Posts by Xander

Quote from V8guitar

I think you have just found out why the KZ's cost £40 and other in ears cost £00's.

The weakness in any IEM set up is the ear buds.

You need the best you can afford, they don't need to be custom molds but very minimum dual drivers but triple will give better separation. I use Westone as they are relatively inexpensive for the quality. Shure I have found underwelming personally.

Do not get the ACS in ear monitor converters. I have molded in-ear ACS ear plugs and bough the adapters - they were awful.

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I can second what you wrote about the ACS. The driver thingy you put in the molded plugs sounds ass.. The ear plugs with the noise filter is great though.

I have tried a few options. First: kemper-laney 12" stage monitor, sounded quite good but not so loud. Then matrix gt 1000 - mesa 2x12, sounded great, but lacked punch. Then kemper peavey valveking 100-Marhall 4x12 great and punchy. Then kemper yamaha dxr10 sounded great and closer to stage PA. And ofc kemper-yamaha hs8 monitors through the whole tryout, sounds good.

But what makes a 15w tube amp seem louder than a 200w solid state? I guess i could google it, but havent you run across this phenomena?

I have the feeling that 200w solid state ls about the same power as a 15w tube amplifier:) Its a shame that solid state and tube amps uses watt as a "guide" as how powerful/loud it is. It should be written in db or something to avoid confusion.

I get that you can hook up different cabs on a amplifier which has something to say as to how loud you can get, but there should be another way of translating perceived rehersalworthy other that wattage.

Maybe a sticker from meshugga or something on all amps and frfr stating that the amp/speaker is "rehersal friendly"

Quote from dahla

I sent my Kemper for repair. It vanished. Never to be seen or heard of again. Last trace of it was leaving Norway.

So I feel you…

Bah! I had mine sendt for repair from Norway back in 2013 i think it was. The Kemper was a big seller and pretty new tech, the music store i bought it from got it back from repair and sold it to someone else.

They never told me, and i had to wait 5 months to get a new one from them and only after i threatened with legal conseqenses. Yay

A new Kemper will stir up the market like they did when it first came out for sure.

It will have an AI based processor and dsp and will answer to the name Cheryl.

Voice activated program changes from a wireless neck mic and a deep learning AI that learns your playingstyle and setlists so turning on that boost when its solo time will be a breeze!

The AI will do all of the profiling including refining and setting up all of the input sense stuff and so on automagically.

At some point it will also learn how to brew coffee and go to this forum and delete "humor not detected" posts like mine

It`s just a preview of the new upcoming crypto currency that Kemper has been developing for a time now.

It utilizes the hardware in the kemper to mine Kempcoin based on riffs played per hour.

The heat from the fingers during shredding boosts the internal A/D converters so that you can decrypt the currency in relation to the tap tempo, the faster you play the more coin you mine.

To see if your Kemper has updated to the mining funtion just play the intro to Sweet child of MINE

And do post what you think of them

I wouldn`t be surprised if the next new thing is to follow the marketing strategy from computer games.

Imagine buying loot boxes for your modeler which randomly contains say, one common delaypreset, one rare amp capture from a obscure amp and one legendary capture from a renowned creator.

The modeler it self is sort of low cost but the main income of the company is through the loot box system, "free to play" grraah gives me chills just to think of it:P

And people would come to bandpractice showing of their new light skin for their modeler and on big shows people would gather around the stage looking at their idol`s new custom made skin for their floorboard:D

Thing is its hard to say when i havent tried the ones with drivers pre installed.

They Hantek ones are said to be good quality, but as some have mentioned earlier i think its best to try some lower end ones first, just in case its the whole "in ear sound" is not for you.

For my part using in ear monitoring looses much of the feel and sound that makes playing the guitar feel interesting and compelling.

Could be to the loss of air from speakers, sound pressure and a feeling of disconnect from the instrument and music.

A bit like listening to a soundfile instead of playing yourself:P

But i guess you get used to it after a while.

Maybe you could try buying the most expensive ones you can afford that have good reviews and then use them ALOT because you have payed so much for them that you simply cant afford not to, and then force yourself to get used to it that way

I saw that you mentioned Hantek in ears, and i have a pair of moulded ones that i use primaraly as soundproofing.

I ordered the in ears with a detachable driver (monitor system) that you just fit in the hole that holds the different filters you can add for muffeling different frequenzies.

At soundproofing/muffeling they work great and i have used them on concerts and stuff for years and there is a huge difference soundwise compared to regular earplugs that just block everything.

But with the sounddriver attached i can relate to what people describe as a bit fizzy in the top end and lacks a bit of body.

It could well be that the other products with more drivers have a different sound signature and i can sadly not give you any review on those.

If you dont have an "requirement" to use iems live i would consider the moulded ones with a db filter and use stage monitors or cab.

After i have read this the only conclution it seems is that you could rent out your amp for recording purposes.

I guess it is like building your own custom motorcycle and you want something unique for yourself that is personal and means a lot for your own sake.

At least we could hear the exhaust note if nothing else

At rehearsal im using monitor out with cab off into my peavey valveking and marshall 4x12 1960 cab and one main out to a yamaha dxr 10. Sometimes i dont bother to connect the amp and cab since its so directional, but it sounds good with both.

Playing live i just use my dxr as a monitor and feed main out to the mixer.

Guess you could stick a mike in front of the speaker and do it the old fashioned way, but theese days the venues and soundguys aren`t really overly fond of loud stage sound.

For me the best way is going direct and get the "same sound" as my dxr and have less unknown parameters changing your sound not regarding the different PA systems at venues though:P

So the reasoning regarding an amp and cab is more the feel and thump during rehearshal and more of an hassle when it comes to live gigging if you ask me:)

Are you using xlr cables for your monitors? I have had some bugs using trs cables before.

Delete

Only way to get the latency lower would be to trigger a sample of your guitar in the tuning you are aiming for, but i dont know how doable that is. Would also require a variax type pickup system:P

Hi i also had this problem sometimes going into a 1960a cab. You can try a studio eq and play around with the low pass filter to get rid of some of the fizz. Try cutting from around 10k and downwards to taste:)

Be careful what you wish for!

If the development of the editor in any way gets affected by the expectations of this thread it could end up like:

About the reason of the editor delay, im not saying that its because of aliens. But its because of aliens!

azertyvince: Watch out for that scary Editoritus! It can strike suddenly if you bend over towards the floor to quick;)