fresh strings capable of creating higher order harmonics certainly help.
a hard pick with a point, like a Jazz III also helps, the rest is technique
Posts by DonPetersen
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Never dialed up a tone that needed unpleasant, high frequency content to get a good a sound.
FWIW
Guitar speakers are rarely, if ever, pointed directly at the ears, which makes them seem much softer than they really are - while a close mic will pick up it's actual sound quite accurately. -
Yes, I have tried Pure Cab. It helps but doesn't seem to solve the whole high frequency problem for me.
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. -
I have had good result using those numbers as a starting point.
that's all I really meant - use them to get started, but always involve the ears, preferably in a meaningful band/mix context.
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Huh? I don't see the logic here. If one looks at the attached plot the -3dB points are approximately 75 and 5kHz. Setting the cuts to those values will absolutely get you more than nowhere. Yes, I agree that one would want to use their ears. But if I were deaf (thankfully I'm not, yet
) these settings would be a relatively good approximation and would be much better than nothing. The cuts are simple hi and lo cut, so none of the frequency response detail (comb-like response) is accounted for with the cut filters, but that's the nature of filter approximation.IME, the cabinet model never properly accounts for the high frequency issues that the Kemper commonly reproduces through FRFR speakers. This might be due to micing techniques and could be why some profiles are better in this respect than others. I never like the result of a mic placed near the center of the cone. The highs are never pleasant for me in that case.
have you tried Pure Cab? It is specifically there to alleviate artifacts introduced by close-mic'ing.
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This same thing happened to me once before. I did a "init globals" on the system settings to get back to default settings, and then turned the Power Amp on and everything was working again. I never found out what I did to cause the power amp not to make sound.
the SPEAKER OUT gets the same signal as the Monitor Output, so if Monitor Output is set to 'Off' there will be no signal.
also on page 10/10 ('Power Amp') of the OUTPUT Section there is a Volume control, if set to -inf there will be no signal.
these parameters would also have been initialized back to 'normal' settings when doing the 'init global' procedure -
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I like the Celestion Creamback speakers. Here are the responses.
Creamback 65 75Hz - 5kHz
Creamback 75 70Hz - 5kHz
These are the two speakers I use with my Friedman Twin Sister amp. I am using profiles of a Friedman Dirty Shirley with these. The Twin Sister is a two channel amp that has two Dirty Shirley circuits in it.
numbers like this really mean nothing.
as you can see in the frequency plot of the Creamback 65, the speaker does reproduce frequencies well outside this area.
a PROFILE will already have this information as part of the CABINET, but since close mic'ing can emphasize the high end use either the Pure Cabinet or High Cut parameters to adjust the signal by ear. Preferably in context of a full band playing.
Simply copying numbers will honestly get you nowhere I'm afraid - trust your ears. -
there is such a thing as using too many sounds - 5 slots for one song is pretty much overkill.
I play in a band with 3+h of cover material and still I only use a handful of PROFILEs that simply work.
Technique, pickup selection and vol-pot can take a PROFILE quite far.
Yes, there are special sounds that I only use in certain songs - a wide & evil Rammstein tone and a crunch tone transposed two halfsteps down to accomodate the singer's range, which it can't be transposed on the instrument since the riff is open string based.
The factory rig '1971 Mars Golub Crch' is an amazing base for rock-centric bands for example.
With the already mentioned exception of the 'special' tones, I do get by with one Performance - that's it.
Super consistent sounds over IEM, the FOH mixer is happy (and he's not the happy kind usually) night after night.
K.I.S.S. -
Which amp is it based on ?
A ValveTrain 416
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Will you please liquidize the Gundy Gimourish and rerelease it? Amazing patch. Thanks
this Rig is based on a PROFILE made by Kemper in Nashville - meaning Gundy Keller has no way of knowing how the controls were set.
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there is always a moment at rehearsal where you realize a certain patch is just a little too quiet/loud within the mix.
adjust Rig Volume & save, that's what rehearsals are for.
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The general idea is not too bad. During gigs there are situations where you would need an additional 2-3 dB of added gain (eg. soloing). I do not want to waste a slot for such a simple task. Why not adding an master gain option with a predetermined gain value?
Set the Solo gain and then turn down the volume pot on your guitar for the rhythm parts - this gives you the fastest and most intuitive control without any extra setup, programming, switches etc.
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BBE Sonic Maximiser
Oh boy, people still use this? A good way to create a big 'sounds good solo'ed' guitar tone that will disappear in a mix.
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Bei den Werkspresets ist es jedoch natürlich so, dass die Lautstärken perfekt angepasst werden KÖNNTEN, was vermutlich aus reiner Faulheit nicht geschehen ist. Roland tut dies auch nicht beim GT-55 oder IK Multimedia beim ToneX. Ich finde das super-rücksichtslos
Zum einen ist es ein erheblicher Unterschied, ob man MultiBand-limitierte fertige Mixe aneinander abgleicht, was in der Tat recht gut geschehen kann, oder ob es um absichtlich dynamische Klänge eines Preamps mit Effekten geht, bei denen das Instrument mit all seinen Unwägbarkeiten (Spieltechnik, Pickups, etc.) eine sehr große Rolle spielt und auch soll.
Tatsächlich werden unsere Factory Rigs alle einer Lautstärkeanpassung unterzogen, bei der diese einer Baseline folgend aneinander angeglichen werden. Dazu werden unter anderem Integrierte LUFS sowie natürlich das Ohr zu Rate gezogen.
Zu behaupten, dass dieses nicht passiert ist somit schon einmal nicht richtig - weitergehend zu unterstellen, dass dieses "aus reiner Faulheit" nicht geschieht, ist schon etwas grenzwertig.Selbst wenn die gefühlte Situation sich für einen selber so darstellen sollte, kann man das besser formulieren, für solche aggressive Rhetorik ist in diesem Forum eigentlich kein Platz, wir sind auf einen sachlichen und freundlichen Umgang miteinander bedacht und fahren bisher (~10 Jahre) sehr gut damit.
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thanks to the recommendations here, I still play Prime Tones, but usually not live since they have a tendency to disappear and our singer who plays acoustic in a few songs loooves to come over and ask for a pick.
The black Jazz III XL is my default go to, but currently I'm giving the Jazz III Tortex 1.35mm a try and after a few shows I'm quite happy with them. -
The clever bit is how Kemper have created their tone stacks to replicate how the real amp works. These can and are only created by Kemper as " presets".
"Amp Models"!
A preset is something else entirely -
If I know the settings where do I apply those settings?
it's all explained in the manual
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short version:
a) the amp in question must be on the list of Amp Models included in OS10
b) the settings at the moment of PROFILING have to be known -
Ich kenn mich mit der Erstellung von Rigs (noch) nicht aus, aber gibt es denn nicht so eine Art Normalisierung, durch welche diese extremen Lautstärkesprünge vermieden werden können?
kurze Version: Nein.
Die Lautstärkenwahrnehmung ist recht kompliziert und abhängig von der Dynamik, dem Verzerrungsgrad und den Frequenzbereichen und das Ganze ändert sich dann auch noch je nach Abhörlautstärke.
Dazu kommt das es auch hier leider einen Loudness War gibt - gemäß der Prämisse 'Lauter ist besser' drehen manche Herstellen von PROFILEs ihre Rigs lauter um im Gegensatz zu der Konkurrenz lauter (-> besser) zu erscheinen.
Der Factory Content und alle Rig Packs sind von uns angepasst worden um genau das zu vermeiden, aber darüber was in der Rig Exchange erscheint können (und wollen) wir eigentlich keinen Einfluss nehmen.
