Posts by Vinny Burns

Quote from Burkhard

We offer a document for download - we call it Main Manual - which includes this:

Considerations Regarding Noise and Hum

If you’re PROFILING a very high-gain sound, you’ll probably hear a certain amount of noise from your guitar amp. This is the well-known “high-gain hiss” and nothing unusual. However, if you detect hum, or other noisy artefacts, from your reference amp then you probably have a ground loop. Press the GROUND LIFT button on the back of the PROFILER Head or Rack for both the MAIN OUTPUT and the RETURN. The PROFILER Stage has no physical ground lift switches, but instead provides ground lift options in the Output Section. If that does not solve the problem, try different combinations using the other GROUND LIFTs. It is important that at least one of the GROUND LIFTs is not activated to ensure that the PROFILER has at least one ground connection.

üRemember that hum and noise is undesirable and might have a negative influence on the PROFILING process. Often, the best results are achieved by activating the GROUND LIFTs for all outputs except for the DIRECT OUT / SEND 1.

Is there an issue with the ground lifts on the Stage with 7.1.5?
i have two Stage units. Lifting the ground on the send still adds a hiss that makes it unusable to profile unless I use something else in between to lift the ground instead.

I bought a toaster too. Lifting the ground on the send with the same amp I was profiling works fine so I used the toaster and have carried on using it for that function. Prefer to be able to use any of them though to be honest.
You guys did replace one of my Stage units due to other ground problems. Unfortunately, when the replacement arrived back, I was not able to test lifting the ground on the send as whatever OS I had installed at the time had the ground options grayed out for the send. I had bought another Stage to keep me going while the first one was being replaced. That has the exact same hiss when lifting the ground on the sound.
So, I buy the toaster and the grounds seem to work perfectly normal with that unit.
So, has the ground functionality on the stage been updated since 7.1.5? Did anything happen at some point as to why the were grayed out?

Weird both Stage units I own have that hiss when lifting the ground on the send while the toaster does not and works fine in the same studio.

All three units are still on 7.1.5 for compatibility reasons.

Quote from chu

Well, this is another can of worms! To most listeners, they can't tell the difference between a Fender Twin and a Kemper. To most listeners, they can't tell the difference between a Kemper and Amplitube. Most listeners can't tell the difference between a Custom Shop Fender Strat and a Harley Benton......

No one here is saying that the acoustic simulator isn't wanted, a great tool, amazing for those without an acoustic or even a great way to come up with some very useable sounds but if you have an acoustic and are remotely serious about recording and want to record the sound of an acoustic guitar, most people are going to do the real thing. Else we'd all be using a Variax already!

And let's face it, the drum machine section in songs such as In The Air Tonight are not trying to sound like an acoustic drum set, it's there for a specific sound which is very challenging to get from acoustic drums.

But my original point is that recording an acoustic guitar is not hard. Easier than recording a human voice in most circumstances. If you're recording instrumental music with no acoustic instruments, then a sim makes some sense but if you're recording a singer or real drums, micing a real acoustic is the least of your problems.

I don't record music to please anyone else, certainly not the mp3 listeners. If I want the sound of a Telecaster, I use my Tele. If I want acoustic, I will use my acoustic otherwise I might as well sell it.

Not trying to persuade others to do the same just countering points raised which suggest recording acoustic guitars is difficult.

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I don’t think anyone is deluding themselves thinking this is a replacement for a real acoustic. My Martin D28 will still be used in the studio. It is what it is and will be used by lots of people.
This acoustic sim will be more than welcome live for me and also when I am throwing quick demos together in the studio when I am writing.

Quote from tnipe

With gain reduction indicator!

Yes, that would be fantastic. Really miss having a gain reduction meter.

Most profiles I have bought just have way too much bottom end for recording. I am shelving most stuff below 105-120 and still having to take a little bass out of the profiles. Makes you wonder what people are monitoring on when profiling. No mix engineer would use any of these without cutting everything below 120hz. A lot have too much energy in the 290-310hz area too.
it’s something I am always careful of when profiling my own amps.

I tried the Night’ profiles earlier today. They sound really really good. Excellent profiles.

Not got to the other Mk profiles you did. So, are there now new ones too? The others you posted recently are in my Kemper but I was working on something else today so only got to try the Night’ ones.

Quote from ckemper

I am always trying not to take over artifacts from the past that are taken over by generations without questioning it.

I tried separate tunings in the past and I questioned it.

With low differences it did not make an audible difference.

With large differences it had a bias to one side.

The detune thickens the sound, of course. But it's not the difference that makes the thick sound. 11 and 13 cent is too subtile.

It's the different direction (+-) for each side that does the trick.

This is why I chosed a single "Detune" control for all pitch shifters that goes in opposite direction (no option), without having a bias to one side.

Easy to use without having to learn at first place why to set it that way ...

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Yes, absolutely agree. Totally. I would never set two of them to a plus or two of them to a minus. It has to be a plus and minus with the pitch detunes but offsetting these slightly is just really nice.

You can do this with a 3 osc synth and osc. 2 and 3 panned left and right. Main osc set flat then say -7 and +11 for osc 2 and 3. It sounds different then just a setting of - and + 9. Now, bring in a subtle delay difference on each side and it really makes the sound pop.

I understand where you are coming from that it has to be a plus and minus. I meant this all along anyway. That is how I have always used this.
Once again thanks for the input. ?

Quote from ckemper

I will have a look at Flutter problem.

Did you try Modulation?

I know that many players advise to have different pitch offsets for each side.

But while I have both sides detuned in opposite ways anyway, why would I want to have one side constantly more detuned as the other side, and on top of that, create a bias on the overall average tuning of my instrument?

In your case it would be +1 cent.

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Well, we will have to agree to disagree about the different pitch on each side. ? I will say that the famous Yamaha Pitch C setting was all over most big records coming out of LA in the late 80’s. It was on millions and millions of albums sold. It really does not sound weighted to one side pitch wise. It really thickens the sound.

Yes, I tried the modulation in that block. I worked on a nice dual chorus patch straight after that pitch one. Still missed the overall volume adjustment at the end to bring the volume jump down but there are definitely some nice results in there.

Going to explore all the pitch/delay blocks with a view to chorus sounds over the next few days.
Thanks for the pointers. Really appreciate it. ?

Well, a few observations after playing around with the Dual Chromatic Delay.
After setting up a Micro Pitch sound, the preset completely freaks out if you use Flutter settings of Flutter Intensity 4.6 and Flutter Rate of 3.9.
if you want the full settings that made this happen it was

all the settings across the top of the screen are at default settings.

Mix 100.0/100.0

Delay 1. 4ms

Delay 2. 9ms

Delay balance. 0.0

Feedback 1. 0%

Feedback 2..............

Low Cut. 20.6hz

High Cut. 33488.1hz

Delay 1 pitch. 0

Delay 2 pitch. 0

Pitch Detune. 9.2ct

Reverse Mix. 0%

Stereo. 100%

Chorus. 0.0

Cross feedback. 0.0

Modulation. 0.0

Flutter Intensity. 4.6

Flutter Rate. 3.9

Input Swell. 0%

Smear. 0%

Ducking. 0%

This was my final preset. Just where it was when it started freaking out.

After playing a short while, the left and right delay times distort and the preset randomly spits out longer delays and distortion. Turning Flutter Intensity to 0.0 stops this. Seemed to work ok at lower settings. Shame, as it sounded nice at those setting but I can’t use the flutter part of the delay.
Also, for this to be useful for dual pitch or dual chorus, it needs a volume control at the end of the line. For this particular pitch setting, I am using them at 100% mix so the preset ends up louder with no way to control its overall volume. Same when used as a dual chorus.

So, although this delay block is kind of usable, it needs the delay pitch 1 and 2 to be able to do cents as well as semitones. One Pitch Detune setting does not replicate the sound of two separate settings.
It needs a master volume at the end of the line.
it could possible do with some pan controls too.
in my defence for not coming across these settings in the delay blocks from initially using the micro pitch block, I had just moved from using the AX8 live to the Stage and had 22 songs to program in straight away before our next fly gigs. So, naturally, when I was looking for micro pitch, I liked at the Micro Pitch settings. ? Same with the Chorus sounds I was working on.
Would be great if you could look at these couple of things and have them added to an extended Micro Pitch setting.

Quote from ckemper

It's there since quite a while.

Where are the creative brains here on the forum?

Well, just tried this Dual Chromatic. To be honest, It’s not quite there for SPX90 Pitch C setting.

Now, if you changed the delay pitch to cents rather than semitones, we can then choose the different micro pitch on ‘each’ side that is needed. That should be it then. ?
Thanks so much for the input. This is much closer but needs that different cents setting on each side to really make it work.

Quote from ckemper

It's there since quite a while.

Where are the creative brains here on the forum?

The Dual Chromatic Delay does it.

Load the Default settings.

Set Mix to 100/50 % or all the way right.

Set Delay 1 and 2 to your liking.

Feedback to Zero.

Pitch Detune to your liking. (It's in Cent). Will detune left and right to the opposite.

Modulation to your liking.

Check the Stereo parameter for 200% (Super Stereo)!

The detune is not available separately for both sides.

But this is not really crucial, and the Modulation feature will surpass this by a natural pitch and delay fluctuation.

You could even season it with a bit of "Flutter" for random variations, without making it sound like a tape delay.

In a way, this is a "Haas Effect", a Micro Pitch and an Air Chorus at the same time.

CK

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Thank you. will give it a go.

I am guessing that I could also get less static chorus sounds by using something like the dual delay and setting a slightly different ms delay time on each side then using the chorus setting although you don’t have any way of absolutely controlling the chorus this way as it would be set the same for both delays?

Cheers for the input.

Love my three Kemper units so wanted to say that first. ?

Tc 1210 and TERC type chorus.
Much longer mono delay.
Comp with standard controls.

Micro pitch shift with all the controls that an SPX90 Pitch C preset has.

Thank you so much.

I think people need to forget the notion that people playing big gigs somehow have this amazing sound onstage.
It’s all a compromise at best. It’s just a matter of setting levels where you can hear yourself and the rest of the band as best you can. I will spend all of 30 seconds getting the monitor guy to eq my monitors onstage so it’s a little kinder to the guitar then, I move on to getting my levels sorted so I can hear me and the rest of the band.

Unless we have a major problem, we keep our sound checks as short as possible and get back to the hotel for a shower and a rest.
There is no amp in the room sound at any gig bigger than a pub or a bedroom. The best thing about the Kemper and the like is the ability to setup in a couple of minutes (especially at a festival) and have the same sound onstage and out front every night. Straight to monitors and straight to pa.

Even in the days when I had a stack of 4x12’s onstage, as soon as you moved just to the side of them, the sound was gone to almost nothing. Over the years, you just get used to what the sound is like on the rest of the stage from a 57 to the side fills and the rest of the wedges. In the end, that mic’ed 57 sound is fine everywhere else on the stage and you forget about ever having a big back line.

Would be great to have just normal compressor settings that are industry standard.

Or, if your going to make it like a particular pedal, make it like the pedal with just those controls.

Be nice to hear some ‘normal’ profiles of a Mk series (although I do personally like them with the graphic in a nice sensible v shape).

Pretty much every profile of a MK series I have seen posted from people who sell profiles is downtuned metal. Hard to believe that these mk series were famous long before that from the likes of things like Santana, Toto Isolation, Brad Gillis with Night Ranger and even Gilmour on his Wall live solo sounds. Plus, all the LA sessions that were done back then with Mk series amps.
I have three Mk3 amps in my studio (one is my sons). Two blue stripes and one red stripe. I think they are fantastic amps.

Quote from Xisale

I tried to zoom on the track and I was actually able to see a crack were it appears. Here is a screenshot.

The problem is that many times, they happen in the middle of a note/chord, so if I'd lower the gain on this part, the there would be a weird blank instead...

You need to zoom in on just the transient that is the crackle. It will be just a very very short spike. You only reduce the gain on this one transient and nothing else.

Any crackles/pops in the audio can be zoomed right into. They are normally just a sample or two long. You can highlight them and just reduce the gain of that selection massively and the crackle will normally disappear on playback.

Any news on if/when this and the chorus could get more sophisticated features? Would be great to be able to dial in similar settings that I used to use in my old Bradshaw systems. Chorus really needs more options. Less Boss pedal and more Terc and TC Electronics 1210.

Quote from Burkhard

What you describe could be a normal extinction, if the MicroPitch is used in the mono Stomps Section. This effect might make more sense in the stereo Effects Section.

is there a way then to stop the micro pitch shift from auto panning?

Quote from BRYANMELTSYOFACE

Vinny Burns

Dude, RUSH absolutely!!!!

The last few weeks I have actually been in a Rush worm hole LOL Trying to get some of that sweet Alex Lifeson guitar solo tone going. I really appreciate you listening and responding with such a kick ass motivating response. ROCK ON!!!!! That end solo is something I am very excited about stormhenge

Excellent stuff. The solos sound great and not just that one.