Posts by Vinny Burns

    I think the powered out is just for basic monitoring onstage while front of house gets the stereo signal in all its glory.
    For the last few gigs before lockdown, I was using the Stage live. Even for me, my monitor in front of me with my guitar in it is just mono (always has been. Even in my Bradshaw rig days) even though front of house is always getting stereo.

    I can see why they did it the way it currently is but it also would have been nice to have stereo powered outs too.

    It’s a great unit.

    You are only sending one mono signal out to the first cab. The Powerhead speaker out is only mono.

    You would need a stereo power amp into the 4x12’s and use the regular stereo main or monitor outs to get any stereo effects happening.

    Been profiling an old 78 Marshall JMP 50w 1987 model.
    The studio profile is perfectly fine but all of a sudden, the DI profiles are freaking out.
    This was all working the other day when I first set it up to test it and I have changed nothing.
    Signal chain is

    Guitar into Kemper Toaster front inout.
    Send to Marshall

    Marshall speaker out into Suhr Reactive load iR

    Suhr output to Kemper return.

    For the studio profile, I have been using the IR out on the Suhr Reactive Load. For the DI, I just switch to the unfiltered lout on the Suhr.
    What is now happening is that the DI profile is overly distorted and muffled. This was not happening the other day when I first set this up. Now I have the amp tweaked, the DI profile is not happening at all.
    The weeks before, I have been using the exact same setup for a couple of Boogie Mk3’s and all was fine. Studio, DI and Merged profiles were all good.
    Anyone got any ideas? Does the Kemper need resetting and how do I do that without losing everything. It’s all backed up to USB
    OS on the toaster is 7.1.5

    Some additional info

    The DI sounds fine until it’s profiled. I have the same IR loaded into Logic Space Designer so when refining DI profiles, I can hear them better. So, once getting to the process of doing the DI profile, it all sounds normal with the IR loaded in Logic. Just when the DI is profiled, what comes back is nothing like what the Profiler was sent. It is muddy and very distorted.

    Have also sent a report to Kemper but just wondered if anyone has come across this and found a solution.

    I was using general examples, no need to be offended.

    I have a feeling this is about sematics, words are wonderfully umprecise, be assured that GearJocke also knows what he is talking about, this is not a contest.

    I am not offended. Just correcting you.
    Also, the other guy you mention seems to have a notion that no albums were ever recorded before computer editing and accused me of using that to get my guitars tight. I was just correcting him too.

    Well, that is a judgement. You have judged how tight something I have done is without ever hearing it. 😊
    You didn’t get anything that isn’t tight past Mike Shipley. Ask Def Leppard.
    We spent a couple of weeks just doing the distorted rhythm guitars on that first album with Shipley. 10 hour days for two weeks just because I was not used to doing anything as precise as that. On all subsequent albums, I knew what was required.
    A flam is a flam no matter what the genre. This is my job. I know how to do it.

    I take that with a pinch of salt. Many singers claim they never use any pitch correction tools in the studio either. :)

    I really don’t care what you believe. It’s true.

    If you are not personally capable of being able to accurately track something up, don’t paint those deficiencies on anyone else.

    My first ever album was recorded 48 track 2” tape (two machines) with Mike Shipley and a Larry Klein.
    Second album Sony 48 track Dash with Keith Olsen. This was 88 and 91. There was no computer editing. Just playing it right.
    There was no vocal pitch correction then either.

    It all depends what genre it's about. Some genres it's okey if it's not very tight if double tracked. If it's tight one is after, it's best to record a few bars at the most and repeat and repeat until the end. But all the super tight you here are fake. No one is that super tight no matter how good. It's all about editing the guitars.

    I never edit my guitars and they are always tight. 4 guitars sound like one guitar.

    Yes, it appears, that some of tha cabinet tags get accidentally prepopulated with the amp tags instead of the cabinet tags of the preloaded Rig. So you find Amp Manufacturer as Cab Manufacturer and so on. No clue, when this broke - it used to work.

    I reported this to our engineering. Thanks!

    Any news on a fix for this? It makes making multiple profiles a real pain having to re enter all this cab information when nothing has changed since the last profile. Got so many to do over the next few months. It’s the only thing slowing the process.

    Thanks in advance.

    All the best.

    When doing the DI part of the profile, I just use the same IR in Logic space designer that is selected in my Suhr Reactive Load IR. So much easier to refine when you have a normal speaker sound.
    I also check the DI amp settings match the studio profile amp settings before merging. On most of my profiles I have been doing recently, the studio and merged are identical.

    Personally, I would just choose your actual amp sounds and stick with them and stay away from any re amping.

    Decisions have to be made and you will have to commit to your sounds at some point. You would hate it if whoever mixes chooses sounds that you hate too. You also don’t want option paralysis when trying to mix.

    I normally record everything for my distorted rhythm guitars mono and dry. Normally two tracks left and right with guitar on 10. Then, two tracks left and right with guitar on 7.

    Any clean sounds with compression, I will record that way too. I generally record my clean sounds with the chorus too. Again, 4 tracks. Two mono left and right with a strat in position two with an ever so slightly light crunchy AC30. Then, two tracks with a Les Paul of my profiled custom Rockman X100 on clean 2 setting. These are two stereo tracks with all compression and chorus included.
    Anything with special tempo delays that are part of an overall effect, I will record with those effects on.
    I tend to commit to the sounds at the start of on album and for me, doing it that way, it’s easy to gauge how all the other stuff will fit around them. Yes, sometimes, the songs direction might change and we have to change the guitar sounds. That very rarely happens.
    Anyway, that’s how I do it. Your mileage may vary.
    Good luck. Hope it all goes well.

    It’s also handy to be able to have the same cab you created when profiling a studio profile then being able to put it into an IR loader in your daw for refining the DI profile of the same amp.

    I am now having great results with the Suhr Reactive Load IR. I can put the same cab from the Suhr into the Space Designer for the DI part of the profile.

    Just wondering. Do you own a Stage model? Sounds like you don’t. The LED that you describe putting tape over is actually an illuminated button that turns the unit on and off.

    Played around with it a bit some more. I do have those set correctly, I think. I do have the option to change the different imprints, and I do hear a change when cycling through them. I have the monitor ouput going to the bam and bam to Kabinet. Most of the profiles I try sound pretty bad though. A few sound decent like Fischers Jazz Fux OD2 from the exchange (I think that's where I found it) with the EVM12L Blacklabel imprint sounds pretty decent, others sound very fizzy, or harsh. I have the Bam set to 12 o'clock on all the dials. Not sure what to do with gain and master. I have gain up a tiny bit otherwise there's no sound, and master a tiny bit, because otherwise it's extremely loud. I'm just using this setup for bedroom playing.

    it’s just a cheap bass amp. I really don’t understand why everyone keeps buying them.
    As far as I remember it was not recommended at all by CK, he just asked had anyone tried one.

    Same here, same here :thumbup:8)

    I think Darren was adding a lot to the late Thin Lizzy and certainly not an easy job being there with always two great guitar players. But I liked his contribution and the more modern sound which they found in the early 80s. Missed them quite a lot as they have been massive influence on me as a young guitar player.

    Happy to see that Darren and you still have lots of fun with rock these days. Cool thing 8)

    Cheers. 😊

    Things like Angel Of Death were amazing. I remember them opening with that on the Renegade tour. Amazing intro for the start of a concert with the huge wind machines, dry ice and the Renegade flags in the strobes.
    It was quite a shock when I first went round to his house in 85 and he put a cassette on of the songs he was writing. I asked who the singer was and he said ‘me’.
    Such a phenomenal keyboard player and brilliant voice too.

    Missing our gigs so much. 😊

    That is awesome! Playing with Thin Lizzy in their prime. Must have great memories and stories.

    Yes, Darren was with them on Chinatown, Renegade and Thunder And Lightning.
    When Lizzy first split after the last tour that took them into 84, he came back to our home town and we hooked up in 85 and started our band Dare. Great for me as I am a massive Lizzy fan. 😊

    He is the singer/frontman in our band although he still plays all the keyboards in the studio.
    He was still playing with them until last year but I think Lizzy is now over.