Posts by Alfahdj

    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.

    With a real tube amp, which has consistent characteristics going out to FOH all night long, you can absolutely be sure that what you’re hearing on stage is **closer** to what the audience is hearing. Not exact of course, but reasonably close.

    I will just suggest you to get a look to a SM57 frequency response, and tell me how close can a signal get after going trough it, without even mentioning its placement. Mic´ing an amp is an art, and consistency comes from the artists, unless you always have the same audio engineer, you will never have consistency, no amount of EQ can fix a bad placed mic. That problem is solved with the kemper, you can take your flat profile headphones and have a good idea how it will sound un FOH, good luck fighing the engineer because you hear yourself awesome and the front sounds wimpy.


    Pro Tip: Profile your amp with the cabinet that you use on the stage, in a studio enviroment, with quality mics in a couple of settings, and there you have it, your sound in the stage will be what you expect it to be up front, not mixed cabs, not different eq, and the best of all NO MIC ever again.

    Lets give the QC a year or two of maturity, and then we talk about how good is it, its about the same time that the "honeymoon" effect on marriages end. And then we come back to the board and say how awesome it its, Right now I read a ton of people have it, meanwhile my sweetwater rep tells me they havent shipped anything, who knows.

    Not stupid at all, actually, I bet that secretly most of us go for looks first than sound. Its the effect of falling in love with what you see, and afterwards, with what you hear. I mean, I have never tried a guitar that to me looks ugly unless a friend of mine insist me to.


    I will be honest here, I also just go for looks and feel/playability, because all of my guitars had their pickups changed one way or the other. I am super picky about pickups sound tough (bad pund).

    I agree with you, guys. If it resonantes unplugged then it will most probably sound great when plugged in. Wood matters! Being lefthanded I don't have the chance to try out many lefties unless I am visiting a large town, and often not even there, but when I do I like to try them unplugged first, unless there's too much noise around me. Obviously a Gretsch will resonate more than a Strat, but the point is sustain has a lot to do with the wood and the construction.

    My experience is not as straightforward, I did an experiment back in the day with 2 gibson sg (the one you see in the picture, 75 sg standard) and a new one (2014 Standard). My point was to prove if actually vintage guitars sounded better. So my frien at that momento recorded the same loop with the same amp, more or less the same with both guitars, then we changed pickups on the guitars and did the same, and after we looked up blind, we didnt know which was which, some nunances in the playing, but nothing mayor.


    The old one resonated way more than the new one, but that didnt seem to change anything in the sound, not even sustan, it felt about the same. One thing we did find better in the old one, it felt better to play, as you have that kind of tactile feedback when playing a resonating guitar.


    My idea of what affects tone in order is the following:


    1.- Pickup

    2.- Bridge

    3.- Mass of the neck/ overall construction (tie)

    4.- Wood


    At least thats my subjective experience.

    So this is a sweet thing. I own a KAB. Will the the powered KAB be available with a stereo power amp? Any intel on that?

    I think you get what you see, mono input, no outputs, I doubt they have plans for anything else kabinet related. Still these will sell like pancakes because even guys with powered units might love the idea to buy the powered one to do a kabinet stereo setup.

    Same with cars. People think driving a Vette is a chick magnet, but the only people who ever come up and say, "cool car, man" are the dudes.

    Just to say I had more times of bromance after gigs than "romance", long after-nights geeking about how cool valve amps sounded, why SRV used 13s and how nice is to play a Gibson compared to your average supermarket all-included-pack guitar. Good old times, didnt have girls, at least I had fun, and beers, thats important too.

    If guitars lead to chicks, then more guitars leads to more chicks, right?


    Sounds like a perfectly reasonable strategy on her part. :)

    The more guitar you have, the more guitar players ask about you, I am pretty sure the formula doesnt work as intended. Seriously, I change more guitar during the gig, It is like 300% more probable that one dude comes saying "damn, your axe is gorgeous man". I wonder....

    My Kemper clicked until I profiled my own Twin, and to my surprise, it sounded identical, I just added some more amp compression and now it reacts better at lower volumes than my twin. Maybe you should try to profile your amps with a simple SM57, you might be surprise that even the punch and air from the amp is there with the same cab. Also, try some direct profiles from the amps you like, preferably profiled with the same kind of cabs (reactance to speakers is a thing), and EQ at high volume, that way you might find what you are missing. If anything, valve amps are more wild when turned up, but you should get really close.


    About how different you sound in FOH, it is a realization you get to when using the kemper. I discovered that I never sounded as amazing as I heard myself, because the front engineers were morons, they do the mic in the outer zone of the cone, and EQ everything making the guitar sound shrill and only for the voice to stand out. I started to get the "Your guitar sounds amazing dude!" after the kemper.

    Try one of the tweed Pro’s. Either TAF or Top Jimi. It might even surpass The Princeton.

    Top Jimmy sounds more studio-like, I like it a lot, so it goes without saying I recommend it a lot. But being honest, this sound should be achieveable with free profiles pretty reliably, it is all on the volume and tone knob.