Posts by Hurricane

    My idea is to use the same FRFR-Monitors on stage as for FOH. When I design/tweak my stage-sounds then during soundcheck , it is also valid for the FOH-Speakers. So I would always listen to the same sound as the public does.

    Weiß schon jemand was mit den Mails passiert, die man als Interessent für den KFC an das KPA-Team geschickt hat.
    Hat man da ein "Vorkaufsrecht" oder so? :P


    Ist es richtig, dass das KPA-Team damit auf der NAMM "aus den Büschen" kommt ?

    [quote='Gitarrenschlumpf','http://www.kemper-amps.com/forum/index.php/Thread/16425-FRFR-vs-Amp-Box/?postID=171540&#post171540']
    Hätte ja sein können, dass da jemand für sich schon so was wie einen Standard ausgetüftelt hat. :/


    Da wäre ich auch scharf drauf !!! :P

    Ich selbst habe keine Probleme im Verständnis und mit der Anwendung von CS und DS, nur habe ich im "englischen" Forum eine aberwitzige Anzahl von Fragen und Antworten gesehen, die nahelegen, dass sie nicht nur mangels technischem Verständnis zu einem großen Teil auch auf Grund sprachlicher Schwierigkeiten resultieren.


    Aber was ich auf die Antwort von Lightbox hin nun sehe, ist, dass dieses Unterforum eigentlich genau das ist, was ich suche (wenn ich's mal eilig habe, erstmal hier in Deutsch fragen, bevor ich mein verbesserungsfähiges Englisch im Allgemeinen Forum bemühe).


    Also werde ich wohl mein "Fletcher-Munson-Effekt"-Problem bei Gelegenheit hier mal platzieren.
    Bis bald also

    Danke für die Orientierungshilfe :thumbup:
    Ich dachte eher, dass man dieselbe Forumsstruktur auch in Deutsch anlegt. Also eher beim Aufruf des Forums nach Deutsch (Japanisch) oder Englisch gefragt wird und dann dieselbe Struktur vorfindet.
    Eine Verbesserung wäre es deshalb, dass man nicht in einem Threat 15 Themen behandelt.

    Ich bedaure weniger, dass die Anleitungen in Englisch verfasst sind (Lesen ist ja meistens nicht so ein großes Problem) sondern eher, dass man seine offenen Fragen (die nicht zuletzt aus fehlenden Erklärungen oder aus individuellen sprachtechnischen Problemen in den Dokumenten resultieren) in Englisch im Forum formulieren muss. Es stellte sich für mich z.B. sehr zeitaufwändig dar, als ich versucht habe, eine Anregung für die Output-Section im Forum zu platzieren (4 Anläufe um den Sachverhalt genauer zu erläutern um dann schlussendlich die Empfehlung zu bekommen, dass die Verbesserung, die ich vorgeschlagen habe, noch nicht im KPA implementiert ist); oder wenn ich die Anzahl der Threats lese, die von "Clean sense" und "Distortion Sense" handeln, frage ich mich oft, ob da nicht eine umfassende deutsche Erklärung, die Gesamt-Blindleistung erheblich verringern könnte.
    Ich würde es begrüßen, wenn man ein Deutsches Forum vorfände, so wie es vor einiger Zeit schon mal versucht wurde. Für uns Muttersprachler würde man dann möglicherweise erstmal im deutschern Forum nachfragen und ggf. erst danach das Wissen der englischsprachigen KPA-Nutzer "anzapfen".

    It became more apparent since I began to use FRFR-Monitorboxes (I usually use RCF-Monitors and I'm really happy with them and can realize my sounds at every level very well -when I got the time to do so).


    I also don't get any complaints of my bandmates, the P.A-guys or the listeners of a venue. They also don't really understand me.


    I seem to be the Problem !


    I often don't feel satisfied compared to my sounds at home or during our rehersals.
    I don't play with much gain, so this also might be a reason.
    For live Gigs I sometimes have to rise my Level about three times as high compared to our rehearsals and then the attack becomes very boomy and also the heights get an annoying ice-pick.


    I got an old Deluxe Reverb with a Weber Blue a Two Rock Cust Rev Sign II with 2 Celestion Heritage and a Two Rock Studio Pro Plus with Scumback Speakers and
    It's my experience that these tube amplifiers behave differently when being cranked (I don't have to correct sp much on the amp-EQs to compensate the loudness-effect). So -reading my own words- maybe it's not only the FM-effect but then it seems to be a different behaviour of the KPA.


    To cut things short: A somehow "dynamic EQ" would solve my Live-problems (or a more differentiated Overall Grafic Output EQ f.e. 10 bands)

    Of course you're right regarding perfect "room-matching".
    Not in one second or even in 5 minutes !
    If we get time for soundcheck I can go a different way (see other threads).


    But for "Quick-Gigs" you Need to make compromises. And for those reasons a "Dynamic-Output-EQ" -I think- could help

    A continuous loudness control could be a good eq effect. But adjusting the eq for stage conditions has nothing to do with the FM effect, you have to be aware of this or you'll never be satisfied.


    HTH :)


    You're right, but it would cut things short for me.


    You all are really established pros and maybe get all the time you need for soundcheck on stage, but me and my band we`re poor amateurs. When we support a Major act we often get just 5 minutes time for mounting our Equipment and for soundcheck and then all my sounds have to fit. There's no time at all to tweak rigs or Slots .

    Could it be possible to program a "dynamic Output EQ" in the Output-section, which could compensate for the Fletcher-Munson-Effect ?


    It should have a pre-adjustable "frequency-curve" (f.e. a 15 band graphic-eq) which is ducked at low Output-Level but gets more and more in when the Output-/Master- Volume-Level-Pot is cranked.
    This could be used to prepare sounds at home or during rehearsals (at low level) and make them function for live-Level-use just only by adjusting the Masterlevel-control to the stage-loudness.


    At the Moment we all use the 3-band Output-EQ which has to be adjusted "by Hand" to the specific stage-conditions. But it's only a raw adjustment. A "dynamic eq-curve in Output could be a huge improvement for the live-gigging-Amateur who often doesn't get much time for soundcheck on stage.
    I know, that we got a pretty numerous bunch of EQ-Parameters in many sections of the KPA, but they have fixed eq-correction and don't react dynamically. So they have to be tweaked for each rig /or Performance Slot. If you use Performances as recommended (one Performance per song) there will be no other chance to make overall EQ-Settings in the Output section.


    Alternative:
    Fixed 10- or 15-band Output-EQ to make finer adjustments than with Bass, Middle, Treble at the Moment.

    The Green Scream is based on a TS-808 and was later slightly changed towards a Maxon OD808.
    Keeping in mind that the Tone control has an effect from -5 to 0 (so noon on a TS pedal would be around -2.5) it is very true to it's source.


    Tubescreamers can vary quite a bit even within the same series, two otherwise identical TS-9 for example can sound different.
    So does the GS sound exactly like your TS - most likely not, due to the different makes and (surprisingly large) tolerances of the components.
    Does the GS sound like a real TS? - absolutely! And a Maxon OD808 is quite a good reference IMO.


    I once owned 7 Tubescreamers, TS808, several TS9, with/out analogman-mod and different chips even the "narrow boxed" one (with two 1458s). And you're right they all Sound a bit different (but really not very much ). But the GS is a different Thing. I made a comparison with the real Thing in front of a clean Fender-KPA-Profile and the virtual one in the KPA. It's not that you cannot dial in good sounds but the sonic differencies are really enormous. Especially the range of the tone-knob is Kind of indifferent for me.