Posts by Ruefus

    I have no advice on the Mission pedals, but do know that you do NOT want to use an instrument cable in place of a speaker.


    Very different construction. Instrument cable is designed for low-voltage, with a significantly smaller wire gauges used.


    Will it work? Yes. Is it safe? Nope.


    https://www.rattlesnakecables.…les-vs-instrument-cables/


    A quote from Paul Rivera in the article:

    Quote

    Transmission of power require low resistance for low loss. Also, high current requires larger cross section of wire. Larger power needs smaller gauge-larger wire. Guitar cables are designed for low noise and capacitance, and tiny amounts of current. If you use them for a speaker cable, large losses in power transmission occur. – Paul Rivera, Sr.

    To me "large losses of power" sounds a lot like heat. That power has to go somewhere.

    Very weird. I'm using a repurposed Fender Mustang III amp at a rehearsal space. Going into the return with the stock, 8ohm GT12-100, the 100 watts it has can be overpowering.

    600 watts and you can't cut through?

    I wish I had a better response than to say (again)....something ain't right.

    Clselby is correct. They are amost exactly the same thing unless you have FX that are input sensitive after the Amp. An example would be a compressor. Turning up Rig Volume doesn’t increae the amount of compression but turning up Amp volume does.

    I also think where in the chain you're placing the pure booster matters quite a bit. The way I've used it - in front of the amp and drives - it will compress them more (and give a little volume kick, provided things aren't already super-compressed. I'm a squeaky-clean to mid-gain player).

    In that configuration, it does not behave like Rig Volume. Each decibel of added (clean) gain is muted by the drives and amp after it.

    Place it in the X slot (and assuming what's after isn't input sensitive) - it works like Rig Volume. Correct?

    Ned Steinberger stopped building for guitarists in large part because we are a giant pain in arsch. He's said as much.

    If you think about it - every other type of musician has their quirks, but guitarists make the rest of them combined look entirely normal. When *other* musicians look at electric guitar players and say "Dude......that's really odd....."? You know you're on to (or on) something.

    We ask for 'new'....but when they get it they say (with indignance) "Not what I meant." We then proceed to vacuum up new guitars that...look.....like, uhm.....old guitars. We cling to amplifier designs rooted in the 1800s and guitar design rooted in the 50s. We insist our new effects sound just like the old ones.....or pay STUPID money for vintage equipment (Klon Centaur being but one example.)

    May God have mercy on our souls when AnalogMan runs out of the chips he uses for the King of Tone.

    This exactly!!

    I'll make small changes. Definition pretty regularly, but not big swings. Compression (if already active in amp). I almost *never* touch Bass, Treble, Mid or Presence. and use EQ stomps for specific reasons. Not to fix or alter overall tone.

    I have found that lowering Gain can be very effective. There's a Soldano profile that compresses too much, but lowering the gain opened it up a LOT. :)

    From a purely financial perspective (and as a career musician.....you already know this concept), a used Profiler currently trends between $1,300 and $1,400 on Reverb as an average. If the trade is even or in your favor, sure....why not?

    Even if it isn't, perhaps it's worth what you 'lose' in living with it for a while to know for sure.

    If you're used to a modeler, the one thing you need to recognize is that the approach to creating an amp tone is entirely different than a modeler. Some of what you 'know' will transfer into getting good sounds. But at least an equal amount will not. That's not good or bad...just is.

    While Jeff Beck needs no explanation. It's Jeff Beck. BUT - Jeff Beck learned and made his gear choices decades before something like the KPA was even conceived of by CK.

    Had Beck been exposed to a KPA during his formative years and latched on to it - he'd be doing things differently. That's an idea I remind myself of from time to time. "The 'old way' was to do *this*....because it's what I know.

    That the KPA would do something different isn't really the problem. It's a different tool and therefore often an entirely different way of looking at the problem.

    And of course, no disrespect intended. Just my perspective on it.

    None taken. But with respect, you may concede the idea that a (still growing) industry exists on the basis of a pop-culture trend a bit thin?


    Fidget spinners these aren’t and pop-culture loves new and shiny.

    Mostly, though, listening to vinyl makes you cool.

    Too many people I personally know and respect in music enjoy vinyl to believe that.


    Some certainly do it to be trendy. But like with most things, there is validity in how it (re)started and why it continues.

    Ya i know, but it was really struggling, and it's more that now I'm nervous to use the power amp because I don't want to destroy the head.

    Submit a support ticket. I’m not saying it’s hardware - because a class D amp has no moving parts. Generally speaking, it either works right or not at all.

    600 watts ain’t enough? Something isn’t right. Either hardware or set up.


    That’s enough wattage to melt most any guitar speaker in short order. It’s meant to push bass cabinets in a band context.

    Ok. This helps explain at a high level, how digital differs from analog.


    If I understand, the key difference is analog doesn’t ‘reflect’ what it can’t capture, whereas digital does - and in doing so creates artifacts when that data has nowhere to go (or can’t be accurately captured)?


    Am I close?

    I’ve followed a good portion of what’s been written so far. People making their living and people scientifically studying the capture and reproduction of sound have weighed in.


    I am not part of that group.


    As a spectator (and a comparative layperson) in all of this, one question came to mind when looking at audio resolution and the reproduction of recorded music. Perhaps I’m missing something, so point it out if I am.


    If 192 is ‘better’ than 96 and 96 ‘better’ than 48.....why then has the lowly vinyl record been resurgent with listeners?


    Capturing is one thing, but when placed on vinyl the highest resolution music recordings seem become nearly pointless. Not to mention fly in the face of this discussion from a listeners point of view.

    I had an Empress Echosystem and ditched it. I know two people who had the Strymon Timeline prior to getting a Kemper.

    Soon after, they both sold the Timeline. What's in the KPA will compete with just about anything out there for guitar. Studio rack pieces are another matter....and far more expensive.

    Having a pedal-controlled Looper volume would be a HUGE help for me. I currently play with a 3 piece band (guitar, bass, drums) and use the Looper a LOT to fill in parts. It's great, but the problem is our drummer needs to follow the looper when it's running so he stays right with it. It gets a little difficult sometimes when other things are also going on AND he's also singing LOL! For instance - the song Separate Ways from Journey. I play the synth parts, using the Electro Harmonix Synth9 pedal, into the looper, then play guitar lines over the loops (a lot of tap dancing). It's great but sometimes, the drummer isn't hearing the loops clearly enough. Different songs require different loop levels. Here's a video of the aforementioned to get a better idea of this use case. https://fb.watch/52LF2Z9dNj/

    I've been pretty close to purchasing a second Kemper Rack to use just for the Looper and 9 series pedals (these run through a midi controlled loop switcher through the effects loop and are assigned, based on song, to one of the FX slots, usually with the stack section turned off) as these are heavily used in this band, so I can have a completely separate feed from the loop to FOH and monitors so our soundman would also have control of loop volumes when he needs them (during a guitar lead when a loop's running underneath, for example). Would love an alternate solution to this most of all, but with using the pedals in the fx loop, pretty much all of the outputs of the KPA are already in use LOL! So the next best thing would be to have the looper volume on an expression pedal.

    So yes - PLEASE!!!

    For timing.....check out TC Electronic's Jam X2 Looper. Uses a mic to 'listen' for the drummer (called Beat Sense) and adjusts the loop timing.

    Stick a volume pedal in the loop chain and you solve two problems at once. The drummer is no longer beholden to the loop and you can 'mix' the loop volume.

    yes ! exactly what I meant ! thanks for this and for your longer experience sharing before. For some of the songs in this list, I knew it was fuzz, and I definitely felt in the same universe when I tested the kemper fuzz yesterday. I'll explore more the rest of the list. :thumbup:

    Don't Worry - Marty Robbins. Literally where fuzz was first heard.

    Satisfaction - The Rolling Stones is a no brainer.