Posts by joes70

    Grazie Joes70, per cortesia puoi dirmi che cavo usi per collegarti, se usi tutte e due le entrate "input alternativi" e come setti il Kemper per sentire chitarra e base; ho provato anche io il collegamento ma non riesco a settare in modo che l'audio esca per Mac e chitarra, o mi esce il Mac (che prende tra l'altro l'effetto del Kemper nel vocale) o la chitarra. Grazie se puoi essermi di aiuto.

    Spero tu abbia nel frattempo risolto. Soluzioni ce ne sono più di una. Negli input presenti sul retro del k (return e alternative) puoi collegare in il segnale stereo che proviene dall'uscita cuffie del mac, mediante con un cavo a Y (che parte stereo e finisce con due jack mono). Io, nell'ultimo periodo, ho preso un piccolo mixerino (nel caso specifico un Rolls PM351 Personal Monitor) a cui collego cuffie, mai out del kemper e l'uscita cuffia del mac. In questo modo mi pare di avere una maggiore flessibilità con la gestione volumi e, inoltre, mi consente di sentire sempre lo stesso segnale che va anche al banco (quindi mi è utile in fase di preparazione dei suoni in cuffia).

    +1. & settings for the stomps you used 😃 Good job!

    63 trem-luxe tone junkie profile


    rhythm settings:

    green screen 7.4 drive - 2.9 tone - 13% mix - +3 vol

    soft shaper 2.8 drive - +1 vol

    tremolo

    space

    formant rev


    lead settings:

    green screamer 5 drive 5 tone 50 mix +1.5 vol

    resti shaper 7.6 drive +2 vol

    wide

    easy rev

    I use the GCP (combined with the GCX Audio Switcher) and I feel so good that I never felt the need to replace it. The main advantage is that you can control both the kemper and 8 analog pedals in addition (for example external overdrives). You can also connect two expression pedals. The only limitation is perhaps that with the GCP it is not possible to control the kemper's looper.

    My favorite headphones are the Sennheiser HD8 DJ (closed), which I use to prepare the sounds. They are not much used by guitarists, perhaps because they were born for DJs, however, in my opinion it is much more flat than many others. Then I also use the Beyerdynamic DT 880 edition 250 ohm (half-open) which, if used with the addition of the Sonaworks References 4 calibration software, may sound almost like the more expensive Sennheiser mentioned above.

    I think perhaps what you are hearing is the change in approaches to mixing and mastering, more than the changes in the way the acoustic guitars are captured. Especially in the modern pop/rock genres, there can be huge amounts of dynamic compression and filtering of frequencies to allow acoustic guitars to occupy a space in the mix, without taking away from anything else, sometimes reduced to little more than a percussive strum sound. What you hear from Andy McKee and Tommy E is the sound of a miked guitar, for sure, but their music has the guitar as the sole occupant of the complete mixed track, in terms of arrangement, dynamic range and frequency bandwidth. If you've got some specific track examples, I'll have a listen and see whether I think what I'm saying still holds true.

    About the part of the mix reserved for the guitar it is true, but if you listen for example to the mixed acoustic sound of James Taylor or Bruce Springsteen (in the old or new CDs) it also reproduces well the resonance (rumble) of the wood (like the sounds by Mckee and Emmanuel). However, is my thread like trying to partially reproduce this sound quality passing through the kemper and not through external microphones (for live use)? :)

    Not sure what you are talking about, maybe your neighbor records his acoustic guitar straight from his zoom interface but I assure you that a real producer knows how to get a good acoustic sound. The method hasn't changed much from "the past".


    IMO, the selection of acoustic rigs from RE is quite limited but some of the most popular acoustic preamps (Fishmans, LR Baggs, etc) have been already profiled pretty successfully by some commercial profilers. However, by virtue of the instrument itself, the totally pure and "kosher" acoustic sound is best captured acoustically by microphones. That being said, there are also situations where that purity factor is not necessarily what the song is going for and the sound of a plugged in acoustic can work (for example, I sometimes use a Godin Multiac Doyle Dykes). Not necessarily a "poorer"sound than a high end Taylor, just a different animal for a different purpose. For live, after touring with a big Martin for a while, now for most situation I'd now much rather take that Godin/crowdster.

    I think the acoustic sounds of 30-year-old records sound better than the acoustic guitars recorded today on pop-rock CDs. That old sound, in my opinion, is more realistic. The only exceptions are the recordings of the great guitarists who mainly play the acoustic guitar (tommy emmanuel, andy mckee, etc.). Most acoustic recordings are too "plastic" compared to the true sound of the guitar.

    Man, that's getting way too complicated! I'd wait until the next update, where they've hinted at an "acoustic simulator." You could just mic a real acoustic 8). Though my Alvarez Yari sounds awesome through a Martin-JRE profile, a freebie from some awesome dude. (I forget where I found it)

    thanks, I didn't know about the acoustic simulator. Interesting!

    I know the best way is to use the microphone, but when you play live it's too difficult to use it.

    The sounds of acoustic guitars recorded in recent years are much poorer than those heard in recordings of the past when there was less technology. The reason is simple, because the best way to capture the sound of the acoustic guitar is to use external microphones. However, most of the kemper acoustic profiles that I have tried or heard give a very plastic and unrealistic sounds. I would like to find a way to recreate (as far as possible) a real acoustic sound (unplugged). To achieve this purpose I am working on a free starting profile (shared by Mark Hall on RE), with the addition of COMP, EQ, WIDE and REV, using an acoustic guitar with three sound capture systems (blended together through the loop): piezo (front input), internal microphone and pickup (alternative input). The result seems to me very good, but I think it can be improved more. Do you have any other suggestions ?

    I tried various packs, however, I always came back to some Mark Hall free rigs. You can find them on the Rig Manager (SWR 1, SWR 2, SWR 3 and SWR 4). I added a compressor, a graphic equalizer, a wide stereo and a chorus. For my acoustic setup, these free rigs sound better than commercial ones

    I want to clarify that I re-opened this old thread because I found this rig very compatible with that sound. I'm not an X or Y promoter (on my YouTube channel I use mainly my personal hybrid profiles.) I just only wanted to share my experience and not to advertise someone

    Hi OhG! If you can still be interested, I recently replicated the sound (rhythm guitar) of "Couldn't stand the weather" using a free profile by Michael Britt (MB - 65 Champion 5 3) + Rotary. Try it !

    your /13 LDW is very awasome rig for Fender sound !!! it's one of my favorite profiles

    My experience about this..... I tried this package for weeks and I'm really very satisfied. These profiles have a lot of dynamics and are also excellent for blues sounds, similar to the typical Joe Bonamassa Les Paul sound. Simply lower the volume of the guitar and adjust the equalization a bit.