Posts by tylerhb

    I checked this again a few days ago with my RME Fireface 400. I did a reamping loop and recorded spdif and main out simultaneously. At 44.1 kHz, spdif arrives around 1 ms later than analog. Interestingly (and that is why I was measuring), at 96 kHz, spdif is half a ms later still that at 44.1 kHz (1.5 ms later than analog in total). When I measured a few months ago, I measured higher additional latencies with spdif at 44.1 kHz, around 2-3 ms. I did not investigate wether this has to do anything with the specific patch (I used the same patch in the latest comparison, but a different one in the first).

    It would be interesting if tech support has anything to offer on this subject!

    It is defintely related to the audio interface, not the Kemper. On my RME HDSP 9632 , SPDIF arrives a bit earlier than analog.

    I personally don't get the hype at all about dual-amp. Same signal through 2 amps is not how you make guitar wider in a mix. I'm actually genuinely curious as I might have been missing something about this but in your example of "Stack A and B panned on either side", I'm not sure when that could ever be favorable over a proper double tracking panned on each side. If you really want the exact same track with two amps, just re-amp the DI track with a different amp... If I want a different kind of definition or accentuate different frequencies, it's probably because I haven't chosen the right amp/eq/settings to begin with. Seems to me just like a trendy feature that make it sounds like all of a sudden, your guitar will sound better because 2 amps must mean bigger/better tone...

    Exactly. People often confuse multi amping with double tracking.

    Seems that i missed the info that the new Kemper Stage can be set to SPDIF slave. Will the Rack and Toaster also receive this feature?

    "Digital Inputs and Outputs PROFILER Stage

    S/PDIF Input/Output 44.1/48/88.2/96 kHz (24 bit)

    with RCA phone connectors for coax cables

    (master or slave) "

    The issue I hit with this is the relative levels...the ambient mic also picks up the band from the pa which is much louder than the crowd ( maybe that's the issue - no one likes us ha!), hence I found balancing it difficult i.e. placement is really difficult.

    This is an issue for any IEM set up though and actually you can get used to lack of ambient. The benefit is you can hear everything no matter where you are on stage or off ( I wandered off stage to the dressing room as I'd forgotten my hat mid song without missing a beat). Plus you can hear vocalist announce the songs and your own voice etc.

    This is why you have to apply ducking on the ambient mics. You can route the main mix as a sidechain signal to reduce the volume of the ambient mics. This way you can level the ambient mics to be fully audible if the band is silent, ambient mics half open if you play a guitar intro and the ambient mics fully closed when the whole band plays.

    +1 for this suggestion - the side-chain trick is a great way to achieve a more natural monitoring environment without screwing up your direct mix. tylerhb do you use fig-8 or omni pattern mics to try and include some off-mic stage stuff as well, or just point a pair of cardioids at the front row? Sounds daft, but when you're off-mic between songs and can't hear your own words coming out, it can be a bit weird. Perhaps the answer is, don't ever be off-mic, but I'm interested to experiment a bit more.

    We just started using that kind of setup this year. For testing i only got a pair of cheap Behringer C2 on the stereo mount that comes with it. Actually those worked better than expected. I had low pass and high pass filters enabled for those on the X32. We are using a complete "silent stage" setup with edrums and i dont want anything from the stage to bleed into the ambience mics, because the noise from the drum sticks hitting the edrum cymbals can sound very weird when you beed up the room mic signal with a compressor.

    I wish I did have the luxury of a dedicated monitor guy...I'm quite jealous!! :)

    As long as you bring your own digital mixer like an X32 you really don´t need that. Each band member accesses their individual IEM mix with their phone or tablet. It´s more of a challenge to maintain a steady set of input signals going into your monitor mixer. Either you need a complete signal split or you simply have the FOH tech doing the mix from you own mixer via smartphone/Tablet/Laptop remote. You need to bring your own microphones to each gig but in the long run it´s way more comfortable since you get the same perfect FOH mix as a starting point.

    Been there :)

    On the flip side the amount of gigs I've done with IEM's and the sound is so much better than the on stage sound. The biggest issue for me is disengagement from the see them clapping ( sometimes!) but can;t hear them..

    Simply add two ambience mics pointed at the audience. Beef those up with a compressor but have them ducked by the FOH band mix. This way you can hear the audience inbetween the songs without messing up your IEM sound when playing.

    Had a look at the manual:

    "Rig Model files are obtained with Overloud proprietary
    technology R2M (Rig to Model) with which it’s possible
    to faithfully reproduce a complete rig.
    Overloud does these rig modelling in house using top
    quality tools and procedures, to allow users to play
    with the best guitar tones possible."

    So you neither can load Kemper Rigs, nor make your own profiles with this :D

    I switched to a Shure PSM300 recently. Very happy with it. Perfect fit the stagediver SD-3 in ears. I cannot praise those high enough. Same sound and comfort fit as custom in ears at half the price. Since these are universal fit you can test and return those in case you dont like them. My whole band uses these and everybody is extremely satisfied.

    2BOX is excellent, Till. A lot of work depending on how many libraries you choose to transfer, but great nevertheless, as you know.

    The OP would have to sell his TD kit and module, but wouldn't have to buy a laptop, so it's theoretically-doable.

    I would say that a full Jobeky kit with metal cymbals and a 2BOX Module will probabaly not even cost half the price of a TD-50, but it sounds, plays and looks better than the roland stuff. Drum-Tec from Germany builds similar real looking edrums at an even higher quality but they are way more expensive. The new darker Jobeky cymbals look fantastic btw.

    In my recent metal band project "DVIL" we use edrums in all studio, rehearsal and live situations. I have been struggling with the same question whether to use a DAW with audio interface live or not. We ended up using a 2BOX drummit five module, which is the only module available that allows you to import and use your own multisamples. Using the SDSE software to transfer nearly every bigger VSTi on the market like SD2, SD3 with all expansions, AD, BFD, SSD4 and other kontakt libraries this was quite a bit of work but i have to say it is a great sounding and stable setup for live use without having a DAW onstage. Sure, since all samples are mixed down to stereo you cannot change the miking mix afterwards but this is not really a problem. Using exactly the same sounds live as in the studio without all the problems that come with acoustic drums just feels like you are beginning playing music for the second time. We have the kicks, snares, toms and cymbals routed in stereo groups out of the 8 outputs of the 2Box module into a X32 mixer which feeds our IEM mixes. Using Kempers this silent stage approach allows for a perfect sounding mix even in the smallest spaces. Btw, the kit we use is made by Jobeky in UK.

    [Blocked Image:]

    Im a protools user since 2009...and a revoice pro through all its iterations user for a long time...are you saying cubase 10...does ADR (and GTR applications) internally?

    yes, have a look starting at 3:24... extremely simple to use and a huge timesaver...

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