Posts by Quitty

Quote from DonPetersen

^^^ Not trying to be rude, but I don't see how the above statements relate.

The tracks were not reamped, and OP even states that the missing bass was due to his playing.
On top of that, he did use another pedal, the OD808x, wereas the Green Scream was tuned after the OD808.

Those are two pretty big issues for a comparison test IMO.

It's not rude at all -
but these Green Scream threads come up on an almost weekly basis for years now. Maybe it's time to do something about it, even if it isn't, strictly speaking, 'solving' anything.

I was trying to say that the problem isn't the comparison to any actual TS, it's something in the ears. It's recurring. It won't go away, even if it isn't technically true and it is solvable.

Quote from DonPetersen

right.
looks like Maxon changed it quite a bit
"Modified version of classic OD808 Overdrive
Extended frequency response improves note definition and clarity
Increased Output (+5 dB over OD808) for extra Volume Boost
Harder clipping yields more aggressive, amp-like Distortion"
http://www.maxonfx.com/compact…/od808x-overdrive-extreme

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Seeing as this is quite a common complaint, wouldn't it be worth addressing despite all that? I know these tests weren't reamped and i know the Maxon has different specs - but i thought you guys were fans of tuning with your ears?

The Green Scream is often claimed to cut too much low end, and to over-compress. A simple bass cut-off parameter and a small range-shift for the gain will sort all that.

Quote from MathiasUlrick

The same way I taught myself to play guitar without instructions, I just figure it out. Granted there are probably some helpful things I can learn from the manual, its just a matter of actual reading it. Also I haven't had a hard time figuring out how to run other modeling amps (Johnson Millennium, POD X3 Pro, POD HD Pro). I am also a recording engineer and PC technician so I am fairly technically inclined.

That's all good and well -
until you get stuck not knowing how it works, and then you read the manual. That's sort of the point.

Both of you, it seems, aren't exactly at the heart of the value for money range, Herr Haas and Monkey_Man.
Your gear is needlessly pricey. His gear is unreliable. There's a reason why extremities have earned a bad reputation.

I believe the name of the game here is 'close enough'.
Let's face it, even the Profiler isn't 100% spot-on with every amp - but it's close enough even for connoisseurs and people who's livelihood depends on it.
The Variax models do a great job of being 'close enough' if you're not willing to go on stage with an armada of vintage instruments, haul a truck full of gear to every session or invest tens of thousands of dollars in gear just so you could have an archetypal Fender or Gibson sound in the studio.

The HD broke about as much as it had fixed. Let's hope the Helix fares better - i still go to shows, you know. I'd really like them to sound good.

Quote from telelogic

Imagine if you can, a Beatles album recorded with compressors that don't heavily colour the sound.....
Not right is it?

You don't honestly expect the compressor to emulate every single type of a-linearity ever conceived, do you?
You can use the shapers to emulate saturation but obviously, non-ideal systems are far more complex than can ever be emulated.

Then again, if i was that much of a feinschmecker, i'd bring my pedalboard - profiler or no profiler.

I think we're trying to achieve more flexibility.
The Profiler's compressor is to be very flexible if it is to rival the market of analog offerings and replace our pedalboards.
It needs to be able to produce a long-attack, slow-release compression to add 'snap', some medium values with lower ratio to be more transparent, some low values with even lower ratio to increase sustain -
these are all traits that are rarely seen in any one pedal, but often seen on digital gear because we'd like to see the Profiler as a replacement for our entire rigs.

I do think an additional single 'character' parameter to change from {long attack, short release, high ratio} to {short attack, long release, low ratio} could solve everyone's issues.

I'd gladly take an attack/release/ratio on the compressor. Admittedly, most compressors either pre-set those or cram several of them into the same knob, but if the Profiler is ever to really replace a pedalboard, it needs to be able to be many compressors, not just one.

I don't see a reason why the Helix shouldn't sound as good as the Profiler, or the XFX. I don't see a reason why it should, either, but that's not the point.

If it wasn't for L6, the Profiler would never have existed. The modelling world is advanced by progress, and who in particular makes the progress is less relevant.
We're all on the same side, eventually. The side that says that we can have good sounding guitars, paired with digital convenience.

I think it will be a little while, if at all, before we see any manufacturer with the guts to pull something like this off.

The second boosted clip is significantly more compressed, and not in a pleasing way (IMO, obviously)

We've had boosted profiles for a while now so we know the Profiler can approximate the sound of multiple distortion-inducing-devices.
The thing is, if we could somehow split (or approximate a split?) between pre and PA distortion, we might be able to emulate, say, PA compression separately - which is what i'm missing, specifically.

I'd love the profiles you make as well.
The XFX can come up with some very polished sounds that would take a lot of post-processing to produce otherwise - and those are great to have as well.

Any 'improvement' will just be more guessing. It will work for some profiles and be worse for others.
It took a while to get to our current ~6000 rigs on the exchange. Several years.
It will probably take a while to accumulate as many 3.0 profiles.

If i were you, i'd invest some time in convincing more of your favorite studio guys to make more direct profiles.

The Stones are a really good example, actually.
For starters, everyone was recorded in the same room. Listen to the other ISO tracks, it should be very apparent.
Second, and this is mere opinion so take it as it is - but this is one of the worst guitar sounds ever produced.

This is an awesome piece. There's still a 3-channel (separate inputs) Sound City head over at a punk club we gigged in a couple of times.
Weird thing. Looks like punk, sounds like punk.

Had no idea you were German, by the way. Somehow - and don't take this personally - i always imagined you were American

This video, meant to demonstrate that the room is 'half the guitar sound', does so by exaggerating the room element to the point where the sound is, IMO, unusable.
A 5% or 10% mix makes more sense, but doesn't quite make the same point. Obviously, i don't resent reverbs in general.

As for the Profiler, seeing as we can already create fairly dry sounds from fairly wet sources, i assume whatever reverb solution Kemper comes up with could simply be switchable.

Yep, although i seem to recall clockwise is more preamp-like.
Higher is 'angrier' in the high-mids, lower is more 'relaxed' and transparent.
In any case, anything higher than ~5.0 results in weird artifacts as the sound decays, about 1-1.5s after the initial attack - like a transistor or a diode going back from saturation to normal operating range - and it doesn't do anything like the tube PA as far as compression goes.

I'm often still missing poweramp response.
I've been plugging the Profiler into the power-section of an old JVM lately and find that the extra compression - which is decidedly not linear, so i guess it counts as distortion - really helps with some profiles.

I'd love to be able to have something similar built-in that i can fine tune and turn on or off. Power sagging really isn't 'there'.

I would never, ever use the room or 'both microphone' sounds you have there on anything.
Not live and not in a studio.

It would make a terrible mess of anything else you put in the mix.
Live, you'd get the venue's response mixed in with the profile's response, which is a disaster when there's so much of it.
In a studio, you'd have to record everything and everyone in the same room to get it to stop sounding like a bad karaoke port.

Sorry, i'm sure this isn't the point you were trying to convey.

Close mic'ing has its uses.
Far mic'ing can be emulated to a decent extent from a close-mic'ed source, but not the other way around.
I do think Kemper GmbH can do better than 'decent extent', but that's a feature request if i ever saw one.