Posts by wwittman

Depends how you mic cabinets.
And how you mic them when you make your profiles.

yes, a carryover from worrying about analogue signal to noise, and also somewhat from early (crappy) digital where "using all the bits' had some meaning or value.

these days, I have most signals in the box peaking about -20.

If you’re mixing to stereo in the box, you’re digitally ‘summing’

Some people have a more is more mentality.
I’m not convinced louder in the box ever sound better.
If you want clipping or saturation you’re better off adding it purposefully.

pretty much everything fooled him in that go round.

but the most interesting thing is that the Kemper was the all round favourite.

not so much pitch, although the original ADT (an EMI' invention' involving tape and varispeed) certainly introduced a little pitch wobble as the speed moved.

but again, a delay with modulation is essentially the sound.
The only real difference is that EMI took the signal off the (earlier0 sync head so the ADT signal could pass from BEFORE the original through to after it and back and forth.

even if you're not clipping the analogue input you want to keep the INTERNAL DAW levels moderate as well...

all the summing and plug ins will sound better with maximum headroom.

One thing I would say in GENERAL is that most people working on their own tend to record way too hot.

Keep the level moderate, even leaning towards low.
Most interfaces will sound much better if you don’t slam the front end input, and the DAW itself will sound better if you give it a lot of internal headroom.
With 24 and 32 bit recording there is no need to cream the levels.

Keep everything well down in the ‘green’ and see if that helps.

I’ve had one crash like that.
But it hasn’t happened again.

That’s certainly alarming.
But if it were happening to a lot of users I’m sure we’d be hearing about it.

I hope you get your issue sorted.

REAL ADT includes the second signal occurring sometimes BEFORE the original.
And that’s obviously impossible in real time (without a time machine) in the Kemper.

But otherwise the effect is just basically a varying short delay.
You can easily set that up with the existing delays.

I’d split the signal BEFORE a The KPA

A DI box will let you just take the XLR out to the preamp of one channel of your interface while you send the ‘through’ output to the front of the Kemper and then the Kemper to another interface channel.

That’s what I’d do, rather than trying to take the ‘clean’ signal through the Kemper.

It’s not that what big acts travel with is cheaper or lesser.
It’s that, much LIKE deciding to use a Kemper, almost everything (both front of house and monitor mixer) is all digital and stored presets for every song for recallability.

On the huge production shows, even things like Kemper performance changes are all synced via midi to a central computer that’s also syncing lights and videos and pyro and so on.

I see them on Reverb occasionally. But otherwise the Kemper store seems like the only place.

I wouldn’t want a profile made with a Mackie mic pre.

I think you’re missing MY point.
They perhaps don’t want to provide a LOW quality way to profile.

You can perhaps hear the value of the API pre monitored through the Mackie, but it will sound even better monitored through an API.

If it were actual copyright or trademark or patent infringement then the patent/copyright holders would certainly have ample financial incentive to sue.

A GOOD quality mic preamp remains a relatively expensive device. (Starting typically at about $500 USD).
I’m not sure it’s really something the KOA needs of it adds perhaps that 500 to the price.

I always make profiles through really good preamps (which i’d rather choose myself, my pref being for discrete class A transformer in and out) but I wouldn’t want to pay more to have one built into the KPA AND I want a pre that makes my amps sound GREAT. NOT someone’s idea of “neutral” (which is really a marketing term anyway)

When a tube head dies on stage you can't do a "restart".

Up to now, we travel with a complete second rig as a back up for that reason

So if I were willing to travel with TWO Kempers, that would be the same level of redundant protection.
So far, I'm hoping, and fairly confident, that's not necessary; and we will carry an SVT as a back up.

Quote from Jose7822

The information I got is current and from a person high up in the music industry (who will remain unnamed)....

Who's not at all a competitor of theirs... <g>

That used to be the case with Behringer.

They're definitely becoming a more serious, low cost, option

Like almost anything else, it's about demand.

Most people aren't looking for PRS pickups, so demand is low, and prices are low.

OTOH try selling an original PAF and...

Quote from paults

Although I agree a printed manual could be useful, I have the PDF on my iPhone and computer, and use the Search function to find what I need faster than I could with a book.

It might be worth checking into the cost of Printing a PDF at Staples/Kinkos/someotherhomeofficeservicestore.

I don't find searching the PDF to be as easy or as user friendly, for ME.

But I did in fact end up getting Kinkos/FedEX to print it.

Not cheap, but worth it.
To me!

Will do.
Trying to get her into the Kemper camp.
Looks promising!