After 1 1/2 years of struggle and 3 different techs in I sold my LP because it just wasn't staying in tune like my other guitars.
I don't know how bad my problem was in comparison to the normal LP.
I still miss it sometimes because the sound was something special. But it just wasn't working for me as a gigging musician.
I wondered about returning it in the first few weeks but I thought I could get it to work better and I was still in the honeymoon phase with the sound.
It was a 2014 LP studio Pro btw.
Maybe later in life I'll play another LP and keep it. It is just something totally different in a sound perspective. But also the weight, the shorter scale length and the poor upper fret access just make you play it differntly. At least for me.
In summary I don't know what you should do. Just sharing some of my personal experience.
Hope you sort your problem out.
Native Instruments do have same things on sale.
No Bundle or anything but single instruments and examples. Also Kontakt 6 for half the price.
If you got some 25€ Coupons from them maybe now is the time to use them.
I got myself some Massive Expansions and I'm really liking them.
I quite like the new design.
I've only looked at it on my smartphone though.
A button to like a post without 2 clicks needed would be good IMHO.
What are you using to monitor the Kemper?
Have you tried the Jazz III XLs? Best of both worlds.
The Petrucci are between the Jazz III XL and the normal Jazz III.
For me they are the perfect size. Although from time to time I still slip and smash the part right under the fingernails into the strings.
Hurts like hell but sometimes the music just grabs you.
I really don't like that they won't tell you how the sound is produced.
It's analog and thats about all we know. But they never even say if it is something entirely knew or just a combination of technology that was already out there.
The demos don't sound bad though.
But like with all gear I would have to play one myself.
Depending on your budget and your spare time you could also ask a professional to build it for you.
Any carpenter should be able to do this.
If you're planing on staying in your home or studio for a few years I would consider it.
But if you got the hands and tools then go ahead and do it yourself.
I mean just the time you invested to do that picture means that you'll likely won't settle for anything but exactly your specs.
Maybe I play like a monkey but I break every string from low to top if I don't change them regularly enough.
And I use 10-52. Otherwise the low rhythm strings would hold up even worse.
I mean I broke a G and a low E yesterday. But they have been on that guitar for like 3 weeks, have seen 3 or 4 stages and have been played for 20hours or more.
I sometimes order single extra sings. Usually low E, high E, B and G. As those are the ones that break the most often.
I sold my Timeline when the new Delays got released.
The Timeline for me still sounds a bit better than the Kemper. The analog sounds sounded warmer and a bit richer IMHO.
And I do use delay in ambient sounds quite a lot.
But all in all the difference was so not worth keeping it so I sold it and still got 450€ for it.
I don't know how the market for these things is now but just as a tip these things were still worth close to retail in value.
Does anybody know if the tap 2 find feature works on user library midi?
Because it is one of the best features for someone who isn't a drummer IMHO.
I don't know if this is possible but it would be cool to be able to change the order of the performances in a backup-file in the Rigmanager.
If I got 2 or 3 gigs on a weekend and we do different sets I have to re-arrange my Performances a couple of times.
The Rig Manager is already awesome and fast at that.
But if it would be possible to just adjust the order of the performances in for example a backup file and just load that to the Kemper I wouldn't have to connect my Kemper to a Laptop but just bring a usb-stick with all the different sets.
Maybe you only have these kind of problems of you play in a cover band with gigs ranging from 1 to 4 hours
But it would still be awesome.
Or is there a way were you can view the actual data in a backup and change the order manually?
I haven't actually tried the Optiwebs.
Maybe I also need to give them a try because of the aforementioned effects
Thank you, @nightlight
I use Cubase 8 and for me it's much more I'll ever need... I use it just as a wav multitracker and mixer, no MIDI or other features. I had Cubase 5 for many years and this was fine for me, also.
Would there be any advantage for me if I upgrade from 8 to 9.5?
I think that the UI improved a lot.
The lower zone on a big monitor alone is worth the money.
Also the mix history.
I also really dig the new EQ Frequency.
That's actually all I can think of right now.
Maybe the Sampler if you're into that kind of thing.
Just remember that only 64bit Vst are compatible with the newer versions.
Have you tried the D'Addario NYs, MPB? They're pricey too and I wouldn't have mentioned them had you not shown that you're prepared to "bite the bullet".
They apparently retain brightness very-well and last ages.
Guess I'll try those after I've gone through some of my strings that I ordered on Monday.
200€ worth of strings. And it's not even that many packs...
Good thing I got at least some decent paying gigs this year.
Anyone tried both Elixier and the NYXL?
Elixir plain strings cause a lot more fretwear than regular tin plated strings - cause of the harder "anti-rust" treatment, I guess. That's why I avoid them.
I now have stainless steel frets on both of my electric guitars (having sold my Gibson this year as it just wasn't for me... Man I need a third electric again) I hope that this isn't as much of an issue for me.
But yeah I had to get a refret on both of them so maybe the Elixier really do cause more fretwear.
Since we have such a nice discussion about picks going at the moment I thought I would add a thread about strings as I have some things to share.
For the first 8 years or so of my playing I only used Earnie Ball strings. Mostly the 10-52 because I do like to go drop D from time to time and I like the added tuning stability for rhythm playing because I'm quite the hard hitter.
I changed to Elixier for 4 years after that because... I don't know. I had them on my new acoustic guitar out of the factory... And they sounded so much better than the Martin I put on the Taylor afterwards.
So I changed to Elixier Nanoweb for the electric as well.
Now that we recently play 1-2 shows every weekend I thought I'd try the Earnie Ball strings on electric again just to save some bucks.
Sadly they didn't work for me that well. They felt not as polish or even raw in my hands compared to the Elixier strings.
And after 2 gigs or around 8 hours of playing all the treble was just gone. I even looked into my EQ and everything but it had to be the strings.
On the third gig (within 8 days of changing the strings) I broke 2 strings.
Which usually never happens for me that fast.
Maybe I have to change the Earnies more often. But I for myself am biting the bullet and paying the extra for the Elixier.
My girlfriend gives me 24 different picks for Christmas every year as a Christmas calender.
So I tried quite a few and I tried some that I would have never even bought for myself.
For the Studio all these different picks really do sound different. Especially on the acoustic guitar.
For electric guitar the John Petrucci Jazz III are my absolute favorite.
Not to thick, not to slim, not to big, not to small, and a good grip.
If they ever stop making these.... Ahh I have to order more.
And I'm seriously not a fan of John Petrucci. I mean I got nothing against him and he's a God and all but he definitely isn't my idol or anything like that.
But that guy just knows what a good pick is. I'm curious to try his new flow-pick although 2mm is usually to thick for my taste.
Anyone else tried the flow pick of his?
For acoustics I normally use the normal 0.88 green Dunlop Tortex as I don't need that much control on Acoustic.
Ha, I agree with the setup taking some effort. I play using the 4 cable method, but I’ve got a large pedalboard and I play front of house in stereo so I’ve got at least 7 instrument cables. I have recently tried out the Boss Katana Air, which uses a wireless transmitter and there is ZERO latency - it’s remarkable! Boss just came out with a wireless transmitter and receiver, too, which already eliminates 1 cable. I think one day it can all be wireless, but I would settle for less cables at this point.
Also, I believe wireless electrical power can also be a thing one day... I think Tesla (the scientist) had actually demonstrated it, but the tech was never developed (publicly/officially).
The Boss doesn't have zero Latency.
It probably is comparable to their other wireless products which have around 2,3ms of Latency.
I own a wireless unit with the same kind of Latency and yes you don't feel that short of a latency. But maybe if you would use more of them in a single setup you would feel it.
I normally like to compare the latency to the speed of sound.
So 340m/s (this differs in gives us that one meter of distance from a speaker would so 1ms of latency would be the same as standing 0.34m away from a sound source.
I never heard someone complain that they feel a Latency if they move away from their amps on a big stage. Let's even not make it that big. 10meters?
Okay for 10 meters of felt distance we have a latency of 10/340=0,029s
So anything under 30ms shouldn't be noticeable.
For singers this can vary because they hear their own voice inside their head which can generate some Frequency loss because of phase cancelation.
With most full digital setups you should get a Round-Trip-Time of about 16ms or less
(wireless transmitter, Kemper, digital board, wireless InEar) if we say that all digital units have about 4ms of latency.
Does anybody know if I missed something? Maybe this is not how we actually perceive sound. This is just my applying my sketchy physics knowledge.
Wireless power is a totally different topic. I would think that everything that uses wireless power should have a battery so unit doesn't immediately power down if it is removed from the right conditions.
For me having my floorboard powered is only difficult if the stage is poorly set up so I have to throw a power cord into some far distant land because the tech guy didn't read our stage plan.
Okay say it is as simple as just generating one continuous test tone that gets send while the person profiling is turning the knobs.
How should the profiler tell the person or vice versa on what position the knob is or has to be?
Maybe you can get close to it with having a few stable (0 5 10 although you would probably need more) positions and then you would create (English is not my first language so please excuse this unscientific term) a mathematical function based on the specific frequency response of these points.
Of course the method gets more precise for every point that you add to the input.
If tone stacks are this easy (referencing how they influence the tone) then it would maybe work out.
My point was that this would need to be a very new thing that Kemper would have to implement.
I'm sorry for missing your point @Per
I'm more of a passive reader here and really enjoy your posts.
I don't think that this will ever be technically feasible.
At least not with the precision a normal Profile has. If you want to profile a normal 3 knobs EQ and the gain with the profiler you need to adjust every single parameter individual.
Now we need the convert the continuous movement of the knob into some kind of digital representation.
Let's just choose 128 options for it (like Midi)
That should be enough.
So we got 128^4 options that the profiler has to profile.
Those 268.435.456 profiles should now be stored in one profile and change by the move of the knobs on the Kemper?
That's just too much data.
It also would take forever to profile such a thing.
Remember this is just if they want their eq-profiles to use the same method of profiling.
I actually believe that the way they are profiling right now can't be easily changed to add some EQ-Profiling or Knob-Profiling to it.
I also don't see massive benefits in this sort of profiling. There are just to many variables in an amp. There are amps with a depth control and extra presence knobs.
The profiler would need to know all these variables to make the product appeal to the public.
There are other digital solutions that let you control everything up to the smallest details but in my opinion they don't sound as good as the snapshot of a real amp that the Kemper captures in all of its glory.
And the tone control that is in the Kemper is also very usable IMO.