FWIW My recollection is that the guitars were a Strat through a Marshall 800.
at least some of the time via a wireless transmitter as well so Neil could play in the control room.
No, Holly Knight and Mike Chapman had that sorted
I recorded that originally!
Yes! It’s no different than recording from a mic’ed amp. You just get it sounding good now and record it.
just to add... none of this is a knock on the Kemper Profiler, which I love and use everyday both in the studio and on the road, live.
it's just my reason for using it as an analogue output device.
but i have absolutely no problem with that.
you're suggesting that plug ins "aren't well done" doesn't really change the FACT that many of the plug ins we (who professionally make records for a living) USE every day sound a lot better at 96k.
likewise, I'm sorry but I, like George and every other audio professional I know, will continue to use my own ears and judgment in service of my clients... and that still tells us that, no, not all modern convertors sound the same at 44.1 as they do at 96k.
I was making records for living when the first 8 bit digital started to be rolled out.
they indeed touted its "perfect sound".
at NO stage in the development of digital audio (which has unquestionably improved greatly over the decades) did anyone making the stuff say "well it's not perfect YET but..."
Many aspects of the recording chain, including many A-D convertors and plug ins, simply sound BETTER at 96k
with respect, some of us who make records for a living actually know what we hear.
No one is saying we are hearing things above 20k.
what we are saying is we hear the artifacts created in the audible range.
Early proponents of digital recording were emphatic that 8 bit sounded "perfect".
We've heard it before.
Yes. I’m hoping to save up enough to buy the extra strings.
You’ll notice that the wireless unit receiver is sitting on top of the rack and that there’s a rack tuner (which I can see across stage without glasses more easily than I can see the built in tuner in the KPA or remote) sitting under it.
In my own set up for domestic touring all that is built into one rack plus a space to store the remote in transit.
Still all in all, for rental/supplied backline, fairly tidy, as you say, and easy enough for the crew to set up.
Another forum member graciously offered it via PM
so we had the first show tonight in Sendai.
As you aptly predicted, trying to do a restore failed until we updated the firmware/OS to match my Kemper.
then 10 minutes later the restore worked perfectly and off we went.
What a pleasure to just sound exactly the same without having to bring anything but the bass guitar.
And thanks to all AGAIN for the able assistance.
i’m glad I asked here in time or we WOULD have been in trouble.
I think ckemper is fully aware of the fact that emulating "the speaker/"the cab" is still a challenge, and will always be.
I think he well articulated the issues for some people..
which is: that for a lot of us on the bigger stages we are USED to only hearing amps through our in-ears anyway... before Kemper and such a lot of bands were hiding the cabs, mic'ed, off stage or in iso boxes anyway...
so for US, getting used to hearing what FOH hears through a mic was a done deal anyway.
You guys are the best.
Thanks for all the wise and generous assistance.
so that reveals the installed version .txt file which says:
not much help there! is it?
thanks all, for all the assistance.