Higher.
Easy way to remember: Q stands for Quality (it actually does), higher Quality = Finer things, Finer control = Narrower.
Higher.
Easy way to remember: Q stands for Quality (it actually does), higher Quality = Finer things, Finer control = Narrower.
Not the first time he's said that: What do you guys think of this from Cliff of Axe Fx?
@G String says Cliff is incorrect a few posts in, and @ckemper mentions some other inaccuracies later in the thread.
Hold the Cab button to select that module, then turn the... left? knob to borrow cabs from other profiles.
- There are a number of great Laney profiles on the Exchange, including one or two of his signature amp. Look for something with older speakers (Greenbacks, maybe) rather than the V30s everything has these days.
- He's also known for using a treble booster like the Dallas Rangemaster in front. The Kemper's Treble Booster stomp is good hear, although I wish it wasn't so clean.
- High gain, bass turned down, mids turned up.
You can get some pretty nutty sounds by playing with the shaper and pitch shift stomps - Bit Shaper in particular. There are some Virus profiles on the Exchange that are a great starting point - I was using Virus 8 with a few pitch shifters after the other day for a credible Super Mario theme patch.
I've not seen this parameter-premixing idea mentioned before, Lokasenna.
Sure, we've had multiple requests for simultaneous Profiles, which logically would allow one to "blend" the mix between them, but we all now know that two cannot be rendered at once by the CPU.
Post #15 here, for one: Dual amps
+1
The same idea has been requested at least once or twice previously (I think I was one of them), but AFAIK we've never seen a response from Kemper as to whether the basic idea is feasible.
The point is that SysEx is an established, simple, well-documented and well-supported format. If the Kemper could import/export its settings via SysEx, this thread would be over because basically any DAW could work with it.
Why would the plugin need to be kept up to date? Are VST2s or VST3s going to magically stop working?
If they documented the format that the data was transferred in, then anyone could write a parser in whatever plugin format they wanted. Or, you know, just have the VST get/parse/etc a SysEx dump itself.
That missing 5% is actually your brain feeling weird about how much simpler life is without a full stack to cart around.
Recording the same high-gain tone on both sides can get mushy pretty quickly. One approach that gets occasional use is to add a guitar straight down the middle - Metallica's "Sad But True", was actually 5 guitars if memory serves.
If you take a lot of otherwise-great metal mixes and sum them to mono, it's often a little surprising how much the guitars suffer. In normal situations you'd probably never notice because the bass is doing so much of the heavy lifting.
It does. The search filters are hit-and-miss (time, power hand, etc.).
There's a ton of free and cheap MIDI out there, and EZD is happy to let you import it. I think they call it "User Library" - you set it in Options, and they'll show up in the browser and the search thing.
Most third-party loops don't use Toontrack's mapping though - it's pretty common to hear sidestick instead of the snare, among other things. I ended up using a free utility (can't remember the name, of course) to batch-convert a bunch of external loops to the mapping EZD expects.
Also worth noting that that the common (in my experience) suggestion of using the pan knob to help with tracks that disappear in the mix, in fact, does nothing. At all. Zero. Guitars that have phase issues (too tight and too similar, usually) at 100L/R will still have phase issues at 80L/R. Panning them toward the center isn't going to give your mix a stronger mono image - in fact, it won't affect the mono image at all aside from a slight volume change because of your pan law. There's no "magic spot" where if you pan an instrument it'll suddenly pop out, because the stereo spectrum we hear is an auditory illusion to start with.
Once your Kemper is updated, it can connect to the Rig Manager software directly via USB - no stick required, ever again.
As mentioned above, one of the options on the left side of Rig Manager is Rig Packs - look through all of the cool stuff in there before you even begin to contemplate spending money.
There a few great packs for metal in Rig Manager.
For modern metal, my first stop would be the Lasse Lammert and Lars Luettge (might be labelled Tonehammer) ones.
Older stuff can be a bit trickier, mostly because it seems like everyone's obsessed with the honkiness of a tube screamer + V30s. The Choptones and Michael Wagener packs are really good though.
LCR panning is a lot more common than you might think. I don't like going farther than ~85 unless it's something like a pair of overhead/room mics, but fancy panning is overrated unless the listener is using headphones. The real world (i.e. speakers --> living room --> you) has a way of blurring all those subtleties out.
Mostly joking.
If your playing is tight enough that I can't tell the difference between two takes and twelve... you're way tighter than Hetfield or Schaffer. They're tight, but "human" enough that the overall sound still gets bigger when they layer tracks. In THAT sense you're too tight, and thus could "learn to play worse". Listen to Grave Digger and Running Wild, particularly live recordings - they're tight enough for non-prog metal, but they're not nailing the metronome by any means.
Depends on your preferred genre/style, of course. Metal these days is edited down to milliseconds anyway.
Learn to play worse then.
I'm not a machine, but I'm pretty tight when I want to be. Those clips sound like two takes reamped a bunch of times. Even if you spent a few hours slip/stretch-editing every transient, the natural imperfections of a human playing the instrument will still build up that thick chorus effect.
Also, his screenshots only show two DIs.