Posts by KnoxHarrington

    Hi guys,


    I'm selling my non-powered Head and getting a PowerHead. Recently I've hooked up the Head to a cabinet for the first time (using an external amp) and I'm so hugely impressed with the amp-in-the-room experience I had that I must have this feeling on stage. Of course, I've spent hours, days, weeks, tweaking my rigs and performances so if possible, I would just like to migrate everything to the new powered Head as easily as possible. This is how I have it in my mind, could you guys let me know if I forget anything?


    - Update Rig Manager to latest version

    - Perform software update on old Head, if not latest version

    - Perform software update on new PowerHead, if not latest version

    - Perform full backup on the old Head to flash drive

    - Perform full restore on the new PowerHead using the flash drive

    - Reset the Head to factory settings and sell it


    Am I missing something? Should this work?


    Thanks a lot guys! 8)

    That was the point, he got his sound by profiling his rigs...


    I have also found that the KPA has made me think differently...that I don;t need to feel my sound on stage, hence I don;t need any analogue stuff, because it took the KPA to make me realise that the most important "consumer" of my sound is not me or even the band, but the audience. Hence my focus is FOH now and monitoring is just for that - monitoring.

    Thanks.


    That's cool... I guess I'm a bit more selfish in that regard, meaning that I see myself as an equally important "consumer" of my sound on stage, because it inspires me to play better / differently or to enjoy myself more (which in turn might improve playing etc).

    Just wondering, and I'm sorry if I have missed this in your replies, but have you profiled your previous analog rig(s) yourself? Because that is where the KPA really shines imo. I never was that impressed with the stock profiles and I personally (almost) always use profiles I made of my own amps with my settings, my own cabinets, my own preamps, my own microphone(s) etc.


    Before the KPA I recorded analog amps on a daily basis in my studio so setting things up was fairly easy. I tried to get the sound exactly the way I wanted it to sound by extensive monitoring and A/Bing without having to do any adjustments on the KPA afterwards. I have always been very happy with the results and for recording I haven't used the analog rig in a long time. Just the fact that I can take all my amp tones to recording situations and gigs is just amazing.


    Having said that, I must say that I usually bring (part of) my analog rig to gigs because I like to feel a speaker working next to me. My skin seems to have ears as well. I haven't tried the Kabinet yet but I imagine it's a similar experience. If logistics are very poor or if it's a really short set I breng the KPA. So different tools for different situations, I don't think there will ever be a single tool that will work every time.


    Cheers!

    I’ve only heard a few excerpts from NAMM (I think it was). I’m not particularly exited for this and I don’t know why people are. I think it sounds like the acoustic sim pedals already out there. And there are no good acoustic sim pedals as of yet. They sound very fake IMHO. Maybe I’m wrong.

    It would IMHO be a great feature for rehearsals etc. To me the portability factor of the KPA is hugely important. Say I've got a rehearsal with a band I only play once with, and they want me to do some acoustic songs but mostly electrics, I can just use my electric through the KPA for that during the rehearsals and use a real acoustic during the actual gig. It would maintain my one-walk-to-the-car rule and that would be a big plus for me.

    Massive troubles here with latest beta RM and OS. Can't drag & drop anymore, can't save performances in RM anymore (doesn't do anything on the KPA), etc. Too bad because I really started to like the new RM software. Had to resort to manual programming on the KPA :-(

    So far so good with RM3 on my Mac... works fabulous!


    Some things I'd like in a future version:


    • Remote programmable through RM
    • Drag / copy / paste effects between rigs
    • Changing a parameter with cmd / ctrl pressed on the keyboard goes into "finetune mode" (much like sliding a fader in PT)
    • Option to double-click on any parameter after which you can insert numerical value (much like plugins in almost any modern DAW)

    Obviously its the KPA upgrade that you need to be worried about. So far I've had no issues although not gigged it yet. I've taken the risk, but there is a risk as its beta..

    Yes of course, but a beta version of the Rig Manager might also unintentionally change stuff in rigs / performances etc. as part of a bug or something like that. Anyway, good to hear that's not the case so far!

    I have both. Definitely prefer the 112 although it's quite heavier than its smaller brother.


    At home I use two 112's in a stereo setup on speaker stands at ear level, sounds amazing. I initially bought the 108 as a personal monitor to take to gigs when I don't have my own wedge or when there's no capable engineer so that I don't rely on anybody else to hear myself. However one time I replaced the 108 with the 112 just to feel the difference, and since then I always take one of the 112's with me to gigs.


    To my ears the 108 tries to sound like the 112 but does not always succeed in doing so. It tries to sound somewhat larger than itself, hard to explain. The 112 sounds very powerful, very pristine with a very clear and natural representation of the sound spectrum. I don't really use my 108 anymore to be honest.

    I tried the usual suspects but ended up with the Headrush 112. Really love it. I do place it on a speaker stand at home to get rid of the boominess and then it sounds very natural to me. In fact, I don't think the boominess is a flaw of the speaker per se, any proper speaker would cause more resonance when placed on or close to the floor or in a corner, the majority of those lows in fact aren't necessarily produced by the speaker itself.


    So I use two of the 112's at home, both on speaker stands at ear level. When I stand in the middle the sound is absolutely amazing, especially when using stereo effects like the chorus or tremolo. When gigging live I always put one of the 112's in my car and I use it when I don't have my own wedge or when there's no qualified FOH or monitor engineer around so that I'm not depending on someone else to hear myself.


    I would love for Headrush to include a low-cut filer on an MKII release to reduce some of the resonance when using the speaker as an angled wedge though :-)