Posts by Dynochrome

    Personally, I would prefer some type of Liquid Mic'ing or Liquid Cab where we can move the mic around virtually and apply different mics. I would not be surprised if Kemper is looking into this. I have enough effects on Kemper, Plugins, and Pedals to get what I need ATM.

    I had this with Roland technology around 1999. (Moving /changing mics) It got to be where I could just EQ and get similar results.

    If you used an SM57 with an API pre or a U87 with an inexpensive board pre, the 57 will win normally so mics only do so much, the pre is more important IMO. Many profile packs utilize different mics moving around, I'd just pick one that sounds good and go.

    I have always been fine with amp snapshots, using the stock Kemper EQ and gain to tweek. I really don't have much need /*/for amplifier liquid profiling. Yes it's cool, but not needed.

    What I think would be better implemented is Liquid FX profiling of popular and vintage modulation FX. Example: M117 Fanger, Electric Mistress, ADA flanger, Phase 45/90/100, Boss chorus CE1, CE2.

    Now if I could just get them transferred to the Kemper.... This is where "FX liquid profiling" would come in handy. I would rather have popular new and vintage FX liquid profiles over amps. I have always been fine with "snapshots" of amps and the ability to tweek them with the Kempr EQ, but in cases where you are trying to say replicate a ADA flanger, it would be awesome to keep the controls synced with the sound of the original pedals.

    Pat Travers is BA! How about trying a slight wah effect against the kemper flanger to get even closer? I have a TCE Vortex pedal and can add a ADA preset but I know that won't help if you want to remain in kemperland.

    I love "Putting it Straight" even though I would never use a flanger that much, he did and it worked. He always attempted to simulate a leslie type sound with it. (Opened up for him and he told me that) I also recall him opening for RUSH in the late 70's and it was one of the best and memorable concerts I have ever seen. I would rather get the ADA flanger correct then add wah to hopefully make it more accurate. As I said, I can get really close fast but sometimes I don't know what I'm doing with the feedback,depth and manual, they are so interactive, you could spend hours just using your ears to get it exact.

    I tried out an ADA flanger in 1981 (I think) and it was a glorious thing. There was a 3D, thick sound to it that I've never been able to replicate with another pedal. Like the speaker was rubber or something. Please let me know if you get close.

    But... it was a dedicated unit that plugged straight into the wall.

    I can get very close, close enough, but I need an ADA flanger and his settings to get closer. there aren't the same controls on the Kemper flanger and the ADA. Instead of liquid profiling, I wish Kemper would have sampled some famous effects Like the ADA flanger, the MXR 117,Electric mistress etc. and did "liquid FX" profiling of pedals.

    Has anybody ever tried replicating the flanger sounds used on the album "Putting it Straight" and "Go for what you know" I'm pretty sure he used an ADA flanger. This is the only FX sound that I feel I haven't been able to nail with the Kemper effects.

    I still want to use some physical pedals for my setup. I enjoy turning physical knobs and tuning the sound. I appreciate all your responses. You are all nice people.

    I like turning knobs too and you can once you have the pedal pulled up on the profiler. I have never found a need to use the loops. usually external pedals just add noise. I have a bunch of very cool vintage pedals but I find I can get any effect sound I have ever needed from the Kemper selections after a bit of tweeking. I might not get perfectly like my pedals but I get so close that it's not worth going out of the unit and adding noise and carrying the pedals around. I understand people still like to use the pedals they paid money for but I don't find it necessary. The only thing I have had a bit of a time figuring out is how to mimic an ADA flanger with the flanger. I can get real close but that's been my biggest challenge and really nobody could tell the difference live anyway.

    I like using a 28 ms delay and panning it hard left and have the other signal hard right. Makes things wider and fatter but doesn't swirl around. Not exactly like 2 guitars because to have that, you have to have the "other" guitarist playing before and after you at random intervals. There are things that can do that pretty close, but to do it for real the 2nd guitar has to be able to play slightly before you too. This could be done post but so far effects can't predict what you are going to play real time I don't think.

    Not everything works together as I learned like a Telecaster into a Friedmen.

    True, although I was surprised how great my Tele (W twang king) sounded with a gained down version SLO 100 that I normally use with near metal sounds! You just never know. I've never been a huge Fender amp fan but they sound great with a Strat/Tele.

    I'm guessing it's because cabdriver is peeling away what it thinks the cab is and sends that out. It's awesome, but likely not 100% so when you completely cut the cab, the cab portion that remains after the cab driver filter gets cut too. I wonder if it would do this on a "merged" profile. I would think it shouldn't unless there was some other routing happening I'm not understanding.

    Michael Britt says his "secret weapon" is UE7. He says it's the only one he trusts when he profiles. I think his profiles are best for all purposes and would love to hear them as he does but these things are like $1,000.00 and I doubt I would buy them if I had a million dollars but would love to see how they compared with the $100.00 sure. I'm not super picky when monitoring, more concerned with what's going down on tape or out front.

    The Shure cords are solid and mold nicely.

    When you say "mold nicely" are they like a stiff wire or just a cord that wraps? I ask because what goes over my ears has to hold the whole thing up ( I usually use stiff hooks) the buds will stay in but they have to have something holding them up. I don't think just a cord wrapping around will work unless it's stiff. I am asking a bit hypothetically because I'm still oldschool and use real monitors/cab but might have to make a switch sometime and I want to have some idea.