C# = different cabs. I honestly don't know what the rest of the naming scheme implies, actually waiting for Andy on that one. 
Posts by JeffTD
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I think you guys are taking the term 'scooped' too literally. I can tell you that these profiles have plenty of midrange; it's not the hollow bees-in-a-tin-can tone you're thinking of. No 90's nu-metal stuff. The thing to remember with a lot of these amps is that they have a TON of midrange and tend to be super honky and stuffy if the midrange is dialed in too high. Ever played a 5150? That thing has a ton of midrange even with the knob fully counter clockwise; I actually don't even like 5150's with the mid knob above 4.
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May I suggest getting someone who specifically plays metal and is well versed with dialing in metal tones to do the clips? I can't tell anything from these other than the fact that whoever is playing isn't a metal guy at all and that the profile is capable of producing far more gain than is usable.
Metal is not just drop tunings, scooped midrange, and cranked gain.
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FWIW, the Metal Pack is almost done and sounds incredible. You guys are in for a treat!
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For what it's worth I'm finding a huge difference between running the physical pedal into the Kemper with a profile of a non-boosted amp compared to plugging straight into the KPA with a profile of an amp that had an OD808 in front. Here's a comparison I did yesterday while profiling a 5150:
https://dl.dropbox.com/u/39263…20TS/NoBoostInProfile.mp3
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+1 for the Maxon. Cristoph, please test it in front of a bass heavy high gain amp like a Mesa Rectifier. The maxon is widely used in this combination. Drive to zero, just using the volume control. Thx a lot
This is definitely one of the most common uses, but I'd advise putting the gain at 9:00 and volume at 12:00; sounds less artificial and more like the real amp just goosed a bit rather than a distinct boost. Having the volume up too high changes the pick attack drastically.
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the green scream is based on Christophs 808 reissue - how big can the differences be?
do you have a Maxon?pm me.
thanks.
I have an OD808 and the differences are substantial. The OD808 has more bass, a smoother midrange/top end, and generally feels more 'open' and 'big' compared to the Green Scream.
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We have a large headroom of calculation power left, that I was planning to keep for future features and improvements for upcoming firmwares.
However, it takes only three seconds for me to speed up our algorithms for the next firmware.
But this would eat up some of the headroom for the future.
Still we don't know how much headroom we will use in the future.What do you think?
CK
I would err on the side of saying I'm fine loosing a bit of headroom, but also that you could release 2 separate firmwares; an "anti-aliasing" one, and an "aliasing" one, so to speak. I bought the KPA to have the best representation of amps available; if that means sacrificing some random effects features down the line then so be it.
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+1 again... I think 48Khz is old studio standard too.
Kind of - it's used in a lot of studios, but final CDs are burned at 44.1khz so there's some argument to be made for sticking with it from the beginning. DVD audio is always in 48khz, however.
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I play metal, prefer the black by far.
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Hea Andy, what is the difference between profiles with a + and ++? For instance your 5153 lead+ vs 5153lead++??? Im sure it's been explained somewhere but I can't seem to find it.
More gain and more more gain!
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I'm going to say that your issue is with your pickups. Carvin pickups aren't known for being particularly great; you'd do well to install a good aftermarket set of Duncans, DiMarzios, EMGs, Bareknuckles, etc.
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- you metal guys double track? or quad track everything to get that larger than life metal tones right? - mix scooped with normal?
More to the point.. there are already Metal heroes out there, Sneap, Ola.. Im not sure I can compete with that. - but I'll certainly do my best of course.
I can get as detailed as you want me to get. and do them with the Pedals up front too, im taking your not interested in cleans, or break up tones from these amps.. you just want the Meat!To do <ampname> with <cab> with <mics>
then to offer the same, but with perhaps 2 or 3 different mic positions, and 2 or 3 differnt cabs
scooped amp, no-scooped, sweetspot, OD pedals up front etc.Sending you a decent sized e-mail, but figured I could answer this for discussion here...
In general, lots of things are quad-tracked; 2 takes of each riff per side. A lot of the 'thrashier' or faster, more technical material gets double-tracked, and sometimes double-tracking just suits the band better, but quad-tracking has a nice way of smoothing out the top end and adding a noticeable depth to the guitar tracks that lends itself well to the riffs in the genre.
Some guys do different tones for each pair of Left/Right tracks, and some guys keep them all the same. I wouldn't say there's generally much mixing/matching as far as scooped and unscooped, as the tones are generally a bit scooped to begin with, but you do pick amps that naturally compliment eachother (big, low-mid present, relatively 'stiff' sound of a Rectifier mixed with the smoother, more upper-midrange, 'spongier' sound of a 5150, for instance).
I personally wouldn't have use for clean tones from the amps, but wouldn't mind 2 different gain levels on each amp. Lower gain settings can be really handy for layering octave parts, melody guitars, intros/interludes, etc.
I like the idea of doing amp+cab+mic specific tones, like going for a "Sneap Krank" tone and then doing additional Krank profiles with different cabinets/mics than he would normally use, or a "Richardson 5150" tone with additional 5150 profiles, etc...
I honestly think that with a bit of brainstorming, tweaking the tones with DI's of suitable playing, using those DI's to refine the amp with, and referencing spots in albums where the guitars are solo'd (hell, Sneap posted some single-tracked examples in a tubescreamer and cab/mic shootout at one point that you could reference the 5150 to, at least) that we can get some truly incredible profiles that would be more than worthy of being on big commercial releases.
Hell - how far are you from Derbyshire? I wonder if Sneap wouldn't be interested in doing a signature pack of his own like he did with Toontrack.
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Jeff, back at home now, about to email you. Just wanted to touch on this topic alittle. I think it is important to remember that, these producers get these sounds in the "mix" not on their own, and "reverse engineering" if you will, would probably be alittle difficult. I still stand by what I said about stem mixes. For instance, I used one of marks profiles that he used on a very famous album that has been released in the last year. The result? Sounded virtually nothing like the band in which he used this profile on. I think it is important to remember, these guys are the best of the best, and they still have jobs, for a reason, it is all about their mixes (duh right?). My newest recordings, which I'll put up soon, were virtually all andys profiles, and the 5150 sits great in the mix, there is no denying that, I can see why you, and many others love it. It is one of my favorite amps, I think I've owned about 5 of them haha!Furthermore, you are right, those guys dont use VHT's, or DAR's etc. In fact, Lewis for example hates the VHT sound, he thinks its too dry etc. But for me, I love it, and the ultralead is still my favorite amp on the planet. I think adding some extra amps, as well as profiling the "tried and true" sounds (5150 into a mesa cab for example) would be a great idea, allowing you to get your own sound, as well as develop your own mixing skills, while still having some of those classic tones. Emailing you now!
E-mail received and responded!
I understand what you mean about getting those sounds in the mix, but I also know what it takes to get a good tone out of an amp and translate it onto record; at this point virtually all of my playing and amp tweaking is studio based and has been for the last 3-4 years. I know that playing a profile alone won't sound dead-on to what you hear when it gets quad-tracked and played in the mix, which is partially why single-guitar clips mean nothing to me. That said, multi-track recording is how I'll be using the profiles to begin with, and when you record as often as I do your ear for a single guitar tone develops into one that dials single-tracks in a way that will get the desired tone once fully tracked, panned, and in the mix.
That's probably why Lewis hates the VHT sound and you're so into it - I'm guessing you don't spend the majority of your time tweaking tones to suit mixes but rather to suit you playing infront of the amp; the two are very different until you train your ear otherwise. I'm not opposed to adding extra amps, but the core 5150, 5150III, DR, and Krank are going to be key for achieving recorded tones like what we hear out of Sneap, Richardson, Lewis, et al.
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Andy, I would surely go with the 5153 and Mesa Recto V30 cab (aiming for that testament sound). SM57 and a Dual Element Audio Technica.
Actually, the last 2 Testaments were 5150III and matching cabs IIRC? At least Formation of Damnation; I don't think Sneap has commented on Dark Roots.
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VESmed, just tried to PM you; says you're not receiving - e-mail, perhaps?
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The biggest thing with this pack is that the aim is for recorded tones; almost like a "modern metal producer" pack. The focus would be Sneap/Richardson/Fredman/Suecof/Lewis tones; IMHO, the VHT's, DAR, ENGLs save the S120, and Bogner don't fit that. I'm asking for the 5150 again because while the 6505 profile is great, the midrange is a fair bit different from the 5150+MesaOS+57 combo I know and love.
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I've talked with Andy a bit - this is my vision for a metal pack:
1. Key metal amps into key metal cabinets
2. Three mic techniques per rig: Sneap (single 57), Fredman (dual 57), and a more generic 57+421+121 combo.Andy's asked me to make a list of what I think are the top 8 metal amps; before I send the list over, maybe you guys can give me an opinion? This is what I have so far:
1. Peavey 5150
2. Mesa Dual Rectifier (older 2 channel or 2010 3 channel) or Roadster
3. Krank Revolution 1
4. EVH 5150III
5. Bogner Uberschall
6. ENGL Savage 120
7. Soldano SLO100
8. Fortin NatasFor cabinets, I think we'd be fine with just 3; Mesa OS 4x12, 5150III 4x12, ENGL XXL 4x12. (V30/GB/V30). I personally don't find any use for 75's or other V30 based cabinets considering the genre, but I could be alone there.
Personally, I could live without the Savage 120 or Uberschall, or even without the SLO. The big ones for me are the 5150's, DR, and Krank. Wouldn't mind a JSX thrown in, either.
Thoughts?
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Ok.. Fortin you want.. Fortin I will try to get.
Any particular one is the fav from there range?Andy, if you're interested in maybe doing a more specialized metal pack, we should talk. You told me via e-mail that you're not a huge metal player - I think I could help out with this in a big way.
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+1
Why not release more than one version of a controller
Doubled initial manufacturing costs and cutting your bulk orders in half, for one.
