Posts by wwittman

    I use the powered rack with an Ampeg 1x15 live.

    But the cab is only for a bit of stage volume... the output XLR is all that goes to FOH and Monitors for their-ear mixes.


    My main bit of advice is that, just like for guitar in my opinion, the best profiles are the ones you make yourself of your own amps set and mic'ed the way you like them.


    I tour with profiles of a B15 set clean and warm, a B15 set growly and bright, and a Hiwatt also kind of growly.

    Then each performance slot also has a drive, a chorus, and a transpose -1/2 step and transpose -1 step assigned to my remote footswitches.

    You're going to love it.

    And in my experience, you're going to love the profiles you make yourself especially.


    but in addition to the 'speed' of selecting a rig for recording, you're also going to love that if a client wants to change something two weeks, or two months, later, you'll be able to go instantly right back to exactly that sound and drop in the change.

    I just make a note of the choice I make and the instrument I used right in the Pro Tools Comments field so that when i open a session up again, at a any point, i know just how to go right back to it)

    I can tell you that its been completely reliable for me.


    But I would also say that in the bigger venues I tend to play, everything is either mic'ed or more often going directly into the splitters (to monitor and FOH mixers) from devices like Kempers and synths etc.

    and everyone is on in-ear monitors plus perhaps stage side fills.


    so, in truth, there's never any "competition" for volume to be heard, it's being mixed, for both the band and the audience, and I rarely turn my powered rack up beyond 2.

    There’s a whole gearslutz and YouTube cottage industry out there in “debunking” what ‘those stupid elitist professionals in audio’ do or say.


    Talk about a money grab


    that’s who has a vested interest in this


    no one pays me, or George, because of my opinions in sample rates.
    When I walk into a studio I set the sample rate with my assistant engineer.
    the client doesn’t even know.


    Believe me, George has nothing to ‘gain’ from his position. It’s just what he hears and thinks.

    He’s a great designer. Not a record producer.


    I’m happy to be in George Massenburg’s ‘company’


    by all means, do what works for you and if you do t hear a difference then you don’t.
    but no one should dismiss the people who do.


    meanwhile, every record I make for major labels is being archived at mastering as 24 bit 96k files no matter the source.
    Sterling saves everything at 96k

    Not you specifically


    it's a general internets thing.


    I learned by paying attention to what the people making the best sounding records were doing.

    That's still good advice, as opposed to the self appointed internets "myth busters"


    By all means people should do what sounds best to them.
    if it doesn;t sound better to you, don't do it!

    But I bristle when people tell other people what "doesn't matter" when it clearly does to so many serious professionals.

    I do almost every record I make at 96k.
    so do most of the other professionals I know.
    George Massenburg argues for 192k!


    it’s mostly the armchair and online hobbyists who love to tell each other that “it’s unnecessary” and how stupid the professionals are.

    I was irritated by the egregious anti COVID measures BS coming from Van Morrison and Eric Clapton.
    so with the help of my friends Dave Earl and Eric Bazilian I made this response.


    Guitars and bass guitar via Kemper, of course.


    Available on Apple Music and Spotify and all the usual suspects.


    Yeah, but: Your amp (Profiler) is digital as is your recorder (DAW). And for reamping: Think of the Profiler as a plugin to your DAW. Would you put any double conversion via external interfaces before or after the plugin?

    yes. Except that it sounds better recorded back in through the analogue preamps.

    You say in the original post that "Normally for an actual recording I'd go into a studio, use a Fender/Vox-style amp, and have it mic'd...."

    What you don't say is, in those situations, who makes those other decisions you're asking about, such as when to double track, how to pan the doubles, what compression to use, and so on.


    These are decisions that ideally a producer is making, along with an engineer.


    So the issue here is that you're sending in your bits without that professional input; and not the Kemper or anything to do with it really.


    Whoever is supposedly producing this, or at the very least whoever is going to be tasked with putting it all together and mixing it, should be the one consulted about these sorts of decisions before you start sending in tracks.