My view during soundchecks
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.
And then sell them as MP3 files or in the past burned them on CDs at 44/16. I have lots of CDs that sound amazing and I have heard 96K files that sound like crap. I'm one to believe it's more your recording techniques than sample rates. I have tons of albums that were done on ADAT and they sound just as good as anything today. IMO above 48K is just cork sniffery unless you're using it for compatibility, not sound. I guess that makes me an "amateur" then.
Nobody on God’s green Earth is going to hear the difference between 44 &96 because our ears just aren’t that sensitive. The most common range of human hearing tops out around 20K If your hearing can't reach anything higher than 22.05kHz, then the 44.1kHz file will outresolve the range of freq
when the majority of sales were in Cassette format we still didn’t make the multi tracks or mixes on cassettes.
The end user format is irrelevant to wanting the best quality masters.
I have no issues with anyone who says “I can’t hear a difference”
but I do have a problem when anyone says NO ONE can.
no one is claiming to hear 32k.
but people hear the artifacts and the behaviour of plug ins etc.
I’ve seen too many real world examples of top notch engineers hearing things with repeatability that supposedly they ‘couldn’t’.
And I hear the difference in real world implementation between 96k and lower sample rates in most convertors. Easily.
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.
The internets is full of self appointed ‘myth busters’
I don’t know any professionals working at 44.1
most I know work at 96k with a few at 48.
while we're here though,
something I wonder about:
Their instructions are clear that when reamping one should use the RETURN Input and not the Alternative Input.
Anyone now why exactly??
then you should do that and see what you think! right?
I did. I know what I think.
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.
It’s onay one MORE conversion than if you plugged your guitar into the Kemper and then recorded it via analogue input.
I always take it in analogue just like I would any guitar amp.
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.