Posts by sambrox

Quote from Ingolf

Well, this, OTOH, is a classic example of a negative bias.

I've owned a '89 Fenix Strat (Korean) for a very long time. Bought it when it was 1 year old which is 24 years ago.
I was surprised by the quality then, and even more so now, after having had so many guitars in hand over a quarter of a century. Lots of 'mojo', plenty of 'soul.'
I set these terms in quotation marks because it remains unclear what they mean and a lot of people get fooled by wrong or non-defined terminology.

To me a guitar is like an input device to express my feelings as a player. An instrument either speaks to me or not. This one did, plenty, and as I got better as a player and way more mature with my musical preferences I learned to appreciate this guitar even more.

I even started to try to find another one like my first one and to my surprise, about 5 years ago, I was able to get one on Ebay.
And this one is just as good, no kidding.

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My cousin had a Fenix strat from the late eighties, too. I can honestly say, I use that as my benchmark when it comes to strats (it's maybe a bit telling that I haven't had one since selling my 90s Fender USA strat 6 years ago...).

Cheers,
Sam

Sounds great!

Cheers,
Sam

Quote from Ingolf

I'd say this is a perfect example of a well-microphoned amp and nearly mix- ready.
Sounds great and will be even greater once you add drums, bass, another guitar and vocals.
In summary: This is pretty much how guitars sound when you isolate them from a mix.

It's funny, most people (and most guitarists, too!) don't realise that a hell of a lot of the low-end power and chunk that they're perceiving when they listen to guitars on a record is actually coming from the bass guitar!

Cheers,
Sam

If you exclusively use that PA when you're out playing, I'd say it made a whole lot of sense to use the same type of speaker. As you state, then you'd be hearing exactly what the audience is hearing. No brainer.

However, if you're more than likely going to be relying on different PAs at different venues, then yes, go for something as accurate as possible. That way, you give yourself the best chance of it translating well to as many different systems as possible.

Cheers,
Sam

Wampler are excellent. I was a member of Brian's modsite before he decided to just build and sell his own stuff. A nice guy!

Cheers,
Sam

In that scenario, yes, fair enough.

Cheers,
Sam

Not to mention flutter echo and imaging problems, reducing the clarity of a mix. Effectively smearing instruments and hiding problems, it can drastically reduce a mixs ability to translate to other systems. These can be quite effectively handled with strategic mirror point dampening and a cloud, but systems that make promises like in the OP's link often lead the user to disregard them. I just think it's always dangerous to believe you can fix physics with software, when a little work getting the room to sound as good as you can beforehand can go a long way.

Google the Golden Ratio of room dimensions or take a look at some of the explanations on Gik Acoustics' site (they go to great lengths to explain why room treatment is necessary without being pushy sellers) and start there. If you plan your room around them, you'll reap the benefits.

Cheers,
Sam

Quote from viabcroce

Thanks Doctor

Quote from raen

The "blue" signal is recorded from the "MAIN OUTPUT" of the Kemper, because i was interested, how "colorful" is electronic circuit and AD-DA converters of the Kemper. That was target of my test.

But then that test is irrelevant! The KPA is specifically designed to colour the signal, by emulating tube amps. What goes on when that main purpose is bypassed doesn't matter one bit, as long as when it's engaged it sounds like a tube amp!
A much more relevant test (at least as far as the OP is concerned) would've been to test the direct out, to see if why his profile was so far away from the original amps sound had anything to do with the dry guitar signal and any effects of the KPAs internal electronics.

Cheers,
Sam

More like a gated EQ with a sidechain...;-)

Cheers,
Sam

Ps you're bang on the money, Michael_dk. I like the cut of your jib, sir!

Sorry Ingolf, but what's the Mix parameter for in the Loop stomps, then? I'm i wrong in thinking that it mixes the "dry" signal with what's coming in on the return, measured as a wet/dry percentage? It's sure what it looks like, at least!

Cheers,
Sam

Nice!

Cheers,
Sam

Quote from raen

i did a test - two identical signals, analyzed with Har-Bal

[Blocked Image: http://www.vaikene.net/raen/img/kemper_frequency_response.jpg]

Blue line - signal through the Kemper ( stomps, stack, effects - all off, just a pure AD-DA conversion )
Yellow line - signal straight to the soundcard

As you see, digital conversion of the Kemper cuts lows and adds very high frequencies.

Is this a problem and audible colouring? Tell you!

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You mention with stomps, stack and effects off. You took a signal from the direct out, right? The direct out isn't affected by the KPA's processing at all, so it wouldn't matter if they were on or off!
Cheers,
Sam

Quote from Ingolf

That's interesting, so thanks for sharing.
Actually I find it surprising that this is not documented in the Kemper manuals.

It actually makes a lot of sense for the main uses of the KPA (direct out into DAW/multitrack recorder, direct out to front-of-house), so I'm not shocked that it isn't categorically stated in the manual. As it was pointed out, this mimics the way it would work in a traditional all analogue set up. It would be nice to have the option of putting the X and Mod slots after the cab, although I'm not sure if that would even be possible. I'd love for them to look into it, however.

Cheers,
Sam

Here's the response from support (if I'm forbidden to post this here, mods feel free to delete!).

while the complete effects section optically is located behind the stack section, X and MOD slot are logically located in front of the cabinet like in an analog enivronment. Therefor you might experience sound influences of the Cab in the Return. That is intended. I could only suggest to use Return and Alternative In in their function as Aux In, which would then obvioulsy miss Delay and Reverb. However you could use at least Space in the Output section.

Cheers,
Sam

Just glad you got it sorted!!! Welcome to tone heaven:-D

Cheers,
Sam

Well, if the outputs are set correctly and you're using a decent quality speaker cable that isn't defective, then either there's a fault with the poweramp or connector, or the speakers are faulty. As they haven't been used in 10 years, I'd be looking at the speakers first.

Cheers,
Sam

There must be something routed incorrectly in the Output section. Believe me, it's loud enough! I have a PowerRack, and I never turn it up past halfway with my 2X12, if I even get past a quarter!!

Cheers,
Sam

Here's a riff using the PRS Dirty profile. Not tweaked, apart from the mix on the reverb being turned down. Nice profile! Thanks!

Cheers,
Sam

Quote from thebrushwithin

The one I used for the 65 Princeton clean profile does NOT have an xlr, but rather a trs. I never heard of the original PZM , other than Crown, with an xlr. Maybe this was added by the original owner.

Yeah, the XLR mod is very popular with the original Realistic PZM mics. Mine's unmodded. I'm going to see what results I get before contemplating any of the mods out there.

Cheers,
Sam