Posts by Ampsound

Ok, capito. Io uso quelli miei nel 99% dei casi. Ricorro a profili esterni se cerco qualcosa che so bene di non avere perché non ho avuto tempo di farmelo.
Nulla contro i profili altrui a volte sono ottimi ma nel mio caso (produzione e mixing) preferisco usare quelli della mia libreria proprio per il discorso che facevo prima (cosa funziona per me o per un dato brano/arrangiamento/album).
Comunque la prossima volta che mi troverò ad utilizzare uno dei rig dell'exchange me lo segno per la tu lista ..... che la memoria a volte fa brutti scherzi!

Ti potrà sembrare banale ma l'unico modo per sapere quale é più fedele all'originale e di conoscerlo a fondo ovvero di averlo usato, suonato e registrato negli anni.
Capisco che scaricarli tutti é un processo lungo e tedioso ma alla fine non é più importante scegliere quello (o quelli) che ti piacciono di più a prescindere dalla fedeltà all'originale?

Per cominciare ci sono tre versioni della serie Dual Rectifier (più qualche via di mezzo che per snellezza tralasciamo). Poi bisogna vedere (o sentire) se e come sono messi (manutenzione etc) e come sono stati profilati (microfono, posizione, eventuali pre e processing vario). Con quali chitarre, suonate da chi? Le variabili sono tantissime. Tra i miei colleghi "metal producer" (con svariati Grammy in bacheca ognuno) nessuno usa la stessa tecnica nel microfonare o ha lo stesso gusto nello scegliere i suoni.

Tutto questo per ribadire che la cosa più importante é scegliere quello che ti piace a prescindere dalla vicinanza all'originale.
Comunque per appena ho del tempo proverò a scaricare i free Rectifier e magari faccio una mini classifica di quelli più vicini all'originale!

In the meantime (meaning while the feature is not available) either profile your own amp with your favourite stomp box in front or find a profile with your favourite stop in front of the amp.
If I find the time around Xmas I will do a mini pack add on with well known stomps (old and new) in front of our amps.

Not sure I understand what you mean. A profile is a "fingerprint" of a whole chain, in its simplest form amp, cab, microphone, KPA therefore what you are profiling is the "recorded sound" if you wish. Getting a good profile needs some skills in choosing a good amp/cab pairing and then knowing where to place the microphone (or microphones) to achieve either the sound you are hearing or the one you have in your mind (i.e. being a bit creative if needed). Speaker to room interaction is also of fundamental importance (i.e. acoustics).

Thanks Pacocito!
As soon as I get some times between two albums we are wrapping up and other post production work I'll get down to work and make both the singles as well as the other packs available.
Cheers

Most FOH engineers or Soundmen are usually happy with a normal healthy signal hovering around 0Vu (+4dBu) with an analogue desk. Digital feed with S/Pdif is asking for troubles across long distances unless they have a digital breakout box on stage. In this case anything around -18dBfs peaking at -6 would be ok.

Regarding monitors thankfully there are quite a few good choices in the budget range nowadays if you know where to look (or rather hear...) for a few hundred euros or look into the second hand market.

The line outputs need to be connected to whatever you are using for monitoring during profiling, either active or passive speakers via a monitor controller or a mixing board so that you can switch and hear between your amp and the KPA.

I'm actually on the opposite side here, just checked and it does not click while in auto load. Maybe depends on the weather?

45 last week, still rockin'. Hair unfortunately as above.....

Lower the input signal. Any boost as well as HPF or LPF can produce a boost that can result in a clipped signal. Profilers try to average level but it is almost impossible to cover each an every ground (i.e. signal strength) across such a wide spectrum of instruments and players!

Guys (and gals) let's hope greedy people will not stop Andy or others doing things like this in the future for the honest nice people out there.
I would also like to add that in this digitally and seemingly perfect technological world things actually do go wrong. Sometimes with e-mails other times with shopping carts and browsers (it also happened to us). A bit of patience and I am sure all will be solved.

Sorry forgot to add, regarding mono or stereo, it depends. Profiling in the KPA is (at the moment) mono only therefore it would probably make sense to monitor in mono unless you are using stereo effects in the KPA effects section.

Your KPA outputs wether from the XLR or TRS connection (both balanced analogue audio) go into your chosen monitoring device. It could be as an example a monitor controller hooked up to your active or passive (via amplifier) speakers, or alternatively into a mixer (control out of the mixer to amp or active speakers). This would allow you to monitor while you are playing or profiling as well as re-amping.
If re-amping your D.I. signal typically goes from your audio interface/soundcard to your re-amp device, from the re-amp box connect the instrument out to the KPS input (where you would plug your guitar) via an instrument jack. The KPA outputs then go to back to your audio interface for recording and monitoring (careful with loops, turn your monitors down just in case...)
If you want to use the digital SP/dif bear in mind that the KPA is always the master and your interface is slaved to the KPS incoming clock signal.
Hope this helps.

No clicks here in manual mode. Clicks in auto load.

You can monitor either via the mains out (XLR or TRS jack) connected to a monitoring system (monitor controller or mixer connected to monitor speakers) or via the headphone output, Make sure you are listening to "reference amp" in profiler mode while moving the SM57 around.

My first one had missing led caps (led were working though). Kindly and promptly swapped by the dealer where I bought it.

Quote from Spacey

I'll be opening the box of my KPA in about 5 hours.
It's like Xmas (or the holiday of your choice)!

I'm a mostly clean player myself, tho I do like my overdrive.
Tough to find clean demos...but they're out there...kinda.
If I ever have time, I'll post some

Congrats on your Xmas early present. The KPS does cleans very well as you will soon discover!

Bass amp pack available. Seven amps, 116 profiles, a mixture of old and new but not too new
Mostly clean, some "drive" profiles on most but not all of the amps. Some "through analogue tape" profiles.

http://www.ampsound.eu/page8/index.html

Quote from ckemper

The Profiler plays the full bandwidth up to 20 kHz.

When guitar speakers are listed with 7 kHz or so, that is e.g. the -3 dB level.
That does not mean that they don't get beyond that. Frequencies up to 16 kHz are significant.
If you cut a guitar speaker at 12 kHz, you can tell a slight but important difference.

Although not scientifically proven the brain and /or the body perceives frequencies above the audible range. Analogue tape at 30 ips on a well calibrated and maintained machine goes well beyond 20 kHz.
Having said that and being used to the the term air as a consequence of more than two decades of engineering (most spent mastering) I do not find the KPA lacking any air. Even more so I find it very good at reproducing the whole chain (microphone mic preamp processing speaker and amp). There are a few minor thing that I would like to see ... oops.. hear improving but those are minor issues. In other words well done to the KPA team.
Just my two cents.
ymmv

Quote from Glowing_Tubes

I agree, ere are many great profiles already on there.
I find the KPA to be very sensitive to which guitar I've got plugged in too.

This is also true with "conventional amps".
Record ten different D.I. from 10 different guitars, switch back and forth and you'll notice how different pick ups can sound, even the same pick ups configurations on different guitars. Thus is even before bringing the player into the equation.