Did you by chance tell the kemper that it was profiling a clean rig rather than an overdriving one?
Don't know if it would make a difference, but that's all I can think of at the moment...
Posts by Michael_dk
-
-
Why spend so much money?
You gotta consider that the apple cheese grater is actually much bigger than the IKEA one - the photo does not do it justice!
-
-
When connecting hte kemper via spdif, the kemper must be set to master. It can, however, be set to 48k. But I assume that you don't want to use the kemper clock for your converters regardless.
I don't know about the cables - you could of course try, but it's a long shot. Try with the cables you used for connecting the monitor directly to the kemper.
One thing to try, though, is to make absolutely certain that the cables are plugged all the way in to both Kemper and converter.
Actually, go into the output section on the kemper, there is a bunch of pages where you can EQ individually the outputs of the kemper. Check to make sure all the controls of the outputs are at <0.0>. I should have mentioned this first
-
It does sound like some phase or polarity issue. Have you tried listening through the converters with only ONE channel from the kemper connected (left or right)?
The fizz/distortion you described while using spdif sounds like the converters are set to a different sample rate than the kemper. Which sample rate do you run your converters at?
-
I think for most music producers the mac pro is overkill, and a "regular" imac will be more than sufficient. Larger studios is another matter, and studios where they work with television etc.
Regarding the monitor - I don't think it's intended for music production at all. You could of course use it no problem, but I don't see why anyone would want to buy it simply to use with a DAW.
In any case, the functionality of the stand would make the production price WAY more than 40-100 dollars.
-
I'd say if you're not satisfied with sinmix' profiles, try looking at other people's free/demo offerings instead to see if they match your tastes better.
-
Yeah, I think the earlier iMac Pro foreshadowed the price of any mac pro to come. Very expensive.
On the upside, the "regular" iMacs are very powerful.
-
The gain is assigned automatically during the profiling process, like Definition. However, the person doing the profile can of course adjust it after the fact, before uploading.
-
I seem to recall that when reading reviews of the JBLs some years ago that it was mentioned in one review that there was something about them that made reverbs stand out less than other monitors, causing some people to overcompensate a bit if not careful. I can't find the article now. I may misremember, it might have been the top end or something - so please don't base things too much on my faulty memory
From what you describe, though, it definitely does seem like a monitor issue. Try experimenting with reverbs in your DAW (eg. on a vocal recording or something), and see if you don't get the same difference there.
-
Are you sure you want to set tube shape to 0.0? As I recall this parameter is set to 3.3 as default
-
Hi and welcome
It might be a problem with the bose - it may have a limiter that kicks in when the vocals kick in.
See here: https://www.bosepro.community/…ompressor-limiter-problem
-
Congratulations on the house! Hopefully a Kemper is in the future for you a bit down the road
-
Hi Michael,
nice Profiles. They rock with my Humbuckers ;-). Sounds already good without effects.
Thanks man!
-
I've come to the decision that I like smaller profile packs the best. I think for ten dollars, I'd actually prefer around 10 profiles (plus possibly DI versions of same). Especially if there's no more than 2 profiles with pedals in front, but maybe that's just me
-
Hi guys
So this is my first foray into making profiles.
I'm just getting my feet wet, but I thought I'd share them with you guys.
The amp is the recently released Marshall DSL20HR head, and the cab is the PRS Mark Tremonti signature cab - a beast of a 1x12.
The profiles can be found in the rig exchange under author "Michael DK", with the names MARS DSL20 V30 A MDK and MARS DSL20 V30 B MDK, respectively.
Rather than starting out simple, I've routed the signal through the DAW
:The "A" profile is made with a Slate ML-1 mic, using the U67 model (I think). The "B" profile is made with the Slate ML-2 mic, which was multed in the daw to two tracks, one with the vintage sm57 model, and one with the Royer R121 model. Both profiles have hade some light EQ treatment and whatnot.
They are both fairly gainy, but not modern metal levels.
Hope you like them! Leave a comment if you try them out, both good and bad feedback is appreciated.
I will probably make a bunch more profiles in the future.
-
I haven't played a lot of tube amps (apartment dweller most of my adult life blah blah blah), but the one I did have some years ago I rolled some tubes in - stock ones, cheap upgrades and more expensive mid-tier ones (JJs). I made recordings of each using a reamp box. There was definitely a notable difference, both for pre- and power tubes. Didn't change the amp into something completely new, but there were definitely differences I would consider significant - especially for the JJs. Not just for playing response, but also listening. And my ears are definitely not golden
-
It does seem to be the consensus that the KPA headphone out is generally better than most interfaces used by "regular" users.
Barring any colouring of the headphone out of the KPA, then maybe it could be considered sending the DAW playback via the aux in on the kemper so you can monitor via kemper rather than the interface's headphone out (addressing your point 3) above). Don't know if the aux in is suitable for line level, though.
-
-
It's also on Slate's own site for the same price - and as an upgrade from SSD4 Platinum for $49 (SSD4 EX to SSD5 for $79).
