Posts by keem85

Quote from karlic

The best in ears I have used are not the most expensive! Full range triple drivers make my guitar sound fizzy and it turns out a single driver is much better suited to the Profiler.

I ended up with custom moulds from ACS all in for £200 and that included the impressions. It was the ACS Evoke2 Classic series.

Other companies probably make single drivers too, but the price was pretty good in this case.

What does single drivers mean? And would this one work with full band in it? I need to hear the full band and also my vocals, but I want it to accentuate my guitar most of all.

I'm thinking that there is a reason why they are so cheap. I'm not looking in to cheap options, unless many people can testify that these are good. Often YT reviews are paid reviews.. And like said earlier here that some in-ears can be good for someone and bad for others. I'm not sure how to go about this

Quote from Wheresthedug

The PSM900 does have an in built limiter. I believe it is a top notch piece of kit. I have the much more basic PSM300 which works well enough for my needs but if you can stretch to something higher up the range I am sure you won’t be disappointed.

As for the actual headphones themselves it is very much a case of personal taste rather than best. Its like studio monitors, more money generally buys you better performance but once you get to similar budget ranges users can’t agree on best. Some people like Adam, others Genelec, others.............it is very subjective.

Unfortunately it is difficult to test in ears due to hygiene issues so you have to take a chance to a certain extent.

Hmm this makes it extremely difficult for me. One cannot just try out in-ears, since they are very personal equipment. It would in worst case scenario end up spending tonnes of money on many different pieces until one can find a set that fits.. Makes it hard for me to choose the right equipment on first try

Many good advice here guys! I have found a local high end shop that molds in-ear for my spesific ears.. I have also been adviced by the local audio shop here to go for the SHURE PSM900, maybe this one has it's own limiter in it slateboy ?

My local in-ear molding company is also selling their own for quite the price here: https://translate.google.com/t…antek.no/in-ear-monitors/

The five-element one going for about USD 1288,-.. I'm torn when it comes to the element itself, if I should go for the cheaper one that Wheresthedug uses or if I should go for expensive ones with many elements in them (for more control?).

Quote from Wheresthedug

You have two totally different problems to address.

One is neutral monitoring for testing rigs and making sure they will translate well to as many live situations as possible.

The other is getting a monitor sound that works for you personally on stage.

They are totally independent of each other. While it is tempting to think that the best solution for on stage is very flat/neutral IEM, this isn’t necessarily true. You shouldn’t care whether the IEM are flat and sound like the FOH mix. You only need them to sound good to you.

IEM are no different than wedge stage monitors. Many of the best hi end wedges are far from flat but have a peak in the range that accentuates vocals and makes it easier for the vocalist to be heard on stage. Unfortunately, that same peak can make guitars sound grating.

For IEM, I use Shure SE425 with custom moulded sleeves. They aren’t the best IEM out there by any stretch of the imagination but they are very detailed in the mid range where the guitar sits so they make it easy for me to get a monitor mix that lets me hear guitar well. A more neutral IEM doesn’t always sound better. In the same way as an EVM12L isn’t necessarily better than a V30 - they just sound different and some people like one more than the other on stage.

What does REALLY matter though is fit. Regardless of which brand or model you go for make sure you get them fitted to your own ears rather than using the little rubber or foam seals that come with most lower to mid range models.

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This is what I'm looking for, some IEM that primarily makes my guitar sound good in to my ears right from the foh mixing table. I don't really care about the sound the audience will hear, because that's the sound engineer job to fix it properly.. Earlier, before I got the Kemper, I had these wedges in front of me on stage, and I think they translated very well! But I can't shake the feeling that even the most expensive IEMs will sound harsh and gritty, and just plain make my guitar playing worse.. I don't know how guitarists are able to use IEMs at all, since those I've tried just plain sucks. I'll admit I only have tried cheap ones here at home, and then the AKG Perception 2 which is supposed to give clear sound, it gives TOO clear sound.. Really really gritty

The thing is that I now use an AKG Perception 2 headphone, which is supposed to have flat response too. But it sounds horrible.. Space function doesn't do anything else than adding some space, the sound is still terrible on it.. I need to use the in ear from my mixer also, so adding anything extra will result in the audience hearing it too.. Only solution I've found so far is to put on a hard low pass filter to make it sound OK for me, but that sounds bad through the speakers, so it's not really a solution..

What types of in-ear monitors has the best frequency response for use with the Kemper? I have tried a range of headphones with my Kemper amp because I want to have my band in/on my ears, but the sound is always ultra harsh. It sounds so dead, harsh and sharp with no depth to it.. It really makes me play worse than I normaly do with "amp in the room feel". I am now looking for expensive in-ear monitor systems that professionals use.. I want to have something that works well with the KPA and that gives me good quality sound from the mixer table or FOH. Do you guys have any good suggestions?

If all else fails I'd probably make a plexi-glass thing that hovers above my Stage and also covers the back part where all the ins and outs are. And then I can flip switches with my foot underneath the plexi-glass thingy. I'll make the vertical walls foldable so I can fold it to a flat plate and put it in my Kemper bag.

Anyone found a solution to this yet? The last post from Twilt about the rubber cover was very neat, would love something like that on my Stage

Quote from JAC

Have you tried setting the decay time parameter to the minimum value for your freeze-enabled reverb? This works for me, no need to turn it on and off, and the freeze still works fine.

Really? If so, this would be the best option. Having too many reverbs and delays makes the Kemper hang or behave strange ways.. So you just freeze the reverb, and then dial it in once it's frozen, and it has it's own frozen settings?

Quote from Audiopilot

I don't know if this is possible but can you assign a pedal to freeze the reverb and at the same time turn on the same reverb on another slot?

That thought actually crossed my mind, but is it possible in reality? Isn't it so that only one stomp can be assigned to one button?

Whenever I want to freeze the reverb, the guitar becomes dry, because the reverb has froze, ofcourse.. But the downside is that I have to apply a second really wet reverb along with the frozen one.. And then, when I unfreeze it, it becomes ultra wet and unplayable.. Best scenario would be if the reverb duplicated itself when I hit that freeze.. Freezing the reverb, but at the same time keeping a clone for my guitar when I play... Is this a possibility somehow?

I got some helpful tips on Facebook on how to create an uniform performance by importing the same CAB across all profiles of my board. He used the term IR, and I didn't really understand him, but then he said it's a CAB.. So I've been experimenting with different CABs with great success.. However I could not shake off the feeling that IR meant something more than just a capture of a spesific CAB. Looking at Tone Junkie video of IR, I get the impression that it is a simulation of microphone placement? Does this mean that I can take a VOX AC30 that has been profiled with spesific mics, and then just swap the mics with something else? I was under the impression that once a profile has been captured, it cannot be changed.. Mic placements was already there during the profile process. The whole thing about changing CABs is really a mystery to me. How is it even possible

Just close this thread. I spoke too soon, it was an issue where my Stage had an old OS out of the box, that's why Rig Manager on MAC did not see it. When I connected it to my PC and updated Rig Manager, the newly updated Rig Manager could see that my Profiler were outdated. Fixed now

Has anyone experienced issue with USB on Stage? I connect my working USB cable from Mac to my Stage, but my Stage does not pup up in Rig Manager... I know for a fact that the cable works, since I use it with my KPA Head.

Quote from kevinduren

I love this; explain it like I'm five. We forget how much we know and take for granted.

Much respect keem85.

Well, I know very little And I often forget after a while if I haven't used it for some time I'm currently trying to figure out how people are getting good live/rehersal sounds from PA speakers. I'm struggling with it, so every bit helps.

Thanks guys! And thanks Wheresthedug I use mono signal in the output, so even if the jack goes to left channel, it outputs mono.. But I haven't considered that the mixer might have line inputs shared. To be honest I have no knowledge if this is the case.. But a TRS cable would resolve this? I think you might be right, that it has a built in preamp there.

Quote from dmatthews

Oh I'm Dave Matthews all right. Just not that guy with all the tours and money.

I had the name first though... crap I'm old...

Haha, but I bet you're just as musically talented. Just without all that tours and money

Ahh, hmm. The mixer table perhaps? Or the way I am cabling or connecting my Kemper amp to the mixer itself?

You aren't Dave Matthews, perhaps?

Quote from dmatthews

Not familiar with F5 monitors, but if you've eq'd them for the room they're in maybe that's an issue?

Are you using the main outs? Is that what the F5s were connected to?

The F5 has not been equalized actually. They are just connected with a power cable and I'm running it with a normal jack cable in to Kemper's left jack channel (for stereo, but I'm still just using mono). I did the exact same setup at the practice session. Seriously, the sound was so horrible, crisp and dead. It felt like playing on a plastic battery micro amp.. Kinda the same sound you get from battery amps that you plug in to the guitar.. Just louder, ofcourse.. I'm not sure what I am doing wrong here, as the setup is identical as I have it home.. How can these big PA speakers output so much more high frequencies than my monitors? That was my initial first question.. Struggled with it for three hours yesterday, and I just had to call defeat.. I see all the big artists use Kemper, Mark Knopfler, John Mayer, and I wonder how they get their Kemper sounding so great on stage