Posts by Vinny Burns

No idea why resizing that photo turns it upside down. ?

Edit..... Fixed the upside down photo

Just used my Kemper Stage at a fly gig in Portugal this week. Sounded great and worked perfectly. ❤️

Does the stack option include any expression pedal controlling volume post stack?

Quote from mwinter77

I have SD's from the '97 era in an Ace LP I also had to lower clean sense to -5 to keep the input led from turning red and the input A/D from clipping on my most aggressive playing.

yes, -5 was where I found it best for my Super Distortion guitars too.

Quote from Monkey_Man

Awesome, Vinny.

Seems you did the RT; that 1U gap is something I swear by for warmer gear too. Based on my observations of the line's users these past 6 years, I can only conclude that you were very-unlucky, you poor bugger.

I too loved CueMix's simple approach - a mix layer for each output pair on your interface/s. So quick-and-handy. MOTU's gone the whole hog with the new system 'though, and I reckon it's due to the huge networking (and resulting channel counts and complexities) abilities of the AVB line. Overkill for we mere home-studio types for the most part IMHO, but I can see why the company went this way - it'd have had to offer two separate apps in order to satisfy both those with simple needs as well as the heavy-hitters.

I kind of wish they would go the whole hog with AVB as an updated line for their midi interfaces.
I have a few of my favourite synth things in my little control room run from a MOTU Express 128 over usb but I also have synths in my live room hooked up to a MOTU Midi Express XT USB for writing in there and it would be great to be able to just send an Ethernet through my wall boxes and trigger the synths in there via an AVB unit.

They seem to have everything else figured out over AVB. Surely that must be coming eventually.

Quote from Monkey_Man

I've been following the mega thread at GS since the AVB line's initial release (133 pages since July 2014), and I can't remember having seen any reported power-supply failures, Vinny. I can't help but wonder if you've neglected to leave 1U-sized empty spaces above and below your units in the rack/s.

I remember back in the day MOTU recommended this for its 24I/O units, which ran hot due to the 48 AD / DA convertors on board, and your 24ai apparently runs even-hotter. If your room is warmish and you haven't left these spaces, I'd say there's a good chance you've created an outside-spec environment internally.

Apparently once one has one's head around it, it's simple to set up and leave untouched, Vinny.

It might help to think of it as a sophisticated patch bay. As Lady Gaia at GS said:

Most signals go through the matrix twice. Once from a physical input to a mixer input, and a second time from a mixer output to a physical output.

In your setup all your sources, such as analog and digital inputs plus your “from computer” inputs, should be connected to mixer inputs “In 1” through however many you need to accommodate every channel you use at once. That gets everything into the mixer where you can blend signals to taste without touching the matrix.

Then your “Main L/R” and “Monitor L/R” sources should be connected to your analog 1/2 outputs and headphone outputs, respectively. Now you can hear everything coming out of the mixer through the main outputs, and the headphones will be identical until you solo something, which is what causes the monitor mix to diverge from the mains.

Once you have this in place you can start thinking about using other analog outs as sends from aux or group busses.

HTH, mate, although I suspect you've figured this stuff out already. Nevertheless, it sometimes helps to hear someone else's method of explaining it.

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Yes, a 1u gap above and below each unit. Before I was using these, I was used to my Focusrite ISA 828 and ISA 220 in my studio rack and those created at least twice as much heat as the MOTU could dream of putting out. So, ever since the Focusrite were in there, I have always used a 1u space above and below.

All powered from a Furman too.
I got used to the routing after one week one of owning the AVB units and I had the 1248 since first released. Still hate the routing though. ?

I much prefer the old MOTU routing programs. Been using them pretty much since the late 90’s. Have had a couple of other things in there like an Apogee Ensemble over the years. Must have owned over 10 MOTU interfaces though.
828 mk2 never lasted long either.
At least in the uk, when sent back to the distributor out of warranty, they send you a brand new unit for £110 or thereabouts. I think it might be the UK voltage that fucks them up.
Don’t get me wrong, I like the units. That is why I have kept them. I also like MOTU which is why I have had so many of their units over the years. ?

1248 is good. I have one in my studio along with the 24ai.

Problem with the new MOTU stuff is that the first 1248 died (they sent me a new one). Now, the 24ai is dead too and needs replacing.

The power supplies on these seem pretty bad. Especially for the money.
The routing software is a bit weird too. The signal flow comes from the top of the app for the inputs then goes left to the outputs. Really weird for me to get my head around a signal flow not just going left to right.
Another strange thing is that the app runs in a web browser. So, while you think you are safely pressing save in the app thinking you have a backup, that is only saving it into the current preset in the actual hardware. There is another menu to specifically export the settings and routings. Has to be done per unit too. This caught me out when the first 1248 died and it turned out I didn’t have a backup when I thought I did.
MOTU eventually got the original to boot and sent me the file but that was two weeks later when I already had the new one up and running with the routing painstakingly setup again the way I had it.
I love MOTU AVB the units but I wish they would sort out the power supply problems.

Yes, would be great for someone from Kemper to clear this up. Especially about the input LED and clean sensitivity.

Quote from cdestino9

Good morning, no, my FRFR 108 cab has a L/R stereo imputs. I connected the L/R main TRS out of the Kemper to the respective inputs of my cabinet.

it has one speaker so cannot be stereo. I have two of the 112 version for that exact reason.

Are you using a stereo out from the Kemper into a single mono 108 cab?

Cheers. ?

I have been recording and touring with this pairing since 1985. I have set my clean sensitivity to -5 and that seems to be about right as far as loudness between clean and distorted sounds are concerned. Might have another look at that though. Only been in Kemper land since the Stage was first released and I have two Stage units.
I thought these settings would have been more or less transferable as far as sens parameter and a specific pickup model is concerned. Height makes a difference of course but really is it that much where an average setting would not translate fairly well?

Cheers for the input. ?

Any DiMarzio Super Distortion users out there? What are you setting the clean sensitivity and distortion sensitivity to for this pickup. Pickup is in the bridge paired with a DP103 PAF in the neck.

Quote from Monkey_Man

Yeah Vinny, I owned a Wavestation A/D and went through several SR units back in the '90s 'cause I kept returning for that sound no other synth could produce.

The SR was Hell to edit; the old adage that programming it was like trying to paint a house through the front-door letter-box slit could not have been more-appropriate. I did manage to come up with some ripper patches 'though. Now that it's available as a plugin I so wish I'd kept the sysex files.

When I joined Asia for the Aqua world tour in 92, Geoff had programmed loads of really nice stuff on the Wavestations he had used on that album.

It was so unusual at the time. Sounded brilliant.
I do have the WS on my iPad but never get the time these days to mess about with it. Most of my synth sounds end up coming from my Prophet 08 now as I can just immediately get hands on with the interface to create a sound.

The worst thing about all those great synths from the DX onwards was the user interface.
I recently sold my Oberheim OB8. Now, that was a beautiful synth. I hope Behringer get their UBXa to market soon as I really miss the Obie.
Will definitely check this Korg out too. Hope they announce a 61 key version though otherwise it can only be a sound module away from the keyboard that is controlling it.

Looks great but I would very hesitant to take anything on the road that uses a wall wart. Opportunity missed there by not having an IEC connector on the back.

Definitely the tail wagging the dog on this demo. When the original Korg wave station came out, people actually programmed their own wavesequences which made for some really interesting sounds.

The fact it only has 49 keys tells you it’s not aimed at players but ‘producers’ and ‘dj’s.

I got a Modx7 this year to replace my DX5 and TX816 in my studio. The factory sounds are horrendous. About 6000 unusable sounds. ? I only really bought it for the FM side though.

Practically everything has patterns and loops linked to it and then everything routed to everything else in the modulation matrix. Just because you can.

Loving the Kemper Stage. Missing a good few features that I am used to though.

I would still love the ability to choose which rig is initially active when switching a Performance.

Better Chorus algorithm’s. More TC 1210 than boss pedal. The chorus is just not lush enough and modulation wise, very predictable.

Micro Pitch Shift able to do what an SPX90 could do 30 years ago. Set different left and right shift with plus and minus pitch settings plus a delay setting for each side. Can’t replicate any classic micro pitch shift the way it is now.

Longer Mono Delay time.

Apart from that, fantastic unit. ❤️

Quote from GearJocke

Choose two that complement each other. If you just choose the same for double tracking all you end up with is a bigger mono not stereo.

While it’s great giving an opinion on this stuff, in my experience, the above statement is absolute nonsense.

I have tracked up most everything I have ever recorded with some of the biggest producers in their field (Mike Shipley, Keith Olsen, Mike Stone etc). Except for where I was going for something different texture wise, we pretty much always tracked up the same sound.

The pedal calibration setup needs a rework. You press the calibrate button and there is absolutely no indication if it has worked or is even functional. Awful implementation for something quite crucial.

So, did anyone ever go to court to test this? Is it all just based on threats from lawyers? Subsequently, a reluctance to test if the amp companies have any legal standing to stop anyone mentioning by name the amps they legally own and have profiled (with a view to selling those profiles)?

Surely the act of profiling your own amps is not illegal or Kemper would have ceased production of their amp profilers. Mentioning exactly what those profiled amps are when selling the sound of your own amp and that being illegal just seems to be so strange.

My amps, my sounds. My profile of my sounds. I don’t remember any small print or signing a disclaimer when buying any of my amps saying what I could and could not do with them once they left the shop. ?

If I was selling profiles, I would be selling a snapshot of my sounds on my gear that I own.