Posts by Calaban

    Hey : )

    I have already done a few selmer T&B profiles in some of my earlier packs.. (Pack 3 and 7?) might be wrong on numbers of pack but I did a few I remember : )

    Not too many of them around these days sadly!

    Oh cool I’ll check it out....thanks!

    Welcome back! I have many of your profile packs and they all sound fantastic.

    I would like to see an old Selmer be profiled. I really want the old Syd Barrett sounds from the early Floyd records.

    I have a few Selmer profiles from someone else, but they weren’t dialed in the way I like them.

    Syd used a Selmer 50W Truvoice Treble n’ Bass as far as I know.

    Wishful thinking? Maybe....but I thought I’d throw it out there.

    I also prefer a softer attack and I have struggled to find profiles that capture that. I am not sure if it’s a Kemper thing or a profile thing, but one of my band mates noticed it right away when we were doing some recording a few years back. I wasn’t sure if I was imagining it or not but that confirmed to me that I was not.

    The ‘pick’ control is helpful but if pushed too far it sounds unnatural to me.

    I think a big part of it is that fact that we are hearing a close mic’d guitar sound and we’re not used to that. I also think that most people making commercial profiles tend to prefer a heavy pick attack sound.

    I’m an old fart. All I care about is making my Kemper sound like amps from the late 60’s to early 70’s. Modern guitar tones just don’t do it for me. The Kemper pretty much gets me there in a recording setting. Live I’d say it’s about 60%.

    I'm absolutely CERTAIN that much of that is user error and the DXR10 I’ve been using. But I also tried a Mission cabinet that I didn’t like very much, so I’m guessing it’s user error.

    Maybe the new Kemper Kab will fix the issue.

    I’m still happy with my KPA for the most part, I just find it more satisfying in a recording setting than a live setting.

    But too much off topic blah blah blah! Try the definition and pick settings as stated above.

    Personally I'm fine with the verbs as they are, don't use them a ton. I don't know what all the head-banging is all about over this issue. I'd prefer better OD stomps and FX management, as I've previously alluded to, but the damn thing is great - why all the negativism over some reverbs? In live gig situations (which is mostly what I do), reverb is only to be used in moderation, and we've got great verbs already for them.

    Too many complainers here, not enough appreciators imho.

    Just my opinion.

    Only to be used in moderation?! Hogwash! 8o

    I like super psychedelic tones, simply DRENCHED in cavernous vintage spring and plate reverbs, and I use it that way live as it’s perfectly suited for one of my bands.

    The Kemper spring Reverb is great so far. Really hoping for a Plate.

    Are you talking about using the harmonizer? I’m only asking because I never use it myself so I’m just not sure.

    But if you mean the harmonizer, the likely answer is that you’ll need to convert the major scale into the minor that you’re seeking.

    How much music theory do you know?

    I’ll try to make it simple:

    Every major scale (C, A, G, Bb etc etc.....all of them) have a related minor scale that uses the exact same notes.

    To find the related minor scale, go to the 6th note of the major scale; that will be the root of the related minor scale.

    So for instance, if you want to play in A Minor, you have to ask your self, “What major scale has ‘A’ as the 6th note?”

    The answer to that example is the C Major scale: C, D, E, F, G, **A**, B

    So on your profiler, if you want to play in the key of A minor, you’ll have to set the scale to C major.

    Let me know if this makes sense. I can help more if you’re still confused.

    So, you are recommending SSD5 with such conviction, I must consider it, but why do you rate it so highly? In my situation, good quality samples is a must, I only considered EZD because it is generally highly rated. Can you tell me if SSD5 is capable of producing a range of kits (say from big and deep to light and tight)? Your opinion will be much appreciated, thanks.

    I have EZD2 and I like it a lot. That said, the sounds are sort of “pre baked” if you know what I mean. They are already EQ’d and compressed and...effected (affected? Both I guess)

    I don’t think you’ll be able to strip out the EQ and Compression. You’re stuck with it as far as I know.

    I don’t have Superior Drummer or Steven Slate, but I do have BFD3 which I love, and you have the option of using preset mixer and effect settings, or the raw drum sounds (which likely have a slight bit of EQ and compression on the way in when they were recorded.)

    If I were you I would skip EZD for your purposes. You just won’t have the control over the sounds that you’re hoping for, even though it does sound great for a “grab and go” drum sound. Go with SD, BFD, OR SSD.

    Please anyone correct me if I’m wrong about EZD being “pre baked.” I would like to know if I’ve been missing something!

    The other night after reading all the great responses to my initial post, I decided to get started on a new piece.

    I haven’t finished all the sections yet, but the A and B sections are “complete” - in the sense that I know what the chords are and have a basic melody. Is it the best thing I’ve ever come up with and a work of genius? NOPE! And I don’t care lol. I’m just going to keep plugging away and finish it.

    It may end up in a folder, never to see the light of day, and that’s ok. I have cleared the first hurdle which was to not get stuck after the A section.


    Great point. I do this all the time. I’ll have an idea, and I want to make it sound as close to what I’m hearing in my head, as soon as possible. I end up burning out on the first section!

    I think that’s why copying the form helped me so much that time. I knew when the next section was coming and how long it was going to be, so before I got bogged down in the first section I threw some chords and a melody into section two, and then the rest of the song almost wrote itself.

    It’s becoming clearer to me that the way to progress is to....progress! In other words, write the darn piece first then worry about the sounds and the ornamentation.

    Well I use NI Komplete so there are tons. But I stick to a rock framework of drums, bass, keys and guitar. I also like to add strings, flutes, mellotron, percussion etc. Some synth stuff, but vintage sounding.

    I would say the style I’m into now is mostly vintage sounding prog/psych/jazzy kinds of stuff. I’m way into late 60’s early 70’s sounds....the actual bands and also the modern throwback bands like Tame Impala, Dungen, Jacco Gardner etc. Not sure if you’re familiar with any of those guys.

    I’m not so concerned about harmony. I’m quite well versed in chord changes and chord extensions and not much sounds weird to me these days lol.

    I suppose what I’m looking for is a boost to creativity. How to develop a theme and how to orchestrate and arrange. Again, I seem to be too critical and abandon songs, only to start another project and stall on that one as well.

    I have only finished one full composition, and I like it a lot but it needs remixing. The way I did it was to copy the form of another song....time sig, tempo, number of measures in the different sections etc. Everything but the melody, chords, and instruments. Then I simply filled in the blanks with my own materials.

    Maybe I’ll try that again. It just felt kind or something. But whatever works I guess!

    I find that much of the time the vocals are what takes me from one section to the next - ie. having written an intro and a verse, it's much easier for me to come up with a chorus AFTER I've started on the vocals. Or vice versa.

    If you're not a great lyricist (yet), you can always write the melody (heck, I usually just sing nonsense words to come up with a melody, and then write the lyrics to that melody afterwards anyway :-))

    Thanks for the tip. Though I’ve pretty much abandoned the thought of writing lyrics. I’m more interested in writing instrumental music that nobody wants to listen to 🤣🤣🤣

    But seriously, your idea is good. Just having a melody.

    I suppose my biggest issue is that I second guess everything. I judge it. I think I need to stop judging my music and just write what comes out. If I like it at the end....that’s a bonus!

    I am probably too self critical and once I get an A section composed, I’m worried I’m going to ruin it in the B section, which very likely causes creative paralysis.

    I should probably stop caring and focus on just writing, writing, writing. Maybe out of 10 compositions I’ll get a good one.

    Can anyone relate? Any ideas?