A reasonable request yielding a favourable outcome for alI I believe.
Once again Christoph thank you for letting us know. We again understand the current situation.
Have a good day.
Thank you Christoph, at least we know and understand now.
Now THIS would be VERY handy indeed for live stage work.
Please treat this as my request too.
Hello again Christoph - You know I don't often post but I'm perusing the board in the background all the time.
Having said that I thought it was again time for me to request this important and highly valuable tool.
I'd be grateful if you could advise will this feature ever be included or not? If not, all good but at least we'll know and we can stop
the ongoing requests for it.
Hello Christoph - Any chance of a comment from you about this ongoing and laboured request for the spring reverb & pre position delay stomp please?
Your comments/intention with these requests will certainly allow your customers to make decisions for themselves and finally put the requests to bed one way or the other.
I'd be very grateful for your highly valued comments/input.
I have a total desire to profile my trusty 1996 Fulldrive and I'd be happy.
I've tried it in the loop and I've tried all the available stomps in the KPA and nothing comes remotely close to it. If plugged into the front input it reins supreme.
If CK and team can provide the opportunity to profile dirt boxes the world of digital AND the KPA will be raised to new heights.
If I need to send some seed money let me know and I will via Paypal
I think having a metronome in the KPA would be fantastic. Of course it would need a volume control and assignable output option.
The KPA today is giving all guitarists the opportunity to have the very best sounds possible so why not try and get guitarists to be better with an essential practice tool for keeping time. In fact in a band rehearsal environment the entire band could benefit by having a readily available metronome that the guitarist can pump thru his rig and/or rehearsal PA.
I'm eagerly awaiting.
Did I hear somebody say profile the stomp box on its own then 'merge' it with an amp profile??
Merging is the current word/activity so why can't this be achievable via this approach?
I'd much rather profile the amp without the stomp then add/merge it when I need it. Much cleaner way of doing it with far more
options on tap across the board.
I am so wanting to profile and add my Fulldrive Comp Cut mode to profiles so I can finally get rid of another
stomp. A good Fulldrive in this mode assists Single Coil guitars in getting Humbucker like results when needed.
In future I see profiling then merging many things ourselves as the building block process of achieving a final overall amp profile.
Of course the pitch shifter sounds different if placed pre or post stack.
What I was talking about is the pitch detection that should happen as early in rthe signal chain as possible.
Pitch detection and placement of the effect itself don't necessarily have to be at the same place, I think.
Ingolf is 100% correct.
You want pitch detection right at the raw/clean guitar input as close as you can get. That info is then sent to the pitch effect 'wherever' it may be placed in the signal chain.
You need the cleanest and most stable pitch you can get in order for the effect to accurately calculate allowing it to pitch track correctly.
Hello CK - What I’d like to request is a daily practical use for the existing USB slot.
A very powerful tool all of us practicing/performing musicians could use immediately would be to have (mp3 or .wav) songs on a USB stick and
the KPA would allow us to play them either through connected headphones and/or through the KPA’s outputs.
The KPA would need to have transport controls of course (stop, play, pause, rewind, forward & most importantly a repeat function
between 2 selected points. A>B)
If this existed all of us would no doubt be heavily using it all the time. The idea of only carrying a guitar and the KPA and being able to be
fully self-sufficient in any environment would be amazing.
I sincerely look forward to your response/opinion.
I respect your request and the company Eventide, but I am afraid that all these methods even combined will not increase the impression of having two guitarists play a two voice solo by a significant amount. Can you provide us a clip with Eventide that demonstrates the effect?
Hello again CK - I apologise but I don't have the ability to record & post a clip as requested. A recording verses a live on stage (mixed in the air) delivery/simulation are very different.
Again I agree somewhat with your comment about it not being technically significant, however, different people and how they approach and deliver will vary on the % of significance.
Some may get little whilst others will gain more.
My suggestion/request is the best that I can come up with to further improve the current result. Is there something conceptually that you may be thinking/planning to further improve it?
By improve it I mean to make it more realistic simulating two live in the room (on stage) guitarists?
Hello CK - I certainly agree the example is to the extreme and it doesn't conventionally represent what 2 guitarists would play together as a harmony.
You also hit the nail on the head by saying coming out of the same amp.
I too agree your harmonizer approach is superior to most products overall but I've been saying for a while now there are only a few more things to do to
make it even more realistic.
If you could please add a user controllable delay for each harmonized voice and a user controllable modulation effect for each harmonized voice PLUS a filter/EQ for each harmonized voice.
The delay amount doesn't need to be a second or anywhere near that.I'm thinking a 1ms - 150ms delay at most for each harmonized note.
As you can appreciate two guitarists never have the same tone/EQ as the other and they are never perfectly in time and in tune with each other so having the above control could somewhat
simulate two guitarists far better than what is on offer at the moment. Some of the best twin guitar harmony sounds would be from Thin Lizzy and a common approach by them was one guitarist
was on the bridge pickup whilst the other was on the neck pickup. This is why the EQ option is required on the harmonized voice to try and simulate that + even when both were on the same pickup
their amp settings and touch are always different.
I have an Eventide H8000A and the above control exists in it, however, your tracking/algos etc.. are superior. If the above was implemented you would be leading the industry and satisfying
your users with world's best practice.
Hi - I rarely post as so many of you do it for me.
At a live show last night (300 people) I loaded up 2.6 (Beta) right before we were to start playing.
I did this because of all the positive comments I was reading in the private forum PLUS I'm a daredevil on occasion!
I used a Yamaha DXR10 (Dry) + Mackie SRM350 (Wet) along with a FCB1010 and a Relic Strat. I ran the rig hard & loud
in the venue's large room. I've played this room many times with this setup. I was playing cover songs from the 60s through
to now with the band I was with. Having said that you can imagine I was using many sounds.
First up I wasn't using performance mode and I didn't check ALL the functions after upgrading the KPA during the show.
I was always dissatisfied with the DXR10 as the mids were way TOO emphasised and the more I gained it up the lower mids/bottoms
were squashed/squaring. To be honest I was getting better results from a Mackie SRM450 and a RCF 322a. BUT again it wasn't as it
should have been when comparing it to my actual amps.(Bogners, Friedmans, Soldano SLO, Elmwood & Marshalls)
After last night's effort of using 2.6 I can honestly say I am FAR FAR more happy with the sound. It breathed SO MUCH better and natural harmonic
feedback and sustain were realised throughout the night. I played SO MUCH better due to the sound UPGRADE.
I can't comment on the profiling when using 2.6 but for live sound 2.6 is a SERIOUS UPGRADE and I encourage you all to load it up ASAP and put it
through it's paces.
BTW: When changing programs it was MUCH faster as advertised.
The latency DOES exist and it DOES need addressing quickly.
If you're the single guitar player in a live band you will notice it and if you don't you need to pay more attention.
In my application when using the harmonizer on/off per rig it makes it even worse.
I'm very much hoping CK & crew will be concentrating on fixing the niggly things like this with a soon upcoming
FW update OVER adding more features first.
The idea of running a wet and dry cab from the stereo monitor outputs and then have the main stereo outputs independent of the monitor outputs would be fantastic!
Stating the obvious - the stage monitor requirements are often quite different to what the FOH requires/hears.
Please make it happen and make it soon.
More accurate tuning is ALWAYS a positive step forward for ANY device.
+ 1 from me too.
I agree the above could work to a large degree,however, some pedals just can't be duplicated close enough.
Profiler verses modeller, now I understand your comments.
It would be of significant value if CK posted his thoughts in this thread.
Many users/owners would be interested to know the exact position.