather than just passing audio. An SSL is usually chosen for flexibility (i.e. routing as well as automation). It depends on your workflow, how you use the desk and how you gain stage. Even between SSLs several iterations of G series will sound different, E series will sound radically different from a 9K or a newer Duality. Again it is how you use it so merely passing the audio through a profiling (or a desk for that matter) won't give you that "mixed with big board" sound.
Profiling outboard works fine (you can profile a recording chain where the interactions are less than in a large format console). I always profile through outboard preamps including Neve, Telefunken, API, Helios and so on. Sometimes though a complete chain with a touch of eq and compression. I have also taken profiles of quite a few different D.I.s
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What I mean is the conversion to a digital recording using a interface does it retain the same quality as to what you hear ? Since the unit has no USB to go into a digital interface and you will either have to use the line outs or the xlr outputs or S/PDIF ? Will I need a interface with a S/PDIF input ? The one I have now only has a S/PDIF output .
What make/model of interface is it?
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Thanks for pointing that out. I had amended the docs regarding the first freebie pack on the website but forgot to put the new version in the download .... apologies, fixed now.
That Shalanda Custom Cab is a 1x12" made of Pine to save on weight for us old timers with bad backs
This combined with a leatherette style cover that is sawn but not glued (as you would with "tolex") make for a very vibrant tone closer to the speaker's own and taking less of a "stamp" from the cabinet itself. -
ampsound, i meant to say the ones that you have labeled as "drive" profiles in your pack, have the gain set at 0.0, and are completely clean. There is no gain on them whatsoever, and turning up the gain yields unnatural sounding results, sorry for the confusion.
Yep I see what do you mean I was asking which set, the Doz28 or the new Mesblu?
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Which ones are mislabelled? I couldn't find any mistakes although these are a likely possibility
... lack of sleep, too many things to do and so on....Anyway the amended page is now up with an extra freebie.
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Yes it was a limited run. It was reinstated by making a few more available when a couple of nice gentlemen from the far east complained abut the link not working. I guess the language barrier played a role there with them not understanding it was limited to a certain time. We'll probably make this and the forthcoming month available anytime as soon as we manage to edit the page on the website....
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Glad you like them!
Regarding the level being low it depends on your guitar output as well as your KPA input settings. If memory serves me well we used a Custom Shop LTD Master Built Tele and a Les Paul vos for profiling.
Profiles are a result of real production needs so I'm afraid they may not be to everybody's tastes.......
I will make another free set available in a similar fashion to the Z in the next few days before moving on to the new bass pack and high end DI set. -
Ok..
What the heck is your problem? I just commented on a mic I like for guitars as an alternative for a 57 and you have to go all "i'm a pro, you rest are just internet noobs with no real life experience". 
Seriously, tone down your ego a bit.
Apologies if it came across like this. It wasn't directed at you at all. Quite the contrary as what I aimed to convey is that I agree 100% with you.
My rant was just about some "notions" that nowadays are spread around and taken for granted as "truth" or "common practices" when those not always or rarely aren't". Your post tickled this issue. That's all -
My favorite "57-killer" right now is the Beyerdynamic M201TG.
Sounds great pretty much on anything I've used it for, guitars, snare, vocals, even overheads.
This has always been ....... a classic since the seventies on gazillions of records on snare drums, toms, guitar cabs, even cymbals and strings. I guess the downside of the internets is this "hurban myth" syndrome. Nt helped by the disappearing mentoring or internship opportunities. A large amount of "knowledge" comes from "I have seen it on line" rather than real experience...
Same could be said about other microphones, may people are aware of a D12 but less of an equally mighty M380 where it is taken for granted by industry personnel.
We could go on with Kramer and Hendrix with an M160..... -
No problem unless you overload either the amp or the speaker. As a physical device any speaker has a limit. if you are using low powered nearfields don't assume you can turn then up full blast and be 100% safe.
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Whenever I do a profile set (first and foremost for my needs) I always log down Amp channel, mic preamp, mic/mics and cabinet/cabinets as well as general gain. If the pack gets released a pdf file is included with the delivery. The same file is also available for viewing or downloading through the website. Should you need them in the future gine me a buzz...
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hi friends.
when I use the spdif connector sometimes when my air conditioning starts to work I get a lost connection for a few milliseconds and then it goes back on .my question is, is this a normal phenomenon? or is it an indication that something is wrong with the unit ,and just to clarify the analog out signal is not affected by this....
My setup is this:the kamper is connected to my audio interface which is a prism sound Orpheus, the settings are exactly the same as the kamper.
thanking you all in advance and have a nice day.
Besides what has been already suggested make sure your Prism settings are correct as by default you may have the input on AES while the KPA outputs S/P dif. The Prism has to be able to correctly receive clock via the correct impedance digital cable as well as the correct setting in the application menu (internal, slave etc drop down menu). Make also sure your computer is not losing any connection with the interface (if it is firewire Prism likes very much oxford chipsets and hates most others)
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Nice!
Even nicer if we could fit into number 4 (other sources)
edit: Ok I have managed to join that list.
Cheers!
