Posts by Finally

That's funny that the advice I was given (admittedly not by Roger Nichols) is to start with an extreme cut, then back it off until you have as much low or high end as you need. It feels more natural to me.

I tried jamkazam with 2 other musicians and it was alright, but not that satisfying for me.

Now I'm just sending them recordings of my parts with a click intro. It's a pain, but I tend to practice more than them, so this lets them get things together without me having to play it 20 more times.

I agree for live in a band scenario (not a solo acoustic performer like Tommy E) that this will sound just as good or better than an acoustic with a soundhole bung and heavy EQ to keep it from feedback.

In the studio I also think it'll bring some cool new sound options, but I wouldn't use it instead of an acoustic for a featured part. It's not just the amp - the playing feel is completely different.

Hi there - no, the Kemper does one rig at a time, but...

If you record your raw guitar to another track you can reamp that back through the Kemper to achieve the same thing. In fact you can take several copies and use a different rig for each.

Fender in the left, Marshall in the right and Vox in the middle, no problem. ?

Great that you got a result. So it was a bad cable affecting that guitar?

My strategy is to record each track in mono and pan them L/R. If I need a huge stereo sound I'll add different delays to each, but I try not to cloud up the mix with stereo delays and reverbs - the double tracking gives enough of the expansive stereo sound IMO.

If you do need more of an immersive feeling I'd do it in the DAW by cloning each, sliding the clones slightly back in time (to the right in the DAW) and panning them to the other side and lowering the level to taste.

I never use S/PDIF. I run an inexpensive Presonus audio interface.

I send the Kemper main outputs to 2 channels as a stereo pair, plus the Monitor out with no effects to a separate mono channel.

I do this so I can use the Kemper reverbs and delays, but also make it as dry as I like in the mix.

One tip for setting a high-cut or low-cut that might be useful:

Start with an extreme cut, then back it off until you hear as much of high or low frequencies as you need. It's a lot easier to hear the effect of the cut rather than starting from no cut and working until you think it's enough.

Quote from RockmanCentralBob

I see no reason not to do it as long as you are happy with the sound you get.

In a mix, most people might not even be able to tell the difference. You're always going to have the cork sniffers that demand everything be done the old fashioned way, but if we were worried about that, we wouldn't be playing through Kempers, now would we?

I don't think the difference is subtle enough to label it cork sniffing. It's really easy to stick a mic in front of an acoustic. I'd always do that if I was after a true acoustic guitar sound.

Live is a different story. ?

It would be nice to be able to globally assign effects to remote footswitches. Having to manage them one by one for every profile is a huge effort.

bartlettpsj - I think you have to choose between the 2 if you're running stereo loop or stereo Kab.

Edit: ^^That didn't make much sense, sorry.

????

OP - can you comment on that last challenge that these are just tweaked Rigbusters profiles? This is seriously not cool if you didn't create the profiles you're trying to sell.

I need to see at least a couple of photos of the actual high end gear that you're claiming to have used.

Imagine a squirrel looking at a nut. I'm the squirrel and the nuts are Kemper profiles. I don't analyse it past there. ?

nightlight - do you mean different physical speakers? If so, then you would adjust the Directivity for each one.

I'll have that, thank you. ?

I agree that it makes sense to decouple the Imprint selection and the Kab settings.

There are plenty of ways to sculpt the sound per rig. Once the Kab settings are right for your playing situation and cabinet they shouldn't change. ?

Quote from chu

I have always used speaker cables but most of the guitarists I know use anything. One in particular has always used a guitar cable, with Marshall 100w heads etc without any issue and regularly gigs and tours.

I'm not about to do the same as I have three speaker cables but i can no longer agree that there is a genuine difference. Certainly, weedy, cheap instrument cables might be a problem, especially with fine shielding as the second conductor. If that breaks the circuit damage might occur to a valve amp but a good quality instrument cable appears to be ok!

I have to disagree from my experience. I think your buddy has been lucky to not have a failure and I think if he's running his amps at high volume not all of the sound is making it through to the speakers.

I do agree that there's a general lack of understanding about this amongst a big % of guitarists. I've been in a few live situations where someone has killed a guitar cable this way or by using one as an unpowered PA speaker cable.

I use Studio One Pro from Presonus and it's definitely the best I've tried. Top notch user interface, mastering suite, all the right plug-ins.

Quote from korga3

Nessun problema io suono in una cover band pink. Ci sono tante persone che possono testimoniare il mio lavoro. I miei suoni sono unici al mondo. i miei sono gli originali e i primi messi sul mercato. Facciamo un confronto con quelli che vuoi e vedremo che i miei suoni sono nettamente superiori. Le mie poche demo sul mio canale you tube ne sono la prova. Grazie per avermi stuzzicato.

The video of you playing along with that backing track is the only thing I've got to go by. Tone does sound good.