Posts by glennfin

    Hi... I'm talking about the Eventide rack units and since I own three Eventides (DSP7000, H3000 and Eclipse) and a kemper, I guarantee you cannot get the same types of delays AND reverbs with the kemper that you can get with the Eventides. What you need has a lot of it has to do with the type of music you're playing. I aggree the kemper has some very usable delay effects, but nothing compared to the eventides. Even something as simple as a reverse delay is useful for the type of music I play and record, and Eventide isn't the only company doing these types of FX. There is way more than " steve vai's Ballerina" fx in the eventide. I understand if the kemper delays suit your needs, but comparing the FX in the kemper to an Eventide is honestly not a fair comparison.... To each his own I always say. :)

    although I respect every opinion, I don't find the delay to be 'very limited'. I'm a pro player, both live and studio, and can tell you the kpa delay is one of the best I have ever used. it has virtually everything a delay needs. of course I cannot find some eventide special fx on it, but who does except for the eventide?

    furthermore, while I don't know what fx do you get out from your eventide stomps, I can almost guarantee you that what you get from the eventides, you get from the kpa delay as said above, except some special features. for instance, I cannot play steve vai's Ballerina with the kemper delay......but is this vital for a guitar player......just my two cents here......

    I'm guessing this is very true..... and in fact, I'm in the process of doing some testing on this. I have a pair of full range cabinets AND several guitar cabs and I'll be doing comparisons with over the next few weeks.

    Let me throw a spanner in the works.

    I've yet to test a FRFR powered speaker that sounds better than a real guitar cab when using a powered Kemper...not even close.

    That's my bad......... that should have been directed to me since I made the post......
    "HEY GLENNFIN!!! RTFM!!!!" :rolleyes: :rolleyes: :D

    I usually very good about reading manuals.... sorry. :S .... but after all, I'm still just a "trainee" :D :D

    Nothing is forever, however I'm still using a 25 year old Eventide H3000 in my studio..... no reason to think that the Kemper won't last that long if not longer. 8) 8)

    I think we're away from the original post topic but I would just like to add one more comment if I may..... While I understand the importance of accurate reproduction of the captured profiles, additional "color" via either a tube power amp or guitar cabinet is not automatically a bad thing and may in fact be desirable to some users. I can understand if you want the Vox AC30 profile to sound EXACTLY like a Vox AC30, but what if it sounds even better to you coming out of a guitar cabinet?. Just some food for thought. ;) ;) ;)

    What you say about PA speakers being not linear enough is true, glennfin, and that's the reason why the amplification of units like the profiler or other hingehend modellers is such a delicate and important topic:
    If you have the abiliity to store ALL that amps in one machine you want to make sure they're amplified in the best possible = most neutral way.

    In the profiler basic manual, under "stomps" "stomps LED color coding" it shows "delay" = "green" but to my dissapointment, I discover, there is no delay alg available in the stomp section! ;(

    What's up with that? Is this like the performance mode not being available in previous firmware versions, but was added later?. If it absolutely won't be available in the stomp section, wouldn't you want to remove that mention of it in the manual?.

    I'm dissapointed by this. The Delay in the effects section is very limited to begin with so a delay in the stomp section would certainly help that situation. This isn't an issue for me with my studio rack rig because I have additional outboard gear with excellent delay algs (2 Eventides) but for my live rig I was hoping not to have to carry additional gear around.

    Any thoughts on this?

    Thanks but I didn't say anything about "update".

    " If I can get the BIN file, I can program my own E-prom."

    Yes, I can program E-proms, that's why I asked about the Bin file. ;)

    Last night I was messing with some clean factory profiles, using my Les Paul (humbuckers) and I noticed if I hit a hard chord, It would clip the input of the kemper. I adjusted the clean and distortion sense settings and got it perfect..... but wait.... not able to save the settings with a rig? really?. Am I doing something wrong?. If I switch to my stratocaster I have to go in and manually change the sense settings again?.......... wow... I had really hoped I could save those settings with a rig. This will be a major pain in the butt when switching guitars in a live situation. ?(

    If what you're saying is true about FRFR cabs, then they should all sound the same, but they don't, they also have peaks and valleys in freq response just like guitar cabs. Now GOOD studio monitors are a different story. They are designed to have a true flat frequency (freq vs amplitude) response for obvious reasons. Damping aside, what you are calling "FRFR" cabs are just PA cabinets/speakers and have similar limitations just as guitar cabinets do except they have HF drivers and crossovers that extend that response. They may have a flatter extended response but still not a true linear response like a good studio monitor should have.

    And yes, I understand what a crossover is and what it's doing, I shouldn't have said "none of those high frequencies..." because as you said, you will still hear sound from the HF driver if you disconnect the LF driver, just extremely attenuated because a crossover is not a "brick wall" device. :)

    And this alone would make a world of difference. That's why a profile sounds different with a guitar cab or with a FRFR cab: because guitar cabs are not flat. If your statement was true, you should not hear any difference. But "range" is only one parameter of the amplitude response, and its ends are a progressive damping and not a step.
    In fact, not all cabs have the same "range": there're guitar cabs gifted with a much more extended response on the highs, or on the lows (see for example the hump in a 4x12). Only a really FRFR cab is able to return this extended range of frequencies with the correct amplitude, making each profile sound faithful to the original setup regardless the cab being used.

    Apart from this, "none of those freqs are being produced" is too generic to found a scientific statement. You should not think of a crossover as a step filter, able to cut frequencies at an exact threshold, which determines what is sent to which cone: on the contrary, it's a progressive damping of frequencies, and both cones reproduce a good amount of freqs in common.
    Try and mic a combo, and amplify it through a FRFR cab w/o the woofer, and you'll hear music anyway!