Posts by Alfahdj

    I don't think it's about tightness and focus. It's speaker EQ. The greenback imprint makes the profile sound thin, tinny, harsh, like something digital. It's always hard to describe sound so you best try it out yourself to hear what I mean. When it comes to the cab I do think it often sounds boxy but that might be my inability to dial in the profiles.

    The kabinet sounds boxy, its not the kones fault, nor your fault. How does the V30 sounds on it to your opinon? It makes me courious as I find the V30 particularly harsh (the same as real ones), so maybe we can start from there. I will try it with the marshalls on the 2020 pack, with my 212 kone cab, and will let you know. As comparison, I have a Cabinet with a waza speaker, I expect to sound similar to it.

    Cab structure has a ton to do with the sound being tight and focused, my bet it is that you are having a hard time with the 112 sounding as tight as the 412 greenbacks. A 112 will sound flubby and lack body compared to its 212 and 412 brethen. My only complain about the kabinet, its also it is MDF, I am not a fan, I always preffer plywood, it is more straightforward sounding. Maybe thats where the Kone isnt cutting it for you. It didnt for me, so I made a 212 with kones, sounds nicer.

    Hello Muleblues, I'm also thinking about getting 2 kones and put them into a 2x12 cab. How is your experience with that? Which cad did you use? How is the sound difference if you compare the Kone configured to V30 with the real V30s?

    I had the chance to compare creambacks, before switching to kones, the differences are there, like the kone sounding a tad bit HiFi-ish sometimes, but they are minimal in the sound department, it is more a sound pressure and sound dispersion thing, not that kone is bad in that department, it is just different.

    I suggested that cables do matter (instrument and speaker cables, perhaps even the DI cable?) :)

    All cables matter. Decent quality (as Ingolf said) short lenght should give you optimal results. Remember that while longer the cable, more suceptible to distortion and interference, also there is a loss in tension the longer the cable. Expensive cables in my honest opinion are useless in the application, and you should not worry too much about it.

    And as a side note, never say that cables dont matter in a forum with audiophile guys, you would be asking for trouble. There are people that actually have thousands in gold-plated-oxigen-free-nickel-meshed-kevlar-coated cables (its legitimate adviced, not even a joke).

    Well, for starters, tons of amps are profiled just using a cable and a SM57, with good results, zero issues. If better cables make a difference, I dont think they do in the big scheme of things, the shorter the cable, the better for the profiling. Regarding guitars, there are people that to this day use an specific guitar for refining. I have done the process with a SG and a Strat, and got to almost the same result after refining the same amp with different guitars. I dont think it really matters too much.


    Regarding how the profiles sound different with different profiles, well, they are supposed to, the same way different guitars sound different with the same amp. Sometimes the author of the profile says they used a certain guitar for certain profiles, that normally means they EQ according to that guitar for it to sound good, but it is just a reference, just how I set my Twin for my strat to not sound sharp and trebly, it doesnt mean that you cant use that for a super strat or les paul-like, you may just need to EQ further.

    Not usually, but I think it's cool when shredders use them because it's a bit of a challenge up high. Sykes, Rhoads, Sinister Gates all used them. I really think it has to do more with looks -like you wouldn't usually use a BC rich warlock in a bluegrass band, les pauls don't look like shredder guitars. When it comes down to it, You could use a Warlock in a country band or a Gretch with a humbucker to play Van Halen songs on and it would probably sound fine. Guitars don't know what shape they are when they make sound, they have a neck, strings, pickups etc.

    Well, looks were constructed with the legacy of some guitar players decades ago. Nobody would think on shredding on a strat without EJ and EVH I think, super strats were just the result in design AND looks to what guitar players were after in a shredding situation. I have my trusty Solo II custom, it has a 12" neck and it is totally shreddeable, but then I had this ibanez prestige with the thinnest and flattest neck I ever tried, and understood the point of it, it is butter on the fingers. I prefer more meat on my hands, but I bet some guys prefer the lighting fast action of a shredding axe.

    If I could have access to my dream amps, a technic that gives them maintenance, guys that bring them everywhere for me, and tons of money to spare on 412s, mics and mixing desk, ¿why would I care about the portability, authenticity and reliability of the kemper? LOL, I bet a dumble is on the reach of slash, and considering how sought after are they, maybe he has one, just for the luxury of it.

    I am not a Slash fan, but I recon his own merits. I believe that he helped to bring Gibson LP back to business, in middle of Eddie and the super strat era. He dared to be different, maybe his iconic songs and his top hat helped him more than his chops, to build his fan base.

    Not all great players or virtuosos out-there inspire or create trends like Edge and Slash did, with less technical skills.

    Clapton is not a virtuoso, compared to Hendrix, Page, but a master and great influence to many.

    Completely agree that guitar players (or any instrument player by that way) needs not a virtuoso status/technik to actually be inspirational or relevant in the music media. Not everybody is Vai/Johnson/Plini/Malsteem level of virtuoso, and there you have guys playing humble styles making leaps in the genre. I mean, Kurt Kobain I bet inspired more guys to play guitar in the 90s than someone as Petrucci, that says something.

    yes it just felt loose and flubby. Maybe in a little bigger cabinet would help, but the Kab I built is the exact size of the Kemper Kabinet

    Yeah, that sounds like a MDF/light plywood 112 all right, not the kones fault I think. Mine is nice and punchy in a 212, I think a tight 212 is the be all end all in terms of sound versatility.

    In my book he's got the time feel and note choice of a great guitarist :)

    Well, on recording he sounds very nuanced, I give him that, but live, I think it is underwhelming, sometimes is like slash is trying too hard to play like slash LOL, I am also on the camp of it being good, not great. But to each their own.

    There are usually a bunch of backline amps and stuff at most important concerts that could be used in case the Kemper goes wrong so I never bring a backup. Besides, I know of Murphy's Law and all but in 5 years of everyday use of the Kemper, it never just "stopped working" all of a sudden. There has been a few crashes and reboots maybe, a non critical hardware issue as well but not a full stop "I suddenly can't use it anymore." So statistically, 0 occurrences in 1825 days. Do what you will with those odds but imo there are more important things to worry about before a gig. If something goes wrong with Kemper say the week before the show and it needs repair, I do have a large pedalboard (containing an Atomic Amplifier 3) that does the job just as well.

    It all depends on where you are on the food chain, it all starts getting like it when you already play in middle band festivals. Most of the concerts I went, the only alternative was asking for someone to lend you their amp for the night. No backline whatsoever. I believe that things like the HX stomp will fast become the backline for many guitar players. The size and relative quality to it are genious.

    I have a Tumnus Deluxe as well. Both on the same board and often on together. They are completely different animals.

    Easiest way to look at it is the Tumnus is a Klon-style where the Euphoria is sometimes called a Dumble-style. I don't use the Euphoria for a lot of gain. The knob never really gets past 9 or 10 o'clock.

    I've used the Euphoria with all types of guitars. As for amps, clean Fenders and modded Marshalls (there's a Soldano profile that's just obscenely good). The Euphoria just does 'something' I like. ¯\_(ツ)_/¯

    I have heard the euphoria, it thickens the sound, gives a ton of mid body. The tumnus is more low mids body and a bit more crispy in the high end. I know by experience :D if I had to describe, ephoria is for carlos santana tone, thats how it felt to me.

    I'm sure someone will say " but yes some pros still use 35mm because it has some warmth that is missing with digital", in the same way high end hifi uses valves. But regardless, this is just additional colouration that can be emulated via digital.


    Same argument for recording desks and tape vs hard disk.... :) but technically it can be emulated. I'm at risk of sparking the whole "digital bad, analogue good" argument..ha!

    What actually happens when going from digital to analog for first time in any medium, its a rediscovery, vinyl has imperfections that make it sound "warm" which we relate to "analog-ness", when in all truth, old recordings had no capability to record beyond 14 khz appropiately, and to that, add the vinyl characteristic of material on it is degradating while the needle is rolling, and changes according to temperature. All that was distortion, not "analog warmth".

    Ok, create a human brain. No rush, I can wait ?


    For the other things you mentioned, just read my post. No time to write the same stuff again and and again. The "blind" test argument is misleading. Use both in a band side by side and you'll get it ;)

    Have you ever heard of neural networks? did you even read what I said? I am an electric engineer with specialty on modelling and simulation, and yes, I believe we can get the transfer function of a brain, we just dont have the processing power to do so just yet. And guess what? I use my kemper in my band, and no problems cutting trough the mix, with the pair of jensens in the empty twin husk, or any other cabinet. If you have problems cutting trough the mix, then you have a problem with the way you set up your sound.


    Good luck with your missinformation breach, I am not interested in convincing anyway.

    I got a Maxon OD 808 and am using it with my Top Jimi Marshall based profiles with a marked improvement. With and with out the TS in the Stage I always use. Really adds a nice layer to open it up and take away that 'cocked wah' thing the Kemper TS can add.


    Others?

    The best tool is the one you know how to use better. Everytime I want to reach for my oldstyle sound, I get my old beaten fuzz face, and my tumnus. I am sure I can get close if I use the tools in the kemper, but my pedalboard is there, collecting dust, so I just plug in and get the tone I know and love instantly. Just a tiny amound of fuzz before the tumnus and I get a really nice fat overdriven spikey sound.

    Lol no they don't. You'd wish though ?

    Because you said so, of course. Really, I know over 20 musicians that still believe tubes are magical artifacts or something around those lines. You can emulate ANYTHING with a transfer function/ differential equation/ mathematical model/ neural network. Its just a matter of time and processing power, and the method of course.


    After an A/B blind test with the kemper in a real room, with a real cab, I bet you wont know which are the tube amps, and which are kemper.