Posts by Locrain

    I'm with you and Andy_T-V . Always download manuals first 'cause most of what you see in forums whilst researching is opinion, and reviews tend to omit important details as they try to appeal to "most people's" needs.

    Interesting. I enjoy reading both manuals and reviews for gear I have, but I don't think I've thought about using the manual as a sort of "review". Makes perfect sense though. Dry reading, but very telling.

    I'd second the suggestion to try different profiles. Or maybe try the "old trick" of going to the Lars Luettge pack that came free with your KPA, selecting the TH Diesel Hagan 6 1960 rig, hold the "CABINET" button for just a sec until it shows the 1960av cab, press the "LOCK" button, then go back to your Top Jimi profiles and check them out with the new cab. I have not been a fan of the TJ profiles I have tried. I know lots of people like them, and it's clearly a quality product. But not for me.

    I have to plug Tim @ Live Ready Sound here. I play mostly heavier stuff, but his packs are very large, cover a tremendous amount of ground, and he's a workaholic, constantly adding updates as long as he has the amp. Other profilers take months for an update, Tim has gotten me spoiled. I'd be really surprised if you couldn't find something there, regardless of what you play. If you want to record a DI of your Les Paul, he'll take that, run it through, and make a custom profile based off the DI and what you're looking for. That'd be a way to ensure it's not the guitar at fault (I doubt it is though).

    Don't get fooled by the name, these are just as home in the studio as they are live, I did an a/b/c comparison with some of the LRS profiles (I think from the ReVv pack), compared them with several STL profiles from a highly regarded pack that I won't mention the name of, and was pretty surprised. The STL stuff was more fun to play with, but got buried in a mix (I should note that I am very much an amateur when it comes to recording, so I could be missing something) next to the LRS profiles. And Tim was able to correctly guess which profiles were his in a full-band mix...he has a good ear, is what I'm getting at. :D

    I also have to 2nd Steinmetzify 's plug for SFG. As you'll see, they are completely different business models, which I think both have their strong points. I was pretty skeptical of SFG at first (if it's too good to be true...), and unless they run a sale, they're above what I would pay for such small packs...but the profiles that are there are very good, and do cut very well.

    To compare the two, you can get a little lost in Tim's packs (how could you not, with 200-300 + profiles in some of them), but there is a TON of awesome stuff in each one. SFG's packs are very small, I'd say 3-5 rigs per pack (hard for me to count a merged, a studio, and a DI as 3 separate rigs, maybe I misunderstand something about how Merged profiles work...), but, out of the two packs I have, there is not a dud profile among them, they're all very they should be.

    I do like STL, Cililab has some awesome packs, MBritt is great (though if you're having trouble with a muffled sound and low-end, they might not be the best...they really shine cranked live. Sinmix for the heavy stuff...those are some of my other favorites.

    Any chance we could get a recording so we can hear what you're hearing?

    The new Mars profiles kick ass! Out of all your packs (of amps I knew about before you told me about them, haha), this one has surprised me the most out of all. I am pretty sure it'll do anything. Before this pack, I would not have called myself a Marshall guy. I loved the JVM, that's about it. But this amp rocks. :)

    Quick clip before I wind down for the evening, double-tracked (as if you can't tell by the mistakes), 2 takes, no comping, so it's pretty sloppy. Light EQ/Limiter on the main bus.

    Edit: I did turn on the Shaper and Dist stomps that Tim included, increased the gain on the green scream to 2 db, and raised the amp gain by about 1.5.

    Moderator Notice:

    In most cases, Soundcloud uses a bandwidth of only 128 kbps. As a result, what you hear isn't free of artefacts, especially the high end. For critical listening and also product comparison, please keep that in mind. Users who setup a comparison should use linear wave files and supply dropbox links.

    I am loving the reviews. A little bummed that a lot of the samples seems to need more treatment than in the past (that's what I have SD3 for) before they are mix-ready, which is my main draw here. But there seems to be plenty of highly processed samples to keep me happy.

    This'll have to wait until the new year (spending some time in Serbia soon, trying to save for that), but I think this is a 100% buy for me (it's too fairly priced not to)...I think I'll get the free version just to tease myself until then. :D

    Of course the Snapshots can be deleted. But it could be much quicker and simpler than it is. "Delete all", etc.

    There are still clear advantages to an "a/b" button, such as switching back and forth between the rig and your current tweaked rig, and not scrolling through ~10 snapshots to maneuver to the one you wanted to compare...which one was it again? :D

    The ear/brain gets pretty unreliable pretty quickly, I am not sure of the # of seconds before it "forgets" the first sound and loses the ability to discern between the two, and I'm sure it's debated, but I've seen estimates of 1-3 seconds.

    The "a/b" button becomes very useful with this in mind. The Snapshot feature is also very useful, but doesn't address this issue, IMO.

    I think the general apathy towards the KPA functioning as a usb audio interface, is that it lacks the ins and outs of a proper recording interface. It wouldn't bother me if the KPA could function as an interface, and I could see how it'd be useful for those who only record guitar. But for those with "pro-sumer" interfaces, it'd be of not much use compared to what we have.

    The drivers for the KPA are very stable. I don't think (but I don't really know) that this would translate to similar stability when functioning, basically, as a sound card. I have an RME Babyface, and RME's reputation for driver stability was one of the big sellers.

    I think the a/d/a converters on the KPA are very good? I don't know how they measure to RME or similar, but there's not much to talk about here probably.

    Connectivity, my (small and pathetic compared to others) Babyface has an instrument in, two XLR ins/outs, two headphones outs, and in expandable and controllable through TotalMix.

    Which is where the real problem kicks in for me. We are coming up on 7 years since release, and we have no editor (thank you to toastme for a great independent editor), probably the most glaring omission in the entire product, by far IMO the most requested, discussed, and talked about feature request for the KPA, and no real hope on the horizon.

    Then I open RME's TotalMix routing software, and it is so dense and function-rich, I can't imagine the nightmare that would be Kemper's attempt at a similar program. They'd probably have us navigating everything through the Browse knob and Page buttons. :D

    All that said, line 6 can get an interface working and sell it for $99, so it couldn't be that hard to put in the KPA. Your complaint is valid, and it is a competitive disadvantage when compared to the fractal.

    I can understand the viewpoint that it should have one, but I also fit in the camp that doesn't really care that it doesn't. If you just play live, you don't need it and the extra cost, if you're using it for your studio, you already have an interface, and possibly much better hardware/software than the KPA would have. But it would be nice for those who want to record, but have no interface...which I think it quite a small subset of users?

    Either way, I am glad you have stepped back from the cliff. Yes, it would have been handy for the KPA to have had an interface while you figured out the issue with yours, but now you have, and you have a fully functional interface. Win-win. :)

    As said by 'bcgood' on gearslutz, "...

    a class A discrete FET pre that runs off of 48 V. Seems like a good deal at $99".

    Definitely interesting.

    Yamaha FC7.

    Pros: Cheaper (I think, haha, $40 new, less used), well-built, will last for a looong time. CKemper uses one. :D

    Cons: Very wide sweep, fairly large pedal/footprint.

    I'd like something with a smaller sweep for wah, but at the price, no complaining from me, works great.

    It must have been magic...maybe it was the same magic I used to read this post about 8 hours ago, but not reply until now...pretty spooky. ^^

    Or maybe I pulled an Ash and used Beer Power to watch it even after it was taken down...things are a little hazy on that one...maybe I watched it during the several hours that it was up, maybe I only beered that I did. <X

    Maybe I never watched it at all, and maliciously used the opportunity to give some advice helpful for you, since my post was about perspective during the process, not about your mix, and was in response to your words in your post, not the video. ;)

    Maybe I accidentally left the word "probably" out of the first sentence, since the video was no longer watchable, and didn't notice the omission since it wasn't relevant to the purpose of my post. :P

    Mysteries, misteries. :):whistling::sleeping:

    How did you watch the video if it was taken down? :o

    I´m not a big fan of the double hard panned if only with two takes. I would do it if I had a third one in the middle to fill the gaps. Or maybe 4 or 6...:D:D:D

    Well, that's what the rest of the band is for! :D

    To each their own, but it's fairly standard for modern rock tunes.

    Dunno what the deal is, space is set to headphones only, purecab is off globally...not sure. :)

    They "effect" is definitely less pronounced on yours, not sure what the deal is exactly. I don't think I had a 'verb on or anything. Here's a clip using the MegaThrash profile from LL. 1st is single/mono, second is the "delay trick", and 3rd is actual double-tracking. The "delay trick" sounds better than in my other clip, but I still hear that effect, but not quite as badly (edit: I dunno, that's pretty bad...). But the actual double-track just shoots it right in it's face, not even close. I would like to find a good solution through, for live use. That would be really cool, to thicken up those rhythm lines. my attempts so far are just too cheesy. I don't think it's anything in my settings, not sure what it'd be, no post work done on the clips.

    Edit: I keep futzing up the harmonics too. I'll get it eventually. :D

    Moderator Notice:

    In most cases, Soundcloud uses a bandwidth of only 128 kbps. As a result, what you hear isn't free of artefacts, especially the high end. For critical listening and also product comparison, please keep that in mind. Users who setup a comparison should use linear wave files and supply dropbox links.

    Definitely, although for me, it goes down better than up. But I find the inverse when transposing up, it's helpful to shave some high frequencies off. It's something that can be mitigated using eq, but it's a compromise, just like the transpose feature as a whole. I love it btw, and use it all the time.

    Another one that falls under the "weird omission, not that big of deal to adjust to" category for me. Then again, I didn't know until now that a clock was a thing on the KPA. :D