Posts by Crispy Panther

As one in eight males suffer from colour blindness, and many, many more have issues and difficulty in discerning differentiation between particular hues.

The idea that colour coding different profiles to identify different amplifier types, would appear to be a potentially hazardous venture, liable to promote difficulties for a significant percentage of users.

If we were in the world of politics, civil servants would describe implementing such a policy to their minister, as a “courageous decision!”

This is polite English code for: “that is a completely daft idea which will likely force you to have to resign from your post in the government”

Yes Prime Minister, the carbon tax is a very courageous decision - YouTube      😊

One thing I find difficult to understand about this matter, is that whilst if it was declaimed that “everyone ears are slightly different along with our brains recollection of sound,” everyone would nod their heads together in concert, like head bangers at a heavy rock concert, wholly in agreement.

Yet it is equally true that everyone’s eyes are different, and many perceive hues of colour quite differently, along with their brain’s recollection of them. Thus, distinguishing closely related areas of the spectrum, is very problematic, dangerously so for some.

Hence, ideal colour design parameters for many devices, audio meters and Kemper amps in particular, should necessarily confine the available choice to those which are most helpful and least problematic, to the widest number of people.

I am arguing for industry leading standardisation in colour in regard to design and function that work optimally for the majority of users.

Thus, even if someone’s vision was very seriously impaired, and for example they were unable to tell the difference between red and green, sat in their car, at traffic lights.

By having standardisation in colour, utilised on critically important positions of an audio meter, or an operating function in a Kemper amplifier. As with traffic lights, seeing that positional area illuminated, the visually impaired user, would never the less readily comprehend, what that meant, what is going on, what they should do.

I find it best to listen to product designers and feel it would be foolish to have the temerity to presume to tell them their job. As is the habit of some.

There is a place to make suggestions but usually, far more and better can be gleaned where designers and manufacturers are concerned, by listening than talking.

With all due respect, none of us are in a position to demand anything from Kemper and as a non-personal point, in general, my experience with people that go around making such demands, is that they lack maturity.

Perhaps suffering from infantilism. Behaviour that worked successfully as a child with doting parents, but should have been dispensed with in teenage years, and never allowed to remain in adulthood. Childish outbursts are the result.

So, allow me to categorically declaim that it makes no difference whatever to me, what colours are desired, included or used by anyone.

Such a vivid range of colour choice, definitely will make a difference to YOU, if it’s what you want. But as will become clear, some things we want, just aren’t good for us. Even if Kemper included them.

We understand and interpret life, multi-modally, derived from the function of our senses, processed within our brain.

The brain, not only processes such input, but also actively prioritises the relative importance, it assigns to differing stimuli as they occur.

Cynosure prioritisation of particular senses, inevitably involves temporal suppression of other senses. Whilst sound involves specific areas of the brain.

Music encompasses many different areas of the brain, enacting simultaneously.

A chain of neural processing stations from the ear and auditory nerve, form a pathway to the highest hierarchical level, the auditory cortex.

Differing facets of musical sound on that path, are processed simultaneously. Front, back, top, bottom, inside and outside, by almost every part of the brain.

This is how music can awaken emotions in people with Alzheimer’s.

Gain in one, pitch in another, rhythm in another, beat in another, tempo in another.

All brought together in that cortex where deeply and profoundly moved, we fully experience the emotional power, of beauteously expressed, memorable music.

Here’s the salient point!

By nature, we possess an instinctive proclivity to accommodate dominant influence to the presence of strong visual stimulus, over all other senses.

As music is processed, involving many differing areas of the brain. As a natural function of prioritisation under such circumstance, it is understandably susceptible to increasing suppression and reduction, resulting from visual stimulus.

Thus, any preoccupation with visual theatrics likely to excite and stimulate via the eye, will accordingly to some degree, negatively affect the brain’s ability to optimally appreciate, musical stimulus, singularly for itself. Albeit in a seamless manner we are principally, totally unconscious of, absorbed elsewhere as we would become, with vivid light.

You are standing with a friend talking, but become aware they are not taking in what you are saying.

They gaze into the middle distance and you perceive that their mind is fully concentrating, such that signals they normally receive from other sensory channels, are actively suppressed. A sensory overload protection.

You are hard at work physically. Its demanding and you are focussing strongly on what you are doing. Later, you undress for a shower, and find a large bruise or a long cut covered in dried blood. Your concentration was elsewhere, such that your brain, subconsciously suppressed both pain and your awareness of it.

The delight, attention and preoccupation with vividly eye-catching colours we all enjoy, thus negatively detracts and reduces the totally optimised appreciation of auditory stimulus in music, we identify as paramount, and claim to seek.

We will physiologically fail to be capable of completely absorbing and appreciating, absolutely optimally, and that is the point, the full pleasurable experience available in music.

As visual stimulus exerts predominance, gains attention and increases dependence, progressively attributing greater significance to their importance.

Its why live performers get away with performances that wouldn’t make a C.D.

True story, the late Tom Dowd, once painted over all the recording meters on their Large Format Recording Console at Atlantic Records.

The moral of that is, music is best experienced not by the eye, but rather, by the ear. So, listening to the sound and utilising the established methods of organisation, is really what I would encourage you to do.

With all due respect.

Here’s the thing, short and concise.

I can back up my viewpoint, with scientific evidence, and over one hundred years of broader, empirical and anecdotal evidence.

Can you?

Its entirely possible that there is false assumption which underlies this thread.

It is that inevitably, after so long, Kemper be actively working on a Mark II Kemper profiling amplifier.

That is a reasonable assumption, based upon the practise of other manufacturers, but doesn’t mean that it is in any way actually true.

It is just as likely that such a class leading innovator, one that disrupts existing markets with ground breaking class leading products, is likely to be working on something far beyond conceptualisations expressed here.

Quote: “I just wanted to see what peeps think. ”

Everyone here tends to be exceptionally polite and gracious towards others.

It’s an extremely well moderated forum and strongly characterised by mutual respect toward everyone.

With regard to your cosmetic request, I think BayouTexan nailed the salient point earlier: “That in the digital world everything requires processing power”.

My observation has been, that excellent manufacturers like Kemper, attempt to squeeze every possible practical advantage and useful feature from the available processing chips size.

I’ve been intimately involved with German manufacturers for a long time and its difficult for individuals from many cultures to properly comprehend just how profoundly focussed on “efficiency” the Teutonic mind set is.

If we accept that as true, and I believe it to be so.

Then the question that actually arises from the notion that is the theme of this thread is as follows:

“What aspect, factor, element, feature or practically useful utility that currently has been implemented in the Kemper profiling amplifier that everyone currently warmly appreciates, do you think should to be entirely dispensed with, in order to accommodate your desire for colour coding amplifier names?

With all possible respect, if instead of purely considering the notion behind this thread.

One reflects upon the probable actual implications, that actively implementing it might result in.

It may be possible to gain a realistic perspective as to why it might not actually be, the advantage it first seems.

In the same way, on a more general point.

If politicians actually thought through the various notions they come up with.

And thoroughly considered, the eventual possible outcomes, that might be likely, if they implemented them.

They probably would conclude that upon reflection, it is probably better for all of us, if they didn’t ever pursue that course of action at all.

Quote: “Kemper is pretty amazing! Great bunch of people working there.”

Quite!

The company’s products and service.

Are a hallmark characteristic of the high quality and superb calibre of the brilliant individuals that create its unrivalled reputation.

I’m amazed when individuals, talk up “johnnie come lately” wannebe competitors.

The fundament notion that for any complex professional equipment, excellent service is essential, seems to entirely escape them.

A gentleman that would visit here years ago owned an amplifier factory. His name was Jim, and he did an amplifier deal with a guitarist possessing a rather similar name.

A close friend of mine was a producer for Parisienne Eddie Barclays record company “Barclay Records” that signed him, and like me, he preferred to have five springs, fitted to his vibrato.

The guitarist was experienced, having had been a professional musician for some time, now carving out a distinctive career for himself. He liked Jim’s amps but knew just how important it was, to absolutely insist on one thing.

As he toured around, he was totally adamant, initially talking with Jim about the deal, that wherever he was in the world he wanted service for his amps if needed. To my mind, that is a thoroughly professional approach to buying amplifiers.

The salient thing to contemplate is.

This thread proves wherever you are throughout the world.

You don’t have to be Jimi Hendrix to get outstanding service from Kemper.

The Jimi Hendrix Experience - Foxey Lady (Live In Maui, 1970) - YouTube

Have a sit down with a cup of tea or whatever your favourite beverage is and read through the manual. If you haven't one you can down it from the Kemper site.

Take your time. get a general overview of the Manual. As a guitarist, the Kemper is probably much more sophisticated than anything other equipment you have ever encountered. Everyone here is wonderfully helpful, apart from myself who is still learning the basics, like you. View the online tutorials.

When you get stuck try and see if you can find the answer in the manual, and if you can't , or are having trouble grasping something just ask here and people are only to willing to help. very clever people designed and created the Kemper and though it looks simple on the surface its really more complex than you imagine. Expect a learning curve.

Take your time, take it easy and bit by bit you'll get there!

Quote: “Germany is a different country to UK”

For an American, Germany does offer one advantage, as both countries drive on the same side of the road.

Whereas in the U.K. because the majority of the population is right-handed. When baron knights in medieval times would meet along a road and engage in a sword fight.

It is understandably preferable for them to ride and pass each other to the left side of the road. This allows the dominant right arm and hand to wield a lance, swing a sword, lung with a mace or propel a spiked ball chained mace toward an opponent.

Therefore, it is for entirely understandable, quite practical, historic reasons that the UK drives to the left.

When Napoleon rose in power, being left-handed himself and with antipathy towards the British.

He awkwardly insisted that the opposite side of the road, to that long established by traditional convention, as explained above, be utilised.

As he attempted to subdue numerous European countries, his armies did a lot of marching and mobilisation activity. So to avoid confusion at critical times of intense movement, made them pass on the right.

Meanwhile, in America, following the eventual defeat of the British by homesteaders and the continental army.

Hostility toward the British was continued in a variety of manners. One of them being adopting to pass on the right side of the road.

In French Canada, French Orleans, Dutch New York etc. et al. Established homesteaders already indoctrinated to drive to the right, along with English settlers with antipathy toward their former government, ensured that became the norm on their continent.

Therefore, generally speaking, a global pattern emerged. Countries that formerly were part of French, Dutch, and other European countries Empires, drove on the right side of the road. Whereas, countries that were formerly part of the British Empire and remain part of the British Commonwealth pass on the left.

But as already been made clear, there is a longer established tradition based purely upon absolutely practical reasons, why it is preferable to pass on the left side of the road.

Most particularly, if you are right-handed.

Furthermore, Webster who hated the British wanted to establish a new American language that would culturally differentiate the majority English settlers from their ancestral people.

He set about that by writing a new dictionary “Websters”. Which predominantly consisted of long-established English words many of which were historically derived from a variety of languages, but changing their spelling in minor ways to make them distinct from traditional English.

Which is why a famous British politician said of the Americans and British that they were: “two peoples separated by a common language”.

However, I have a lot of German friends, most of which have been well trained and speak English rather better, than most of the English themselves.

I also have a lot of Bavarian friends, but alas although they speak English well, tend to speak in German using Bavarian slang. So, when they come to the U.K. wanting to improve their English further, I normally suggest they attend German lessons, to learn to speak their own language properly first. 😊     

In short, if you travel to Germany, pass to the right (unless right handed and duelling a knight in armour) and speak in English, as not all German's, (particularly Bavarians) speak German so well.

Digital gear only has so much processing power.

All the extra features people desire cannot be crammed in the same chip.

However, Peterson manufacture a range of tuners for bench, feet and also that clip on the instrument.

They are strobe tuners and offer every kind of alternative tuning and tuning sweeteners. Strobe tuning can take a little bit of getting used to at first.

But the Peterson tuners are more accurate than others.

Peterson Strobe Tuners (petersontuners.com)

This page below shows you the alternative tunings for electric guitars. Scroll down!

Tuning 6-String Electric Guitar | Peterson Strobe Tuners (petersontuners.com)

There is another page for acoustic guitar tunings.

Tuning 6-String Acoustic Guitar | Peterson Strobe Tuners (petersontuners.com)

I have considerable sympathy for the view expressed by a pal who worked for Motown Records, when he stated:

“The biggest problem in the music industry today, is usually stood, directly in front of the mic.” 😊

Quote: “Thanks, but it's not a matter of luck, is it?”

I would never argue with anyone about that.

I deem faith and belief to be far more important personally, but never-the-less it’s amazing how easily opportunities can be missed.

Life utterly transformed by small events, chance meetings, momentary windows, fortuitous connections. A small rudder can turn it around a great ship.

Ability, technique, creativity and musical competence does not necessarily equate to genuine commercial success in the music or entertainment industry, alas.

“Business show is the way to think about show business” I heard a well-loved star of the entertainment world say. The ingredients for the realisation of outstanding accomplishment, seem haphazard to say the least.

Cliff Richard got his break when John Foster went up to him after a gig and told him “I can make you a star”. He knew the folk that ran a club where talent scouts looked for fresh faces, and got Cliff to sing in front of people that could propel him to stardom.

Cliff learnt much later that John Foster, was a lorry driver, in the local sewage works.

You couldn’t make this stuff up!

One of the U.K.’s top promoters grew up in the next street to me.

One day he had a desperate sounding call from the manager of the largest local Theatre.

They had booked a chart-topping big hit act, with all the tickets sold, but the band cancelled at extremely short notice, because of illness and there were no iPhones or text messages in those days, no way to inform the fans turning up, in two days, not to come.

The theatre manager was completely beside himself. He not only feared refunding all the takings, but that thousands of disappointed fans would tear the seats out completely trashing the building. It was in that era. So, he asked my pal if he could come up with a replacement act, at very short notice. My pal said, “leave it to me”.

On the fateful day, a fearful announcer told the audience about the hit bands illness, and said they had an alternative group to take their place, and requested they give them a fair hearing.

Well, as it happened the group went down an absolute storm, the audience was totally delighted and the theatre staff palpably relieved, because not a single individual asked for their money back, and what is more the building was still completely intact.

The group was very pleased too. They had received their first major exposure before a large audience, and their highest ever earnings to boot. The princely sum of £25 shared between the singer and his group. Not only that, but my pal visited the local all night wine shop and gave a bottle of Champagne to the lead singer.

The singer told him: “You are the best manager I have ever met. I will never, ever forget you!”

The singer was Robert Plant along with his group.

It was their first ever major gig.

A very good friend of mine was EMI’s head of Artist and Repertoire in the Netherlands.

He had formerly been a top hit session musician whose records you know well, who later went into production.

So, it was natural for him to put together some Dutch session musicians to back the artists he wanted to record. It was a very fortuitous meeting for them.

Later, three of the musicians added an organist to their number and formed the group Focus, who went on to have a major hit with a tune called Sylvia and shot them to worldwide fame.

Focus - Sylvia - YouTube

A very close friend was a top session drummer and also very entrepreneurial.

He had run “The John Barry Seven” for a while, when the late John Barry got his first break into scoring film music, but still had gigs for his band lined up.

He was part of a group of musicians that backed a brilliant former session guitarist, recording and film star Joe Brown. Someone that the Beatles all looked up to, as he topped the bill when they first toured and always stayed good friends thereafter.

I ll See you in my dreams - Concert for George - YouTube

Joe was a headlining act and as a former session player, knew all the best musicians around. He insisted on getting the very best in his backing group as he wanted to sound better than everybody else, and insisted that his musicians didn’t play with any other act. He was very strict about that.

He decided to have a holiday and get away for a while, relaxing. This left his musicians without work for a little while. My entrepreneurial pal scoured the entertainment industry magazines, and found a theatre in the north of England advertising for a backing group, for an array of singers for their variety shows.

So off they go, out of the way of their usual haunts to the north of England and after a day’s rehearsal the line-up of artists were excitedly ready to perform with these top backing musicians, on stage. The curtain finally went up and guess who was sitting with his wife in the front row of the auditorium, but Joe Brown! He sat there looking annoyed throughout the entire show and then went completely APE!

So, while I would never argue with you: “that it’s not a matter of luck”.

It does run contrary to my experience and that of my pals. 😊

Quote: "I don't have any tuning problems with a 2 point trem and 2 springs."

I'm glad to hear that, and for sure two springs demands a high level of sensibility and discipline.

Good Luck with your playing

Quote: “My two spring comments are mainly related, as I mentioned earlier, to setting up a 2 point Strat to do the Jeff Beck 'thing'.”

I imagined that to be the case.

Quote: “For a floating bridge, three springs or more results in a more stable bridge. 2 springs allows for a very delicate trem that can be manipulated extremely easily and that can be knocked out of tune simply by plucking strings too hard.”

Would that be modern two-point Vibrato unit?

Chris Kinman fixed Hank Marvin’s vibrato tuning problems.

The precise details are a bit technical but in short, he is a great believer in the original design Leo Fender created.

Hank usually tours with three guitars each set up with different gauges, heavy strings for the old hits, medium for more modern tracks and light gauge 10’s for more bendy things.

Chris retro fitted Hanks instruments with the original design style of vibrato unit, modifying that area of the instrument so he could play quite a while without tuning issues, usually with 3 hour concerts.

If you are interested, scroll though Chris’s blogs till you come to his explanation regarding Fender vibrato units. Understanding what is really going on with the different designs of vibrato unit may help with your tuning issues.

Perfect Guitar | Kinman - Perfect Guitar

Look for "Strat Bridge Topics (IMPORTANT)" and scroll through.

Also" keeping in tune" and "retrofitting a Strat Bridge".

Heres's Hank doing his beautifully toned "human voice" imitation vibrato thing, almost all the time.

THE SHADOWS, "The Final Tour" / "Theme From The Deer Hunter" - YouTube

Good Luck!

Although they have a Yamaha Digital Desk these days.

Ronnie Scott's Jazz Club used the Allen Heath Desks similar to the one you bought, for many years.

My main concern would be that unless it was tested prior to sale, it might need recapping or entail some thorough maintenance work.

Never-the-less, some people love that sort of challenge, it was a great bargain and lots of perfectly good analogue equipment is being displaced in favour of digital these days.

I wish your friend good luck with his endeavours.

You'll want these then!

GL4000-USER-GUIDE-AP2642_3.pdf

GL4000-SERVICE-MANUAL.pdf (allen-heath.com)

The user manual and service manual are readily available, but the user manual too big to upload here so Google it.

Quote: "noise comes from the attachment ends of the springs when all tension is removed from the spring. A proper setup does not allow that to happen."

Fender make a wide range of instruments over a large compass of price points. The only time I have experienced genuine spring noise, emanating from the springs themselves is many years ago with the Japanese instruments from their range.

It would appear therefore that not all Fender vibrato unit springs are equal and third party suppliers involved under certain circumstances. So think its worth anytime someone purchases additional spring to ensure they are genuine Fender American parts intended for your particular model or if they experience noise obtain proper replacements.

Honesty compels me to confess that over time I have tried all variants of spring numbers and fully appreciate the advantages, issues and considerations germane to this thread. Although the difference between two and three springs can be to large degree mitigated by adjustment of the body spring claw, minimising the variation to all but those sensitively accustomed to a specific set up.

Continuing the vein of honest admission, I tend to adjust myself to the instrument I am actually playing, rather than insisting that any instrument is precisely set up to a particular, singular, exacting specification. The reason for this is twofold. The number of instruments that pass through my hands and that such small differences allowed to exist, actively contribute to sonic differentials along with tending to move me to play the instrument in a slightly different manner. Adding to the instruments hallmark characteristics and why I would choose one instrument for a particular musical style over another.

My final confession, is that as a Gibson enthusiast, the Fender Stratocasters are fitted with five springs to effectively make them into a hard tailed instrument.

Though I am in good company in doing so.

It’s not a good idea to listen any louder for long periods if you value your hearing.

Its not peak levels that cause damage so much as average levels for prolonged periods. Average exposure over time.

Both in the USA and Europe over the last decades, health and safety executives have revised recommended listening levels, somewhat downward .

Ongoing development in artificial intelligence and machine learning.

Particularly relating to evolutionary advancement in automated vehicular design.

Can only lead to a singular, lamentably inevitable result, for the musical industry community.

A major country artist will write a hit song for the country charts, about his pickup truck, choosing to leave him. ☹

Page 92 of the manual

The Built-in Power Amplifier

The optional built-in power amplifier allows you to connect your PowerHead or PowerRack to 4, 8, and 16-ohms guitar cabinets, as well as unpowered full-range cabinets.

It is cabled to the MONITOR OUTPUT internally, so all features of the MONITOR OUTPUT are applied to the internal power amplifier as well.

Please refer to the MONITOR OUTPUT chapter of this manual for more detailed information.

You will find controls for the power amplifier on the dedicated page of the Output Section:

 Power Amp Switch

“Power Amp On” activates the built-in power amp. There is no specific need to switch it off when not in use; unlike a tube power amp, the built-in Class D amp is not in any danger when you have no speaker connected. Nevertheless, you may want to switch it off to reduce energy consumption.

Quote: “"the venue"... What is that? I have played many places and none are the same. Playing an outdoor gig is completely different than a small bar . Use your ears and adjust accordingly.”

As I mentioned to an attractive geography teacher living close by.

“Geology rocks, but geography is where it’s at!”

Adjust to acoustics.

Quote: “stuff happens outside of our control.”

I had a situation akin to Ed’s that was somewhat embarrassing at the time.

I was approached by an organisation to put together an ensemble for an event at The Royal Albert Hall at which I was to conduct.

We had a meeting at which I presented a costed study and explained precisely how I would approach the project. Everything went well and I produced my musical arrangements and saw to the necessary preparations.

Quite late in the day the organisation mentioned they had been approached by a record company that wanted to produce a live album of the music, who in return would contribute to the underwriting of the events costs, which they saw as a win-win scenario.

I wasn’t particularly keen on the idea, especially as they intended to use the record companies house producer; whereas, if possible, I always prefer to work with someone I know well, with whom I have an existing relationship. Preferably, someone I like, get on with well, whose competence I am completely confident in.

As I wasn’t required to be involved in the production side at all, although it was late to introduce this additional aspect of the event, I was carried along with it, despite any inward reservations I might have had.

Unlike my own approach, there were no preproduction meetings and on the day of the event the producer turned up and a mobile studio.

At compere announced that the event was being recorded and the audience would later be able to purchase an album of the music if they wished.

After the concert, I was told “the tape failed”. Talking to him later about this George Massenburg's question to me was “why didn’t they have a backup?” We had two other major venues involved with this project, so the recording was done again (at the mobile studios cost) in Birmingham.

But it was a bit embarrassing to say the least, after the audience at the Royal Albert Hall had been told they could buy an album recorded at that event. The record company and the mobile studio had egg on their face but I was ok, as I had not been involved with the production side at all, as that element of the event was introduced so near the day.

The following year ,the same record company wanted to make another live album as the earlier one had charted very highly for a prolonged period. I didn't speak, but just looked at those proposing this with a little shake of the head. They got the message and didn't press it any further.

But it taught me a salutatory lesson, to always have backup where a live event is concerned and particularly to have one running where a live recording is involved.

It also taught me to always be intimately involved in, and to sometimes to dictate production values. Not to make assumptions and rely on others completely.

As consumers can equate an artist, with the mistakes that recording companies make.

Poor Ed. I guess we all feel for him!

Quote: “the OP is talking live tone and whether the natural venue reverb is generally enough or whether he should usually add reverb. 🙂”

Thank you for helpfully point this out.

Broadly, I believe the genre of music along with the size and type of venue to be determinative factors. So, it depends.

And whether the illusion of naturally occurring acoustic is sought, or that of a dramatic, attention drawing effect, say for a sensational solo.

Some genres (like rockabilly, rock and roll, country etc. et al) simply wouldn’t sound right without reverb effects added. Some types of rock guitar also.

With all due respect, there is something of a fundamental flaw in the thread title, as “rock tones” really encompasses too wide a field altogether. Specifics matter, in sound.

Then, there is the added complication I alluded to, that over several decades now, what were once clearly distinct musical genres, have absorbed crossover elements from other genres, widening the potential audience.

The bottom line here is that any established group is usually attempting via their stage performance, to replicate as closely as possible the creative recording along with all its effects which brought their following audience to the show in the first place.

Therefore, though it might not at first seem relevant. The use of reverb and delay and the most successful recording techniques in the studio are directly and germanely pertinent to their use during live performances in concert halls, auditoriums and stadiums.

The thing no group wants their audience to say after a live concert is: “They played ok, but they didn’t sound anywhere near as good as they do on their records.” The truth that no one who comes to your concerts really wants to hear any songs from your latest album is bad enough! They just want to hear the old hits. But not sounding as good as you do on record, just won’t cut it anymore, these days.

Forgive me for pointing this out, but I think it’s worth realising the methodology and techniques I attempted to explain in my earlier post, were developed by a sought-after engineer who recorded and produced many top, best-selling rock artists and groups. Acts whose names you would recognise, whom I have no need to enlarge upon. There’s plenty more I could say about delays and reverbs both in regard to recording and live performance, but am sorry if I have taken the thread in a direction that you have no interest in. Thanks for helping me out. 😊