Andy Sneap Interview, trick to tone match during refining.

    Guys a question from another confused person :0


    When sneap tracks an album it is usually the norm to track a di along with the amp. Later on if the band wants to have the same album tone maybe for live purposes he can fire up the old sessions and feed the kpa's return with the amp and route the dis to the kpa's input. That way the di is exactly synced with the recorded amp and the result is similar to tone matching but resulting in a profile.


    this could be one use of this method but what confuses me is that i dont believe sneap is reffering to that. He mentions it helps with the refining so i think he means that it helps the kemper to profile an actual physical (as opposed to a recorded) amp more accurately.
    iow the kemper will match the amps tone exactly if we use this method during refining which is different than the purpose i spoke about in thefirst paragraph.


    and that is what i am interested in and dont feel i understood. I dont always get my profiles to sound exactly like the amp although it depends on the amp (some seem to b harder to nail than others.) and sneap seems to b referring to a better way to refine to match the profile exactly to the amp. again that is different than what i described in the first paragraph.


    and if while profiling instead of routing the mic to the kpa's return i record it to daw and instead of connecting my guitar to the kpas input i track that too and then route both signals from the daw to the kpas return and guitar input respectively i see no benefit (just unwanted ad/da conversion) hence the confusion. This is how i know im missing the point.


    sorry for the long post; english is not my native language either (cheers djemass :D)


    any help? (Hope i explained my question well..)

    Rispsira,
    It seemed to me that his whole point was the ability to create profiles from old sessions from before he had his kemper. To make it happen he figured out a way during refining.
    He was vague so it's only my best guess from what he said, but from my tests I believe I'm on to something.


    I sure wish Andy Sneap would chime in and explain his technique.

    When refining, the raw guitar input signal is not independant of the KPA return signal. If it was, you could simply feed any signal to the return and result in a tonematched profile. But it does not work like this. In order for the refining process to work, it requires the guitar input signal and return signal to be in perfect sync. Everything else results in strange artifacts. This is the reason why you need to have the original DIs for it to work. In every other case you will have to use something like ozone and router the profiling signal through your DAW. Also works great and does not need the original DIs.

    Quote from Sledge139

    Rispsira,
    It seemed to me that his whole point was the ability to create profiles from old sessions from before he had his kemper. To make it happen he figured out a way during refining.
    He was vague so it's only my best guess from what he said, but from my tests I believe I'm on to something.


    I sure wish Andy Sneap would chime in and explain his technique.


    oh so u mean this was the purpose; profiles from before the kpa. In that case it becomes clear. He uses an actual amp, logically the same one that was used on the record. He then tries to get a similar sound with amp settings and mic position and at this point here comes the necessityoif this method to then refine the profile to get the exact same sound (that originally results from the tone settings and specific mic position as well as the way the guitarist plays)


    this could have one benefit: u can take a profile with one mic and then use this method to get close to a tone that was recorded using a multiple.


    and here djemass i see this as something hgat can help utoo get ur desired result; u have taken from what i hear amazing sounding profiles (will try them soon) but using (i might be wron) a 57.) while petrucci uses an md421 (later ribbons).
    Same logic applies to using different cabs than the recorded source.


    Thanks for the reply sledge!

    Quote from tylerhb

    When refining, the raw guitar input signal is not independant of the KPA return signal. If it was, you could simply feed any signal to the return and result in a tonematched profile. But it does not work like this. In order for the refining process to work, it requires the guitar input signal and return signal to be in perfect sync. Everything else results in strange artifacts. This is the reason why you need to have the original DIs for it to work. In every other case you will have to use something like ozone and router the profiling signal through your DAW. Also works great and does not need the original DIs.


    hello! I am not sure it this reply was directed at me but if it was i agree amd think maybe i mustve not explained myself correctly? Apologies!

    Yes man! Although a lot of time i hear the character of the md421 which i love. For instance take the jp mark v:25 demo it was 50/50 421 and 57.


    Theres something aboyt this combination i love (nothing to do with our topic sorry u just made me think about it)


    cheers djemass!!

    Yes i didnt like that one either.
    I do love that combination; tried ot on my lonestar as well and was really happy with that.


    unfortunately sometimes my ear get tired ans i miss a phase problem between the mics until i come back and listen later. It happens with brightness too sometimes i mic or dial a tone too dark. Next day i listen and wonder what the hell i was thinking...

    Will this work if the audio you are playing back is just guitar but may have delay, reverb on it? I would like to try this with my Lonestar with some Andy Timmons audio.