Posts by wwittman

I use 90% my own profiles for recording and 100% for live.

I use my favourite mics and preamps with sometimes a bit of eq. But no other processing as things like compressors might behave unpredictably to the Profiling process.

Yep

Do the things that you find make your recordings translate more emotionally.

That’s what I do.
Worked for me so far.

Hobbyists love to convince themselves that professionals are deluding themselves.
Feel free.

Blind tests are valid if the listener has been trained as to what differences to listen for.

Quote from db9091

I've heard huge stacking differences on multiple background vocals on cheap mics vs one with a much better signal to noise ratio.
It kinda of stands to reason that poorer conversion will stack poorly. Although, one could argue that the inherent frequency phase cancellations would do more damage in that regard.

I try not to stack the same tracking, but do so for harmonies (guitar or vocal) and it was amazing how well the TLM103 stacked vs say a C1000S.

The irony? I then put on tube compressors and eventually a friggin' tape emulator that all add noise so it starts becoming a mute argument at that point, haha

Ethan knows something about room acoustics.
And not much else about making records.

Leaving aside some of the blatant dishonesty in some of his ‘tests’, he has a clear agenda to be the ‘guy who debunks things’

When I hear some records he has made that sound great then I’ll take his advice on these kinds of things.

Most of the people I know what make great sounding records for a living think ‘stacking’ is a real thing.

I don’t buy into the “nothing really matters” school of digital thought. Popular as it may be amongst the hobbyists on gearsluts.

Back on topic; the Fractal is a modeller. It’s building blocks to make a sound that emulates an amp and effects.
The Kemper profiles an actual amp.
That ability to profile MY amps mic’ed the way I like to mic, through the desk pre I like etc. is what makes t way superior to me.
It’s not someone’s idea of a Hiwatt. Or someone’s attempt to match a Hiwatt. It’s MY Hiwatt sounding the way I would record it.

you can buy an MRI machine,
that doesn't exactly make it a consumer product

I'm sure some people "switch back", like with anything,
but at the top levels of touring I'm seeing more and more guitarists switching to Kempers and Fractals.
Especially for certain types of pop/rock big shows, the ability to have one guy's computer backstage locking all of the lights and video and guitar amp scene changes together is almost a requirement.

Quote from Finally

As a guitarist and usually leader of the band I prefer for the bass to be pretty consistent. A warm and deep tone, a punchy funk tone, and whatever lead tones they want to use in their 40 seconds of glory.

that's nice for YOUR band, but i'm covering 35 years worth of records in a set that ranges from 80's rock to pop to country to blues to dance etc.
I'm definitely going to use different amp profiles, and effects, for different songs. It's part of the advantage of the Kemper over just having an Ampeg on stage.

and the original poster is asking about a cover band.
You don't, ideally at least, have the same bass guitar sound for the McCartney covers as the Entwistle and Flea and Jamerson songs, etc.

well, you could just take it into the Audient was a analogue input

there are some decent plug in Spring Reverbs

Softube for example

https://www.softube.com/index.php?id=sr

even if it's not perfect, it would seem that some attempt at a 'spring reverb' sound would make sense in any guitar amp

does it work at 48k?

well, yes, I always have a high pass filter on guitar amps...
but it's almost always at 25Hz.

I have a feeling that's not what you mean.

if you have to EQ the incoming signal for it to sound "right" then you're probably better off doing it at the source first.

That’s an interesting idea. Although of course you meant AAX <g>.
But it WOULD make it a lot less convenient.
If I have to have my Kemper connected then I might as well just use the hardware.
Perhaps a unique USB identifier (rather than iLok) could be required.
But again, is piracy really a problem for PositiveGrid? (Just for example, as they make probably the closest thing in software)

Making this album was what convinced me I had to get a Kemper of my own.
All electric guitars and bass guitar are Kemper (using profiles co-producer Eric Bazilian and I made).

I particularly don’t hear as many cleaner or mid-level distortion Kemper guitars out there but it excels at those as well:

https://m.youtube.com/watch?v=MkG5PXmP1SU

Is there really evidence that Positive Grid Bias dekstop software is “wildly bootlegged” ?
I wonder.

I’m not clear about what you are saying you did.
Did you have an amp on stage before you switched to the Kemper?

Just guessing, but:

When you say it "wasn't a problem before", how WERE you doing it before?
Did you have an amp in the room?
Because it seems to me it's quite possible you WERE hearing some of yourself from the monitor mix and some from the direct amp behind you.

And, if that was the case, then it's conceivable that now, when you want to depend entirely on the monitors, you might need to be louder in the mix than others are comfortable with, and used to.

Quote from Monkey_Man

7) Treat everyone with (equal) respect. Lack of talent, experience (or both) and lengthy CVs mean nothing here.

I think I DID say, and mean "with respect".

but frankly the second part of that is ridiculous.

there is another thread running that's titled "MBritt EXPERT advice..."; should his 'expert opinion' not count for something over, say, a brand new user?

'expert opinion' actually counts for something in the real world, and should.

but I'm not telling you what to do either.
I'm merely saying that opinions on the internets are only valuable IF one knows whom one is hearing them from.

Blind comparisons amongst professional, trained, listeners have shown consistent ability to tell the difference between sample rates on a given converter.

Implementation counts.

I’ve yet to hear an available A-D converter that doesn’t sound better at 96k
And the same for most plug ins sounding better at 96k

Again, I’ve made my point and my feelings known.
If you feel differently then record the way it sounds right to you

But if you tell me I’m “wrong” then you’d better have a better track record and discography before I take you seriously.

Every hobbyist has an opinion.
It’s different when your livelihood depends on it.

by the way, something like that “vintage” guitar isn’t the clear test.

Hit a cowbell or other high transient instrument in a live room and compare that.

The combination of fast hard transient and ambient trail is easy to hear once you’re shown what to listen for.

And three is a clear difference at different rates and also between the quality of different converters.
Some are noticeably smeary. Some lose the reverb trail.
The trick is to compare to the live desk out, before any conversion, and then the difference is apparent.
But again that’s IF you are trained what to listen for.

Part of being a professional record producer is making choices.
Does this part sound better or that one?
Is that vocal good enough?

And what format sounds better to YOU?

I don’t have any problem at all with anyone who prefers 44.1k or who cannot hear a difference. I DO have a problem with being told it “doesnt Matter” or even more so with the nonsense that “NO ONE can tell”

Every professionals DAW is capable of working at at least 96k.
The Kemper really should as well IF they expect professional use over digital connections.

If not, or if there is a technical reason it’s only working at 48k internally, then I’m fine using it over external analogue conversion

But it’s simply not true to say that sample rate “doesn’t matter”