If i made several millions of dollars with a cd, i would grin from ear to ear 
Will see them in 2 weeks in Hamburg 
OT off
Making-of Michael Wagener Signature Rig Pack
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Apparently they're pretty humorous about it:
External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.Damn, that's funny! Love when people don't take themselves too seriously.
However - I actually REALLY dig the snare sound on St. Anger, even though I may be the only one. the most radical snare sound since the snare was invented. The balls of that! Apart from that, I think it sounded darn cool too.
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I completely agree. It is very much a standard to use that DI as a way to compare tones. I always reach for it.
I reamped these DIs with 4 different MW rigs, which made a lot more sense to me then using the same rig four times.
Got the whole thing in a nice balance (I used the rigs completely stock - absolutely no edits were made) - sounds massive, yet all the detail come through nicely and nothing is lost
The problem: in my ignorance I assumed that the DI was property of JeffTD from the UM forum and realized too late that it is a Killswitch Engage track,
which is why I cannot upload the reamp.sorry.
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Actually, that would fall under the very definition of "Fair Use" - the quoting of a piece of copyrighted material for academic or review purposes.
-djh
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We all just need to get off our arses and make a DI track already!!! Don't we want the MW rig pack badly enough??
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For someone who is more video editor then audio engineer, what in laymans terms are you folks talking about?
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A DI track is simply a direct guitar track, i.e. directly into the computer, no amplifier. That is not to say that the guitar is necessarily plugged directly into the computer; best results are when you go via a DI box with a high input impedance. But since you have a kemper, you can get it easily, since it can be set to output the guitar signal only. This can be set on the first page of the "master" screen (push the button labeled "master"). For more info, read the reference manual (not the quick guide).
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We all just need to get off our arses and make a DI track already!!! Don't we want the MW rig pack badly enough??
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Actually, that would fall under the very definition of "Fair Use" - the quoting of a piece of copyrighted material for academic or review purposes.
-djh
hmm, since there's a certain commercial aspect to all this, I won't risk it.
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For someone who is more video editor then audio engineer, what in laymans terms are you folks talking about?
In this case, the idea is to have a "reference" guitar performance that can be run through as many profiles as possible, giving you a more accurate idea of the differences in tone and response without any of the variation caused by actually playing the same part ten times. Someone from Killswitch Engage, or who worked on that album, released a pack of all the DI tracks from one of their songs over on Ultimate Metal that has become something of a standard for people posting tone/mix samples.
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In this case, the idea is to have a "reference" guitar performance that can be run through as many profiles as possible, giving you a more accurate idea of the differences in tone and response without any of the variation caused by actually playing the same part ten times. Someone from Killswitch Engage, or who worked on that album, released a pack of all the DI tracks from one of their songs over on Ultimate Metal that has become something of a standard for people posting tone/mix samples.
No it's just a cover version purely done for the purpose of tone testing and reamping.
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A DI track is simply a direct guitar track, i.e. directly into the computer, no amplifier. That is not to say that the guitar is necessarily plugged directly into the computer; best results are when you go via a DI box with a high input impedance. But since you have a kemper, you can get it easily, since it can be set to output the guitar signal only. This can be set on the first page of the "master" screen (push the button labeled "master"). For more info, read the reference manual (not the quick guide).
Michael_dk, Thanks. I understand now.
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In this case, the idea is to have a "reference" guitar performance that can be run through as many profiles as possible, giving you a more accurate idea of the differences in tone and response without any of the variation caused by actually playing the same part ten times. Someone from Killswitch Engage, or who worked on that album, released a pack of all the DI tracks from one of their songs over on Ultimate Metal that has become something of a standard for people posting tone/mix samples.
And recording clean allows you to reamp it with added effects thru the Kemper so you have lots of choice of tonality after the performance is locked? Is that correct?
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And recording clean allows you to reamp it with added effects thru the Kemper so you have lots of choice of tonality after the performance is locked? Is that correct?
Yes, correct.
It is (relatively) common practice in recording studios, too. Especially if the guitar player is ADAMANT about "that's my TONE, man....", and the engineer knows it will never work in a mix - that's a good way to get the performance, and then later (when the guitar player realizes that the tone SUCKS in the actual recording - the engineer can dial in something more suitable and record the exact same performance, sending the DI track into the amp and recording it. (this is done through a reamp-box - or in our case, just directly into one of the inputs of the Kemper. Or via S/Pdif which is my preference).
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Cool. That partly answers my questions about reamping. I have the Kemper feeding a Focusrite Sapphire 6i6 with SPDIF. The Sapphire then feeds the Mac Mini /Logic Pro X via USB. I can tell I will need to research the Kemper functions and Sapphire setup when I feel the need to try it.
I could see a downside. For instance if the tap tempo of echoes are something you interact with when playing the guitar for a rhythmic effect recording dry just wouldn't cut it.
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I could see a downside. For instance if the tap tempo of echoes are something you interact with when playing the guitar for a rhythmic effect recording dry just wouldn't cut it.
yeah.. well if you're heavy editing guitar tracks.. i.e. several takes and combining sporadic cuts and/or you're doing cross fades/fade/out-fade in, then it can be noticeable.. so reamping comes into play.. but often, if you're doing minimal edits then analogs work just fine... most will never know or hear it.. only the discerning ear.
the best thing about reamping is the ability to dial in a final sound... eq for cut or warmth.. level of distortion and most often changing the fx levels and types.. what you think sounds good may not after you've heard it a few times or everyones part is in.. and it's too late if you only recorded the full effects on the track. of course you can record the guitar DI and you can record the amped dry sound without effects; which is what I do with s/pdf's but you can do that with the analog masters as well and just do your effects through post processing...
this only covers a small part of the gambit... there's lots of ways to build your sound...
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I could see a downside. For instance if the tap tempo of echoes are something you interact with when playing the guitar for a rhythmic effect recording dry just wouldn't cut it.
you can easily monitor your guitar signal with fx and record a Signal without the fx.
or even record the 100% wet part to a separate track -
Cool. That partly answers my questions about reamping. I have the Kemper feeding a Focusrite Sapphire 6i6 with SPDIF. The Sapphire then feeds the Mac Mini /Logic Pro X via USB. I can tell I will need to research the Kemper functions and Sapphire setup when I feel the need to try it.
I could see a downside. For instance if the tap tempo of echoes are something you interact with when playing the guitar for a rhythmic effect recording dry just wouldn't cut it.
1. The best part of using SPDIF to reamp, for me, is that after initially setting it up it's just a matter of unmuting one track and arming another to switch from recording straight in to reamping a DI track. Way better than messing with 1/4" cables to and from my interface.
2. You still have the Kemper playing your amped/delayed tone for you while you're recording, so as long as you have the tap tempo set to what you're playing it would still work fine. Make a note of the tempo at the time and then you can either reamp the DI through your Kemper with the same delay time, or reamp without the delay and add a tempo-synced delay in your DAW.
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funny now tht I'm thinking about it.. I'm always monitoring my master analogs and only go to the s/pdif's when I need to remap.. those tracks just sit there always muted... but then when I'm ready to work the guitar sound, they're there..
I do all my monitoring while recording through the main board and don't have latency issues.. it's nice to have the extended bus and routing.
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you can easily monitor your guitar signal with fx and record a Signal without the fx.
or even record the 100% wet part to a separate trackThanks Don. I wasnt aware that could be done.
