essential.
There's no valid studio eq without low cut and high cut, with adjustable frequencies and slope.
Essentiel in a stomp and in general output.
Posts by azertyvince
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No.
But why not.
if you want, you can post your photoshop or powerpoint model(s) too ? -
Contact your insurer.
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Cool , is this a magnetic skin ?
It's just a model made with powerpoint.
It can be inspiring to create a real skin.
I have no idea what the result will be on a real skin.
And i don't know if the result will be the same, if you keep the kemper knobs.
Here I changed the knobs.
And i don't know if you can change it by Fender knobs. -
Just for fun.
It's just made with powerpoint.[Blocked Image: http://nsm08.casimages.com/img/2015/11/06//1511060438579350713727714.jpg]
[Blocked Image: http://nsm08.casimages.com/img/2015/11/06//1511060427379350713727697.jpg]
[Blocked Image: http://nsm08.casimages.com/img/2015/11/06//1511060407299350713727690.jpg]
[Blocked Image: http://nsm08.casimages.com/img/2015/11/06//1511060403569350713727681.jpg] -
Just like that.
[Blocked Image: http://nsm08.casimages.com/img/2015/11/06//1511060232189350713727520.jpg]
[Blocked Image: http://nsm08.casimages.com/img/2015/11/06//1511060238599350713727526.jpg]
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Beautiful cut ! It's a new cut ?
Nice. -
Since : Mar 30th 2012
4 years.
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asked since ...
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Cool, a new Kemper.
It's great.Thank you Cliff.
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Rooms of different sizes and shapes have different sonic characteristics. There is no way around the physics. It is not only unrealistic for TAF or any other profiles to achieve this. The KPA itself would need additional features implemented to get anywhere near what you want. It would need to implement auto-tweaking based on a signal from a flat-response reference-microphone to be able to automatically compensate for varying room-characteristics. I doubt that auto-compensation will be good enough for everybody either. I use reference-microphones and analysers to create templates for PA-systems. These are great tools to establish ballpark sound quickly at venue, but there is always a bit of extra tweaking by ear required.
And if you record amps with neutral mics into an anechoïc room ?
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As in positive grid bias ?
Name can be changed, knobs, switchs, tweed, and tolex color too. -
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I think a global version of the noise gate at the input stage would be a welcome addition too,
to work with reverb, the gate don't must be at the input, but only after the tail of reverb,
and only in the wet part of reverb. -
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It's less difficult to program to have a single unit to process vocals and guitar.
I own a TC helicon Voice Work Plus, but synchronizes it with a guitar multi-effect is difficult (in order to have common patchs).
It seems to me that the axe-fx is able to do so (It's not the same sound).
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Please ... for Chrismas my Lord,
a second effects line for vocal (cause I sing while I play guitar).But It will never happen. Isn't it !
I was too naughty this year. -
A gate inclued into the reverb would be great too.
It works only on the wet part..
and possibly with a global gate reverb parameter. -
Yes dark reverb.
And how to make cold reverb tail ?
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Yes but lifetime of leds ...
and why not a blue background screen for the cold sounds and red for the warms.And violet for the violet sounds.
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Sorry for my bad English. -
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I find the amps in Axe Fx firmware 16 the best to date. Check out Yeks presets of amps and select cab irs for even more realism.
Yes, but not sure that is as good as the Kemper.
I have not heard a lot of recording from axe-fx II FW 16 that sounded great (with clean and crunsh).Maybe those of Mr Brett Kingmann (not sure it was the FW16).
But that's all.http://www.g66.eu/fr/news/axe-fx-videos-of-the-week
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Sorry for my bad English.