Posts by FarleyUK

No worries! I realise not much of that made sense....

So, basically, there are three of us in the band, and we all share vocal duties. I'm on guitar and whatever device I use - be it Kemper, Axe FX3, Helix etc. - I have the main outs going to my RedSound cabs behind me to give the sound a 'punch', as they feel similar to a guitar cab. I also have another output going to the mixer (wireless Mackie one) so we can all control our own in ear levels and mixes. However, I do NOT go through the PA.

The bassist also uses cabs, and also has a DI out to the mixer; again, just for in ears.

The drummer just hits things loudly, and only has his vocals and sometimes his bass drum through the mixer.

Quote from V8guitar

But you do play through a PA, not off your back line?

If you all use IEM's and you play through the PA, do you need a back line?

BTW where in the UK are you? I'm in Derbyshire..

Nope, I normally use the backline (the RedSounds). I just prefer having it behind me, instead of out the front (which is where we normally have the PA speakers).

I'm based down south in Buckinghamshire, near the border with Berkshire

Thanks - only issue is that we don't have the luxury of a FoH sound person. We play pubs and clubs, where it's normally me doing everything. I tend to run the RedSounds as my backline, as we use IEMs.

Anyone…?

Hi all,

I spent 4 hours in a studio today, trying to dial in my Kemper rack and Axe FX3 through my two RedSound LG12 cabs. Both units sounded very harsh and there was a lot of what I can only describe as 'barkiness' going on with the frequencies. It;s the type of noise where it's actually painful.

I've got a hi and low cut applied to the output at 6500 and 125hZ accordingly, but that didn't tame it.

I'm desperate for any help or suggestions on how to control it and make it sound 'better'. I was using TopJimi packs (Caswell, Lynch and AC/DC) and I'm certain they used to sound great when I had my toaster through the LG12s.

Are the cabs just rubbish? Should I just money-up for a pair of Headrush 112s?

So that was pretty inconclusive…. They both sounded rough at loud volumes ☹️

Are there any tricks you guys use to tame the ‘barkiness’ and harshness at high volumes?

Quote from Ruefus

I was chomping at the bit on that one.....but some people were out past Pluto.......you'd think it was going to solve all the conflicts in the Middle East.

Nah, that'll be down to this wireless Rig Manager app.

I've done a 'tone match' in the AFX3 of my 3 favourite Kemper profiles, just to try and get some kind of 'A/B test' going on Saturday. Actually fairly impressed by it, at low volumes at least.

Quote from jstoffel

Kemper straight up posted teasers on Instagram for like 5 days straight. Then they just.. stopped

Pain.

Very strange marketing approach. It's almost like they've forgotten... or broken it.

Quote from Ruefus

Paying for a profile doesn't guarantee it's 'better' than anything else for you. Even the 'major' people. For example - I can't find a Tone Junkie profile I really care for. Same for (gasp) Michael Britt.

Thank God it's not just me.

I've never found any of their profiles to sit right for me. Much prefer TopJimi's stuff; just load it up and go.

So is the general rule of thumb - the 'darker' the profile / amp (as in, sounds like a blanket is over the cab), the better it translates to a louder environment?

I've booked 4 hours in a studio on Saturday by myself - will be cranking both units with backing tracks to try and get things set correctly.

It's like Kemperpunk 2077.

I sold my original toaster about 5 months ago when my Axe FX 3 Mk 2 arrived; the AFX3 seemed a lot more 'present' when I played it with headphones or via my studio monitors. I purchased a load of profiles which sounded great, and all was well.

Until last Sunday.

Had the first band rehearsal, so I took the AFX3 for it's first proper outing, along with my two RedSound RS-LG12 cabs, plus a pair of Headrush 108 cabs. What had originally sounded amazing at studio volume quickly became piercing, barking, and farty through the LG12s, and also the 108s. I had a low cut at 120, hi cut at 6.5 (which I then reduced to 5k!), and no matter which profile I used, it all sounded pretty rubbish.

I've just purchased a Kemper rack - sat in my studio, loaded up my old favourite profile (TopJimi Caswell High), set low cut at 120, hi at 6500 and cranked the LG12s. There it is!

It's weird, it's almost as if the AFX3 is 'hyper realistic' in a way, and much more forward and present in it's sound. It sounds awesome at low volumes, but I hated it at high volume.

I've now got a massive couple of notches in the output of the AFX3, which appears to have helped - but I'm seriously impressed (again) with how easy the Kemper is to just get right.

Quote from drog

I use my XR18 for live, in ear mix or a small band mix. But you could use it as interface. It also can record to a USB stick too, which has been really handy.

My band use the Mackie 806 digital mixer connected to an Apple Airport, controlled via our iPads; I’d hope I could connect to that and use the RM on the iPad and the remote as well.

I saw something about newer versions of rack and the head having WiFi chips in, similar to the stage…. Is that correct? And how can you tell if you have a ‘new’ version?

I'd just be happy if we can run a cable from the iPad to the Kemper's USB input to edit it that way. Means I can keep the remote in play at gigs, and still edit things on the fly easily.

SOLD.

Price drop - now £1,250.

Superb condition and fully working non-powered Kemper ‘lunchbox’ profiler head and remote.

Comes with the official floor remote, power cable, an upgraded Van Damme RJ45 connection cable, carry case for the remote and carry case for the head, as well as hundreds of commercial profiles.

Selling due to moving on to the Axe FX3 / Quad Cortex.

UK only please - £1250, including delivery. Payment via PayPal friends and family (unless you're happy paying the extra percentage to cover the fees).

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Quote from CelticGibson

Wow, the tone of that Line 6 changelog. It's like they got the angry intern to write it.

"Despite what some might have you believe, the only digital multieffects units with true preset spillover were the DigiTech GSP1101, 2112, and 2120, and they accomplished this by dedicating a second identical DSP to spillover and only spillover. (Basically, to hear two dynamically allocated presets with absolutely zero gap—not some global reverb or delay smeared to cover the gap—you need enough DSP to run both of them simultaneously.) So... if you're willing to sacrifice half your DSP—that is, COMPLETELY DISABLE PATH 2—you too can have true preset spillover. "

I love this bit...

"

But but but... I don't wanna lose Path 2 for spillover!

Then keep using snapshots."

Is aggression another effect added to this release?? 🙄

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They might have had the NDSP or Fractal guys write it....