Posts by silhouette

    Yamaha's philosophy with monitors is accuracy, with that not everything sounds good and if you get it to sound good then you have more assurance that it will sound good on most other devices. Other monitors that have sweeteners added and extra bass, as some do, aren't accurate and even though they sound good , they can sound off on other media devices, so it's a balancing act to decide which ones are better for one's purposes.

    Actually what I am trying to say is that the Yamaha speakers are not very accurate. They are not detailed enough in the midrange and are a bit too bland. They did not reveal much about the mixes I fed through them. The A7X's are much more revealing of poor source material. They really have improved the quality and transfer-ability of my mixes onto other systems. I you have heard the original Yamaha NS10's they sounded horrible - but if you could get your track to sound good on them it would sound good on anything. However they are not a pleasant monitor to listen to.

    I have to say that when I was auditioning for new monitors a short while ago I was persuaded to spend some time listening to a number of Yamaha monitors, I really did not like them and found them weak in the midrange and rather unflattering to guitars. I ended up with a pair of Adam A7x's and a Sub 8.and have been very happy with how the Guitar sounds. The A7X has a really smooth top end thanks to the rather wonderful ribbon tweeter. They also present a very detailed midrange. However I did find that on their own I wanted a little more depth of bass - hence the Sub 8. To be honest I did not like the sound of my guitar on the Yamaha's. Maybe you need to go out with some reference tracks and listen to a few monitors to see which ones suit you.

    I am wondering if this is a fault or not? When I go into Delay (Via the Delay Button) in the Effects section I now have to scroll through all the efx to get to the delays. Previously before updating to Operating System 5 I would only see the delays here. It does not affect the operating of the efx but I a bit irritating. Thank's in advance for any response.

    Solved! I was using a beta OS and reverted to the last official release. The Strange thing is that until yesterday the Delay Post EFX had been working??????

    Hi. I am wanting to select a different delay in the post EFX section. However when I press the Delay button I can only choose from the stomp pedals when I turn the Browse knob. The Reverb button works as normal and I can select between the available delays. I am sure that I have done something wrong somewhere, but cannot think what.


    my point is the 57 is so popular and relevant, to say you don't like it or the way it sounds, is almost to say you don't like the tone of a recorded guitar tone or a guitar tone live... That may sound extreme but think about it: when 9/10 tones you hear on a record do in fact have that mic on the guitar( maybe even a higher percentage ) , that's quite hard to argue... That was MY point dude....


    Look this is getting old. I am not partial to SM57 on their own for my guitar sounds. Combine them with something else like a R121 to take the edge off the bright midrange of the 57 and add some fatness and I can live with that. The kind of clean/edge of breakup sound I like is more towards the jazzy end of things with a fat midrange and a little shimmer on top. Think Deluxe with a Coles4038 or a R121 4-5 " from the cone. The closest I have got to this is the Michael Britt profiles of the 67 Deluxe with a SM57 and a Cascade Fathead 2 ribbon. This I usually use with a Musicman Silhouette with some P 90 type pickups. However Soundside.de have a great Vibroverb with a R121 that I like a lot. I find that the R121 has a really smooth top end, a nice bottom end, with a lovely expressive midrange and needs little in the way of eq. Great for touch sensitive playing. They also have a deluxe that has been profiled with a 57 that sounds a little bit hard to my ears. I can address this with bit of mid boost at 600k and a low pass filter.


    On the overdrive front I am really enjoying M Britts Dumble Overdrive Special.Another set of profiles I have really enjoyed using are the And44 Stileto Profiles with a TC30/87/121.

    For the record, I am a retired MMA referee (formerly licensed professional & amateur in DC and Virginia in the USA). If anyone gets to the point they feel they really do have to duke it out, I am available to officiate. For a modest fee... :D


    Thanks for that. The strange thing is that I did state that it was my opinion. I just said that I did not like the SM57 on my guitar sounds. It's a bit like saying I don't like carrots and have people saying that they are good for you and give you important minerals and well, everyone likes them. Well how so, because I certainly don't - and you know I won't like carrots because you do - also I won't particularly care that you do like them either. I won't be trying to stop other people eating carrots or telling them how to cook them - although I have heard they are nice sautéed with a little cinnamon. Which come to think of it is how I like my SM57's.

    Sure, I absolutely understand you were coming from. But at this point, it's not so much an opinion As it is a fact. You simply cannot deny how many great guitar tones were recorded with that microphone. I actually play mostly country based music, but again, that is irrelevant given how many guitar tones were recorded with that microphone in all genres of music. If you don't like it, that is perfectly fine. But all too often I see people that make that comment and it's generally from people that don't have much experience with playing guitar live or in a recording situation and don't know what a guitar sounds like or how it's supposed to fit in a traxk. This is why I said this conversation makes my head hurt. If that does not apply to you I do not mean any harm or offense whatsoever but that generally seems to be the case on here when people make that comment Regarding certain microphones.


    Hold on! Did I say anything to deny the great guitar tones in recorded history using an SM57? No. I stated that "I" did not like the sound very much. A subjective opinion you will understand. The music I play is jazz, fusion and funk based. I have been playing guitar for over 50 years.I have had a studio for 20 years and have played in bands since starting to play. I have owned over 50 guitars during that time of which I still have 16. I think I am qualified to have an opinion about how I want my guitar to sound. Quite frankly and simply stated I know what I want from my sound, so I don't take well to the implication that I am wrong in my personally held view.


    The SM57 was not on the market until 1965 so what was wrong with many of the guitar sounds recorded before this time?


    A Quote from Paul Yandell:


    One thing to keep in mind about Chet's tone and sound on his records is the microphones he used with the Standel. He liked an RCA 44 ribbon mic. He also used a Neumann 67, an RCA 77 dx, and an EV RE-15, and I'm sure others that I don't know about.


    The Neumann 67 may be the best microphone ever made and there are many pictures of him using it during the 60's. It makes a big difference what mike you use on an amp when you record. An EV RE-15, is an excellent mic also. They don't make them anymore but you can find them around in music stores and on ebay. After Scotty Moore gave him a RCA 44 ribbon mike he used that mike all the time. One thing to keep in mind about Chet's tone and sound on his records is the microphones he used with the Standel. He liked an RCA 44 ribbon mic. He also used a Neumann 67, an RCA 77 dx, and an EV RE-15, and I'm sure others that I don't know about.


    The history of rock and country right there.



    Fine! I can respect your opinion. I just don't share it when it comes to the sounds I like. Surely that is not too hard to understand. I am sure that it will not ruin your enjoyment of a SM57 knowing that I don't share that enjoyment. It does depend upon the music you like. I am not a rock player. I'm guessing you are. You know the old saying: Opinions are like a***holes, everyone has one.


    I do use many of the profiles with 57's on them and yes I add a bit of mid or turn down the top end. There are some fantastic sounds using a 57, especially with my 335. However the ones I come back to every time are the ones where a R121 and a Strat/Tele are involved.


    Gothca. Not all people like the SM57, not even all pros :)


    Mic choice and position can't really be viewed as separate from amp and cab when we're in kemperland (or anywhereland, really). So much has to do with how the amp is set and which cab you're using etc. So even if you knew the mic and position, it would only take you so far, and likely also steer you away from some profiles you'd really like. I don't think there's much else to do than finding the profiles you like the sound of, and forgetting about which mics were used. Then experiment with putting that cab on other profiles - that might be the best route for you.


    Thanks for your reply. One of the things that knocked me out about the Kemper was how bright the profiles were and how that brightness was without harshness and sat so well in a mix. It is just that I sometimes find the SM57 too bright. I have been experimenting with some Coles 4038 irs to good effect. These might be the bench mark to judge other profiles for me.


    My only problem with the Rig Manager is that I could see no way to manage cabinet irs - I couldn't see anything about it in the manual.


    Waraba this is my personal opinion and I know others expect and like different sounds.

    I suppose for one you get to know the best mic positions and which profiles are more likely to suit your needs. I am not a player that necessarily likes the aggressive sound of the sm57 on or half on the cap. Actually I'm not often that keen on the sm57. Although it has to be said that some people are much better than others at using it - often in combination with something like a ribbon.


    I guess I am just used to using ir's with S-Gear. Perhaps I should convert some of my favourite ir's and see how they go with some of the stacks?

    Again, very true. However, this would mean I would not have access to amps that I don't have and mics I don't own. I suppose I am talking about the commercial/professional vendors of amp profiles. The best ones I have encountered have been the Michael Britt ones where I have the sense that he really knows what he is doing when micing up the amps he is profiling and this despite the use of the SM57. Even so there is no info on where he has placed the mics.

    I am astounded at the number of profiles available that use the SM57. Including the commercially available profiles. I personally don't like the SM57, especially when pointed at the cap.
    I guess many users only have a few Mics and that must be the most commonly available. so there is no confusion. Even some of the commercial profilers who use a Royer 121 have too much proximity effect.


    It seems a shame that there is not a common standard for indicating mic distances and position.

    I mean save the profiles that have been edited in the Kemper directly into rig manager. It can be a bit fiddly saving in the kemper then finding the profile and dragging it into the folder you want. Perhaps I am not doing it properly?

    I have only been using it for a short time and already find it completely indispensable, I now use it to browse, select and manage profiles in my collection with folders for each amp type. I have Rig Manager open every time I am working on a project with a guitar part. I can audition so much faster using the up/down keyboard arrows. The RM window then disappears when working in Cubase but can be recalled when ever needed. Obviously I use the controls on the Kemper to alter any parameter that needs adjusting. I only wish that I could rename The profiles and save into Rig Manager. (Well that is unless I have missed something.)