Posts by lbieber

  • Balancing the different level of ElectroGuitar strings sounds with Kemper

    All the previous ideas can help to some extent. The root cause is related to string gauge. Traditional string sets are prone to a loud G string for instance. You can find info on the web related to Roger Mayer and Hendrix string gauges which were tailored for this reason. Fender sells a set that is supposed to balance out the loudness variation that you describe. I have some of these sets and they work pretty well. Although I sub the high E 10 with a 9.

  • The problem with high pass filters

    The video is interesting at some level, but it doesn't tell the full story regarding linear system theory and filtering. There is no ideal filter in the real world, whether it is implemented in hardware or software. There is also potential to be misled if one does not understand the difference between the frequency and time domain. There are many concepts at play here and this video omits almost all of them. If you really want understand this then you need to understand linear system theory, Fourier transforms, the relationship between the frequency and time domain, magnitude, phase, group delay, sinusoidal superposition, Gibbs phenomenon, etc... Point being this is not a simple subject and this video does not begin to explain what is really happening. In fact, it creates more questions than answers and does not equip the user with any information to address the 'problem'. Probably best to file it in the circular file.


    Oh and the these types of effects are not limited to high pass filters. Similar issues exist with all filters.

  • wireless

    Quote from Dynochrome

    Wonder why he played a strat then. It's about the hardest guitar to make fat, smooth and non strident on the bridge pickup.

    Well he did play more than just the strat live and in the studio. Just guessing, but I think the simple answer for leaning heavily on the strat is the tremolo bridge. Not many other options at the time.

  • wireless

    Quote from Ruefus

    One of the 'advantages' I've heard cited about the long, coiled cable Hendrix used was the high-end roll off it generated.


    He was getting 'that' sort of sound without even realizing what he was doing.

    I've heard or read directly from Hendrix that he was aiming for a fat, smooth, loud sound without upleasant highs. He was sensitive to the high end and was specifcally aiming for this. Don't know if the cable was part of that. Roger Mayer may have steared him in that direction - just a guess.

  • wireless

    Quote from JEverly

    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.

    It's not about being a naysayer IMO. Different cables have different impedance characteristics for sure. Abusive pricing that is justified by specs that aren't meaningful is why I commented. Consumers should be smarter than this, but many don't have the knowledge to understand. So, it falls into the more money than information category. There are cheaper ways to get low capacitance cable if that's what you think you need. And buffers work...really well for that. Personally, I am not looking for low C cable. With the Kemper especially, I am always looking for ways to tame the high end. The cable is one item that can help. For me, the high end characteristic of the Kemper is a main area to address. Especially with a FRFR cab.

  • wireless

    To each his own. $1000 IEC power cables, $450 replacement volume knobs, exhoribitantly expensive speaker and instrument cables, crystal aligned and directional. These all exist without an ounce of engineering or physics to support the 'advantages'. The only sure outcome is that the item and the money change hands. Pure nonsense IMO.


    On the other hand, the quality of wireless units varies widely for reasons that engineering and physics can easily explain and can be easily heard without the need for the user to claim dog like hearing.


    I've been using EW100 wireless systems for almost 20 years. The main reason is so I can walk off stage into the house to hear and mix live gigs. EW100 is not a perfect system, but it's good enough for the gigs I do.

  • Snake Oil or not...

    A properly working USB 2.0 bus has a bit error rate of <= 10^-12. It also has error detection built in to each packet. Note I used the word properly. As in not defecticve in terms of the electronics and/or cables.


    SNAKE OIL!!!

  • Can we have our EQ button back, please?

    Quote from slateboy

    ...One argument against this was "you cant bypass the EQ section a traditional amp as its part of the circuit" yes...

    Just a note that there are amps for which the tonestack (or EQ section) can be bypassed. The Dumble ODS is one amp that is well known for this and it is called PAB(preamp boost). There are others as well.

  • Is Tom Scholz using the first ebow?

    He does not touch whatever is in his right hand to the low E IMO. And I hear no Ebow sounds. I think he has the neck pickup volume off and bridge pickup on. He toggles the pickup switch from neck to bridge(off to on) and enables the hyperspace device at the same time. The off to on snippet is what is repeated and pitch shifted via the Hyperdrive. Maybe this is where Morello got his idea from?


    I have no idea what is in his right hand, but it ain't an Ebow.


    All IMO

  • How to get rid of the FIZZZZ

    Old thread, but I prefer to avoid the studio eq as it 'wastes' a slot. I use a combination of definition, presence, treble and hi cut to get rid of fizz. If I can't remove it with those, then I move on to a different profile. Presence followed by hi cut are usually the most effective IME.