Posts by Job Posthuma

Hughes and kettner cf100 "guitar slave", made in the 90's
Build like a tank, half rack unit, 100w ss, go between 75 and 150,- eu
I didnt gig them yet, but they sound great so far. 100% confident they are loud enough.

Compare cabs to frfr before you buy speakers!
Seems theres to kinds of people ...frfr..and non frfr

Too bad, would have been a great feature!

In performance mode using the arrow keys on the KPA:
- when i load slot 1
- change for exempel gain / eq
- load slot 2
- go back to slot 1

My changes are still there.
Which is pretty convinient to make quick tweaks throughout the 5 slots in a live situation.

However:

When i switch with my controler (Cc 50), the changes are gone when i return.
Is there any way getting it with using a Footswitch?

Id say eq only if it gets you a better end result
I can not speak for every eq plug-in out there, but those that come standard in cubase, and all the ones that were out there 10 years ago, sound destructive to me.
To me, the more eq, the more flat the sound becomes, it seems to loose "depth" somehow.

I used to try to never boost, but only cut. So if i needed boost at xx hz, i cut around it.
The theory was this way you avoid the negative effects of digital eq boost....maybe it was a hoax

Personnally i have had many situations were, looking back, i shouldnt have eq ed in the amount that i did.

Im considering to record a couple of tracks "di" only, and re amp all once im done.
I never worked this way, so im looking for experience on this.
Its concerning 7 to 10 jazz/fusions tunes, ill be recording at home at my own pase.

Reasons Im considering this:
- i want to use the kempers effects, convinient way to fine tune them in mixing stage.
- gives me the oppertunity to search for the best approach tone wise during the recordings, and apply lessons learned to track 1.
- easy punch/in out/ editing, no decays to deal with.

Possible troubles:
- not deciding on sound imediately may cause some work matching an amp to the recorded di.
- any others?

How is routing best done?
I was thinking: kpa main in-->direct out to daw-->daw out to alternative KPA in--> main out to daw in / monitoring.

How does one accomplish that when reamping, the signal from the daw is of the same level as a guitar?
Best i can think of is to go by ear, maybe there are smarter ways?

Quote from SonicExporer

There are other helpful paths, such as maybe somebody has already profiled such tones. They can share clips and/or the profile name and/or the methodology. Or maybe others have readily available access to rigs of the era and are willing to help with profiling tests. Or maybe there's some kind of profiling procedure to be shared that is relevant. Or maybe somebody has insight into tweaks or post processing to try with existing profiles. Or external factors (pedals, whatever) These are just some of the many possibilities off the top of my head.
Sonic

Nothing wrong with the "heart" of what your saying here.

Where the trouble may start is "such tones", rigs of the era, external factors, etc. Those terms leave room for a lot of interpretation, which is risky when mixed with a very factual question you seem to trigger...can the KPA reproduce tones.

I bet if you would ask ppl here if they would profile amp [x] with settings [at eleven] and share a recording/reamp and profile here...you would get it in a heartbeat from this community, followed by constructive arguments on the results.

My 2 cents.

The only way to determine if the KPA can, or cant, profile a specific sound/amp.......is to profile that specific sound/amp.
The only way to get consensus on the existense of a possible issue in the result of that exercise is to share exact methods, so otheres can reproduce the result themselves.

I really dont get how threads like this continue without this tbh....

As a studio engineer i had trouble replicating even the tones i did day before....without touching any mics/or settings.....must have been air humitidy...idnk
Anyway...replicating a tone in the same studio, with the same gear, is hard enough as it is. One kick to a mic stand and you can start recording all over.

And here were talking about replicating a post recording engineerd...and dubbed track right?
Getting something functional..no problem...but something that would survive a/B comparison?
Id say "good luck" even doing that with the exact same gear that was used in those days!

I guess the point where you can ask yourself if the KPA can replicate it, is the point where you were succesfull in replicating it with conventional gear, and then start profiling that perticular chain, or parts of it.

I have no clue of the KPA can capture driven power amps correctly, but there must be more measureable ways then trying to making this point based on a track with so many variabels irrelevant to that specific point.

@Tritium, It will not be long before they come available second hand. If you just want to fiddle with it, wait for that. Its such a hyped machine, some of us will "check out" of the hype and sell it

Lol...goes to show were all different
Just got me that 50/50 and love it for gigging with the KPA.
Better then the katana imo (@home, its equal imo)

Quote from Gizmo

From what I read, the 50/50 input impedance is 250k or so.
I'd just use a Y adaptor and split your monitor out signal.

that would be very practical.
My concern is sound degrading.
Are u saying that if The input impedance of The mesa is 250....that is not expected?

Im pretty much clueless in impedance related stuff
All i know is that the recieving end should be lowest...right?

Quote from drog

Use the monitor out to one side and direct out ( set to master mono) to the other side.

direct out includes the cab section, not an option.
Or is there a way to switch cab off there? (With cabs on on main out)

Im running a mesa 50/50 to power my KPA.
Im using 2 different speakers, one a bit scooped, one more midfocussed. To me, that adds "3D" to my sounds.
Having them on separate channels of the mesa allows me to tweak my sound by just turning one volume up/down, resulting in more/less mids.

When not hooked to a FOH, i use the 2 mains out.
However i would like to use this set up using monitor out also, which would requiere to split that signal to the 2 inputs of the mesa.

How can i do this in a simple but good way? Is it as simple as just splitting a cable somehow, or does this require more sophisticated methods?

Update:
For at home use id still second using the katanas return, i know of no other amp below 1000,- that comes even close. My mesa 50/50 does not do better @home then the katana.

Live i used it only once that way, cleans were to die for, unbelievable how this small cheap amp handles those. 3D, dynamic...just great.

Gainy sounds, i used it very limited that gig, were however harsh and boxy.
Im not sure why, on its own it sounds great also at high volume, but in a band maybe its that classic solid state issue that those just dont hold up in a mix.
Maybe speaker needs breaking, maybe taking time to tweak output eq does it, or changing the speaker.
Maybe it just doesnt hold its ground for that use.
For a fact not love at first sight, although id prefer it over ANY frfrf ive tried still.

Again, @home gain sounds were great.For the price, if thats your budget, or for rehearsel/@home use....id go for it

Omg....didnt check for a gate in the stomp....uhh...can we keep it at aprils fool?

I tried with headphones directly, gate on zero, still there.

I found out that the phenomona is not there with all profiles.
So it seems that its "baked" in the profile, almost like the profile also copied noise of the profiled amp, which doesnt seem that unlogical to me.

I didnt find a stock profile that has it, maybe if anyone has Bert meulendijks profiles, thae ada amp, profile "BM A mp1 dist" has it very distinct.

Can anyone try this? Volume knob below 50%, soft pick, should be there, unmistakingly amp noise besides the ringing note.

Global noise gate?
I know of only one....The one that is under the gate knob.
Where do i find the global noisegate menu?

Its defenitely not natural tube compression...100% sure it sounds and behaves like a gate.

Could it be that the percieved difference between KPA and the (miced) real thing is the influence of "the room"?
(Assuming we al know comparing an amp in a room to a miced one is Apples and Pears)

To my understanding KPA can not capture effect of room reflections.
The real thing, Even closed miced, there are is always some "room" in the sound.

What may second that, is a personal observation....i cant explain, is that the KPA sounds great on my reference monitors, and always crap on headphones.
I know of no other sound that does that. Any sound through either my monitors or headphones sound a bit different, but the "core" is always the same....not with the KPA.

Gets me thinking maybe the room my monitors are in give it just that natural "room" it needs..beats me
Btw, focussing on eq curves to compare seems very narrow to me. Getting a sound to to amplitude on certain frequenties shouldnt be that hard.....you can get a trumpet in the same range as a guitar...but it would still sounds like a (badly eq Ed) trumpet.

Im 100% its a gate...not noise seeming to get louder cause of a tone fading.
The "extra noise" is there as soon as i pluck a note.

Try a gainy profile, put your volume knob at 25%, and do a soft pick.
I can even hear it in the attack of the note that a gate is opened, very subtile...but its there.

I monitor on genelec monitors and senheiser headphone.

Both from running through my soundcard form KPA main out.
Saying that, in theory it could be in my soundcard...but ill eat my shoe if thats the case