Happy Brew Beer, everyone.
I'd suggest the new M1-powered MacBook Air. You won't find a more-powerful laptop for anything remotely-near the price, let alone one that doesn't have a fan. It'd make an ideal, silent partner to your Kemper IMHO.
And 3) Does that mean make sure the monitoring is disabled in my DAW and not active...ah so if that Is active and I m going through my direct monitors does that mean cubase is recording both signals hence the glitchy soup?
No, it means that you're hearing (hence the term "monitor/ing") both signals at-once. All explained in post #30. You're asking questions I already anticipated in that post. Post #38 was simply a bare-bones overview in the hope of gently reminding you to try the procedure outlined in post #30 and take the suggestions on board 'cause I hadn't heard back from you.
As I explained earlier, I was as comprehensive as possible 'cause I wanted to avoid a to-and-fro such as is now occurring. I didn''t say so earlier but out of respect to you I'll let you know - I have to wait 1 hour between posts. So, a basic normally-quick conversation (a few minutes) can take all day. I missed much of last summer due to this and am determined to make amends this time 'round. Hope you understand, Adam.
Just re-read post #30. I'm confident that it covers everything related to what I think might be the problem.
It's a different, less-damaging-to-tone issue and IMHO completely-unrelated to the shitty sound you're getting, Adam. If it were the cause your headphone check would've sounded terrible too.
Any luck working through the suggestions in my post, mate? You know:
1) Check Kemper directly into monitors using the same (main) outputs.
If sounds good, then...
2) Check direct monitoring from your interface.
If sounds good, then...
3) Check that you're not combining direct monitoring from the interface with the computer-'round-trip signal caused by monitoring through a record-enabled track.
1) You know the headphone out sounds great, so test the line out you're using (you said you're only using the left one) by plugging the Kemper directly into one of the Yamaha monitors. You might as well test both main outs for peace of mind IMHO, in which case you'd connect the L and R outputs to the left and right monitors respectively.
I'm betting' it'll sound great, so, on to step 2:
2) Check direct monitoring from your interface. IOW, the interface routes the signal directly to its designated monitor outs, in this case, your Yamahas.
Still sound good? If so, on to step 3. If not, either there's an issue with your interface's A/D conversion or there's a built-in effect / EQ setting screwing things up. I don't know if your interface offers internal "processing", but many do so I've included this here.
3) Finally we get to what I've suspected all along:
If you're all-good up 'til this point the issue is likely to be that you're combining the interface's direct monitoring with Cubase's record-monitoring feature. I'm not familiar with Cubase, but there should be an area within "preferences" dedicated to the ins and outs (excuse the pun) of monitoring. Things such as whether or not you hear "through" the recording channel when you hit the record button. The latter aspect is critical if you have the interface providing monitoring as well 'cause you'd want it turned off, lest you end up hearing both signals at the same time, one slightly-delayed through the computer, obviously, which will cause the phasing issues you're hearing.
I've been as clear as I can be 'cause I'd rather not back-and-forth with you unnecessarily, Adam. This advice is logical-and-conceptual in nature 'cause I don't know the inner workings of your interface and DAW, but hopefully you can use it to help you find the settings necessary to ensure that you're only hearing one signal source at the Yamahas - either the direct monitoring through the interface or the record-monitoring from Cubase - never both!
Personally I'd opt to turn record monitoring off 'cause there'll be less latency using the interface's direct monitoring only.
... it wasn’t until a user posted a Satriani cover and shared his wah settings that I was happy enough...
Sam used the Preset that I'd programmed for the wah collection after getting the settings from Nick and publishing it with his kind permission. Technically Sam may have created his own Preset from Nick's settings, as could anyone, because AFAICR the settings were shared in the wah thread as per my request. I simply programmed the data into the Kemper, named it according to the convention I devised and outlined in post #3 of the thread, and added it to the zipped collection. Whether Sam programmed it himself or downloaded the updated collection at the time is a moot point; the result would've been the same either way.
I explained the basics in my post:
The second I heard it I knew I had to ask his permission to include it in the community collection.
For stickman in case he hasn't heard or used it yet, the Preset's called "Nick Badr - Smth" by nicosssb (Nicolas Badr). The "Smth" part of the name refers to the sound.
Zip download of the Preset collection:
I then shared the clip you liked.
If you read post #1 in my Wah-Settings thread you'll see that the notes provided for Nick's Preset are as follows:
Nicolas posted a clip of his playing Joe Satriani's Love Thing with his preferred (for this song) flavour of Cry Baby Wah. I was impressed with its smoothness, and Nico very-kindly agreed to share it upon my request. You can view the clip and thread Here. He says that the signal chain used in the clip was Comp--->Boost--->WAH.
You can programme the Preset yourself from the settings provided in post #1 or download the Preset collection from post #2 where it's to be found as "Nick Badr - Smth".
So, as for your question:
Is this wah-sound available in the profiler or is this a non available home made stomp by the user Sambrox is talking out and to which he only shared his wah settings?
No, it's wasn't included in the factory Presets back then, although it may be now, possibly with another title, 'cause AFAIK 12 Presets from the collection were added to the factory set as part of the OS8 update.
To be safe / sure 'though, you might as well download the collection from post #2 in the wah thread. Link in my signature.
You're a tech wizard, Chris.
I can tell that you put a lot of work into this.
Great job, mate!
From his website:
"We create sounds and customize sounds through the use of these digital amplifiers." (referring to Kemper, Fractal & Helix)
"Whenever a brands or artist name has been reported (in text or image or video) it has been made for informational purposes only and to clarify the origin of the profiling."
On one hand he's saying that the digital devices are used to create the sounds (1st quote), and then he's suggesting that all Profiles are made from the real thing (2nd quote). He doesn't say "based on" / "inspired by" or anything like that, but rather that the Profiles' origins lie with the real thing.
I agree that with such an extraordinary number of amps apparently moving in and out of his studio it's strange that not a single picture of any of the sessions is available (I looked hard).
The default intelligent position in life is one of scepticism, and based on what I've seen I fall into that camp, I'm disappointed to say.
The Matrix has gravitas. Love it!
Forgot you had the Motif XS (I have the rack) and INTEGRA (me too). Awesome units. Those two were intended to provide the bulk of my sounds when I bought them new back in the day. They're still sitting there waitin'...
The Matrix - awesome.
Triton Rack with MOSS and additional boards? Sensational.
Fantom XR - great. Same sound as the XV-5080, which I loved.
TC M-One XL - awesome.
Busy year gear-wise for you again. Way to go, brother. I just bought a bunch of plugins from Plugin Alliance; that's all... and of course Profile packs from Bert, Michael and Guido.
Saving my bananas for the Apple Silicon Mac Pro when it eventually drops...
I'd say that's what he meant, Damian. I've seen many musicians (not engineers) refer to TS / TRS's as instrument jacks as opposed to mic plugs / leads.
IOW, to the "layman" there're basically two flavours of jacks or leads - instrument and mic. Most aren't aware of amp->speaker leads and high-Z desk and interface inputs.
You're correct of course; just proposing a logical explanation for the Verminante statement.
Make sure the "Instrument" column is enabled in your window and sort using that, mate.
Note that I said, "Column" and "sort", not search, and made no mention of the search field.
I would have thought that, but there is no selection for "instrument" in the search box that I can see.
First step might've been to consult the RM manual and search "Instrument column", "Column" or something to that effect.
Personally I'd have tried "convention" first, à la iTunes, which also employs the right-click-on-column-header approach, as does a lot of software.
My M.O. is to try convention first, then scratch my head and consider alternative logic and finally resort to the manual. Fortunately the first two steps yield results 90+% of the time. Only if the manual route fails me do I ask here, which is why it's so-rare that I do, but hey, that's just me.
Make sure the "Instrument" column is enabled in your window and sort using that, mate.
Indeed, it's just display-rounding behaviour, so the three states of "0" you quoted are not the same internal values.
Great job, Tobi.
Just looking at it made me want one too, just like Don.
Not sure I'd trust my skills to work an original into something as good as that 'though. If you "made" more I'd buy 'em just to try, as I reckon Don and others might too. Great stuff!
Yup. IMHO you can clearly hear the George Duke influence on that track, probably due to all that session work and gigging he did for him in the '70s.
Got Yesterday's Dreams and Spellbound too.
As for Bingo Miki, there was one track in particular that I really liked 'cause of the groove change at 5:45 - the title track. Like you I probably wouldn't buy the album at today's prices. I used to pick up all my vinyl from a 2nd-hand record shop back in the day for only $1 each. That's how I built my "mega" fusion library... plus CD's on-the-cheap too.
If you haven't got "Captain's Journey" it's a must. Goes hand-in-hand with "Captain Fingers". I've always thought of them as an album in two parts.
Wes Bound's notable for its production values alone, and of course the playing style was a departure for Lee and he nailed it.
Back to classic Rit 'though. If you don't have Feel the Night, it's a classic IMHO and worth it for the first track alone. Gives me goose bumps every time... for 40 years! That groove and snappy brass...
Ahh... all the "usual suspects". Excellent album. Can't go wrong with those guys.
If you listen to Lee's work on track 2 you'll notice the groove, riffs and feel sound very-much like his debut album "First Course" from just 3 years earlier. I love the sound of that first album of his - so organic-and-natural, and yet everything's clearly-defined in the mix, a "rare", much-appreciated combination to me: