Posts by Ampsound

  • SPDIF out to interface quality...

    It is more about your ears than other people's opinion. S/P-dif is a digital transfer hence there is no change, while going through two conversion stages (DA from the KPA, AD into your DAW) obviously involves a change. It is not a matter of "quality". A digital transfer is identical to the original unless something is broken or not properly implemented. An analogue transfer will always be dependent on converter quality.
    To close this up we are talking about electric guitar amplifiers/sounds here so unless you are using an extremely cheap and old interface/soundcard the difference will not turn your sounds from gold into copper and vice versa. In other words no sleepless nights, enjoy the KPA and use what fits best your workflow. Make music!

  • SPDIF out to interface quality...

    More than sample rates it is the fact that the KPA has to act as a master that bother me a bit instead of being able to lock it to the DAW clock (or converters) clock.
    For the time being I just go analogue in through the AD.

  • SPDIF out to interface quality...

    Follow your instincts , that is your workflow. Do what is more convenient, think about playing rather then getting lost in theory.
    We are talking guitar amps here, not 0 to 200 kHz. Use S/P-dif if it is convenient for your setup. I routinely switch between digital and analogue and the difference is small. This is from someone that on the other side of the job takes these small things into account, each and every one of them....


    You can go into Logic without worrying too much as long as you avoid clipping and then gain staging if you need lower levels. If I am not mistaken Logic is 32 float, not sure about the newest release so really no worries once you are in the digital domain. You may want to avoid clipping on the way out generally speaking as lesser converters can have problems reconstructing a clipped signal.

  • Profile-Volume

    Gianfranco has already mentioned what are likely to be the key issues.
    I just want to stress even more that taken for granted the same monitoring/listening environment the effect of the "Fletcher Munson" can be dramatic, especially but not restricted to crunch and overdriven sounds. A difference of few decibel can make a dull or dark sound a lot brighter and vice versa. It is also true that profiling a rig at different level will give different results as all the gain staging involved (microphone capsule, mic head amp, preamp and so on) will react differently, not to mention speaker (cab) movement and stress when driven by your amps at higher levels. The only solution to the issue is experimenting with the interactions of those different elements in order to find a way (or sever ways) of getting your sound as close as possible as the one you get from your amps.

  • Dr. Z Z-28

    Quote from ba_hill

    Thanks for these! The cleans are great!!! but I also didn't find #9 and #10 to be drive as stated in the doc. The gain on both of those is at 0.


    Brian


    Thanks for the heads up, it has been a busy working week and likely it was my mistake (lack of sleep) I will double check and amend the docs. Apologies to all of you that have downloaded the profiles and thanks for the kind words!

  • do I need to buy profiles?

    Quote from pacocito

    Today, I'm in love with you Simms-Watts profiles. wow! Awesome profiles.


    Thanks! Glad you like it.
    We are not a commercial operation per se. Rather a recording and post production house. We have (and we keep building up) a library of sounds for production small and big therefore time is limited. As most of us are guitar and amps fanatics whenever we have some studio downtime we do some profiling. Those profiles have proved worthy in the field. The won't be foe everybody in every occasion as it is true for production and mixing in general but hopefully will be enjoyed by some.
    Regarding the Simms it is a very tight (for lack of a better word) sounding amp, almost a bit dry and therefore a bit special. This particular example is a Mark I first issue without the presence control, dated approximately December 1970 give or take a few months and thankfully brought back to like by a well known UK amp tech.