I wouldn't do it to a guitar of mine because of the negative affect on the value of the guitar. I wouldn't pay as much for a used guitar that someone scuffed the neck on as I would one that they hadn't done it to. However, I wouldn't fault anyone from doing it to their guitar if it makes it easier for them to play and they like it better.
Posts by JEverly
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I am not sure about their own profiles but Tone Junke and Michael Britt were involved with them when I first heard of them. I see they still sell the TJ and MB loaded Kemper units.
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I could stick a tweater into my earhole and get a horrible result, but that would be stupid. I am speaking about a normal listening position which may be hard to define and would merit discussion, but what happens at the micro level is not what I would call normal.
The variation in tone from the dust cover to the edge of the cone of a guitar speaker is immense. Which is why guitar micing techniques are important. Distance is also a big factor.
The best recorderd guitar tones are not close mic'd on the dust cover IMO. And no profile should be made with the mic close and at the center of the cone. So, sure we can imagine dumb places to locate our ear/mic and then say it is unpleasant.
100%
I start my mic half way between the dust cover and the edge of the speaker, slightly off axis and adjust from there. I have been doing it this way for years at gigs. I walk out front a few times during the first couple of songs and hear how it is setting in the mix. I will make some adjustments on the position to make it fit better if it needs it. I have used the same mic on the same amp so many times that I usually get it where it needs to go on the first shot. I have altered where I put it depending on the band I am in at that time and the other instruments in the band. As stated, there is a huge difference in that small span between the dust cover and the edge of the speaker as well as on and off axis and distance.
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numbers like this really mean nothing.
as you can see in the frequency plot of the Creamback 65, the speaker does reproduce frequencies well outside this area.
a PROFILE will already have this information as part of the CABINET, but since close mic'ing can emphasize the high end use either the Pure Cabinet or High Cut parameters to adjust the signal by ear. Preferably in context of a full band playing.
Simply copying numbers will honestly get you nowhere I'm afraid - trust your ears.Hi Don,
I appreciate the information. I lifted those numbers right from the Celestion web site where they state the frequency response of the speakers. I have had good result using those numbers as a starting point.
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I pulled the trigger yesterday. This beast is on it's way to me now.
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Daisy chaining can definitely introduce noise. I only have one port on one of my boards that is shared. I put two pedals on it that I never have on at the same time. Having each pedal on it's own port is the biggest advantage to using a power supply with isolated ports. it keeps the noise down.
Another thing to keep in mind is that the overall power supply has a maximum that it can put out for amperage. If you re puling from all of the ports at close to their maximum rating, you could have an issue overall. This doesn't happen very often but could if you are running a bunch of digital, power hog, pedals.
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I haven't bought a new guitar in 3 years. That is about to change. I will probably order it today. I have been looking at them for a good week now and think I have it down to the one.
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The Keeley Halo has been ordered. It will be here on Saturday.
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I have been on a Wampler buying spree. I bought these in the past 3 weeks.
Pantheon Deluxe Overdrive
Gearbox Overdrive
Triumph Overdrive
Phenom Distortion
I am a bit of an OD pedal junkie. I am planning to buy a Keeley Halo as well as a Suhr Woodshed then I am done, at least for now. I also have 4 OD pedals in the build process that I am building for myself. I had an idea for a double OD that I was going to build but the Wampler dual ODs I bought pretty much killed the desire to build one.
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When I set this type of signal chain up on a different device, I found some good Acoustic IRs that were free. Just Google free acoustic IR and you should find some. Just try them to find the ones you like.
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Here's lots of acoustic IR's, they can be imported as speaker IR's to Kemper.
Good acoustic amps here: (not free, but not very expensive)
I have not tried this with the Kemper but I did with my FM9. This is how I would do it if I were wanting to do this. I would use an acoustic IR in a cabinet block. If you need an amp to go with it, outside of finding a profile of an acoustic amp, I would profile a cable. This will give you a very neutral amp. I think there is actually one on the rig exchange you can download. Then I would add a compressor, a little chorus and a little reverb to it. That should give you a really nice sound.
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Yes there are bad sounding effects. The fact that they are implemented in software and that there might be multiple types doesn't mean any of them are high quality. I don't get the logic?
Reverb, especially, is an effect that is sensitive to the way it is implemented. This is why many of the big companies have their own algorithms. This is essentially why Eventide, Strymon, TC, Lexicon, etc... all claim to be the best and why users prefer one over the other. Companies making digital mixers Mackie, Behringer, Presonus, etc... are generally focused on the product as a digital mixer with added effect options. They are not focused on implementing the best effects and the proof is in the sound. I thought this was common knowledge.
I am not recording with my digital mixer and have been able to find things that do what I need and sound good live. That is why said I was a little surprised. One could argue that all of the companies you mentioned produce a small variation of the same thing. In a live situation I doubt anyone would hear it and know which company produced it.
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I can only speak on the digital mixers that I have experienced. The onboard effects are typically low quality. Especially the reverbs. Yuck, nothing worse than a bad reverb. In that case, I will try to make due with the room reverb or set the verb very light so that the poor quality is hidden. Cheap reverbs tend to have bad tails that I would rather not hear.
There is a digital board with bad sounding effects? I can say that I haven't experienced that one yet. They are all basically software plugins. There are usually multiple types of reverb in them as well as multiple versions of the other effects in them.
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You can re-order within a Performance. Use "Move Left" and "Move Right" in the Meatballs menu (the one with the three dots). To manage the order of the 125 performances you need to use your Profiler hardware or Rig Manager Desktop.
Meatballs menu. That is in interesting thing to call it. I have not seen that one before. I like it. It is typically called an ellipsis here. I have heard it called the kebab menu.
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I went to a jam once where this guy that didn't really play much had this old squire (70's?) he wanted to sell. I grabbed it and played it, it was more solid than most American Strats are now and sounded awesome. I wanted it but after I played it and liked it so much, he decided not to sell it. I screwed up, I should have played it like crap and said "meh" but I'll take it off your hands. I always think about that Squire that got away, it was a killer piece!
Back then the Squires were built as good as the American versions. They were coming off of the same lines as the Japanese built Fender guitars. They were very good guitars.
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I have been running a digital mixer for a while now. For live use, the only effects I use on electric guitars from the mixer may be reverb, compression and EQ. I only use those if needed.
If the guitar player is using reverb on his tone, there is no need to add to that. Reverb gets out of hand really fast. If you use it on your guitar sound you need to use it sparingly. It multiplies by the time it comes out of FOH.
I will use a light compression on a guitar if it is varying a lot in volume. This happens at times when the guitar player doesn't have their solo boost set correctly. If it is a little loud, I will put a little compression on it with a higher threshold to keep it under control. I will usually start with telling the guitar player to bump his solo volume down first, or up if it is too low.
I will apply EQ to guitars when needed as well. This typically needs done if the guitar tone has too much low end or high end for the full mix. I have also done it to add midrange to a guitar tone to bring it more forward in the mix. Some guys run a scooped mids sound and that doesn't work in a full mix. I will also EQ guitars if there are two guitar players in the band. I will give one of them a bit more low mids and the other more in the upper mids. This helps out front with being able to hear the guitars individually. Which one I decide to shift up or down in the mids depends on the tone they are feeding me and which one is playing more of the lead lines.
Other than these effects, use all other effects on your tone that you are feeding the FOH. I have a different approach for vocals, drums and bass. I still use EQ and compression on them but in a different way. I will also set up a reverb and/or delay for specific effects in some songs. These are things I tend to crank at specific times and then turn off. Something like at the end of a song, I will crank a delay on the last word the lead vocalist sings and let that ring out as they prepare to start the next song. It adds a flair that most bands in my area don't have. I have received many good comments for these little things that I do that other sound guys do not.
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I have seen good players playing all levels of gear. Why do people assume that if someone has expensive gear that they can't play as well as they do? I have made a decent amount of money playing my guitar. I use a variety of guitars and other gear, some expensive and some not. Should we all be ridiculed for having an expensive Kemper on the stage?
To me these complaints sound more like jealousy. I have seen people crap all over PRS guitars, until they can afford to get one. Then they brag about them to everyone. I have never subscribed to any of this. We all get to spend our money on whatever we want to. It has nothing to do with your level of skill.
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Only with the Stage
Yep, I remember that too. Fortunately for me, that is what I have.
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Kemper needs to be connected to the router/network.
I am thinking that I read somewhere that there is a direct connect option in there somewhere. I don't remember the details of it but I swear I read that in the manual for the iPhone connection.
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I have used wireless live for many years. The whole COVID shutdown changed my ears somehow. I hear things now I didn't necessarily hear when gigging every weekend. I also feel more interaction now than I did before. I decided to buy a couple of high end, low capacitance, cables to give them a try because they were on sale. I was very surprised at the results when using them. I would have been saying all of the naysayer things being said to me here before this.
I am not looking for anyone's approval of how I spend my money or approve of the items I purchase. I don't really care whether anyone else would spend the money to buy these cables. I am happy with the purchase and like the results. Van Damme is making lower capacitance cables than Monster. I have talked with guys that do lots of studio work and they are using the same cables I purchased and are hearing a difference in their mixes. I typically use cheap cables. I have purchased decent bulk cable and made my own in the past. I was fine with those. I decided to give these a try and was honestly surprised at the results. I have also moved to a thicker better quality cable between my amp heads and speaker cabinets. I am happy with that decision and results too.
Make sure when comparing these other good cables to the ones I mentioned to look at all of the specs, especially the capacitance. If you don't believe in these things or want to spend the money, cool. Buy what you want and like.
