Posts by Voider777

    I have been using plugins only for testing the algorithms of helix, sometimes I record demos but not for main use. I tried black hole plugin months ago and i think i liked much more the reverb of scufham s-gear.

    What i mean..for a long tail +5s decay..+10 seconds...if you record and play only the tail after 5 can hear and feel space its music by itself. This beautiful tail and sensation only happened to me with kemper new reverbs, scuffham sgear, and a few plugins (i dont have expensive hardware) with regular reverbs like new helix reverbs the tail after some seconds sound like a loop, without space feeling, even wobbling without any modulation.

    But i need this in hardware, playing live...

    It's not a cheap answer, but I swear (a lot) by my Strymon 'Big Sky'. :)

    I was thinking something more reasonable in price and size like the neunaber inmerse mk1 maybe..i am just begining my reverb research.

    I sold my kemper, bought a victory kraken.

    So much better. Even the victory send loop out + an IR (kraken master to zero) any knobs position and sounds way better than any of my +3000 rigs I had. I have my inspiration back.

    But i really miss the new reverbs and the vibrato and morphing. I tried helix native reverbs for 2 hours and they fade out with some kind of artificial decay. I dont know how to replace reverbs(i am into looong reverbs lately), any not so expensive idea?

    Win7 is nice..but win10 is the same..only more things.

    I have win10 in my PC i have no internet connection in home..autoupdates\spy issue solved. Works fine.

    If you have a pc for audio i think its better not use it for internet.

    If you are used to pod 2.0 and you think it is better (I had it many years). It could be a matter of habit, it was hard for me to enjoy other things at first, because it is easy to play, plug n play. After some years playing tube amps, now I see it like a toy. The rawness of the real thing mic'ed sometimes is underwealming if you are not used and dont know how to tweak it.

    I feel the same with ponts 2 and 3 when using my cabinet. But i would not go so far to agree with point 4.

    I would have to be a lot more used to play and monitor me with a mic'ed tube amp to say that, raw mic'ed sound always need some love.

    C) Do you foresee that you would take advantage of the KPA's Kemper Kone physical speaker emulation, which the Kemper Kabinet has been specifically matched and tuned for? This promises to provide that true "amp-in-the-room" psycho-acoustic experience, by eliminating the influence of the microphone that is intrinsic to the process of profiling the amp/cabinet system.

    Only this, of course the priority is having the best tone-feeling/versatility ratio, the thing is how well will it perform what it promises..I usually dont like frfr for playing in a room with a band, we expect this kemper kone to solve this and at the same time outperform a classic guitar cabinet. Time will tell..there is hope.

    beyma had no treble and was very boomy

    both 10 and 12

    had them in the same cab as the f12 now

    Nice to see you have an informed opinion.

    Because I bought a 2nd hand beyma some months ago only to try a semi frfr way.

    I put it in an old floor monitor and it sounded not bad for itself, but nothing inspiring, when i compared it to a guitar cab I realized beyma was like a toy. And I want to know if my opinion upon kemper through frfr could change, I only tried this beyma and mackie thump 12-15(not stellar monitors). Maybe a good monitor like dxr100 or this new celestion or K cone is the solution...if not i will stay with my 2x12, but it is a pitty because the difference between some profiles are negligible, and for me my tube head sounds slightly better, so if i can't use more of the kemper's versatility i can't justify keeping kemper.

    The coaxial Celestion F12-X200 has a true HF compression driver.

    Didn't know that..thanks

    I thought it was a whizzer cone (didnt know the word but I knew the concept. "coaxial double cone" was my workaround). But if i usually filter at 7kHz..will I benefit from it?

    They say their profiling process it is not fully-automatic and this is why you can't profile with the plugin. But i don't know if this is true or only because of the patent infringment it would suppose.

    For those of you that have commented that when playing through a real cab, all of your profiles sound the same ...... well, my guess is that you are getting a majority of your tone from the cab so that different rigs have little effect.

    Why this doesn't happen with a tube amp so drastically?

    Seriously asking..maybe filtering at 6k and 100Hz is part of the reason?

    Shouldn't be easier to emulate and more realistic using only the amp section than the whole chain? Right now I am looking forward to solve this issue..maybe kemper cone is the solution.

    There are thousands of IR's of the same speaker, and even if the same microphone was used, they can be very different.

    When you or the sound technician mic your cabinet..the resulting sound is always different. So I guess these IRs will make your foh sound only a little bit more similar to your cabinet in the room sound, but maybe not. This is only an opinion, I dont know how representative of the whole cabinet (not the microphones and position) these IRs are.

    What I do, my recomendation is, to check the compatibility of the sound of your cabinet and the line out sound, a/b ing them (with headphone or flat speakers). If you dont have a very flat reference dont worry (if you know very well how it sounds) but better try several references just in case.

    Compatibilty I mean similar bass amount specially.

    Lately i am mixing the cabinet and the monitors of my rehearsal place, very close one from another and it is ok, nothing weird..and my favorite rig is an studio rig, i dont even know the speaker. Kemper does a good job spliting an studio rig, i can't notice when a rig is merged or studio through a cab.

    Big yess.

    But it is impossible to know if the merging is done correctly.

    Recently I have bought a merged pack from a praised vendor. It has studio and merged profile duplicates. They are different, all merged profiles have a bit less gain..i have done a few profiles and this doesn't happen if you merge correctly.

    Anyway I think it is mandatory to add this feature.

    Though I have no need for the Kemper cabinet, Ive decided I'm going to buy one.

    I would use it if you want to but it for me..8o

    Seriously..i am going crazy.

    Today in the rehearsal, I have been trying several profiles, different vendors, free profile...xtc, recto, 5150 3...Very different through PA(FH), through my 2x12 v30 or through an old sound city 4x12 it was almost impossible to distinguish any difference. Band mates agreed looking to me like..:/

    Its like i only have one sound.

    I think it is coaxial. Because there is a directivity parameter. The only way i can imagine to change the directivity of the speaker would be modifing the crossover freq between center cab tweeter and the cone.

    Maybe i am wrong..because it is difficult to tell the cab how to behave through a powered audio signal.

    Yes..too many questions...

    How different to a regular frfr cab can it be?

    How different from a regular IR can this cone imprints be?

    If the reference mother profile wasnt public this kplayer maybe would be more difficult to make.

    If this player goes hardware..and it is legal, mr k will regret not to produce a profile only player device.:huh:

    He patented the whole proccess but if you only make the last step(using the resulting profile) it is not an infringment... My head is no good tudai..

    What is patentable or ristringed use?(could the rig files be kemper property or licence?) Im done.. not a lawyer