Posts by JSB

    Dual Showman even! Isn't that THE Dick Dale amp?


    From: http://www.dickdale.com/history.html


    "Dale still wanted to go further, and asthe crowds increased, Dale's volume increased, but he still wanted a biggerpunch with thickness in the sound so that it would pulsate into the audienceand leave them breathless. The JBL-D130 was doing its job until Dale frozeit in the frame that held the speaker, the speaker cone would twist fromthe heavy playing from Dale and it would soon twist and stop to fluctuateback n forth.


    Leo, Freddy and Dale designed a speakercabinet and in which they installed 2 -15''-JBL-D130F's. This caused LeoFender to have to create a new and more powerful output transformer, theywould call it the Dick Dale Transformer and it was made by the Triad Company."



    Congratulations BobWalters! Looking forward to hearing what you come up with, and thanks in advance.

    Although it's not a guitar or Kemper, it's a real pawnshop queen and one of the cleanest Showmans I have ever seen. 100% original and it looks like it was never at a gig. No scuffs on the bottom, and the inside of the chassis is immaculate. It still has the Fender 7025s and RCAs! It's possible this was a salesman's demo amp to demo to music stores along his route.


    I can move or delete the post if anyone objects to the amp pics.

    The quintessential Surf guitar amp! Please make profiles of that for the Rig Exchange, the other Showman profiles don't seem to capture the right settings. What speaker is in yours? What year?

    The Hays Champs are incredible! So are his Wylde Bassman, among many others. I use a SurfyBear reverb pedal with these in the X slot, Surf Rock tone nailed!


    MBritt Tweedy pack is sweet too.

    I have a TRS and a TS going to my Mission pedal from the Kemper Remote, had I known you can use (2) TRS, one for signal, and one for switching, I would've gone with (2) TRS.


    I just swapped my TS cable for a TRS cable, the switching works the same as it did with the TS.

    annoyance that a big part of their customer-base are hobbyists

    This makes absolutely no sense, from any perspective. What exactly are you trying to say here?


    That Kemper only wants pretentious d-bags playing their equipment? Or that if someone is not at least playing at a Steak House, or a Buffet, on a Tuesday afternoon, they don't deserve to play a Kemper? Does one have to personally sell out an entire stadium, to even think about purchasing a Kemper?


    Plenty of amazing players out there, who don't do it for the money, or the hey-look-at-me factor. If you can imagine such a thing.

    That's just part of the drive circuit isn't it? You still need the spring reverb tank and enclosure for it I believe.

    Yes, you are correct, but if you look at their Accessories page, they carry the Mod and the Accusonic reverb tanks. The Mod tank is for mounting on its' side or vertically, the Accusonic is for flat mount (I believe).


    https://www.surfyindustries.com/accessories


    I have seen people build the DIY kit into plastic tool boxes and other methods of installation. Some of the people who built these didn't shield them properly so they complain its the products fault when it has interference or odd problems, instead of the builders installation method.


    I bought the built one, to avoid any hassle, or poor results.


    The pic SB2 below, was before I knew you can't use the Remote pedal connections, for an effects loop, this is just for a reference of the size of the pedal.

    To get a 100% authentic spring reverb, you're going to need an actual spring tank.


    The Surfy Bear pedal is the absolute best:

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    I've had mine for over a week now, it's in the X slot of my KPA. I was worried how it would sound being driven without a speaker cabinet exciting it, or running it straight into the DAW - it's stunning, full of the drip in the video above.


    The blues and slide guitar sound great too, when dialed back.

    As of this moment right now, the
    5.5.0.13341 Public Beta
    Has 80 likes, more than any other firmware released previously. Sure there are more users these days, along with more units sold, but how many actually take the time to 'like' Beta firmware? I only do if it's exceptional, which this one was for me.



    Thanks again to the KPA team for the new S/PDIF clocks.

    I'm glad everyone is concerned about my DAW hardware, when recording at 96KHz, though 8 CPU cores at 4.0GHz, 16Gb of RAM at 2400 speeds and a 10Tb drive, can't even tell I'm working on music. Seriously, it's barely seeing over 40%.


    It does seem like the people who are the most cautious or anti, have never actually tried the higher rates.


    If I can tell the difference between 44.1Khz, and 96KHz on my equipment, that must mean I'm using a sub-par audio interface, or I have some super-mutant ears. There is no other possible answer (?).


    I don't agree with all of the conclusions asserted here. I will continue to use 96KHz. Thanks to all for the concern.

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    I listened using a Sennheiser Game 1 PC headset - non USB. I took a first impression, and then tried again twice:
    Sample 1 sounded more clinical - somewhat flat in affect.
    Sample 2 sounded warmer to me, had more character, instead of dry precision.


    Not sure how I scored there, but that's what I heard.


    Might as well add again that I like high sample-rate clocks while working in a DAW, if I'm only fooling myself that higher sample rates sound better - to me, that's fine, I'm enjoying the process of coming to my own conclusions. 96KHz rocks, now over S/PDIF! I'll sizzle the heat grease on my i7 CPU, while trying to put a dent in a 10Tb drive.


    Thanks again to the KPA team for the new clock settings, very happy with the new cabling options.

    Nice call! I am working with an analog spring reverb pedal, in the X slot with LOOP Default Mono, that was crackling, like it was peaking - but very subtly. I lowered the volume in the Amp portion of the stack by -5.0, exited the stack, then raised the volume with the lower right volume knob by +5, it's not crackling now.


    You just saved my night. I thought there was something wrong with my new pedal, I'd never heard it before today, so I wasn't sure what was going on with it. I can't imagine how this solved the issue but I'm too distracted with how great things sound now to worry about it ATM.


    Thanks for posting audiomitch.

    It wont make a difference unless you have a bat's hearing. 22.1k is well above most peoples upper frequency threshold. You really wont hear a difference unless there's an actual bug in the Kemper. But don't take my word for it, try it.
    Moving outside of the Kemper into the whole 96k argument then higher frequency rates actually often result in poorer quality due to clock jitter being introduced, not to mention when it comes to recording there's the issue of larger sound files. The frequency you need to get rid of things like aliasing artifacts from cheap plugins needs to be about 10x higher i.e. 415k, so with 96k you're only taxing your system more (you can test this using something you know aliases badly in your DAW and trying different sample rates). Once you get audio from an external source into your computer it's going to have a harder time too. It doesn't reduce latency because the bus and CPU on your computer isn't magically faster when you're throwing more data at it, in fact it could potentially create additional bottlenecks and you will likely have to increase your sample buffer to compensate, if you don't have to when you run at 96k then you should drop your buffer at 44.1 instead, if it's already at the lowest your driver will allow then it makes some sense to increase the sample rate while keeping the same buffer size as that will be a way to reduce, but otherwise it's not doing anything.

    Perhaps you can explain to me why if I run at 44.1KHz, with 128 Samples, I get a latency value of 13.1ms.


    Whereas, if I run at 96KHz, 128 Samples, I get a latency value of 7.29ms. Is Ableton just making this up to fool us?

    The higher sample rate at the KPA's output will positively affect sound quality. The sound quality from a device's internal sample rates at super high frequencies only passes as far as the device's digital output. If you limit the sample rate to 44.1 kHz, you will not get the same sound quality as a 96 kHz output.

    To add to this, the main reason I use 96KHz, is for the smaller samples/time slices. The smaller the slices/samples are, the faster they can be processed throughout the entire sound chain, that includes the CPU, RAM, and the DAW plugins - they are literally processed twice as fast as 44.1KHz - from the input of the AI, through the DAW and VST plugins, and back out the AI to the monitors. This is extremely helpful for monitoring VST effects in real-time, in that, there is very low latency round-trip.


    The only drawback to running higher sample rates, is larger file sizes, and CPU overhead. PC's these days have no problems running 96KHz.


    I'm currently enjoying 96KHz over S/PDIF, was using XLR all this time, now just two quality RCA's, much cleaner cabling now. :thumbup: