Posts by dahla

I think I had knocked the cat cable slightly loose when plugging in the USB in the back of the Kemper. Seems like it´s back up again to normal now. There ya go. Sometimes it´s as simple as that.

I just updated, and my remote turned itself off. Only the tap tempo LED was slowly pulsating... coincidence?

Edit: never mind. Bad reading on my part.

Quote from WillB

Dear Dahla,

I mentioned those specific instruments ("Golden age" and "War era" Martins) not because they are old. I specifically mentioned that era and manufacturer, somewhat tongue in cheek, because the general consensus among musicians and luthiers is that those instruments represent some of the finest instruments ever made due to their materials, design, and the craftsman/artists who created them. I thought about using the example "Stradivarius violin" in my somewhat sarcastic example just so people with the "old" hang-up might give it a pass. I didn't. You didn't.

For your benefit I've attempted to conform. How's this?

""Take a quality acoustic guitar (preferably it was made very recently with eco-friendly sustainable materials by a fully automated computer operated machine) that has responsive attack (impulse) and rich overtones and put it and the player in a nice sounding room.

Set up a high quality (Shure SM-57 etc) pair of microphones in a stereo configuration such as “crossed figure eights at 90 degrees to one another”; cardioid or super cardioid at 120 degrees; figure eight and cardioid in the MS configuration.

Record the performance at 44.1k 24 bit and at 48k 24 bit. Listen to the playback of each sample rate version over properly setup quality speakers or even quality headphones.""

You said, "with a perfected list set up like a recipe..."

If you read and comprehend what I actually said you will see I used the word "compromise" twice.
Everything is a compromise...in case you haven't noticed yet.

Finally:
Did I miss something?

You said, "I suggest an easier test..."

Well, I don't see your suggestion.

Please tell me it isn't the "if it..it is" quote.

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Well, my hang-up was the «high quality everything, that has to perfectly set up, in a nice room, with an excellent player. And the instrument must have rich overtones» part. I much prefer the idea of «hit a cowbell. See how that works». Except the part that says «you have to be trained to know what to listen for...»

My point was that if the difference is sooo gentle and fragile that you have to carefully select the entire recording chain just to spot the difference, then how does that apply to real world situations where things are a little unruly and chaotic and in the spur if the moment?

I respect the choice of working with higher sampling rates if that befits the rest of the workflow. Like with video. Or if someone flat out says «because I like higher sampling rates better.» Fine, good for you and choices in workflowes are awesome! But the downplay of anything else because «I’ve done testing and know what to listen for» kind of rubs me the wrong way.

(And please don’t think I’m mad or attack you or anything, I highly appreciate the debate. )

Quote from WillB

Take a quality acoustic guitar (preferably a Martin made in the mid 1930s through 1944) that has responsive attack (impulse) and rich overtones and put it and the player in a nice sounding room.

Set up a high quality (Schoeps etc) condenser pair of microphones in a stereo configuration such as “crossed figure eights at 90 degrees to one another”; cardioid or super cardioid at 120 degrees; figure eight and cardioid in the MS configuration.

Record the performance at 44.1k 24 bit and at 48k 24 bit. Listen to the playback of each sample rate version over properly setup quality speakers or even quality headphones

Now here is the problem I have with opinions like these. Take an OLD name instrument (it’s gotta be old ‘cause, you know, old is better), and go on with a perfected list set up like a recipe and and THEN you have proof that it matters.

No one ever does, and no one ever will so the «proof» is all anecdotal. And because of the list and requirements, if someone ever does it’s easily shot down: «oh, you used those Schoeps. THOSE aren’t the best ones for a 1930’s acoustic...». And besides, I wonder if real life is less than idealized (Ibanez acoustic from 2005 and Røde mics), then what? I mean... come on!

I suggest an easier test for 44.1 vs 48/96/196/1000. It can be applied to everything and anything. Ready?

«If it sounds good, it is good.»

Quote from Dean_R

There's so many myths about sampling rates that I was unaware of that I did learn while using the Kemper that when I compared the SPDIF at 44K with the analog outs (in 48K Project ) into my audio card that the difference I was hearing was due to the converters of my audio interface. Now Spdif at 44 and 48 and all other rates from the Kemper sound the same which is great and it makes sense.
However there was some projects that included software synths from Native Instruments (Absynth) and in the same project there was Trilogy by Spectrasonic. in Cubase. where as soon as I change the project sample rate from 48k to 44.1K the wow effect, the detail and some clarity in the reverbs for the overall project sounded less detailed. I also had external synths from Roland. again into cubase they sound better and more detailed at 48k using the same audio interface and same mixer. I know these Roland synths specs were 48khz so could it be that the software is optimized to sound best at the sample rate?

I read somewhere that higher sample rates even though the added frequencies they included can't be heard by human ears, their presence in the signal with other frequencies can result in added harmonics that can be heard by human ears.and those harmonics won't be in the signal unless the higher sample rate is used.

Don’t rule out confirmation bias. The brain does strange things when it expects a difference. Just sayin’...

Quote from MichaelRiesenbeck

You're not correct.
It makes a MAJOR difference if I can strike a chord and then use my right hand on a mouse to mold the sound like I want, as opposed to take off my guitar, go to the KPA in the back of the studio, turn a knob, go back to my chair, pick up the guitar again, play the chord, only to find out that I needed to change the other parameter, so guitar off, back to kpa, change the parameters, go back to my chair, pick up the guitar again, play the chord and then notice I want more mid EQ. So guitar off, to the KPA again. Repeat and repeat. When I could have done this in 3 or 4 mouse clicks without having to leave the desk.

You should try wireless. Just sayin’...

Your very welcome. Now enjoy your Kemper.

You can retrieve factory content. The Kemper has probably been wiped totally clean. Go to the system menu, page 1/18. The factory rig button is a box at the top right hand corner of the display and can be activated with the respective soft button.

I wonder if @DonPetersen soon will upload the settings for the KH-95 wah.

No I did not. Both units had the same noise/flaw/whatever.

I sent it back and bought Line 6 G70. Works flawless. No noise, fuss, problems, drop-outs or nothing. Pretty boring device in that regard...

Unmixed is not the same as unprocessed. So you might be hearing a recorded track with printed eq and what not.

You might be comparing an apple sallad with uncooked potatoes. Just sayin’...

White noise files of the Hammett wah is sent to Don.

You'll soon have some files Don. As soon as I'm done jamming on a 3 hour wah solo.

look what I just laid my ... err... feet on.

Awesome! PM on the way.

Who want to profile a certain amp for me?

Quote from OhG

And what we all consider "loud" is very subjective. I like to feel the volume shaking me (like a 4x12 cab). That's my baseline.

...and there you have the reason, I think. A PA speaker on a stand, aiming at your head, or on the floor aiming at your head is a different thing than a straight cab aiming at the back of your knees.

The trouser-flapping feeling is an awesome feeling. But I have never had an issue not being *heard* using the DXR10. Even with a loud drummer, a second guitarist with a Marshall 1960 and a bass player with a earthquake-inducing rig. And in a lousy room! That's my experience.

I have the pro RMP, and use it for reamping through pedals when needed, like digitech mosaic or wah. (DI from Cubase > Pro RMP > pedals > Kemper).

What you are proposing is basically the same idea.

Had the Line 6 G30, loved it but it was flimsy. I "updated" to the Shure GLX-D, and had problems. It was stable and I loved the battery/bodypack, but it had some underlying noise/interference with the signal. I recorded the noise and was sent a replacement, and it did exactly the same thing.

Ended up with a Line 6 G70. It is FLAWLESS!