Posts by Locrain

    Fluorescent lights, LED lights, dirty power can all have an affect, although I find this less so on the KPA than a regular valve ( for obvious reasons) at like for like gain settings.

    I find I can effectively eliminate any noise using the 4:1 noise gate stomp from any set up though so you should get it sorted.

    In other words its unlikely you will get problems live...

    I was messing around with this the other day, and it really is a great solution. I was kind of surprised at how far I could crank it without it prematurely cutting off softer notes. Really good.


    Do you talk about when you hit the strings, the pitch bouncing up and then down on the sustain?

    Well, Evertune does reduce that "pitch bounce" on the intitial pick attack. It will make the notes more even. Almost no pitch bounce.

    No, and I should have been more clear about that. But it is related of course, it's likely to be out of tune the most at the attack, so that's a good point.

    But no, I'm just talking about the physical travel of the string, since as the pitch lowers and the low string gets either larger or has less tension, which are really your only two options, the distance the string travels during it's oscillation increases, and eventually it just drifts too far in and out with the rest of the chord.

    A baritone is nice since you can achieve a lower tuning with the same tension and string gauge, but then the length of the string is longer, which I assume would offset some of those benefits.

    The sustain reduction does bother me a little. It's a semi-hollow, so I'm not really sure how the evertune would affect it there. And I have P90s in it and love them, but they can be a little lacking in that department. It's not really a big deal, I could move up to the BPK stockholms if it was an issue, and it's not likely to be often, I don't do a ton of leads or long held out notes...

    I wanna check it out though. I know one guy who says it makes his guitar sound like a piano. That sounds pretty cool. :D

    '72-'75 (I think that's the year range, there's no way to nail it down further apparently) Gibson SJ (Southern Jumbo) Deluxe. Almost mint for it's age, definitely the best sounding acoustic I've ever heard. I'm the second owner, my buddy's grandfather bought it new and it stayed in the family until I bought it a few weeks ago.

    That's why it's a great idea to always record with EVERTUNE 8)8)8)8)

    Not that I quadtrack rhythms but... Still... Best guitar upgrade EVER (hence the name :love: )

    Evertune bridges are expensive to buy and install, but being able to record guitar for several days without checking tuning is priceless.

    Its not so much the tuning instability inherent to a traditional bridge that I'm talking about, though that is less tolerable the lower you go, and I'm sure evertune would be a huge help there.

    The lower you tune, you're faced with a compromise we've all had to deal with. You can get a bigger low string, or you can use a thinner one that will of course be less taut. Either way has the same consequence, at some point (tuning wise), the physical travel of the string vibrating back and forth becomes too large, and it will not be in tune enough with the other strings. This concept exists in all tunings/setups, it's what most people instantly like about drop D, the nasty slightly sharp attack just sounds cool. Drop B set up well is a more exaggerated version of that. But an open chord below ~A no longer sounds like a guitar, there's too much dissonance inside the chord. There are a couple ways to try to tackle the issue, but that'd be even more of a digression...

    Anyway, I just wanted to explain what I meant by "tuning issues".

    I do think an evertune would help as I mentioned at the start, and I have really been wanting one lately. I think I'm going to have one installed in my Se277 baritone. I'm a little apprehensive about it, I really like that guitar, it plays and sounds so good, I don't want to screw anything up. But if my favorite guitar could be even better...I think I'm going to do it pretty soon.

    Is there anything you really don't like about them? I know they can take a little while to get used to and get set up, but most of what I've read is pretty positive. They seem like a dream for recording.

    With all the issues that come with the tuning you'll be in, quad-tracking would be a major headache for me. It depends on the arrangement, and how tight of a player you are, but that can get sloppy quick.

    The subject of turning the gain definitely should, but not because you'll perceive more gain, but because it will keep what clarity you can and will still sound very heavy, double or quad tracked.

    I haven't read the arguments Cedric is referring to, but he sounds correct to me, if played very tightly, as he can, it won't really simulate the wall of guitar sound people are thinking of when they think "more tracks less gain", but that's only true for tight riffs, imo. More chordal music that doesn't have to be as quick and precise can benefit from this approach. I believe this is the approach Chevelle took for Wonder What's Next, quite a lot of tracks through a Mess MKIV at relatively low gain.

    I think this can really vary from genre to genre, but "turn down the gain" is pretty solid advice regardless of how many tracks you'll do, especially at your tuning.

    I do. I mostly play a semi-hollow baritone with big strings in drop A, and I find I find it very helpful to be able to notch out some stuff down low. Much better than turning down the bass knob to control it.

    You're tuned pretty low, aren't you? I noticed you didn't seem to have any issues at all with the low end in that video you posted. Also lower gain, which helps a lot.

    These are certainly not hard and fast rules, just some things I have learned work for me:

    Watch your lows, cut them out. I often high-pass up to 250hz or so depending on how distorted the bass is, among other factors of course.

    Turn down the gain. Turn it down some more. Turn on the tubescreamer, no gain, full volume. Helps it be tight.

    Use lower output pickups. For reference, anything I tune that low would have something from bare knuckles's vintage hot line. The moderns are just too hot for me, with lower tunings and thicker strings it's just mud. I prefer to get the gain from the amp. So if you need to turn that back up, that's ok. :)

    Speaking of thicker a 25.5" scale, a .074" string tuned to G# will give you the same tension that a .046 tuned to standard E will. So go thick. I use a 74 on my 27.7" scale in A# and I love the tension.

    We can tolerate less and less dissonance the lower we tune. Make sure intonation is perfect, there's not much room for error this low. Everything will stick out.

    Buy a baritone. Unless you have a bari 7. Drop B is about it for me on a standard scale. Come to the dark side....

    For whatever it's worth, open chords wont sound in tune below ~A, and there's not much to do about it. This was my experience and when I asked David Bendeth about thinking I was missing something he pretty much said "Nope, it won't work, tune up or buy a bass". :D

    Now I stay in A# and use Transpose for anything lower. Sounds better to me than any guitar that's actually set up that low.

    Lastly, throwing a compressor on there may actually blow up your low end, not control it. High gain amps don't really need to be compressed further, but if you want to try it, I would use one with a high-pass filter so that you're not bring the low end up when you increase the makeup gain. I would forget about this. Many, if not most heavy rock/metal albums do not compress the guitars. It's very helpful on cleans, but not so much for high-gain.

    I've been using the TSE 50x V2 with ownhammer IRs for quite awhile, prior to that I was using the Kazrog Psycho A again with ownhammers. I think the tone I get with this set-up is quite good and the TSE feels like the real amp to me but these are not really something I can use live or bring to another studio with me. I spent hours with an Axe-FX II XL+ and I just couldn't get anything decent out of the thing with the stock stuff but of course you could probably tweak the 8000 parameters for a few months and dial in that perfect tone, I'm ultimately just too lazy for that. I could also just load some 3rd party IRs on it but paying $2k+ for an IR loader seems pretty unreasonable to me. The axe-fx (and bias fx) also seem to really hate high frequencies because pretty much everything sounds like its LPF'd at like 5k.

    For me the Kemper needs to have a profile that blows the TSE 50x V2 away to my ears for me to consider it and without me having to buy a ton of kemper profile packs to find it. Which i understand can be hard since you technically can't even adjust the settings on the amp.

    I actually think a Kemper might be the way to go then. I'll put it this way: The Putney suite is the best amp sim I've used (for heavy rock/metal), and I have almost everything except Neural (come on, black friday). And the Putney suite is better (to me yes, but many other I know) than his KPA pack. But does not measure up to so many more tones that I from my Kemer, it's just incredible.

    The fact that you mention the meth-like tweaking required to dial in a Fractal makes me think the Kemper is about perfect. Cause that's the whole point. I don't trust my ear after about 20 min of tweaking, I hated playing with an Axe FX because it didn't sound good by itself, I had to get it there. And there are just other thing I'd rather do, like pick a killer profile and play, haha. The Kemper excels at out-of-the-box tones, that's what it does (this does, to a point, depends on where you get your profiles, but the point is the same). And, even worst case: Do you like tweaking endless parameters until you finally find your tone, or scrolling through rigs until one grabs you? I vastly prefer B. :)

    I haven't played through your TSE with your guitar the way you have everything set up. That said...there is not a single doubt in my mind that you will find so many profiles that you prefer to the TSE that it will start to become annoying when you don't know which to pick.

    Seriously though, I am certain of that. Tell you what, send me your DIs and I'll reamp a few for you. I have an embarrassingly large amount of profiles, whatever you'd like, I am very certain there's something you'll like...provided I don't f**k up the reamp...! :D

    Edit: I would like to add that I 100% agree with lightbox to his point: The Kemper really does feel, behave, sound, etc, more "like a real amp" than anything else I have listened to. That's hard to get across with reamps. When I got my KPA, I had a Voz AC15TV 50th annv, and switched back and forth. That was a pretty incredible experience, I have to say. The Vox was up on Reverb the next morning.

    I love my Kemper...but if I was only concerned about ITB recording and I was short on cash...amp sims have gotten really good in a shockingly short amount of time. The STL Putney suite is far better than his KPA pack...imo of course...

    Regarding the DI, I think I know a commercial profiler that would probably run one through for you. I can ask...

    That said, if you can't get a good tone out of neural or fractal, I don't know that you'll have much more success here, all devices/plugins mentioned are more than capable of delivering phenomenal tones, especially low-tuned/high-gain stuff. I know some really good producers that are just using plugins's just so easy to reamp, and they are getting damn good.

    Not trying to scare you off a KPA, it's still the only gear purchase I have never regretted, the variety and quality of tones you have access to, free or otherwise is pretty amazing. For what it's worth, I hated the tones I got with a fractal. But...I am inclined to chalk that up to user error/workflow preference, as many others have proven me wrong many times over.

    I have one set of P90s, Bare Knuckle Supermassives in a baritone. They are my favorite pickups now, I don't really play any of my other guitars. Maybe it's due to the lower tunings, or just personal preference, but I like profiles towards the brighter end of the spectrum. That said, I have zero issues finding more than enough profiles that I love. I don't think I've ever bought a pack and thought "this sounds great through a humbucker, but there's nothing I really like through the soapbars", it's never been an issue. I play mostly high-gain, but use lower gain and cleaner profiles quite a bit too.

    My only other experience is with a PRS McCarty Soapbar. I hated those pickups. But that was 10+ years ago, I was using super distortions/etc, so I think my idea of "good tone" was probably a lot different than they are now. I do love those Supermassives. If I had it do do over again, I might get the Stockholms, since they are a bit hotter, and sometimes I find these to be a little weak when grabbing a pinch harmonic, but that's a small quibble.

    After reading this thread, I tried this guitar with the Morgan AC20 profile mentioned. It sounded phenomenal, really fantastic.

    I am switching from soundcloud, the artifacts in the high-end are pretty ridiculous compared to a couple others that I have tried (hearthis, Orfium) but their players do not embed here. They give the same embed link format as soundcloud or youtube, but it doesn't work.

    Anyone know if this is a compatibility issue, or an administrative one?