Just sayin'. This would add to the argument that to mix a higher-gain take in with the lower-gain ones might be a better way to go.
This is a really fun idea. I like two tracks of super-tight Jon Schaffer (gee, have I mentioned Iced Earth yet in this thread? :P) and then two tracks of something huge, saturated, and chorusey like "Bark At The Moon" in the background.
I think I see the issue. From the screenshots, and listening to the examples, I think @Cederick is reamping a single pair six times each. If so, that's NOT what we're talking about - you should be physically playing the riff twelve times. If you are... well, you're playing way too tight. "Big" metal doesn't need tech-death precision.
And yes, multitracking is the standard for *most* metal, has been since the '80s. Master of Puppets was six, for instance. Sad But True is five, I believe, the one in the center played with a really growly baritone or something (you can see it in the Year And A Half video).
Easy experiment: Record the same riff with two different guitars, through two different profiles, like so:
Guit A -> Profile A
Guit A -> Profile B
Guit B -> Profile B
Guit B -> Profile A
Use reasonably different sounds. A Gibson and a shreddy Ibanez, for instance, or a Marshall + Greenback and a Mesa + V30.
Now tell me that double-tracking still sounds just as big.
I dont get why that would be the "norm"!I dont think any of the METAL bands I listen two quad tracks.
AND... In these examples they all have LOTS OF GAIN. Not weak "low gain" settings!
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He should have said "modern" metal. Grave Digger and Running Wild are old bands, and even their newer releases still sound like just a plain ol' double-track to me. The self-titled Grave Digger album is also double-tracked, I'm pretty sure, and sounds INSANELY heavy compared to those two.
To be fair, though, having a giant bass in the middle makes a big difference - half of what makes you think "wow, these guitars are gigantic" on that Grave Digger track is actually Jens Becker (formerly of Running Wild, coincidentally). Iced Earth is a great example for this as well - Steve DiGiorgio played on Horror Show and that album sounds way beefier than anything else they've done.
The old 1-5ms delay is a great way to mess up your midrange with comb filtering, incidentally. A 5ms-delayed copy means all of your 200Hz goes bye-bye.
Better off using chorus or something fancy and Eventidey to modulate the time delay AND a pitch change. CMX is a great free-to-try plugin for that.
A lot of that is both difference of tone, but also the arrangement (ie. playing/singing in different registers, counter melodies etc etc)
100% - I meant to mention that. Using different guitars with different scale lengths, different pickups, or even different tunings (drop D vs standard D, or throwing a baritone in), with different voicings, goes a long way. A lot of people forget that "big" and "wide" both come from having differences in your arrangement, not just three hundred takes of the exact same tone and notes.
I love taking a taking a triad and splitting it across three guitars, each playing one of the diad combinations. Sounds YUUUUUUGE.
More tracks gives you a bigger sound in the sense of an orchestra, not in terms of "that guitar sounds huge". Think of the three billion vocal tracks on Bohemian Rhapsody.
Quad/octo/etc tracking can easily destroy any sense of tightness, particularly for really fast/technical stuff, but when done properly and with lower gain it's not too much of an issue.
Best example IMO: Iced Earth, either Horror Show or the Gettysburg songs from The Glorious Burden. Particularly "High Water Mark", when the drums and chuggy guitars come in following the intro. Those guitars sound absolutely HUGE, because he multitracks with a bunch of different, low-gain tones.
"Um, what?"
Further Clarification, if needed:
People realized that if it is good on the test bench it does not necessarily translate to good sound in the system.
Example: Transistor amps. Whether for guitar amplification or in audio playback systems-They measure good therefore they must sound good. Would you rather have a Fender Twin tube amp or the Fender solid state equivalent introduced as "better" in the1970s.
You're confusing taste with physics. You said "measuring audio circuits doesn't reveal or explain the audible sonic differences" - yes, yes, it does. Everyone has known, since they started coming up with solid-state gear, that solid-state is capable of being "cleaner", "more pure", etc, every single time. It's the same with vinyl and CDs - vinyl simply cannot be as clean as a CD recording because there's distortion inherent in the LP-cutting and LP-playing equipment. That doesn't mean a CD is better than vinyl, because "better" is relative. Better at reproducing the exact recording, for pristine classical music with a huge dynamic range? 100%. Better at delivering a warm, pleasing sound? No, vinyl probably wins.
QuoteIn the context of this thread the original poster had some "measurement" of waveform and frequency spectrum snapshots, as is that proved something.
It does prove something - with decent gear, the difference between the SPDIF and Analog outputs is minimal. And the OP is correct - it is. Depending on your interface you might see a bit of a low-pass effect, but it tends to be higher than what many of us are low-passing anyway so it's not worth worrying about.
You're using a computer in a box and transferring the signal, either digitally via SPDIF or electrically via analog, to another computer. There's no magical analog warmth in the three feet of cabling between your KPA and PC.
Back in the mid 1970s humankind found out that measuring audio circuits doesn't reveal or explain the audible sonic differences perceived by the human ears.
Um, what?
Wikipedia sayeth...
Defamation: the communication of a false statement that, depending on the law of the country, harms the reputation of an individual, business, product, group, government, religion, or nation.
Example: "Kemper uses child labour to build their hardware."
"Kemper sucks" is not defamatory because it's an opinion. Memes like "yo I put a profiler in your profiler so you can profile while you profile" or "...but in a blind test..." are not defamatory because... well, they aren't stating anything at all and are just making a joke (whether you find it funny or not) in reference to the Profiler.
Parody: a work created to imitate, make fun of, or comment on an original work—its subject, author, style, or some other target—by means of satiric or ironic imitation.
Satire: "For its nature and social role, satire has enjoyed in many societies a special freedom license to mock prominent individuals and institutions.[22] In Germany[114] and Italy[19][115] satire is protected by the constitution.
Since satire belongs to the realm of art and artistic expression, it benefits from broader lawfulness limits than mere freedom of information of journalistic kind.[115] In some countries a specific "right to satire" is recognized and its limits go beyond the "right to report" of journalism and even the "right to criticize".[115] Satire benefits not only of the protection to freedom of speech, but also to that to culture, and that to scientific and artistic production.[19][115]"
Fair Use: limited use of copyrighted material without having to first acquire permission from the copyright holder.
Kemper's trademark isn't protected 100%, as freedom of speech requires the ability to talk about their trademarks, use their images in an article (good or bad) about their product, etc. If you had to get explicit permission to have picture of the Toaster in your review talking about how much you don't like the Toaster, why would any company let you use it?
Likewise, making fun of a company or product is typically considered to be fair use.
As others have noted, Kemper are clearly aware of the page since CK liked one of their posts, and if they wanted to complain to Facebook they certainly could.
QuoteA gross vulgar page. sexually explicit
In your opinion, sure. Facebook has the "hide all from this page..." button for a reason.
Sending a dry guitar signal + delay + reverb into the front of a combo is probably not going to work out well. Unless the preamp is 100% clean (and since you're not using the Kemper's amp section, I doubt it), the preamp's saturation and distortion will amplify, compress, and distort the delay + reverb. Have you ever tried taking a nice, subtle delay effect and then putting it in front of an amp with any amount of gain? That subtle delay is suddenly huge and overpowering.
There was a thread about the TGP post here a couple of days ago.
And technically, since this happened prior to NAMM, Kemper's streak of "nothing new for NAMM" continues unbroken! 
It even nails the guitar sound from the "Bubba Ho-Tep" soundtrack
I don't normally download any profiles with the word "Fender" in them, but now I have to. Wish I had something more appropriate than an LP to play it with though.
I've had my Kemper for almost five years and have never felt the urge to buy any profiles. I've also never spent any money on apps for my phone, because I'm weird.
As for finding my sound, I keep finding "the one" when browsing the Rig Exchange and stick with it for a few months, then get bored and find another one. There's plenty to go through. 
IMO they're too similar - they should be able to interact more, if nothing else.
Looking at the two middle images on p20 of my PDF (thanks for the kind words, folks), I think that turning one to 5 and the other to -5 should have a similar but even stronger effect - cutting the "treble" frequencies while retaining or boosting the "presence" frequencies. Alternatively, if Treble was a slightly narrower bell and Presence was a shelf, they'd at least behave like the names suggest.
I think by default, there’s a global Pure Cabinet amount of 3.0. Maybe that’s why you’re hearing a difference when you turn it off from the Cab menu.
Press the Output button and go to page 5. Turn the global Pure Cabinet down to 0.
No, there actually is a difference between 0 and Off. It's very audible - as you turn the knob down, the displayed value changes to 0 and then if you turn it a bit more you can hear the effect switch off.
Just to make sure I'm understanding this correctly:a PRS 277se has a scale length of 27.7"
The Danelectro 66bt is 29.75"
The 29.75" scale would allow me to tune lower, and give a wider option of string gauge choices?
Technically you can tune as low as you want on any guitar with any strings. If you want the tension to stay the same as you're used to, you need to either increase the string gauge or the scale length. Or both, if you're going really low.
So, not so much a "wider" range of string gauges as "you can use lighter strings than that tuning on a normal guitar". I actually keep the baritone I mentioned tuned to D (one step down), usually with something like .60s, because I'm a weirdo.
- A baritone is basically anything that's too long to be a guitar (25.5" being the longest you usually see) and too short to be a bass (a short-scale bass is normally 30"). Nowadays, of course, "extended range guitars" have kinda blurred that line. My Schecter baritone is 26.75", just to add another number to the list.
- Longer scale length = more tension for a given tuning and string gauge, so you can tune down to B (or A, or F for modern metal bands) without a) needing massive strings or b) having the strings flop around like spaghetti.
I can't say I've noticed a difference in how baritones behave with a given profile versus normal guitars though.
hmmmm...
Check the link in my signature if you're curious - p22 of the PDF.
Always love your vids! I'm surprised you didn't add the Character parameter to it, maybe the next one! It's my favorite. In some cases it acts like a comb filter and if you turn it all the way up while using the monitor cab etc. off it produces a terrible high end sound with no bass. But, through headphones for sure sometimes it can really be revealing for a lot of cabs and profiles!
No comb filtering there - it just takes the shape of the frequency response and then, as you turn up the knob, boosts the peaks and lowers the valleys to exaggerate the tone. Turning the knob down smooths them out.
