Posts by Dudemanbrother

    I’d say throughout all the sessions I’ve ever sat in: most say Eb, Ab, and Bb; then C# and F#. If you’re running scales up the circle of fifths from C: then you’re dealing with # notation; and running down the circle of fourths is b notation. I don’t mind which is used, and common discussion among musicians seem to favor b over # 3:2; so fine by me.

    I don’t think the potential for comb filtering due to different rooms can be discounted. A 3rd party profile will naturally have certain frequencies that are either amplified or cancelled in another room. If you profile an amp in the same room you play the profile in: you shouldn’t have additional comb filtering. I prefer my own profiles as well, but always cycle through my favorites folder (mine and commercial) when I get to a venue to find the profile most suitable for the room.

    I don’t get the same sound from my IEMs as FOH, but I’m okay with it. I’ve had a few pairs of Shure’s, UE’s, and cheap Chinese buds. I actually found that I prefer the cheap single drivers as they don’t have a lot of bass, which allows me to hear the notes I’m playing at lower volume, and in general isn’t frequency bloated like my UE set, in our live band application. Playing alone or listen to music, the UE is much better the China stuff and my Shures . I just need to hear the click and my guitar up front, then a lower blend of guitar 2, drums, then less bass, and even less vocals. We use a Zoom Livetrack L20 so we each get our own personal mix that is easy to adjust and save.

    I still keep a cab on stage so I can feel the air move, and so anyone up front in the audience can hear guitars. I keep the volume very reasonable; and dialed my Monitor Out EQ to be pleasing to the ear (ie non-harsh treble) as I always hated being up front and getting blasted face on with 12” guitar speakers.

    It’s honestly not as enjoyable as simply plugging into an amp and playing like the good ol’ days; but it makes for a much tighter performance (technical death metal). My mix is consistent every night, regardless of venue and sound guy; and we never have volume wars, stage feedback (unless we want it) or ear ringing after a performance. Even with those quirks, the trade offs are still in favor of Kemper & IEM for my live shows.

    Some mixing engineers compress distorted guitars but far from everybody do that but saturation? No F way. You don't destroy already good high gain sound with saturation. Blend in or create room mics? What? NO!

    Did you miss the part about this being on parallel tracks? There’s no need to compress or saturate the main guitar tone, but bringing it up just a touch from a parallel track can make it sound bigger.

    Adding reverb in the main guitar chain can get washy and lose clarity/focus; so sending the guitars to a parallel track for reverb allows you to subtlety add depth, front to back, without messing with the upfront punch. Same thing works if there are overheads in the room while tracking. It has to be subtle, and never on the main guitars.

    But hey, it’s the internet. Why spend 10 minutes messing around with a concept when you can ridicule it instead, right?

    Brand new strings for every single guitar track, send the guitar bus to a parallel track with heavy compression and saturation, blend in (or faux create) room mics. Proper EQing the mid/side, and stereo width. Kick, snare, and bass all work together to fill in the low end, but don’t overdo high passing the guitars either.

    I have both and would like to know how to profile my amps with the ox's cab simulations.... And my two notes torpedo cab emulations as well.

    Can you explain the setup and process for this?

    I’ve made profiles with my Two Notes Studio and it is about as simple as it gets. Guitar into Kemper Input > Kemper Direct Out into Amp Input > Amp speaker out into Two Notes Load Box Input >Two Notes Out into Kemper Return. Same method with my Fryette Power Load. If the Ox is a load box then it would also be the same. You just need to add a load box between the Amp and Two Notes Torpedo for that to work as well.

    Do a RE search for Marshall, and browse by Gain: Highest to Lowest. You should be able to find plenty of midrange heavy profiles with those amps. There are also a ton of amps based on a modded Marshall circuit, so you could search out some of those as well.

    Another option is to turn up the midrange and treble on a profile; and place a studio EQ in an effects slot to notch out any nasty frequencies that are caused by the increases.

    If you want to try more paid profiles: Sinmix, Live Ready Sound, ML Sound Lab, and Tone Crate are all worth checking out

    Why would low values of Pure Cabinet help in this situation? I see the opposite.

    For some reason, when using high gain profiles the pure cab can get strange artifacts and a fizzy treble. Usually when it’s off it is a noticeable difference, and some profiles really smooth out once it goes just up to 0.1; yet others sound best off. There obviously can be profiles and setups that work with pure cab at higher levels, but I find pretty consistently that 0.1 or off works best for high gain.

    Turn Pure Cab off. Not just set to 0, but completely off, and see if that helps. When it’s off globally: I find it works at 0.1 on some profiles, and completely off with others.

    If a Boss Katana is giving you better dirty tones, it’s possible that you inadvertently saved or locked some undesirable settings. Have you done a soft reset?