It's not as guitar heavy as some of the stuff here, but Frightened Rabbit has become one of my favorite few bands over the last year or so. Scott was a great lyricist/songwriter, he will be missed.
To stay on topic, here's a live video of one of my favorite bands, Big Wreck. If you've never listened, you're missing out. Ian Thornley sings like Chris Cornell, plays like Eric Johnson, and writes songs like the Beatles (well, not really haha, but he's really really good). It's really hard to pick just one song, but this one is the song he picked as the song to listen to if you don't know who Big Wreck is. Skip to 3:15 for the shredding.
The song that comes after (You Caught My Eye) is great as well. Bluesy boozy ZZ Top kind of thing, with some awesome guitar playing.
...he also announces a kemper pack he is doing in the future
I haven't made it through the video yet, but hell yes.
Out of the free packs Kemper has put out, his was one that really left me wanting more. Can't wait!
Not sure how you would do individual string transposition without a Hex pickup on your guitar.
Yeah, I don't see this really being a feature anytime soon...
I like the Transpose feature, but I wish it worked a little better as well. It sounds great, better than any similar effect I've tried, but I can't go more than 2-3 semitones in either direction before it starts to sound very processed. It's not really a bad thing...but it's pretty noticeable with anything 2 steps or more. Then there's the lag. I can see using it for bar band cover stuff, but anything else, I think it's still worth bring another guitar or two to the show. It is cool though...
Yeah, that little chug (it's actually muting the strings and "chuck"ing them real hard)/kick fill thing when everything drops out is a trick I picked up from one of my all-time favorite bands, Daughters Of Mara. You've never heard of them because Virgin signed them, had them do an album, and then shelved it so DOM wouldn't compete with their star acts. So they broke up and never went anywhere. Very sad, I haven't heard many bands like them. The heaviness and technical proficiency combined with Shawn's hook/pop choruses and his scream...it's about as good as it gets for me. Definitely check them out on Spotify or Youtube if you like tight hard rock/metal with amazing riffs and a mind-blowing drummer...
Ok...back on topic...
Really enjoying the cleaner tones here, seems like my other BE-100 profiles don't have much cleans in them, but the amp can do it...
There a few great packs for metal in Rig Manager.
For modern metal, my first stop would be the Lasse Lammert and Lars Luettge (might be labelled Tonehammer) ones.
Older stuff can be a bit trickier, mostly because it seems like everyone's obsessed with the honkiness of a tube screamer + V30s. The Choptones and Michael Wagener packs are really good though.
I'll second this :"Lasse Lammert and Lars Luettge", they are fantastic, forgot about them. I also really enjoy Keith Merrow's free pack for some of the heavy lifting.
Eh, it's your thread.
Back on topic: These profiles rock my socks.
I literally randomly picked out a profile, S2 V30 X04, and threw down a little scratch track for this song I'm working on. Please forgive my abysmal playing and production quality, I'm out of practice with the first, and just starting to learn with the latter.
So hopefully this clip doesn't scare anyone away, because the pack is REALLY good.
Payment sent, my body is ready.
I've got a decent amount of Pitbull profiles (mostly David Bendeth/various other STL profilers and Sinmix), but I don't have any that specify Ultra Lead except Pete Turley's, so I'm not sure which are CL and which are UL. David Bendeth's are very good, but I am definitely looking forward to this pack. This is one of my dream amps that I just never pulled the trigger on, I am excited to see some new profiles for it!
There are LOTS of good free profiles out there, and many very good for metal. They do not come stock with the Kemper. Like was mentioned, go to the free rig section of the forum. Also, I believe Sinmix has a free download pack, and I'd be real surprised if his stuff doesn't do it for you. Rig Exchange is hard to find stuff on. It's best to read through the free rig section of the forum, and then find those on RE.
I imagine 75%+ of the battle is finding a profile I like a lot from the get go yes? On that note, are there any universally good/popular metal profiles (it would be nice to start with free ones) that I should start with? Finally, on that same note, what would you say is the best method for searching for profiles? It was tiresome just going through all of the factory profiles and I understand that there are many times more available on the rig exchange and around the net.
These probably silly questions and/or ones that have been asked many times before and if so I am sorry. On the other hand, thank you for any and all input!
Oh no, I hope your son isn't injured badly, and recovers quickly.
...I'll show myself out.
I really didn't think I needed this pack, I already had about 250 BE-100 profiles, some which I really love (George Alayon, also Kris Crummet and David Bendeth from STL), but I read through this thread, listened to some clips, saw the price, and couldn't resist. I haven't a chance to go through everything, but there are some great, great profiles here.
Professional profilers take note: This is how you combat piracy. Updates like this build goodwill, and erase almost every incentive to pirate the pack. Plus the price is extremely fair for what you're getting.
Looking forward to spending some quality time with this pack today.
While I'm only a mere scholar in mixing (compared to true masters like @wwittman) I've always practiced LCR panning since I learned about it years ago. It works, period. 'Space' in a stereo field is not so important in itself, it’s the space an instrument occupies in the frequency range that's much more important.That's why the Beatles in mono sound awesome and powerful.
Concerning filling the gaps: Listening on headphones I find pseudo stereo recordings of the Beatles with the backing on one side and voices etc. on the other a bit annoying when listening to it for a longer period of time.
That’s why when EMI re-released the Beatles material on CD in 2009, I bought the stereo edition, but then I put the stereo files into Studio One and narrowed the stereo field by 20%. It's still stereo but not with 100% separation, and it’s certainly more glorious than mono.
I wonder to this day why Sir George Martin didn’t come up with that before.
Thank you for your input. I'm convinced, and excited to try it. It makes so much sense to focus on the frequency "space" instead of the stereo image "space". I knew that carving out EQ was more important than panning, but EQ makes sense to me in a mechanical sense (not that I have it mastered at all, but I think I 'get' the concept fairly well), whereas panning was always confusing and nebulous, it never really "clicked" while recording. Makes sense that I was going about things the wrong way.
Honestly, this is kind of a relief. As long as I get my gain staging right, track well and LCR pan, it'll make it so much easier to focus on EQ/compression/etc. Because something that was always in the back of my head was that maybe my mixes didn't sound as good as they could because I wasn't getting the panning right. Beyond a few basics (rhythm guitar hard l+r, bass/kick/vox/ down the middle), I really didn't know what to do, and I wasn't getting anywhere with making tweaks and listening. So now I'm told I don't even have to sweat it...I'm good with that.
I get what you guys are saying about headphones, the Beatles in stereo vs mono, and all that. Headphone listening is not that important to me. I have a pair of HD650s that I switch to to check levels, and as a reference, since my monitors (KRK) are pretty hyped. But I don't plan on mixing on them much. And as I think about it, LCR panning might make it easier to mix on 'phones...?
I was listening to a Big Wreck (who's production I really admire) song the other day on headphones, and the extremeness of the panning did mess with me a little, until the band came in. I was wondering why they didn't spread it out a little more. Now I guess I know.
Thank you for sharing that, Michael.
He said, "I will certainly use internal pan positions on occasion, particularly on dense productions."
This is the bit that has me a little confused, and I didn't say anything to Will 'cause I figured I'd work it out eventually. Whilst I intend to dumb down my arrangements and mixes compared to what they were in the '90s (for commercial reasons), even the "simplest" of them were pretty-damned complex by "conventional" standards.
Percussion, brass sections and solo lines, strings, complex BV's and so on, in addition of course to guitars, bass, synths and drums...
It's a little confusing to me too, it's just very different from how I "thought" it should work. But even though the author says he will sometimes still use internal positions, it certainly seems to be the exception, not the rule. So normally he's panning hard, even on dense productions, at least that's how it reads to me.
What I have always been told is that you need to give everything it's own "space" in the stereo field, and to pan things somewhat as they would be on stage. But it was never something I was very good at. So I am excited to try panning everything hard or leaving it in the center. I can already tell it's going to be a hard habit to break, I am so used to using internal positions on things like lead guitar parts, or vocal harmonies.
I would have the exact same concerns you do about your more dense productions. The idea of having all those tracks and not using the full stereo field through internal panning is like nails on a chalkboard, haha. But from that article, and from Will's posts, it really looks like the way to go. I'm excited to remove one more variable from my mixing at least.
Really great advice !! BUT what about high/low gain advice ..is there any ? all good if not thanks for posting all this
Exactly what I was wondering. I usually pan lower-gain guitars a little softer, but I'm going to guess that won't be recommended here...
Super interesting thread!
Sounds killer man! Fantastic tone/mix, love the writing as well.
When I was looking for a toaster, I couldn't believe the prices. It actually gave me quite a bit of faith in the unit, I've never ever seen resale like that from a digital amp. I paid $1300 and felt like I stole it, they were regular selling for $1500-$1600 at the time...crazy.
It is a real treasure having you on this forum wwittman. Your perspective on panning makes an awful lot of sense to me, I will definitely be trying that approach going forward for a while.
You have mixed some truly great, classic songs. I look forward to any post by you, but especially production oriented ones.
I’ve many times listened to some of those extreme placement Beatles records on earbuds or headphones and still had to actually remove one ear and CHECK to be sure that the backing vocals (for example) are entirely on the left. The balances and perspectives are so well done (mostly because they were designed to all work in mono) that you really don’t feel that the widely spread elements are disconnected. They just have that clarity, but it still feels like a unified whole.
I mixed this with the guitar entirely on one side and the Vox organ entirely on the other but I don’t think most people PERCEIVE it that way unless they are only hearing one channel.
That's very cool! I listened to it, panning back and forth to hear what you're talking about. And you of course absolutely right, I have never ever noticed that before. And even now knowing it, I don't really "hear" it unless I pan to one side or the other.
If it's double tracked for real, there is NO use for behinding a track at all. Especially not as little as 1ms or so.
Believe me I've tried these things before so I'm not talking bollocks here.
This is correct, the 1-5 ms trick is generally used when you are wanting to duplicate a guitar track, but you want it to sound as if it was double-tracked instead. Actually works very well. But I have never before heard of doing it to actual double-tracked guitars. That doesn't makes any sense to me at all...unless you're a robot.
No I don't think he has, I was just trying to think of something that might give me a similar tone to what I hear on some of songs. The David Bendeth STL pack has quite a few really good VH4 profiles, and Soundside has a really good VH4 pack with tons of profiles (like they always do, haha). Many of the heavier songs have a ton of fuzz, and I have not found the built-in fuzz to be even close to adequate.