Posts by ricky50

Am using a PRS Studio which has a great range of sounds as is. I have no problem getting a decent steel string acoustic sound with the PRS/KPA and understand the different attack/sustain issues with nylon strings. I thought that maybe some combination of EQ and compression might get me there but have not been able to find the right tweak. It's for playing live that I need it and prefer to stick to one guitar when gigging if I can to keep life simple. Anyway thanks for the advice guys - I'll keep to the neck/middle pickup single coilish sound along with reverb and keep tweaking but if there is anyone out there who's cracked it then please let us all know.

Thanks - have given Aura Ny 7 a try and see what you mean about the reverb. I have tweaked it further but still can't get a noticeably nylonesque sound. The others are all a bit too manufactured for the sort of sound I'm after. Any more specific ideas about tweaks to try?

Has anybody put together a rig that will give a good impression of a nylon string guitar when playing an electric? Would love to get this sound if possible.

Whilst I understand the logic of not using KPA amp and cabs for an acoustic profile, logic doesn't always work. Firstly from what carsnguitars is saying he wants to profile for a piezo guitar not an acoustic. Secondly, acoustic amps definitely add something to the party when you put something through them and they differ from one another. That may well be mostly down to the way they are EQd but they obviously colour the sound in other ways and hopefully that is what the KPA will capture. I have not yet found a good enough acoustic or piezo profile on rig manager either and would be really keen to hear the difference that a decent profile of an acoustic amp might make.

Can't check this for you as happened in a recording studio where we were recording and has never happened to me elsewhere.

PRS Studio with stock tremelo bridge

Have not tried the Atomic or the Yamahas - I'm sure they are fine but the Line 6 stuff just gives you so much more versatility. Yes we use it as FoH (although behind us) for the whole band and it works just great with no feedback from vocals or anything else. There is only one L3s sub and I can't see the point of going stereo because just about only one person in the audience is going to hear the separation. It's almost impossible to locate the sound of a sub - it doesn't matter where we put it on stage it just fills out the sound all over. The crossover means that most of the sound from a 6 string guitar is not going to go through it anyway. The only thing I ought to clarify is that we are not a metal band and I have no idea whether this setup would work for metal. I don't see why not but it will work for just about anything else.

Hi Elcap - the L3s that we added to our system is a sub and not the L3t or m that I think you think we have. I tested the L3t before originally getting the L2 version and although it is louder and has an extra speaker with a crossover to give an extra bass response I felt that we would probably get a better overall sound by going for a couple of L2 plus 1 x L3s to improve the bass response without having too much to carry about. The L3 is considerably bigger and heavier than the L2 and you would almost cerainly still need to go down the road of getting an L3s sub as well if you want use the system to its full. The L2 is 800 watts LOUD so with 2 x L2 you get 1600 watts plus the 1200 watts of the L3s. Who in the real land of playing pubs and clubs is going to need more than 2800 watts combined? Whichever one you go for get the t version with built in mixer. The extra cost isn't huge but it increases the flexibility of the system tremendously. It also allows you to use the KPA monitor out into 1x L2t using the mixer input and you then have a very versatile backline unit if that is what you want to do.. It also has a pad switch which scales down the output to bedroom level. So you see that you have the flexibility with this fairly small set up to take whatever you need to cover a small acoustic coffee bar gig, a standard pub/club gig or practicing at home on your own. We have played a few outdoor gigs with no difficulty getting the sound out there. Overall however the real benefit comes when you put the whole band through the system along with an M20D as outlined in the thread attached to my post above..

I've been using my KPA with an L2t and an L2m for about a year and have recently added an L3s. Never ever noticed a fan noise from any of them and the sound is fantastic. See this other thread for further info

Are Somebody Use Line6 Stage Source L2T Frfr Speakers With Kpa?

Update on my last post 3 months ago on the KPA with the Line 6 stuff. Have now gone the whole way and added an L3s sub and ditched the (very good) Allen and Heath mixer for the Line 6 Stagescape M20D. Whole band including the other guitarist, bass player and miked up drums going straight through the system and our sound is incredible. I go in through the KPA using monitor out to the line input of the M20D, other guitarist using his tube amp into a load box and then line out into the M20D. Bass player DI to the M20D. Vocals and drums miked up to M20D. So no more backline. The other amazing thing is that we don't need monitors anymore. The PA is now behind us so we hear what the audience hears and the feedback supression is so good we don't get any at all. I'm no expert but the amount of EQing we've been able to achieve with this system has been extraordinary and doesn't matter where we play we can get a live sound that is almost like being in a recording studio. To get back to specifically using the KPA with this system I can't think of a better and easier way of getting the guitar sound you want out there. I used to do my KPA profile EQing at home and get it as close as I could to what I wanted but would find that the sound would change so much in the live situation either because of the venue acoustics or the different volume or mix levels that it was really almost pointless spending the time at home and I would just try and tweak the KPA and make do in a few minutes at sound check (if lucky enough to have a sound check). Now I can use the incredibly intuitive and simple EQing on the M20D to mix my original KPA profiles in real time with the rest of the band at practice sessions in a couple of minutes and then save that EQ on the M20D. It only takes another couple of minutes to sound check a venue and you then save that mix for that venue so that when we go back somewhere you press one button and the whole EQ and more importantly the band mix is loaded up and no sound check is necessary. I can't stress this thing about the overall band mix being so important. Once you find the KPA profile that gives you the tone you want for a particular guitar you feel great and it can be really disappointing when you turn up to play your perfect tone in a band situation and find that it sounds totally crap in the mix. With this system your perfect tone can be brought into the mix much more easily and once found it will stay that way with only minor tweaks between venues. Totally happy and GAS cured.

Had same buzz problem in the studio we were recording in yesterday. Have had KPA for a year and never had this problem elsewhere so clearly something to do with the electrics in the studio. We tried most of the approaches suggested above but made no difference. Only thing that worked was grounding me in some way - hand across all strings got rid of buzz but needed to be all strings so if played a 3 string chord then buzz still there. As it seemed to be a grounding issue we tried it with me sitting on the KPA and it worked! Was able to record the rest of the day with no buzz as long as stayed sitting on the KPA but if removed butt from KPA the buzz returned. So can now report that the KPA in addition to being the most amazing piece of kit on the planet is also strong enough to support 70Kg guitar player for at least 8 hours. By the way also pleased to report I didn't have to remove my pants to achieve the grounding.

I've been using an L2T and an L2M for about 6 months and they sound spectacular. I started off with a single L2T and used the built in mixers for both acoustic modelled sound with a JTV variax and electric with a PRS Studio. Both were way beyond my expectations. The rest of my band are diehard tube amp purists and thought this digital stuff was for nerds but have been completely won over hence the L2M arrival and the departure of our old PA. Vocals and other guitarist now also go through the L2 system and we've never sounded better. Everything is as clear as a bell. I now put the PRS out the KPA via the twin main XLR outs into the stereo RCA inputs on the L2T. The second guitar and 2 mikes go through an Allen and Heath mixer into the main XLR input on the L2T. We've used this set up for pub size and outdoor gigs and have never needed to have the volume above 12 o'clock. There is definitely a need for a subwoofer and we plan to get an L3 sub to pull out the low stuff. We're also going to mike up the drums and try and persuade our bass player to go direct into the mixer and put the lot through the system. I know your question was specifically about the KPA into one L2T and that's how I started out but as you can see these things are so good they have won my band over and my sound and that of the whole band has never sounded so good. I can't recommend thse things more highly.

Thanks for the input funky Will try the amp/cab off approach. My FRFR is the Line 6 L2T which is simply amazing. I've been playing around today putting the mags out from the P22 through the Kemper into one side of the L2's mixer and the piezo straight in to the other mixer input with the acoustic modelling DSP on the L2. Still very new to me so haven't cracked it yet but getting close. The mix mags single out into the Kemper Splawn is terrific. With the Studio I've been using the Splawn profile for most gigs but also using the Fender SRV profile and also a Mesa profile (can't remember which one). I tend to stick to 2 or 3 profiles and tweak them over time until I get the sound I want. Have borrowed the EQs and various stomp/delay settings from some of Maurizio's rigs and bolted them on to my main profiles. Would really recommend Maurizio's stuff - he did a great job.
What I find Michael is that once I' ve set up my rigs they are pretty guitar specific - they don't immediately work well with another guitar and I almost have to start from scratch. Not sure what pickups you have on the Brent Mason The 53/10 pickups on my P22 are very different from the Narrowfields on my Studio and I think I' m going to go back to the beginning and hunt through the full range of rigs for the rig that suits them best. Anyone who has a PRS with 53/10's care to comment on what they've found sounds good??

HI Snowbird - no replies - we must be a rare combination - just got a P22 today - have been using Kemper for about 6 months and loving it - favourite rig with my other PRS (Studio) is the Splawn Streetrod KT8 from TAF through the accompanying Splawn cab. Haven't played around with the P22 enough yet to know what is going to sound good. Would love to know how you've got on with your P22 and what rigs/tricks you've found. Anyone else out there using a P22??