Posts by Monkey_Man

  • Fuzz stability control

    I managed to create great instability that shone through the quieter one played with a combination of subtle octaving (a little 1 oct up and a tiny smidgen 1 oct down, with the Pure Pitch feature turned off) routed into a fuzz. I actually used two fuzzes for the preset (Fuzz Doom for my lil' brother Fingers), and I can't remember whether or not I applied the pitch between the slots or before them.


    Either way, the pitch algorithm's constant attempts to track subtle noises and quiet playing / long sustain, along with its analogue-stomp-like (no Pure Pitch) variations, once routed through the second fuzz or both, produced a very pleasing and unpredictable "randomness" IMHO.


    That said, I'm all for the OP's request. Shouldn't be difficult to add the necessary modulations in the algorithm IMHO.


    EDIT: Not sure if it's called Pure Pitch or not, but you know the feature I mean...

  • Test, Do Expensive Mic Preamps Make A Difference? with sound clips

    Well, low noise, flat response and just a hint of mojo is the universally-appealling option IMHO. That way you can patch any instrument in with confidence that it'll be captured honestly.


    For specific applications such as always mic'ing a particular amp and cab, singer's voice, a sax or whatever, engineers generally settle on their favourite colours for the particular sources involved. Given the budgets of "big" and "proper" studios, this isn't surprising.


    For the rest of us, my original prescription stands.

  • Freezer

    A proper freeze function will work on any sound, not just 'verb tails and so on.


    Just sayin' in case anyone missed this.

  • Profiles Sound Dark Complaint - I Don't Understand

    Exactly, and low frequencies can be heard everywhere whereas the highs are directional, "spurting" out like water from the nozzle of a hose.


    As you adjust the nozzle for an ever-wider spread of water, you're achieving an analogous situation to lowering the frequencies coming out of your speaker.

  • Impressed with Kemper's Compressor Stomp

    For what it's worth, as an engineer I'd probably steer towards the amp compressor as it's more of an "integral-to-the-sound" "effect" as opposed to a stomp.


    The sort of effect a stomp creates is something I'd rather tackle in mixing where the exact settings can be tailored to the song.

  • Add field in Rig Manager - What song to apply the rig

    Something like a "sticky-comments" pad would be awesome - then we could wax lyrical about the Profile in question, include pointers and reminders (for settings for example), as well as a string of key-words for searching.


    The latter detail would of course mean that one could nominate styles as well as descriptions of the tone; the experience of searching for rigs, especially in RM, would then become more akin to the way in which many modern VIs (such as Omnisphere) do it. That would be seriously awesome, and I'd argue that it's ultimately necessary given the huge number of Rigs many of us have at hand. In a recording or writing situation it'd be invaluable IMHO; indispensable, really.

  • SPDIF VS DI

    Quote from MDL

    I'll try gt/master/left once again tonight, but I'll tell you what, I'm getting fantastic results killing the profile cab in the Kemper and using my own impulse generator in my daw. I use the Peavey Revalver cab sim. I can switch speaker, mics, cab size, Mic angle, all those things and it's much faster making adjustments..... This Kemper is absolutely awesome.....


    Noooo don't say that, MDL!


    I've got many thousands of cab IRs that I collected 10 years ago and more when I built my free reverb IR collection (20GB or so!). I'd planned to try not to touch them once my Kemper signal was in the DAW, especially since I've already imported a couple o' hundred into the Kemper and it proved to be a waste of time due to the inconvenience of scrolling through them all (haven't narrowed them down to favourites as there'd be no point given that I'd still have maybe 15 000 more to go through!).


    I'll pretend, therefore, that I didn't hear you.


    What? :D

  • Rig Manager Bug ???

    I think re-engaging the "instant preview" option by double-clicking the Rig instead of using the up / down arrows updates RM and solves this issue, dig bob... IIRC... which I probably don't.


    Out of habit, and just to be sure I'm listening to the correct copy (after editing), I always double-click the Rig I want to hear. At all other times I use the arrows and don't touch the mouse.

  • Huge jumps in volume between rigs

    Sounds like you aimed right, Gianfranco. Must've been off the sauce that day, eh? LOL


    Just try not to poke the screen too hard if you miss that volume knob. You could even replace it with a bigger knob to make aiming easier on the weekends... :D

  • Does the kemper send a DI raw and a wet signal out of each XLR output?

    Not so, unless I'm missing something. The DI box, although I think one can use it for the purpose you're implying, is principally, in the case of guitar, for bringing the super-low-level (guitar-pickup) signal up to line level. This is obviously handy when Hi-Z inputs aren't available and one only has the option of using line-level (+4dB) inputs on a desk or interface. Same applies for patching into outboard (line-level) FX, processors and so on. Some mic preamps have Hi-Z inputs, as do many audio interfaces (not mine!), but in their absence the DI box or setting your Kemper to the "Git Studio" setting is your only option.


    Balanced or unbalanced, a line-level converter will accept either by the way, so I wouldn't worry about that. The only difference is that long cable runs might carry more noise if unbalanced. For short lengths, which is what you'd usually use in a recording situation (say, less than 10 or 15 ft), there shouldn't be much practical difference.


    I'll be using the direct with the "Git Studio" setting 'cause if I go guitar level I'll have to use my lil' ol' Mackie "Guitar" (Hi-Z) inputs to bring the signal up to a level my interface will accept, piping the audio down a direct-output snake from the Mackie to the interface. I haven't done tests as I don't have the interface yet, but my guess is that even 'though there's already an A/D conversion happening in the Kemper using the "Git Studio" option, the fact that I can patch directly from the direct out to the interface, bypassing the Mackie, should in theory mean less noise.


    I'll test both methods once I get the interface as the Mackie is quiet and if the noise floor is similar, I'll go the longer route to the interface to save the extra A/D conversion.


    Not sure if any of that will help but often I've found that thinking out 'loud can induce epiphanies in those who would dare to listen! :D


    EDIT: The "Mackie" I refer to is a little desk employed for zero-latency monitoring, for the uninitiated.

  • Head or rack?

    I'd appreciate that too, Snake.


    I'm particularly interested to see how the kazillion-awesome-amps-vs-Kemper thing goes, and what you end up doing in the long run in terms of what you keep, what you play and so on.


    Thanks man, and good luck!

  • M Britt Kemper Profiles

    Quote from sb

    The Jubilee profiles are pretty darn nice, fast becoming my go to Marshall sound, I got caught up playing the Jubilee profiles for a couple hours alone last night to be honest. This set of heavy profiles seem to have a brighter edge to them vs some of the previous Mbritt packs with "heavier type profiles". I am really liking what I am hearing and feeling. I was getting some great sustain out of these.


    Exactly what I thought when listening to the demos of all the new packs last night.


    I find all Michael's stuff impossible to resist...