Posts by Locrain

Good fair price. I'm surprised this hasn't sold already.

If only I needed two.

Never mind.

Quote from Awesome_Elvis

I'm not sure if this will help and obviously it's now on the to-do list but, In general when I'm auditioning profiles, one of my go to things I do is switch to a small list of my favorite cabs saved as presets as a benchmark test for the profile of the amp section. I also have groups of stomps and effects presets I use in this way as well.

I do the same thing...but if I understand this problem correctly, this is quite a glitch in The Matrix for those of us who take that approach...or for switching cabs at all, isn't it?

I mean, if it works, it works, and this method does work well, so there must obviously be consistency on some level. And if it sounds good (and it does), it doesn't bother me a lot. But I'm very interested to follow the issue.

Quote from wwittman

but leaving that aside, I'd rather have a good preamp that just SOUNDS GOOD on everything, and a good mic, and not worry about emulation.

No one ever says "that sounds too GOOD... it's not natural" <g>

Totally understood and point made.

I just think that when I was looking at interfaces in the $400-$600 used range, I didn't really think I had a choice between different flavors of "GOOD" vs. "sterile" preamps. And I still don't, really. So I'll take "sterile".

To be fair, I definitely didn't have modeling in mind when I made the post that started this digression, my intention has always been to run a preamp into the interface when I can afford a good one. That's really the main/only reason the "flat" preamps of the RME were a draw for me. When I drop the cash for a Neve (someday...), I want as little color from the preamp of my interface as possible.

And of course when I go shopping, I sure won't be looking for a "transparent" or "flat" preamp, that's for sure.

I had a G-System that I used for a while to run effects and MIDI-control channel-switching on my H&K Triamp MKII, it worked like a dream. The effects were better than the Kemper, sure. No way around it. But for me, not worth running anything outboard. For recording, I can do whatever I want in my DAW better anyway. For live...who the hell is going to hear the difference in quality? Now if I was playing at a different level, I might think differently.

And I know this is pretty antithetical to the gearhead creed, but I am a recovering tube amplifier addict, I have weaned myself down to buying excessive amounts of profiles, and I hope someday to drop that down to just a couple of those a week.

For me, just like the KPA is at least 95% of the way there in terms of "tone", it's pretty much there for me for the effects as well. Especially now that we have the new reverbs coming out soon and we know the overdrives/et al are going to be reworked as well.

So yeah...that doesn't really answer your question at all I guess...

And truthfully, if I had the cash to throw around, I might change my mind. I like gear, and getting different setups together...and that G-System did sound phenomenal.

But as to the crux of your question:

Quote from LiamUK

...but in realistic terms, would you actually notice that much difference in sound quality, and secondly, would you 'really' need the infinite scope that the Eventide offers?

I doubt it. But my answer is the same for the TC vs. the KPA.

Quote from Monkey_Man

Same here mate; Will is a Godsend. In fact, I've forgotten more than I ever knew, which is doubly-scary 'cause it takes me into negative territory.

This is the one obvious thing I returned to add to my post, mate, but I'll leave it now seeing as you've stated it.
Bottom line for me is that IMHO neutrality is paramount at the "final" (and often only) stage of conversion. That way all the various flavours one concocts through different gear and settings is faithfully-captured. I see the interface/s as simply a "way into" the computer. Having flavour added at that point make no sense, unless one knows that one's chosen interface's colouration is what one will always want and need (can't be "bypassed").

Also, in the days of yore we relied on tape colouration / saturation and the "sound" of various desks (and preamps and other OB gear of course), which can all be added with varying degrees of accuracy now ITB. These things are controllable and interchangeable, which the sound of one's convertors is not.

Well, you said what I was trying to better than I did, that is exactly what I mean. It just makes sense to me like this. When choosing a stand-alone preamp, of course I would never want one that is "sterile" or "flat". But when looking at an interface with which to build on...it makes sense in my head at least.

But so did soft panning until a week or so ago.

Quote from wwittman

I don’t personally know why anyone ever wants a ‘sterile’ or ‘neutral’ preamp other than MAYBE in classical music recording.

I preferred it for a few reasons.

1. People on the Internet told me it was good.

2. Because I liked the idea of capturing an accurate recording, and adding "color" in the DAW, rather than in whatever cheap interface preamp I would be using. I do intend to run preamp VSTs in the future.

3. I don't have the luxury of trying different interfaces to see which one I like best. Accurate was attractive to me.

4. I intend to run an actual preamp before the interface when I can afford it. I 'feel" like it would be preferable to run that into a neutral preamp since I am looking for the sound of whatever preamp(s) I purchase, rather than the sound of "X preamp + cheap interface preamp". No?

5.. It's not very important. A/D/A converters/driver stability/speed were far and away the primary deciding factors. The neutrality of the preamps appealed to me for the reasons above, but would not have been a deciding factor.

I bet everyone would be much more interested in learning why you don't think that a neutral preamp can be an advantage when choosing among lower end "pro-sumer" interfaces, than reading all that drivel I wrote above, as you are a wealth of knowledge, and I look forward to every single one of your posts...but that's the "why" for me...I didn't come up with the idea, as I'm sure you know...your LCR comments blew my mind haha...drop some knowledge on me.

Disclaimer: I am well aware that you've forgotten more than I will ever know on the subject. I am just a baby here, still just learning. The above should not be taken as any kind of argument, but as a request for education, because I clearly don't really know what I'm doing. Would love to read any input you have, as usual.

Quote from deadpan

I have had a few guitars like this and changing pickups hasn't helped, until recently.

I have this Les Paul Studio that was quacky and horrid sounding.

Pick up a Jim Wagner Godwood pickup and wow, completely different guitar.

I mean, I wanted to trash this thing, now I play it quite a lot.

There is still an underlying issue however it is much less bothersome. The issue sounds to me as the A and D strings are vibrating in the wrong manner though I can't be sure.

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That actually sounds like a decent description of what I think the issue may be, "quacky, horrid", weird vibrations between the different strings...I dunno. That Godwood is pretty pricy, but it'd be worth a try, since, as I mentioned, selling is not really an option, so it'd be great to resolve the issue...or at least find a good band-aid.

Quote from ToCi91

I think you (and a lot of other "no" voters) still get not the point: a metronome app on my phone will not fix the looper-problem!The drives and delays are quite good. If you're satisfied with them, then why did you buyed a KPA? This is one of the main functions of a KPA.

Well, the drives do need work, but I take your point. The delays are great though, I don't understand complaining about them.

Almost all software companies use a tiered ticketing system, I have never understood the argument "we have better things to be working on". It can be both.

GUI changes should not really be discussed in the same sense as more complex issues (like addressing the anemic drives). I wouldn't call a metronome a GUI change, but it's a fairly simple feature, and it's hard for me to imagine that Kemper has only one dev team, and that they can only tackle one item at a time...that just doesn't make any sense as a business model.

I'm not bitching at all here, the KPA was well worth what I paid, and anything that gets added is gravy, Kemper owes me nothing. But let's be realistic about upgrades. The idea that adding a needle tuner, or even a metronome, would actually take time away from the team that is rebuilding the drives...that's a very small, old-school, business model. But maybe Kemper is very small, resource-drained, and I'm just talking out of my ass anyway.

I have a guitar that I've been pretty unhappy with lately (since buying the KPA). It's a PRS Singlecut, US model so I doubt it's a "quality" issue. On top of that, it was my main gigging/recording axe for years...I can't understand why I'm hearing things I didn't before, I don't know if something has changed, or maybe my ear is just better...I doubt that, hahaha. It's clangy, seems to give a lot of nasty undertones, and is in general just not a whole lot of fun to play or listen to.

I tried adjusting the stock (#6) pickups, up/down, that didn't help. I noticed that the string spacing was not actually standard 50mm, but a little wider, so I bough a BPK Ceramic Nailbomb F-spaced, that matched the spacing better. Nice pickup. but the guitar still just sounds like junk to me. I think it has some intonation issues, which I'm trying to work out, but Christ on a bike, this is a good guitar, what the heck is going on?

Selling it is not really an option. When I got the guitar, I badly wanted it in "tremonti-burst", which they did not offer outside of the Private Stock program. I got in touch with Mr. Miles, and he agreed to paint it for me (he ran a side business at the time, I doubt that's still the case), he did a phenomenal job on it, and it has quite a bit of sentimental value to me. But it's just not fun to play. Maybe another pickup change will do the trick, something warmer than the C-Bomb.

Tag for any brilliant ideas...:D

Edit: As far as profile-hunting, I can't speak for the OP, but that is not a solution to my issue. I have plenty of profiles...

Thanks for letting us know what solved the problem! It is very helpful for those in the future that may be searching for a solution to a similar problem.

Quote from deadpan

or you could tattoo it haha, JK.

Love your clips @Locrain ! Had to post them!

Thanks man! Makes me feel great that you like them enough to use them to promote your product, that's really awesome to see! I'll keep making 'em.

P.S. For anyone wondering, I doubletrack, pan hard L/R, and add a tiny little bit of compression/limiting on the master buss. Nothing else (unless it's a full band mix), so what you hear is pretty much exactly what you get with that profile!

I've gotta change my Soundcloud username...

Quote from Ibot39

Kemper support did answer today: They say it is a bug.

They can not tell how long it will take, but they'll seek to address this problem as soon as possible and ask for patience.

Patience ... not one of my strenghts
This is quite a big bug in my opinion and concerns a basic function. Tone is directly affected...

And what is not clear to me, if in general the cab section is affected (changes tone) dependent on the loaded amp section? So changing cabs in the Kemper would be a total different approach to what I know from other devices. And a specific "favourite" cab copied to other profiles or the use of converted IR would have to be seen in a completely new light?! Anyone with insight, how amp and cab section really "interact" here?

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It is a huge bug, but I'm very glad that they have it recognized as such, and have committed to addressing it. I was fearful, as were you, that it was possible that it's "just how it works". Glad to see that that is not the case.

Yeah, I was noticing that last night, they really clean up/distort well just depending on hard you dig in, very cool!

Good info, @Monkey_Man. That is impressive performance from the converters for sure. I also chose RME for their flawless rock-solid USB drivers, as well as their excellent, transparent preamps.

However, the more I read about MOTU, the more impressed I am. Looks like the drivers have gotten very close to RME in terms of latency in the past couple years, really impressive. Reliability is a harder thing to measure, but the MOTU drivers seem to perform very well, even among those who end up going with RME. And the preamps, while probably not as sterile/transparent as the RME, are clearly quite good. Impressive back-end control/routing on the MOTUs as well.

I'm happy with my decision to go with RME, but if I was still looking, I would definitely take a hard look at MOTU!

Thanks man, glad you like the clip!

Loving the pack! Both recto packs are great, if I had to choose between them...well, I'm glad that I don't.

Quote from GAME-OF-TONES

And maynnnn that clip sounds pure NASTY bet that was whole lotta fun lovin criminals diggin into the strings on that one

Haha, yeah that song is a blast to play for sure!

Yeah, lots of great profiles in the Tweed. I can see a lot of use for it, for sure. Can't wait to get my Tele wired back up and check it out with that.

This is one of my favorite Mesa Mk packs, killer tones in it.