Posts by V8guitar

    I know a couple guys that pull at least one ear out for this reason.

    *For me* - I'll take the tradeoff to keep my hearing as long as possible.

    I've heard ( pun intended) that pulling one out is even worse for your hearing ( over compensation or something like that).


    I agree that the right way to do it is have IEM's in and actually once you get used to them they are great. What I do like about IEM's is the consistent mix, you can hear everything all the time (particularly when you go a wandering..). Hence why I'm stupid to keep pulling them out...

    Personally I have never got my IEM's to sound close to my FOH and practically you can't. I have come to accept that the sound is compromised for many reasons.


    However, the bigger issue for me is the osolation from IEM's...which means I go with my best intentions and then start pulling them out mid gig...Yep I know, stupid. Tried ambient mikes etc but can't get the same feeling with them even with a good band mix.

    I've had anther pedal. A broken cry baby that I gutted and made into an expression pedal(I know what I'm doing) that has done the same when I used in a different slot on my remote do it as well when I would try to use it for pitch shifter. Toe down should have been an octave but periodically it would be off and when I checked that also showed the little gap that it wasn't at 100%.

    Definately a bit odd...I have done the same with a crybaby and I also have a regular expression pedal...I've not had to calibrate them since I connected them 5 years ago...hmmm

    I've dabbled in music theory a few times and personally I've found:


    1) Its not complicated, its just hard graft. You have to understand the intervals and keys and memorise them (as having to reference stuff takes ages/not practical). That is your basis behind modes, harmony etc.

    2) There are very few books or videos that bridge the gap between theory and practice. So ground yourself in the theory and then transpose onto the guitar. I don;t think there are many short cuts to this.

    3) There are a few rules but ultimately some things that aren't supposed to work do...therefore theory isn't the holy grail but one part of the story - I guess its the dictionary in my analogy :). It opens up options ( rather than my limited pentatonic world :) ) and flexibility in your playing.


    I assume you asked for tab to help you relate it back to the guitar...and I think that's the point...as tab has no basis in theory its probably counter productive ( as you need to understand the fret board). You can get scales obviously in tab but that is just the start and doesn't answer the " what chord sequence will that work over".


    As a self confessed duffer in theory, its one of my biggest regrets not to spend more time on it...too stuck in my ways now. I wish I knew what key I was playing in half the time...

    I bought a regular PA passive wedge. I took my KPA to the local PA shop and used a yamaha dxr10 as a baseline and found something that was similar - which turned out to be their own brand. Cost me £180 and its been brilliant!


    I also have a camper self built 1 x 12...

    Thank you all for the excellent suggestions and help. Coming from a valve amp and stomps this thing is something else.

    I think most of us have come that route so makes sense.


    My only other suggestions are :

    • Just because you can doesn't mean you should - you can have 20 sounds for each song, but do you really need them? I try to still keep it simple and treat each sound as a channel on an amp, albeit I have a 10 channel amp now rather than a 3 channel.
    • Profile/sound paralysis - because you have so much variation, I got stuck in trying all profiles and variables, including IR's. In reality 80% (and I've scientifically checked that value :) ) of your sound is from your fingers. Therefore don't get lost in the eternal search for the ultimate tone and forget to play the damn thing. Use it to springboard your creativity only...

    Well I knew the answers were going to be simple. Can’t believe I couldn’t figure it out on my own. Thanks for the help everyone. If I can figure out an effect to work for Lonely boy intro I will give it a shot tonight. Practice has been a lot of fun with it.

    If its Lonely boy by the black keys, obviously the main effect is the pitch drop for the intro. Having played that before, I used to dump the note down 6 octaves ( I think) to get that drop to a "blugh" sound.. I did that with the pedal pitch as mentioned by Don, using an expression pedal so it operates just like a whammy..

    Dude, I would also think about 1 song per performance. I know many do this but I think its overkill. You have 5 slots for different amps, and 8 effects for each slot PLUS morph. Morph allows you to change parameters within the effects or amp.


    This effectively gives you 10 slots per performance. To action morph, you just switch the same button on the remote. For example I have my main ryhtm in slot 3. If I want a small amount of boost ( for riffs for example) I have morph set to increase a bit of volume, gain and treble. I then in slot three I hit the button again for that boost.


    Works really well...check morph out if you haven;t yet. It might save you from the 1 performance per song which I think carries a large management overhead. I use 3 performances across 2 bands ( 60+ songs). 1 performance for 1 band and 2 for the other purely because I have big contrasts in the 2 guitars ( Les Paul vs Gretsch) I use, so 1 slot for each guitar.

    ckemper


    Just a quick thank you for opening this discussion and offering to answer questions.


    You must have had some grief over the editor but you've put yourselves out there again ( in advance of something being ready).


    I for one appreciate it ( I don't want to trigger lots of "and me", so perhaps just like this post if you agree) and wanted to acknowledge it.


    Right, do I get a discount/first in the queue for one? :)

    Please tell me what real circumstances may occur, to be in Need of the Speaker's or even the Profiler's volume limitations. Even on a loud stage with a loud Drummer and the bass-bins under stage I never needed so much volume at all.

    I have not come close to using all the power in the power amp, so much headroom and so loud...there are some crazy people out there though :)


    I did try to find out how loud my Laney 100w amp would be and blew 2x12's in the process...but I was being a prat..

    No, it won't hurt it at all. Increasing the impedance will lower the output wattage though (basic Ohm's Law), but the powered KPAs have so much headroom that it won't be much of an issue. I run my powered rack into a Marshall 1960B cab set to 16 ohms all the time.

    I assumed that was the case, but I guess there must be an upper limit. anyway, I suspect its not a limit any normal/sane person will find..

    This was my concern. It does answer the amp in the room question but reverts the original problem of a regular amp.


    We can't get away from the physics/different signal paths, at least with the KPA and Kabinet we have the options I guess.

    The Kabs have Series connections on the back of them. If you daisy chain two of them in mono , it will be an 8 ohm load.

    I need to pay more attention, I missed that! I guess theoretically you can have a max of up to 4 speakers running ( 16 ohm load)?


    Will it damage the KPA if I/someone added more than 4 i.e. too much load ( not that I would)?


    Defo liking this - I can get a few and then take as many as a gig demands!

    I see what you are saying but wouldn't it be this way if you'd just bring your ol' Marshall along and mic it? Amp in the room sound from the cabinet on stage and a mic'd up sound from the PA.

    True. I guess it comes from a different starting point. You get a fab amp in the room sound and you then try to mimic this through a PA. This si reverse engineering that I guess....hurts my head a bit..


    I don;t care, still gonna get one as I trust Kemper logic more than mine :)

    Now in shitty picture form:

    ...so, that does confirm different sound through FOH and then through the Kabinet.


    My config live is very simple....FRFR monitor with powered rack (unpowered monitor- so perfect for Kone), main out to FOH as I play 99% live with my KPA


    Don;t get me wrong, I'm really excited about this, but if imprints are used for Kabinet and not for FOH, the sounds will be different. Given its not suitable for miking ( not that i would want to) not sure I understand the use case. The whole issue with Amp in the room sound that people say they miss has become less important to me because its my FOH that people hear. Just odd if I hear something different...

    To be fair I didn't get morph until I tried it!


    I'll get one anyway though :)