Posts by lbieber

    Ahhhh ok, these are in there, just labeled with Mid, when Mid switch was active. Thanks for clarifying!

    I'm not convinced the discussion around the PAB is correct. The mid bosst is not the same as PAB. There are different implementations, but some amps have a three position mid switch. Normally, up is mid boost, middle is no mid boost and down is PAB. Not all amps are the same. PAB is preamp boost and the whole tonestack is bypassed/disabled when in this mode. This is one of the 'magic' modes of the overdrive special. I would purchase your profile if this is included. If not, then it is not interesting to me.

    That's not the whole truth. There is also a third option. Low-middle action and heavy plucking. The buzz as a part of the sound. Not unusual.

    "I let the amp do the work not the string." A strange statement. That's not possible.

    Yes, it's not the full picture of all possible setups. They why I qualified my statement with general.


    The strange statement is possible with respect to high action allows for heavy plucking before the buzz starts. This allows the string to generate more volume compared to lighter. This is where the amp can compensate.


    Gary Willis is on example of a low action, light plucker that let's the amp do the work. Jeff Beck also did, but on guitar. There are many other examples of low action players with light touch that let the amp do the work.


    Anyway, this is all off topic from the question.

    There are two general electric bass setup approaches. One is very low action which requires softer string plucking and that results in less sustain. The other is higher action which allows for harder plucks and more sustain. These two scenarios are also kind of dictating how the amp/compression is setup. I am in the low action camp and like a hotter amp as a result. To get a smooth bass sound, I want less of a transient when plucking, more sustain from the amp/compression. This creates a smoother bass tone. I let the amp do the work not the string. My opinion is that most bass players in general hit the strings too hard and the result is not as pleasing. This is my opinion regarding fingestyle plucking.


    Slapping is very different situation than what I am discussing. Also, many players just prefer a more aggressive right hand approach. Bass strings have always 'told' me to pluck lightly.

    Yes, the compression makes it louder but no way to get a even bass volume without compression. Using the de-esser at the specific frequency helps the best.

    It is possible to even out the bass volume without compression, but it takes highly developed technique. Of course, it is a grey area as perfect eveness is not possible. There are some very good players that refuse to use compression.


    As an example, Jamerson utilized the one finger technique mainly for this reason. Fingering on one string or minimizing the number of strings used can help even things out as well, but it depends on the part.

    You can change strings to chase after this phenomenon. In my experience, it will help somewhat but never solve the problem. I typically use 40-90 string sets FWIW. This improves things and gives an added benefit of faster transient response of the strings. Lighter strings excite(pluck) and de-excite(damp) faster that larger strings. This can bring the possibility of crisper, faster response. Words are failing me here, but I hope you get the point.


    I've found that the depth/volume difference for the same note between different strings is mainly due to the pickup height, the monitor and the room. Lowering the pickups tends to help as well as tilting them. Further away on the thicker strings vs the lighter ones. A monitor able to reproduce lows properly provides the most improvement regarding this. Smaller ported cabs tend to make this worse. Volume, usually a lot of it, can create standing waves in the room which can also impact this. In the end, different size strings on a bass create different harmonics that have to be handled properly to fully solve this. The way your 'system' responds to the differing harmonic content caused by all these parameters is the root cause.


    Good luck, this can be an adventure.

    I'm interested in the Dumble profile, but I don't see any mention of PAB. Are profiles included for it as well?


    I've built many Dumble clones and have yet experience accurate profiles with PAB.


    I saw the sound clips, but the the playing style is not well suited to these amps and therefore doesn't give much information on the accuracy of the profiles. Maybe I'll just buy it and see for myself. I have tried pretty much all the commercial profiles and none have really nailed that sound.

    Flatwounds don't squeak, but will change the tone.


    You probably already know this, but you can try different amounts of finger pressure and speed. More pressure tends to reduce the finger noise, but it has limits and side effects. You can finesse it with pressure and speed of the slide to improve the noise. YMMV

    You are nuts. It's going to be tough selling anything of value in this economy. You might suffer a pretty big loss. Keep what you got especially if it's already paid for and wait for better times.

    I don't understand this comment. No one actually knows how tough it will be to sell your unit. Put it up for sale and see how it goes. You don't have to sell for a loss if you don't want to, right?


    I don't know what 'this' economy means, but it sounds like a fear based, questionable talking point. In any case, it has little to do with your specific question.


    Personally, I wouldn't think twice about trading for a player if I was only playing at home.

    Thanks for the link. The analysis in the video was well done and seemed well thought out.


    In my opinion, the difference between the ToneX and Kemper is neglible. Both units are more than good enough for my purpose of replicating an amp's tone.


    Null tests are interesting, but the biggest takeaway for me is that there is nothing in the comparison that actually matters to me. The Kemper algo is so close to the real amps that I don't think there is really anything significant to improve on. Two units that essentially get the 'same' results.


    I already own the Kemper so ToneX holds no interest for me.

    Just want to mention that IME all FR/PA speakers are not the same. I have noticed that PA type monitors provide very different results with the Kemper. My conclusion is that a transparent cabinet is needed to achieve acceptable tones from the Kemper. Knowing that, I would never buy a speaker to monitor the Kemper without trying it first.

    It's a right hand technique similar to the video in the original post. One Knopfler example is Walk Of Life. I associate the this technique mainly with Ry Cooder, but Knopfler does it as well. I'm not sure where it originated. There are a lot of variations on this general technique.

    I like to think I'm playing it in the same way as he is, with the fingers and muting the strings. That crunch on the hammer on is much louder on his guitar/amp.

    I get it. I had similar thoughts regarding the Knopfler thing. Could never get it to sound exactly right and still haven't. I'm convinced it's the player not the amp in my case.

    I haven't tried to replicate your experience, but what I hear in the video is most likely technique. A pretty wide range of muting techniques are possible with the back of the fingers, nails and finger tips when using this kind of muting. Knopfler and Cooder are both pretty heavy users of this type of muting and the results can very a lot. The video sounds like right hand muting in combination with a well timed left hand mute. Perhaps that is what you are hearing? It sounds like a punch followed by a very fast left hand mute.

    I'm not getting into that "I am right and you are wrong" mode of discussions.


    All I'm saying is that a recording of a mic'ed amp (and that's what a Kemper profiles are to some extent) sounds different that what you hear in the room (normal listening position). An amp that sounds great to you at your listening position may actually sound horrible, with over-the-top high-frequency content (sic!) if you stuck your ear where your microphone is.


    There are different ways of dealing with this - choosing the right mic and position is part of the solution, post-mic equalization another.

    I was not making a right or wrong comment. I was simply saying that we could put our ear or a mic in a lot of bad listening positions. Further, I would never tweak a guitar tone for any of these bad listening positions.


    I think those of us with even limited experience know that the sound changes on and off axis and with distance. Back to my original comment, I can't think of any playing situation for which I want to retain unpleasant, high frequency content.

    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.

    what does this mean, so you don't do any mixing of the kemper signal at all? just all micing ?

    It actually means he is not recording an acoustic guitar at all. He is trying to approximate a real acoustic guitar by using an electric guitar plugged into the Kemper to simlulate what you are trying to do with an actual acoustic. We are all free to try what we want, but his comments have almost nothing to do with your question.

    okay gotcha, yeah I am stereo mic'ing the guitar between the soundhole and the 12th fret. I just thought adding the kemper into the equation, with the levels way down, so its not that artifcial pickup sound, would give it an even fatter or "bigger" studio sound.

    What you are doing is worth a try. It's always hard to describe sound with words, but a fatter sound can come from several places. Mic more of the body or soundhole. Change playing technique. Find another instrument - a lot of variation here. Double the track if the track lends itself to that. Not a fan of cloning, but YMMV. Use some light compression to provide a more consistent sound foundation.

    is that in isolation, or in mix context?
    a lot of unpleasant high frequency content, that even tube amps generate, is masked by cymbals, but carry important transients that make the up most of the note attacks.

    In every context.


    I don't agree that there is any unpleasant, high frequency content that contains important transients. I can't think of any playing situation for which I want to retain unpleasant, high frequency content that needs to be masked by anything. To each his own I suppose. Thinking about it, maybe some metal or other specialized sounds might need that, but that's not what I play.


    I have designed and built many tube amps over the decades. I also own(ed) many tube amps. Never dialed up a tone that needed unpleasant, high frequency content to get a good a sound. Sure, some amps are capable of putting that out. Many Marshall's in particular went the way of horrible, bright tones. As did many other amps. Those are the amps to stay away from or modify IMO. Also, I have never agreed that I should use additive EQ (i.e. add treble) to a guitar sound to sit in a mix properly. If it isn't sitting in the mix it is usually because of frequency congestion for which subtractive EQ (of one or several instruments) will solve the problem. All of my tube amp experiences are with guitar cabs with limited frequency response. Connect a full range speaker and you have the opportunity for even more high frequency trash.


    My approach with the Kemper is to use a PA, full range type of speaker as a monitor. The Kemper is ulitmately connect to the FOH PA anyway. This gives me the possibility for a matched tone between the two. This leads to the problem of getting rid of unpleasant, high frequencies. Pure cab, hi cut, presence cut, treble cut all are necessary for me to get the sound right.


    Sorry, this got way off topic from the OP.