Posts by 4enima

  • Input Led gelegentlich rot.

    Du kannst über Inputsense im Inputmenü den Eingangspegel reduzieren, damit keine Übersteuerung mehr auftritt.
    Im Inputmenü kannst du auch verschieden Profile für unterschiedliche Gitarren/Bässe anlegen/speichern.


    Auswirkungen sind ungewollte Übersteuerungen beim Input bzw. vermutlich der Analog/Digitalwandlung. Sollte man vermeiden ;)

  • Any FR passive cab that would work for powered head for both bass and guitar ?

    I'm currently playing and recommending the active/powered ElectroVoice ZLX15P for FRFR in conjunction with Bass at gigs. Works also well with guitar.
    Other 15" speakers should also do the job. However, I would make sure that they have 15". I tested it a while ago and in combination with Ebass and 10+12" PA speakers lack a little in the low frequencies. I also had the Yamaha DBR15 in comparison, but it didn't stand up to the ZLX15P.


    The ZXL15 (without P) should be the unpowered version.

    But I think the ZLX15P makes more sense. Weighs only a little more and you have a good DSP+Amplifier with which you can adjust the speaker to the room/situation. For guitar e.g. a LowCutin the DSP, because the speaker delivers quite potent bass.


    At home, however, my studio speakers were always sufficient. If you don't exaggerate the volume, there shouldn't be any problems. If in doubt, set a lowcut in the Kemper.

  • Studioaufnahme mit Direct Out + Master Out

    Wenn die Eingangs-LED beim Spielen nicht auf rot spring bzw. clippt, dürfte das nicht am Cleansense liegen.

    Nimm dir generell mal das Output-Menü vor. Es kann sein, dass du z.B. die -12db für den Mainoutput angewählt hast, aber der Direktout auf volle Lautstärke (also 0db) gestellt ist. Regel einfach mal den Direkt Out im Output Menü runter.
    Zusätzlich kannst du an deinem Interface im 2. Kanal mal noch den HI-Z Taster drücken. Der senkt die Verstärkung auch nochmal zusätzlich ab.

  • Bass > KPA > Power Amp > Guitar Cabinet (???)

    Shouldn't be a problem if you play at a moderate volume. It is best to start with a low volume and then increase it.

    In order to be able to play with it in a loud band... (Metal, ect.) it could be too much.


    Basscabs often have a very neutral sound and can handle larger impulses? better..... Guitar cabs are usually anything but neutral. Probably it will not give you the necessary frequencies and pressure.


    Basically I would recommend a compressor stomp infront or behind the amp to reduce the very high peaks of the bassguitar.

  • Sound (Rig ändern

    Slehmi, könntest du evtl. bitte einfach mal ein paar Rigs inkl. eingestellten/gespeicherten Effekten hier hochladen? (vorausgesetzt es sind keine kommerziellen Rigs)

    Sowas gibt immer einen guten Anhaltspunkt, statt das man selbst bei Null anfangen muss ;) Danke

  • Fullrange Box for Kemper head...suggestions?

    The RCF are certainly well suited. But I haven't tested them yet.

    Thomann recommended the RCF to me at that time also additionally ^^ I often positioned them as floor monitors and preferred monitors with a completely closed front grill , so the RCFs fell out of my selection.


    In retrospect, I can say that the ZLX might be a little bit louder in some really loud situations before the limiter takes hold.

    But with the compressor activated in the Kemper, the volume can be increased quite well without being limited. In the worst case scenario, my second ZLX15 will be dragged along to the gig. :pinch:

  • Fullrange Box for Kemper head...suggestions?

    Yeah, I know where the frequencies are. I play 5 Strings with Low B or Low A, where the fundamental is at ~30,9Hz/27,5Hz.

    IMHO I don't understand why the prejudice prevails that the fundamental frequency must be reproduced in the bass. What we hear 95% are the higher octaves of the tone. And if there's no high-quality subwoofer in the setup, we feel just vibrations/hum or it's not reproduced by the speakers at all. For example, you can test quite well by reproducing sine tones below 50hz on your system.... corresponding subwoofer presumed


    I mean, anyone can do whatever they want, but I don't think it makes much sense. Save the money, just so the speaker can get 5-10hz lower, ect


    Try to lowcut your sound testwise at +/-50hz and in my experience it doesn't make any big difference. In most cases the sound often becomes clearer, more powerful and easier to locate, when the hum under ~50hz gets removed. The speaker is unburdened and these low frequencies are at least tonal not important.

    In hifi or recording studios that's another thing, but in most cases this is rather counterproductive, especially on stage or in the rehearsal room.

  • Fullrange Box for Kemper head...suggestions?

    I would recomend the EV / ElectroVoice ZLX 15P (17,3 kg) like I wrote in this Thread

    Yamaha DBR15 or DXR15 would also be good candidates and rather a matter of taste. In my comparison, however, I preferred the ZLX.



    "I tested PA-boxes myself a while ago to amplify my bass/kemper. I would definitely recommend using a 15" speaker, because 10/12 lacks a lot of low end. I was surprised how much is missing while testing it in the musicstore myself. Even if I compared expensive speakers like the QSC 10/12.



    I finally ordered the Yamaha DBR15, EV ZLX 15, JBL EON 15 and tested them again with the band. (in the Musicstore I also tested the db technology Opera 15, which scored with incredible bass, but overall it was very undifferentiated)



    Here I give you my short review, that I wrote in a german forum. I translated it quickly through the deepl.com-translator, hope it is understandable so far...


    "... At home I had to realize directly that the JBL EON is completely unsuitable in the floor monitor position, because it tips over at the slightest touch. The ZLX and DBR, on the other hand, sit well on the floor.

    During the apartment test at an acceptable volume, the DBR sounded tidy & differentiated compared to the others, but had much too loud highs and the midrange faded too far into the background. EON & ZLX were about equal up and quite balanced, albeit somewhat worse resolved. I was still missing some bass at the EON.

    With the DSP I was ahead after the ZLX, because I got the best results here and you can still adjust a lot. (I only changed the EON DSP at the box, via Bluetooth you have even more extensive possibilities, but...) the EON dropped out as floor monitor and the missing added value compared to the ZLX and the DBR and ZLX were dragged into the rehearsal room on the 5th floor. To mention here, the ZLX is easier to carry, has more handles and 2kg less on the scales.


    So, now we could start under the actual test conditions. First, loud music is played and both speakers are compared, again, DBR sounds tidier but a bit shrill. The ZLX sounded too bassy at first, but the DSP let it fix directly. ZLX now sounds good, but not so differentiated and a bit more compact in sound. Our critical guitarist was on the side of the more tidy DBR.


    Next step was to play some songs with the band and to light the monitors with my Kemper bass signal. Both PA-Boxes about ~90% turned up (before the sound just suffers or the limiter starts) and played alternately. I would say that the Yamaha can tack one louder than the ZLX, maybe the ZLX also has some air upwards, because the limiter didn't even have to intervene at the set volume (very nice to see via the front LED, super feature)


    Then it started, who will prevail against 2 guitars and drums (Metal):

    The DBR had good bass pressure, but where did the shrill highs go? They were completely gone in the band mix, no more audible/capable treble, I couldn't hear my touch/attack sound, mids were only locatable somewhere in the backround and that although the DBR was a bit louder than the ZLX.

    ZLX tested, what can I say, it was a little quieter, but the bass sound came through the way I know it at home via Kemper on studio monitors + just band. You hear the amp character, bass is there, the touch/attack sound in the highs is present, it cut trough the mix, great :D


    We played a few different songs, once DBR, once ZLX and our guitarist always spoke up, whether A or B pass = the winner was always ZLX. It was also clear to our guitarist that you would definitely take the ZLX. Great sound, money saved compared to the DBR and still 2kg less to carry, I'm happy :D on occasion will be ordered a second one after. ""




    Honestly, you don't need frequencies below 50hz.

    Even the legendary Ampeg 8x10 only works down to 80hz and I've never heard anyone say there is not enough bass ;)


    Frequencies below 50hz just buzz/rumble the stage live. What you really hear and where you locate your tone is in the 100-200hz range. It is more important that you have the appropriate sound pressure in this area.

  • Recording via SPDIF Soundbeispiele / Eure Meinung

    "Du hast keine gültige SoundCloud-URL angegeben. Weitere Informationen zur Verwendung von SoundCloud-Playern."

    Man kann leider nichts anhören


    Wie mrs-zambesi schon geschrieben hat, dürftest du kein Clipping beim SPDIF haben. Falls doch, ist eigentlich der Pegel im Kemper schon zu hoch und die Output-LED müsste zusätzlich Clipping anzeigen :/


    Hab bisher keine merkbaren Unterschiede zwischen SPDIF & Analog hören können. Kann mir aber natürlich vorstellen das hochwertige Input-Preamps das Analogsignal nochmal "anreichern"



    Ohne den Sound gehört zu haben, was stört dich genau? Vielleicht helfen dir auch einfache Recording-Kniffe. wie z.B. die Tracks doppelt einzuspielen und Rechts/Links panen um den Sound anzudicken??

  • Bass Distortion Stomps - like Darkglass B7K/B3K or Boss ODB3

    I think it would be great if we had bass distortion stomps in the future that you can put in front of the amp section. I'm thinking of some examples of currently well known and popular stuff like Darkglass (B7K, B3K, ect...) or the Boss ODB3.

    The guitar stomps are great, but don't always fit into the sound of us bassists.


    Of course there are also many profiles with and by the Darkglass B7K, but they don't offer the full range and can't cover the blend function either. Also B7K+Amp Profiles are mostly compromises. Therefore I would be happy to put a suitable stomp in front of my favorite amp in the future ;)


    I would be happy if you could fulfill this wish for me or us in the future :thumbup:

  • High/Low Pass function / crossover frequency in Parallel Path Menu

    I would like to have the possibility to additionally separate the signal in the parallel path in terms of frequency.
    For example - for Di-track (Stomp1+2) only the frequencies 0-500hz and in the rest of the path 500-30000hz.



    Currently I use 2 EQ stomps in the 1.+3. stomp to divide the frequencies (to distort only the treble of my bass signal and keep the bass clean). For this I always have to waste 2 stomps for the high/low cuts.

    Sometimes the amp signal is distorted and stomps 1+2 clean. Sometimes clean amp and overdrive per stomp 1+2.




    Therefore I would like to have a crossover frequency as well as a switch to select Low/High or High/Low in the Parallel Path menu. :thumbup: