I am still massively intrigued by the freqout...and the only thing stopping me from pulling the trigger (on what is a relatively inexpensive pedal) is that I have got so used to running no power to the front of stage...so very keen on answers here! Cheers, Greg
We spent years asking for new delays...and now we have one...
I'm not affiliated in anyway - just a buyer. They are well worth the money for just the superbass...wowzers!
All outputs are live - cheers, Greg
For tuning, get the needle of the tuner to be bang on pitch as you strike the note with your plectrum, playing with the same attack and intensity as when you will be recording - don't do the long note sustaining as you look at the needle...its on the attack that is most important.
If things sound 'phased' or 'chorussed' then it is either tuning issues, string gauge too light for the pitch, not being played tightly enough, or differing vibrato if applied.
Personally, I enjoy there being variation between left and right so do a single track per side - as I am far too sloppy to be expressive (and repeat)...I don't know what it is I've just done half the time
This thread is better than TV.
And I LOVE TV.
You're welcome - it'll be dead easy once you've done it a few times!
What style/tones are you after?
Ideally, you do the following:
Turn 'monitor cab off' in the output pages (press output and scroll) - this will mean that you don't hear the cab emulation through your powerhead>real cab, but it will still be there on the direct outs (xlr) to FOH.
Preferably (and this is presuming you don't live in a million pound studio - genuinely hope you do!):
Best: Dial your profiles for FOH using a FRFR at gig volume (this removes the acoustics of your monitoring situation)
Dial your profiles for FOH using studio monitors (if a treated room - fab!)
If no other option: Dial your profiles for FOH using reference headphones - though even high quality reference headphones respond differently to speakers of any sort.
Those are most important as thats what the crowd hears.
For your real cab monitoring, select the profiles you just optimised for FOH - then click the output button again, and look for 'monitor out' eq...here you can change JUST the sound of what comes through your cab. It will not affect the sound you dialled in for the main outputs to FOH. You will probably need to add a db of mid, treble and presence. Just to brighten things up.
Bought these last week - excellent profiles for anyone after the modded marshall sound!
Cymbals are never quite right - and I have tried pretty much every library going...alot of processing always needed! Overall, you won't fool a drummer...but average joe, SD3 is the best!
I like superior drummer 3 for drum sounds, very very good!
Yes. You can save directly to a folder on your hard drive / computer for one. But Im wondering why the 3rd degree about this specific editor, when editors have been around for a long while now and you have most likely played with some of them, right? So you know what they do, right?
Has any editor done things for you that you can't do? Hummmmmm...
Pardon the bluntness and parody... So in your studio, if all you do in there is record noises then lovely, but thats it?
I really don't understand this line of questioning, so Id thought Id be silly too...
Hi, the question was if there were things the editor would enable us to do things we currently cant in the hardware...and it relates to this specific editor...as this is a topic on this specific editor
Thank you to those that understood the question and provided some insight!
Just a thought, but maybe check your global noise gate too mate?
Genuine question...what will the editor be able to do that we can't currently?
My studio time = money....and if it makes things easier and speeds up workflow, then lovely...but is that it?
Use less gain on each track if you are double tracking - especially if you are quad tracking. The way I think of it, is you have your 'live sound' amount of dirt...and the compression that naturally comes with that...when you add all of your tracks together, you want to have that amount built up by your multiple tracks.
I dont compress anything OVERALL apart from clean guitars, and for metal (especially technical, or chug/single note definition metal), you want tight articulation - room mics remove that. For rock...room mics are super super cool! Multiband compression - where the low end is dropped by a db or two on the chugs (low end only) is the only compression I would recommend using - especially on extended scale or lower tunings.
Some people like to double track per side (quad) - using a very saturated tone (amp generated) and a middy bright tone (amp or mic placement generated) and blend those together to taste. Then repeat on the other side.
Cannot say enough about the importance of our support act though (the bass and drums).
Good luck pal!
I have used a 5 button midi-moose with Kemper for years, and have it set up how you suggest - clean, clean with delay, clean with verb, dirt, solo...
But I am needing more sounds within a single song (to make up for my poor songwriting craft hehe)
So I though the remote would allow me to have 10 sounds (un-morphed and morphed) within one performance slot?
Thanks for your time!
Before I buy a remote, I hope you can help.
I press button one and am on slot one, a clean sound...I then press button one AGAIN to add in a delay etc.
I press button two, to change rig.
When I press button one again...to go back to clean...do I go back to the normal state (just clean), or does it go back to its 'morphed state' with the added delay?
Worry more about loo roll....less about kemper!