Posts by DigitalBliss

There is a rig called "Strumming 01" in the factory rig pack that I recently discovered. It's not a jangly acoustic sound, more of a dull thumping acoustic, but it works well with a bright strat on the neck pickup. I use it to cover "Four Five Seconds" if that helps to give you a mental tone check.

+1

Hey there, I’m in a similar situation. Here are some songs
from my song list that are dated 1980 or earlier.

Ain't Talkin' 'bout Love - Van Halen
Back in Black - AC DC
Do You Remember Rock n Roll Radio - The Ramones
Folsom Prison Blues - Jonny Cash
It's A Long Way To The Top - AC DC
Johnny B Goode - Chuck Berry
Wipe Out - The Ventures
You Really Got Me - Van Halen

There is a shop called MusicESP in south SF that I understand sells Kempers. I have never been there though, so I would call them before I visited. Also, there are a number of SF residents on this site, if none of them offer, you are welcome to try mine out. I'm in the south bay though, so a bit of a drive.

A quick forum search reveals that profile comes on a usb stick that did come from a retailer as Ingolf suggested. Here is the link.
You might try writing Thomann and ask them your question.

Interesting. I'm running the Windows version and ever since Rig Manager was released you've always needed to hit enter or the edit would vanish. I'm not running the latest version though (I'm holding at one rev back at 1.3.5.11048 to be consistent with KAOS 3.0.2). The behavior in 1.3.5 is that if you edit a tag (but don't hit enter) and then click on another tag in the same rig, it will transfer focus to that new tag, and leave the old tag looking like it was edited, but then if you click on another rig, and then come back to the one you edited, the edit is lost. I just duplicated this right now. I reported this behavior a year and a half ago. I don't know if it is fixed in the latest version on windows but I'm a little curious now.

You have to hit Enter to get the edit to stick.

Doug, that was an excellent and thought provoking thread. I really hope that the developers give ideas like this some consideration.

That's a nice pedal. Love the surf sound. I may have to get something like this. Congratulations.

If you are thinking of your Surf's Up rig, it's in Rig Pack 2.
it's on page 3

Bill, you wrote...
Surf's Up
This is in response to people asking for a surf sound.
Its a GREAT emulation of a "spring reverb" and when the gain is cranked it becomes total punk surf guitar!
(If you get any clipping due a stronger pickup output just reduce the
volume control on the right till the master led is in the green and save)

Hi JoeR,

First off, your message is clear, better than many native English speaking posters.

The sound you describe is an eq effect that boosts frequencies around 1kHz while reducing all the other frequencies above and below it. If you google "Telephone eq" or "telephone effect" you can see the eq curves people use to create these tones. The actual value of the peak can vary, as can the width or Q. It is basically a mid pass filter (it allows middle frequencies to pass, but stops others). I think this is how a wah pedal works as well (except the peak frequency moves up and down as you move your foot), so your description is good.

If you have a profile that has this tone, and you don't like it, the first thing I would do is look for a new profile. There are many "full range" tones out there, and trying to get the frequencies back that have been removed is challenging at best. If it's only a slight effect, you can load up an eq stomp after the stack and boost the lows and highs while reducing the mids, but finding the boosted frequency is time consuming, and fixing it is even more time consuming, and the results may still not be all that great.

It is very perceptive of you to notice that guitarist in a band (or in a mix) sometimes like their tone mid-rangey. It's because they want to occupy their part in the sonic landscape, and not interfere with the low frequency instruments (bass guitar, bass drums) or the high frequency instruments (cymbals). When you are playing alone, you don't need to worry about standing out, so you can use a more broad range of tone.

Some commercial profile authors offer both regular studio profiles of an amp, and also what they call "mix ready" profiles. I think the latter refers to some sculpting they do to the tone so the guitar doesn't collide with the other band instruments. I would assume that the rig exchange authors make both types also (and probably everything in between) since some folks play in a band or mix, and some just like to noodle on the couch with a profile of their favorite classic amp.

Thanks for posting these. Looking forward to giving them a try. BTW, if I understand the process correctly, I think these would be called studio profiles, not merged. Do I have that right?

So what turned out to be the problem, and how did you fix it?

Oh good, yes, love to hear the results.

There are a lot of aspects to this box which I still really have only scratched the surface on. These shapers are one of those.

Thanks, and keep up the good work!

Hi Arne,
Is this bug something you are working on, or is it out of your control (like in the Microsoft SQL drivers).

The reason the LEDs are useful, IMO, is because the knobs are actually encoders that spin around forever (not like an amp knob where you hit a stop at min and max). The designers have chosen to make the controls a function of turn speed. So if you want a slight adjustment turn it slow, and a big adjustment turn it fast. As a result, it's not obvious how much you are actually effecting the control without seeing the LEDs. For example if you turn is slowly for 45 degrees, you might effect the control a few percent, but if you turn it quickly for the same 45 degrees you might change the control by 20 or 30 percent.

Yes it's funny, when I heard the song in the OP, I immediately thought "Cross between ZZ Top and George Thorogood. And of course G.T. was heavily influenced by John Lee Hooker (ref. One Bourbon, One Scotch, One Beer)
Truly a musical level to aspire to.

PM sent.

A while back I was experimenting with some fuzz tones and found that if you run a chain like this...
eq -> fuzz -> stack -> eq
and use the first eq to boost a low frequency so that is what drives the distortion (flabby fuzz) and then reduce that same frequency after the stack with the second eq (also use this eq to shape the final tone) you can get fuzz similar to this. The video you posted sounds more extreme than I was able to get, but I wasn't shooting for it either.
If I remember when I get home tonight, I'll see if any of the fuzz tones I kept sound even remotely similar, if so, I'll see how close I can get.