Posts by Rispsira

  • Explaining the modes

    I scanned this thread pretty quickly so plz forgive me if what im going to say has already been said.


    heres my opinion so keep in mind its just that; an opinion.


    they tell you whatever feels natural to u is the way to go. I used to lay my ring finger on the fretboard. I learnt to play without it as well on occasions (to access some notes with hybrid picking when need be). Same goes with strict alternate vs economy picking.i beleive we should know both to add colours to ur palette.


    I wont go more into details but what im trying to say is that ultimately if you want to be free you have to have different methods of visualisation.
    caged is good. Three notes per string too.
    another great visualisation technique that helped me a lot was playing one octave modes.
    starting with the first finger one octave of each of these modes. The. Starting with the second and finally with the 3rd or 4th (depending on the modes fingering ull know). But the key here is to pay attention to the intervals!! That way u wont be learning a new mode each time. Itll be easy to learn new scales quickly and is great ear training because ull understand as well as feel why they sound the way they do.


    then switch to another set of strings. To recap lets say u start on the 6th low E string with the index finger one octave of that mode after mode.
    then middle finger one octave of each
    finally pink or ring finger same thing.
    now start on the 5th string with the index etc


    once you get better at that you play more than one octave again still paying attention to the intervals.


    another great exercise to help u learn these scales faster is inky playing one interval and nothing else!
    so say were in the key of A. Play the b3 surrounding the root. Then go to another root on another string and find the b3 around it.


    i recommend checking out Tom Quayle's fretboard visualisation tutorial that u can buy frim his website.


    each visualisation technique has its advantages and weaknesses.


    i say why be in a hurry. lets learn them at our own pace and benefit fron them all.


    again that is just my opinion. i dont have much credit either as i am not done with that phase to speak as an expert: im currently in the process of learning the fretboard. I say this however because inhave been seeing some results although i have yet so much work to do!


    Keep in mind the learning curve however. It is more exponential than linear. What i mean is it is daunting yes but more than it should be because the more you learn the easier it is to learn the next thing as things start to connect sinilar to intervals. The faster you get at seeing them and hearing them the easier it is to learn more stuff like chords arps new scales etc


    either way happy learning!

  • Public Beta 3.1.0

    I do hope my intentions are not misunderstood; just giving my personal opinion as i love kemper and the team AND u should know i probably dont know what im talking about as i havent tried the new feature yet and may eat my words.


    but so far just reading on paper i have the feeling that for the first time no improvement was made besides pleasing customers. Now that should be great right?
    except i have never understood these complaints to begin with.


    -first (plz keep in my mind its stil an opinion and just that) i dont agree that you NECESSARILLY get better tones with multiple mics. I love multiple mics and i use that but some of the best tones i heard are captured with one or two witg the second one just adding a little
    (tone is subjective and that has nothing to do with the feature i know but i keep reading it and im sharing what i think thats all)
    - the amp in the room sound: its always singular as in one sound. From personal experience its many sounds. U move a bit and its harsh a bit more its dull a bit more its louder a bit more wow u like that etc.. so besides the extra "thump" (im speaking of any tones clean mid gain heavy whatever this applies to many) u get so many variations on the tones which for me ranges from i like that to not so much sometimes.. So what people are looking for i find frustrating its like u only get the tone u were chasing if u stand at a specific point.
    - the "harsh" frequencies: the best tone i heard were captured by a mic and never harsh. Positionned well why should the tone be harsh in the contrary u move the mic to get AWAY frim that. And perhaps what remains that US harsh would be exactly what u need to cut through..


    to summarise i dont quite get it but hopefully i eill.


    i hope i have not offended anyone because when i dont agree with something i usually keep my mouth shut but this time im really hoping for some feedback that will clarify all the excitement and NOT trying to satisfy my virtual (internet) ego haha


    cheers everyone!

  • IIC+ 2.7 pack online now

    Quote from meambobbo

    @KillDivision,
    "I replaced the cabinet by a H&K V30 from Sinmix."


    A noncommercial cab profile? Or did u get his permission? Im all for sharing tweaks but you cant give out partial commercial profiles for free w/o permission. Sorry to be a buzzkill.


    Hi meambobbo!
    i think he just shared an mp3 no? Not the actual tweaked profile
    oh unless the post was edited after your comment.

  • M Britt Kemper Profiles


    Hello Amigauser,
    like Vesmedic said, do not apologize it is clear u are here for help and are being honest about what you hear; there is nothing wrong with that.
    let me share an experience with you if i may.
    I love high gain sounds and have a jp myself along with other 7 string guitars. But i love "vintage" sounds too!
    I got a lonestar head not too long ago and tried it with the jp guitar, although mine is an older 7 mystic (no
    crunchlab) with if i remember correctly has a D-sonic.
    i was pretty disappointed, although i was patient because i thought surely i am not dialing the amp right. I kinda became patient by going through mesa amps haha
    this time however it wasn't the learning curve i got so used to. I picked up a strat and wow i fell in love with the amp. it is as if this amp was made to turn low output pickups into a thick creamy and warm tone whereas the jp sounded- for a lack of a better term-
    Extremely "metallic" no soul if u want.
    now does that mean that people can't get great sound with this combination? No. It is just my experience so keep that in mind. For example,although this was not what i was after specifically when getting the lonestar, petrucci used this combination for a while and he gets great tones! Just didn't work for me.
    I wish i had a les paul to compare as well; it seems more fair than comparing humbucks with single coils.
    in respect to the output level. I aslo took a profile andplayed with the input sense levels but the kemper still reacted like the amp and the sound was still there.
    maybe give the eq a chance like was previously mentioned or try to get your hands on a different guitar to try Michael's profiles even if for one hour and see if your experience is close to mine.
    goodluck!

  • M Britt Kemper Profiles

    I hope you keep making studio profiles. I think a lot of merged profiles will sound great but a 100% like the studio profiles i dunno...
    I suspect everyone will update at some point because the updates will include features they want even if some people dont care about merged profiles.
    i surely will update but my priority will always be for studio profiles.
    of course preferences vary!

  • M Britt Kemper Profiles

    Shadowcast that makes two of us for the kelly haha
    i still havent checked your profiles lonestar so i am waiting for the 3rd pack to just grab them all!


    i am very excited to hear the lonestar amp too. I recently got the head and at first felt dissapointed i couldnt make it sound right (kind of a metallic sound) until i tried it with my strat.
    since then only been using a profile of it!
    But why i couldnt make it sound good with my other guitars ill never know!

  • Andy Sneap Interview, trick to tone match during refining.

    Yes i didnt like that one either.
    I do love that combination; tried ot on my lonestar as well and was really happy with that.


    unfortunately sometimes my ear get tired ans i miss a phase problem between the mics until i come back and listen later. It happens with brightness too sometimes i mic or dial a tone too dark. Next day i listen and wonder what the hell i was thinking...

  • Andy Sneap Interview, trick to tone match during refining.

    Quote from tylerhb

    When refining, the raw guitar input signal is not independant of the KPA return signal. If it was, you could simply feed any signal to the return and result in a tonematched profile. But it does not work like this. In order for the refining process to work, it requires the guitar input signal and return signal to be in perfect sync. Everything else results in strange artifacts. This is the reason why you need to have the original DIs for it to work. In every other case you will have to use something like ozone and router the profiling signal through your DAW. Also works great and does not need the original DIs.


    hello! I am not sure it this reply was directed at me but if it was i agree amd think maybe i mustve not explained myself correctly? Apologies!

  • Andy Sneap Interview, trick to tone match during refining.

    Quote from Sledge139

    Rispsira,
    It seemed to me that his whole point was the ability to create profiles from old sessions from before he had his kemper. To make it happen he figured out a way during refining.
    He was vague so it's only my best guess from what he said, but from my tests I believe I'm on to something.


    I sure wish Andy Sneap would chime in and explain his technique.


    oh so u mean this was the purpose; profiles from before the kpa. In that case it becomes clear. He uses an actual amp, logically the same one that was used on the record. He then tries to get a similar sound with amp settings and mic position and at this point here comes the necessityoif this method to then refine the profile to get the exact same sound (that originally results from the tone settings and specific mic position as well as the way the guitarist plays)


    this could have one benefit: u can take a profile with one mic and then use this method to get close to a tone that was recorded using a multiple.


    and here djemass i see this as something hgat can help utoo get ur desired result; u have taken from what i hear amazing sounding profiles (will try them soon) but using (i might be wron) a 57.) while petrucci uses an md421 (later ribbons).
    Same logic applies to using different cabs than the recorded source.


    Thanks for the reply sledge!

  • Andy Sneap Interview, trick to tone match during refining.

    Guys a question from another confused person :0


    When sneap tracks an album it is usually the norm to track a di along with the amp. Later on if the band wants to have the same album tone maybe for live purposes he can fire up the old sessions and feed the kpa's return with the amp and route the dis to the kpa's input. That way the di is exactly synced with the recorded amp and the result is similar to tone matching but resulting in a profile.


    this could be one use of this method but what confuses me is that i dont believe sneap is reffering to that. He mentions it helps with the refining so i think he means that it helps the kemper to profile an actual physical (as opposed to a recorded) amp more accurately.
    iow the kemper will match the amps tone exactly if we use this method during refining which is different than the purpose i spoke about in thefirst paragraph.


    and that is what i am interested in and dont feel i understood. I dont always get my profiles to sound exactly like the amp although it depends on the amp (some seem to b harder to nail than others.) and sneap seems to b referring to a better way to refine to match the profile exactly to the amp. again that is different than what i described in the first paragraph.


    and if while profiling instead of routing the mic to the kpa's return i record it to daw and instead of connecting my guitar to the kpas input i track that too and then route both signals from the daw to the kpas return and guitar input respectively i see no benefit (just unwanted ad/da conversion) hence the confusion. This is how i know im missing the point.


    sorry for the long post; english is not my native language either (cheers djemass :D)


    any help? (Hope i explained my question well..)

  • any chance for an "offline" (similar to the IR one) solution to creating a new profile out of a mixture of two?

    Yes but i have to confess that i have only been playing with my own profiles not because theyre better but because i wanted to try to improve them while being able to relate to the whole profiling as a way of trying to get better at dialing tones.


    I have made some progress but need to take better profiles now that i might have an idea of how to improve on them (really needed to hear them in a mix and i still have more learning to do). So i was thinking that in the meantime i should clean up my kemper and start enjoying the RM to explore all the great profiles out there (i know there are some GREAT ones from listening to clips here!)
    Long story short (!) your suggestion is great and i should probably take advantage to try some of the pre-mixed profiles you are talking about (if i manage to find them again haha!). Thanks!!