Posts by Dynochrome

It's like having a Ferrari and using it only to cruise down streets in a parade!

It can be done, and IMO Kemper FX are great and easy to tweek and understand. The tutorial vids are very good!

Quote from stratdude

Samson Airline 88 UHF, I don't believe anything else fits your description

I looked into those at one time. My friend had one of those years ago. It has a plug very close to what I would call just what I want. however, I would never buy one of those. For me, the ultimate wireless would be similar with Line6/Sure type digital quality. Once you go with one of those plug in bugs, its hard to go back to a pack, it's just ridiculously simple and you treat it just like plugging in a cable but with no pops. IMO there is a big (as in non existent)gap in the market for pro quality digital wireless bug that is low profile in all guitar types. It wouldn't be that hard to design.

Quote from Clselby

I can stand behind the Shure GLXD 16 for two years and have never experienced a drop out Sound quality is too notch plus they are built like a tank out of metal.

I would like that too but I really like having a "bug in the plug". I can change guitars silently just as fast as a cord or faster. I may even pop it in my pocket for a second. My only wish would be that it had easily replaceable rechargeable battery and that it had a rotateable jack with settable tension so it stays flat on a 335 or fits into a strat. When I was using packs, I used the same strap all night that I had the pack secured to. I used Schaller straplocks and could change the strap very quickly. I also did he back pocket thing but usually it ends up on the floor with my guitar unplugged.

Quote from Dynochrome

The volume level settings are not stored with the output presets, as switching the presets could result in dangerous volume jumps

No, but the pad level is. To be nitpicky, couldn't that create a situation to where if you had the XLR output volume @ 0db and pad -12, and you chose a preset that had the pad off, it would create a HUGE volume jump? I don't ever mean to bash when bringing this up, I just thought it may have been overlooked when protecting things from preset initiated volume jumps. The pad probably should be anchored along with the output and not presettable to avoid jumps. I went back into all my output presets and changed the pad.

Quote from V8guitar

I think its just a global setting?

Im going to start with the -12db myself from now on

Yes I wanted to know because most things in the output section are preset save-able except for the volume settings and power amp switch:

The volume level settings are not stored with the output presets, as switching the presets could result in dangerous volume jumps.

I'm guessing your correct this would include the -12pad as well.

The only time my G10 may drop out is when I get very close to a strong EMI source. If I was just onstage playing in a club and not standing over a computer or big transformer, It would be fine.

Is the -12db pad stored as part of an output preset?

Quote from Kemper Support #1

what I meant is you need to set the output level to -2dB to achieve an attenuation of 14 dB when you add the -12 dB option.

Thanks, I get that. So I'm guessing the better signal to noise comes from having the digital portion of the amp turned up more (-2db) and the analog output section padded(-12db option) . That makes sense to me, It just seemed odd to run the output that high but now that I understand where the pad is, I see where having the button on -12 Would be better even though I could adjust the Kemper output to work either way (-14 w/o -12DP option or -2db with -12 option) -2 is turning the digital domain up and thus lowering the noise floor.

Quote from Kemper Support #1

I would try the -12dB option first. If you still need to lower the output level to avoid clipping in your external device attenuate the signal further by lowering the output level value by another 2dB.

Thanks. I am running a line in at -14 out on the Kemper without the button in to have the levels just right. If I push the button in I have to have the Kemper out much higher, not lower.

Quote from Andrew_Ongley

Beware of digital wireless, it won't affect your tone but it doesn't hold up well when there's other networked equipment around. I ran a G90 for years and I've had to switch back to Sennheiser analogue because of extreme drop-outs.

I can name loads of pro touring musicians that use a G90 all the time that could afford anything. They must not drop out on them that bad.

This has me a little confused as I would think you would get the best signal to noise ratio in analog having the Kemper output high and your desk gain low. But then I believe you are speaking of within the Kemper. So if I am running at -14 into a line device, I should have the button in even if it means I have to have the kemper output much higher correct?

I was seeing this:

Main Out -12 dB

Whenever the device (e.g. mixing desk or audio interface) connected to the MAIN OUTPUT XLR or TS jacks indicates too much level coming from the PROFILER, or there is the need to set the Main Output Volume to less than -12 dB, then activate the Main Output Pad to reduce the signal level of the Main Output by 12 dB. This increases the range of the Main Output Volume control and preserves the signal-to-noise ratio of the Main Output.

I normally run around -14 so I tried this as recommended and had to run the knob up quite a bit. I didn't hear a big difference, and I don't hear of many people using this so I put it back to where it was. If I am running -14 should I really be using this button as recommended?

I guess I don't regularly use the headphone amps in my Steinberg although when I did, I thought they were great. Normally I send a separate mix from the UR to a multi headphone mixer amp. For a while I had one of the new MOTU units. It was really really good and headphone amps were great, but I was used to something with a mixer panel that I could run comfort reverb from without using a plug so I went with the UR.

Setting up quick monitoring and playback levels is very important to not disrupt creativity IMO.

Quote from 1Towneley

2. Use rig volume. High gain profiles especially. These really open up for me.

Rig volume doesn't affect the tone at all as it is basically a sub master.

Rig Volume:

This is the individual volume of the Rig. Note that this parameter does not drive the sound into any power amp distortion, so it will only change the volume of the sound, not the character.

That being said, and of course we all know speakers & cabs sound different soft and driven hard. Even monitor speakers and headphones to some extent. It could be the acoustic space, the speaker, your ears or all the above. When I play through an 80w speaker, it definitely sounds way different at low levels as it does with 25 watts out of the power amp. (I have an 8 ohm speaker reading the power amp at 50w) At just 25 watts output, it is VERY loud!

Quote from Roeffel

I bought a focusrite Scarlett 8i6 to use the kemper with it's Spdif output.

I also wanted the best sound possible, the XLR to my old steinberg Ur22 was really not giving the sound I got from the headphone out.

It works flawless and as expected ... superiour sound due to the spdif. The AD/DA convertors on the headphone out from the kemper are much higher quality then the ones from the older steinberg.

Only pitty is that the scarlett is not switching back to internal spdif when the kemper is switched off ...

So playing with kemper : spdif from 8i6 should be set to spdif and put to spdif internal when the kemper is switched off

Raf

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I have a UR44C with same preamps. The sound from my monitors sounds just like the sound from my 7506 headphones. Only one is right by your ears.

Line 6 G10. Not perfect, sometimes can skip with some major interference but no one could tell the difference in tone from a wire and super easy to use.

Thank you, Live, I am running the output "Master mono" so I should have it in the middle position. Got it, Thanks

Quote from ST

I don't know if anybody else can tell (hear a difference.) But I play my semi and hollow-body guitars differently than I do the solid bodies.

Don't you?

It could be because of this.

And then there's this.

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Checking out this video, It does not fully represent the situation I am speaking of. I am speaking of the sound if you were NOT in the room with the guitar, but ONLY hearing what is coming out of the output jack, Do you think you can detect there is an acoustic body?(And if not what would be the reasons for using one besides looks and feedback?

Quote from ST

I don't know if anybody else can tell (hear a difference.) But I play my semi and hollow-body guitars differently than I do the solid bodies.

Don't you?

Yes I do, but when recording between my ES-335 and Les Paul custom I realized even though I WANTED to hear the "acousticness" of the 335, I didn't think someone could in a blind test. For sure it feeds back differently (and awesomely) but It made me doubt and wonder what are the REAL advantages of having a semi hollow if it doesn't really impact the sound. I'm going to check out the vid thanks! For the most part I like their presentations but I wish the captain would stop wiping his nose with his fingers.

Working in "Natural reverb" there is a parameter called "Stereo". When I look in the manual under "Natural reverb", I don't see that parameter there. Am I missing something? I'm trying to figure out exactly what that parameter does and how it works within a mono out mix as well as a stereo mix.