NEEDLES!!!
Posts by db9091
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Yup! Or perhaps make it into a possible effect that has a Metronome mode.
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I like guitars you can stab Zombies with. You, Sir, are totally ready for the Apocalypse!
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I bought the Lindell 1176 clone for my Lunchbox and am pretty happy, especially on acoustic guitar. It is NOT subtle, but sounds pretty "vintagy" when set up right. Also, it has a blend knob.I was looking at those. Since I had the equity to swap, I tried the BAE 500C on the reputation of BAE. We'll see. Can always return it in 30 days.
But yeah, they ARE supposed to be "colored", not transparent. Only great singers want that, haha -
I think everyone should have experience with a Kemper.
It's amazing, this day and age with all the emulations and all, because you can figure out what you like.
This way IF you decide to get the actual hardware, you have a shorter GOTO list.
The difference I find is that hardware emulations are close, but not as exciting. Whereas the Kemper is the real thing.
I get into arguments all the time, well, not arguments, just differences of opinion. People who haven't tried the Kemper
saying that things like the Kemper makes "all music today sound the same". I disagree. You have ENDLESS possibilities with the Kemper.The reason stuff sounds the same is you have the same 10 professional middle-agedl writers writing hits for all the teeny-bopper stars.
And when the old stars who write music, like the Chili Peppers or David Mathews, etc, they get professional "help" that turns their music making into the same sausage making formula instead of true inspiration.People also seem to get locked into the same genre whereas music in the past that was great began as a synthesis of genre's.
That's where the KPA can come into focus. Mixing so many amp sounds that never or rarely would be possible for real people due to the costs!
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The 65 RI is Fantastic!
It’s a 1 trick pony, Reverb set about 3 ish.
Doesn’t like certain guitars. Fender single coils sound famous through it.
As for the KPA, I have many hundreds of purchased profiles, mostly to find those few. Some are free exchange profiles. I like variety just in case, but end up using about a dozen or less mostly.
If I didn’t have a Kemper I’d have a few amps with various tube types (EL34 and 6L6 etc) and 5 different cabinets to ply them out of for variety. So the KPA was cheaper and a smaller footprint.
Try different things and stick with what meets your needs the best but it should be FUN FUN FUN!!!
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The reason my white coily-cable sounds like it's "lower" that regular cables is that it zaps the high's out of the signal acting like a low pass filter.
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You have a Universal Audio interface, right, DB?
If you haven't yet, do a trial of the 1176 compressor plugin that they offer. I find it really, really good. While I am sure it is not as good as the analog equivalent, it is amazing imho. Might save you a few clams.Maybe also look into a Klark Tecnik 1176 clone. I am not sure how good it is, but I was intrigued when I saw how closely it is design-wise. Based on the D and E revisions of the 1176.
The problem with tracking a UAD2 is that it needs to come before the hardware WA2A to tame transients before being compressed by the optical. So that's out unless I do the 2nd half of the chain in-the-box.
My fear of buying a Klark, and I've asked some stores about this and they confirm it (although I have no personal experience with Klark) is that they have gone down hill in quality since having their stuff made in China. And for that price-point, but still using good components, it's HOW it's put together that is the weak point. (ie soldering, poorly glued large components, etc)
For example, in the same price range, but a little more, is the Warm Audio WA76, right? I ordered one used off Reverb: DOA. I ordered one new from a music store: 100v Cap broke loose in shipping and was rolling around. The company said it's supposed to be glued but it wasn't. So the manufacturer isn't even following the companies instructions. They inspect each unit in-house before shipping to stores. But I guess the 2nd shipping was too much for it. Point is: Not robust due to poor quality of manufacture. Hence my interest in going more expensive and quality-oriented than the Klark/Warm Audio range. So I chose the BAE 500C since I have a 500 Series Rack (Heritage Audio, 6 slot)
Also, at some point, these 2U units take up a LOT of space. I can get many into a 3U 500 Series enclosure, but there are some differences when you pair down to that size. A 500 series may not sound exactly like a 19" rack unit of the same company. You have to make compromises on component layout, type and size.
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I have found UAD2 plugins great to decide what hardware gear I would ultimately love to have. So for THAT purpose it rocks.
My major usage is the Lexington 224. I've never heard a plugin that works but sounds so natural like it's not there if you use it appropriately.
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i think the lava gives you back the lows that are missing in cheaper cables ...
Which you Hi Pass in the mix, haha.
Guitars are meant to Treble it seems. I've run into this with acoustic guitar. You get a $150 cable and it sounds rich and amazing in person.
But you have to hi pass it in the mix. So, $150 down the drain after all. -
Toying around with the Xpressor, its not really going well with the rest of the chain.
Originally I wanted a 1176 styled FET compressor. This is a bit too modern.
So I talked they are special ordering a BAE 500C (1176 clone in 500 series) to swap when it comes in.I was all ready to send the Xpressor back but they said play with it until. So I will.
I find it hard to dial in. It's either not compressing, or compressing and squashing the tone.
I have to play with the High Pass Filter more.These new compressors come with this feature, so you can compress on the high frequencies alone and NOT the low end.
Because only the high end is passed through to compress. This way a boomy kick or vocal/acoustic guitar rumble won't set off the compressor and start it pumping at the wrong times.They say the digital world was the first to start doing these things and now they are trickling BACK into the hardware! Who da thought?
But that is where I'm coming from. My choices for a 1073 and 2A comp are from how well they sound AS plugins, but they still aren't where I feel a vocal, acoustic guitar or bass should be on tracking in.
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The UAD OX is apparently something to look out for... Definitely going to be picking one of those up at some point !
That does look intriguing. That's hardware tho, with software emulations.
I just mean here the full on software plugins of amps. Like 808illest put it, not impressed.
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Different chains (mic, preamp) can affect profiles differently.
Welcome!
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Welcome Aboard!
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I've tried the Marshall Bluesbreakers 1962 UAD plugin and it's not at all as nice as TAF's profiles of the 50th Ann. Bluesbreaker amp.
I do have an AMPEG-SVT-3 UAD2 plugin for the Bass and it sounded nice and all but didn't blow me away like a hardware chain.
What do you guys thing of the UAD2 Guitar Amp plugins, tho?
I was glad the Marshall din't give the KPA a run for it's money.
But It kinda seemed something I wouldn't even use as a backup. Yet I hear ppl raving.What am I missing? Maybe I don't know how to use their plugins? Or was that not their best one?
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I'm not using a power amp...
3. So you say it's better to buy an amplifier and connect my guitar to it, then to the kemper, and only then to my apollo?
4. You mean, Kemper SPDIF OUT=> Apollo SPDIF in and then what?
No, ignore that one, I'm being a dick. A provocateur.
I was trying to stir controversy with "well, IF you have a superb vintage studio, you can use THAT gear" which can colour your signal in very neat ways.
But forget all that. The KPA sounds pro level with SPDIF directly to your audio interface.YOU should just go:
KPA->SPDIF->APOLLO->PC/MAC->DAW1) Trim your OUT signal on the SPDIF by -10 dB within the KPA so you don't overload your Interface.
2) Keep your Apollo SPDIF track lever set to 0 dB (Don't use the Apollo's gain)
3) Control the gain from either your KPA Master Volume or SPDIF OUT so that it hits your DAW track at about -12 dB (range -5 to -15 dB, whatever suits your recording style)If you go into the DAW too hot, it will sound like shit!
The classic way of recording guitars using analog gear was to go in as HOT as you could. With Digital gear, you want to go in well before 0 dB. Some say as low as -15 dB
Additionally its always a good idea to put a TRIM plugin on your GTR track in the DAW that drops the volume a -10 dB so that processing has headroom for any plugins.
You can pump up the volume later when mixing or at the end of your plugin chain to get it back to -12 dB or so.Grab some VU meter plugins and set them at various areas in your chain and see how HOT your signal is at various places/settings to learn HOW NOT to cook it.
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Surely you don't mean a power amp??
Also the Kemper delivers a line level in the first place.
You are correct, Sir. I was smoking some crack and got my signals crossed. I mean a separate better quality Preamp (which goes LINE into Apollo)( and Reamping (Fixed)
If one goest to a power amp BAD, haha. I have a power amp after my KPA and a good Preamp and got them confused while in the other room.
So, using the Power Amp there is:
5) GOOD: KPA->Power Amp->External Cabinet -> Microphone (SM57, Royer 121) -> Preamp -> Audio Interface If you want the flavor of an external Amp.
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The typical one is a good compressor. It can really make your guitar ring and smooth out the volume differences of imperfect picking. Its the Nashville Sound for that reason.
You can use a colored booster, like the famous EchoPlex preamp circuit (I had the Xotic EP Booster) which sounded good on all things
Personally I like a good Delay and then Reverb, which after the Comp can make a tone magical. But like all things, it's the TYPE of each pedal that together makes it blossom.
You'd have to know exactly what pedals he was using. I can use the same types of pedals in the KPA and still not get what I'm looking for. It takes a while of mix and match to find your AHA moment.
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1) BAD: You want to go into the Kemper at a Hi-Z guitar input. If you amplify the guitar before the Kemper, it will be too hot and sound horrible.
2) GOOD: Your current way is acceptable. Using the KPA to preamp and simulate your Guitar Amplifier at a preamp strength, then use the Apollo to amplify it for recording.
3) BETTER: Guitar to a separate better Pre-Amp/ADC and SPDIF Reamp to the KPA
4) BEST: SPDIF to Apollo's OPTICAL IN. Bypassing opamp and Audio to Digital Converters (which aren't the best in the world) and you get the BEST Kemper tone to DAW!
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I never upgrade to the latest Mac OSX until its about 1 to 1.5 years old.
2 weeks ago I updated to Sierra for my iMac. I'll do my macbook next.
High Sierra? Maybe next Fall, haha
