Thanx dude \m/
If it's a mono signal distributed across the KPA's stereo outs, the two halves will be phase-coherent.
If you sum them in a DAW, there'll be an increase in level, but that's about it, so in such cases one might as well record only one of the stereo-out halves (L or R).
This is true. But if you have any type of stereo effect on, like rev or mod, it would be a different story.
I recorded something in stereo and it’s partially phasey. If I sum then to Mono will they not be phasey?
If you have recorded in stereo, and for some reason you don't want to re-record, you could split the stereo file in two mono files and delete one of them.
Mono is king \m/
That's interesting to hear. While modern country (at least here in the US) is basically just pop sung with a southern twang and thus the wall of sound thing, blues is something I would have expected to be more of a sparse arrangement. As I think more about this, it seems that the benefits of single versus multiple tracked guitars has less to do with genre and more with the sparseness or fullness of the overall arrangement. Especially since, to paraphrase Yoda, "Always in motion is the music."
Of course, I have no exposure to the music scene in Norway so I don't know what the vibe is like there for things like country and blues.
Arrangement is key when it comes to recording music.
Here is a example of Norwegian country/blues. This is an old recording of a band I used to play in, and this was recorded like i described earlier.
Only differanse is that the left and right guitar was recorded with different amps this time.
This was recorded at our rehearsal space, so the sound quality is not the best
And here is a band I produced earlier this year. Guitars are double tracked using the same amp for left and right. And on the choruses I think we ended up with 8 or 10 tracks of guitars panned 100% LR.
I've been wondering about this lately myself.
To me, conceptually, it seems like wide guitars are the enemy of a good mono folddown.
Wide guitars necessitate a lot of difference between the two tracks - since stereo width is basically an effect of the differences between the signal in each channel of the stereo mix.
But when thinking in terms of "mid/side", all that differences is is actually sounds that are out of phase with each other. Which means more cancellation when folding down to mono.
Thinking of it this way exclusively, I would actually think that in order to achieve good mono compatibility, you should actually use the SAME amp, settings, guitar etc etc on both tracks - and not go for having different sounds left and right.
Four separate takes. Two with the main rhythm sound (same amp and settings panned LR) and two with a different/lower gain sound (same sound and same settings panned LR). This is easy.
I have never had any problems with this. I record/produce rock, blues, country, metal and stoner rock.
When I record guitars I do it the same way almost every time. Double tracking for the majority of the song (two separate takes) and quad tracking (four separate takes. Two with the main sound and two with a different/lower gain sound) for the parts that need it, like chorus and bridge etc.
All tracks panned 100% left and right.
Old video, but informative.
There are some really great profiles in here. I am really liking the Marshall packs, but particularly loving the Fender amps at the moment for the jangly stuff. Many, many thanks for these! Some great effects settings too, to top it off. I like others, hope that you aren't giving up on the profiling.
Thanx. I have two Kempers now, so I'm not quitting any time soon
Wow, some of the clean profiles are spectacular. Thanks!!!!
WOW- Thanks a lot. I always loved your MarkVs...please keep profiling, you´re doing an absolutely awesome job!
Thank you and you do fantastic work!
Thank You! I've always held Your profiles among the best I have found on RE... Great work!
saying thank you just isnt enough, ive been using ur profiles since the begin of (kemper)time, i wanna kiss you...
@GRStudios this is super generous of you, nice work, thanks
Great to see this here! I have been looking forward to whatever was to be your next step after you removed rigs from rig exchange and you mentioned that you planned to do some organizing (or something akin to that). I have invested a lot of hours into playing with your profiles, especially the 5150 II and the Mark Five:25. It will be nice to go through this collection. Thanks for sharing your work!
Just have it in the back of your mind that some profiles are me experimenting with different microphones, cabs and amp settings, so some profiles may not be very useful
Nicely done sir, and thank you!
Absolutely awesome profiles. I'm seriously blown away by the general quality.
You're the man!
Great profiles !!
Wow. Great, great, great profiles. Incredible. Thank you!
Thanks very much!!
Thank you! Awesome!
Thanks! I enjoy your profiles! Sounds great with my orange ppc412 cab.
So here it is, all my profiles!
There are some great ones here, and definitely some bad ones as well
In this pack I have also included mic testing, cab testing and speaker testing profiles, while most of them are more or less useless in a mix
maybe you can find some that work for you
I want use the Avalon U5 as well. Can you tell me how you wired your setup? From the amp speaker out into the U5 and then back to the Kemper? Thanks
This is from the Avalon website.
Q: How do you use the speaker input on the back of the U5?
A: The set up is as follows:
1. Connect your instrument to the input on your instrument amplifier.
2. Connect your amplifier speaker output to your speaker for normal operation
3. Connect a secondary speaker output from your amp or your speaker cabinet to the SPEAKER INPUT on the rear of the U5.
4. Press in the SPEAKER to INPUT on the front of the U5
5. Connect the line output on the U5 to the recording device or mixing console.
Now I use the DBX db-10 for my di-profiles. This can be hooked up between amp and cab witch the Avalon can not. works great.
So just to keep this JCM800 train rolling. At the studio where I do my recordings we made a 18 watt JCM 800 clone based on vintage original specs.
I belive the preamp was a 1974/75 800 circuit. The great part is that I made some profiles of this bad boy:)
Mesa Boogie 4X12 Recto Standard OS Cab with a blend of Shure SM57 and Shure KSM313 Ribbon mic.