I wonder - are you connected via an USB hub, or is the USB cable connected directly to the computer and the Kemper?
Overtones are not "any" frequencies.
They sit sit at very clearly defined intervals from the fundamental.
Whether you want to identify them as inharmonic is up to you.
Question: How do you label frequencies in the broadband signal that is NOT at a defined interval from the fundamental?
I kinda recall either on here or an interview with someone from Kemper that explained it as the distortion/ harmonic thing but I haven't searched for it I was being lazy and figured some others would know.
NOW you tell us!
Oh, that looks awesome!
If it were ‘just’ an EQ, then people would’ve been using EQs to do the same thing for ages.
At least to my ear…..that’s not what’s going on.
On second thought I suspect that you're right.
For reference, here's what the manual states in full:Quote
The “Definition” parameter controls the characteristic fingerprint of the preamp. The PROFILING process
automatically sets “Definition” to a value that represents the reference amp. You could, for example, use it to
modernize the PROFILE of a vintage amp without having to use additional effects. Alternatively, start with a
PROFILE of a modern tube amp, and use “Definition” to give it a more vintage sound when driven into distortion.
You can also use “Definition” to align the sound of your guitar to the sound of your amp, if required. Don’t be afraid to
keep experimenting until you get the balance that sounds best to you.
Vintage amps distort the lower harmonics in the guitar signal which gives them their bluesy sound. These amps were
originally designed to deliver a clean sound, so if you want a creamy distortion, these amps need to be driven by a
typical transistor-based device like a treble booster. Modern tube amps use a different approach, in which the higher
overtones of the guitar strings are the driving force for the distorted sound. The expensive boutique amps take this
concept one step further, by providing an extreme level of top-end frequencies and a large dynamic range. The
distortion has a sparkling quality to it and preserves every nuance of the strings and pickups. Together with the
characteristics of the actual speaker, the individual distortion behavior creates the fingerprint that identifies the
...which doesn't explain much in the way of how the specific definition control relates to the sound or how it works - it first talks about the control in very vague terms, than goes on to describe the sounds of actual amps - without really linking the two (or even explaining how a profile reacts to changes to the control, higher or lower).
I'm going with the belief that definition is adjusting if high or low harmonics (overtones?) are being selectively distorted and how much.
That's in essence the effect of what I describe. It's what you're saying here already, just want to be clear
A harmonic is, by definition (no pun) a clean multiple of the fundamental (2, 3, 4, 5.....etc). Overtones can be any frequency, so long as its above the fundamental. So, a harmonic is an overtone, but an overtone doesn't have to be a harmonic.
Though in the description above I'd guess that both words should be "overtone", since I'd assume that an amp - vintage or modern - has no way of discerning whether something is an overtone or a harmonic.
Difference between harmonics and overtones aside (which I think are one and the same), I've always understood it like this:
Higher definition - more lower frequencies are rolled off before signal is being fed into the overdrive/distorting part of the signal processing;
Lower definition - less roll-off of lower frequencies, meaning the overdrive or distortion will be driven (ha ha) mostly by the lower frequencies, as these lower frequencies have more energy per "frequency band". Which can lead to muddiness if overdone.
I think of it as a tilt EQ applied to the distortion generator (for lack of better terminology).
All of the above is speculation on my part.
Should be here in the next day or two. Bought one that was Faded Blue in September but wasn't able to play it for a few weeks because of a self inflicted palm injury.
Once I had the opportunity to play it, I liked it enough that I decided to sell the three electric guitars I had and get another 24-08. I liked the others, especially the EBMM Cutlass, but I don't do well switching from one neck profile to another, shouldn't be an issue now.
Don't leave them hanging in the sunlight. At least some years ago (and I don't think it has changed, I could be wrong), the blue colours faded awfully much over time.
Shouldn't the user be notified that the backup that is about to be performed will do not good since the data is corrupt?
This makes a lot of sense to me.
Forcing a backup before updating absolutely does not. But a reminder/pop-up might be the golden middle ground.
What I thought the presenter was really saying is that we should be wary of just automatically using a HPF at a set frequency on every track (because youtube “experts” say so). This would have the danger of creating a significant buildup of unwanted frequencies at the crossover point. Whereas using your ears and applying HPF where required at the appropriate frequency for that specific signal would avoid this as you would have little boosts in many diff places.
That's also what I got from it
the thing is: if for example you you make a high pass at 80hz, you are also boosting around 80hz +3db
Well, it depends on the slope of the filter. Might be more, or it might be less.
I wouldn't say this is a "problem" of high pass filtering, just the way they work. It can be advantageous or disadvantageous. This is why we mix with our ears, not our eyes
Whether you morph via generic gain or the LP gain control - you'd use your ears, I assume, not the numbers on the display?
Using the generic gain for morphing is not a "quirky workaround".
The ER visit has a $300 co-pay, the ER doctor bills separately and depending on what procedure they do it to can bill separately.
It's the hospitals demented idea of a Christmas present, until you receive and open the envelope you don't know what your getting. The anticipation doesn't bring excitement but rather anxiety🥴
Yikes! One thing is the money - another is the surprise (ambush?) aspect of it
If I ever start bitching about taxes here, remind me of this story...
No, it was just stitches. I usually will flush cuts with alcohol or lacquer thinner when I'm in the shop or on a jobsite and put electrical tape on them, they've always healed just fine.
This was a ½" deep jagged cut, I couldn't get the bleeding to stop so I figured this time I better let a physician have at it. The electrical tape route is a whole lot cheaper, I'm really not looking forward to the bill on this one.
Out of curiosity - how much do you expect the bill to be?
And sorry if this is too sorta personal. If that is the case, just ignore the question
I think a lot of Andy's profiles, especially the old ones, had a lot of volume tweaks in the chain - most often a studio EQ (or more). Often not doing anything other than raising the volume. I imagine that he may have copied an fx chain from another profile for convenience, and then tweaked from there. I wouldn't read too much into it, go with what sounds good. I guess if the studio EQs are before the compressor you'd need to adjust the compressor also if you turned the EQ off to get the same result.
That sounds pretty painful and cumbersome - having to replace the entire profile in your performances just to change the mic balance.
Maybe easier to separate profiling and speaker miking: do one DI profile of your amp without speaker and create different Impulse Response mixes (with varying levels of the 121) to try with your profile. Now at soundcheck just switch IRs with the same profile until you're happy.
I don't see how that would be easier than taking a number of profiles with same reference amp settings, only difference being the blending.
Spend 5-10 minutes with the band playing in rehearsal to find the best candidate - work on that reference point from home. You don't need to add it to performances before you know what you will ultimately be using.
Then use the mooer. In either case, I'm done with this thread. I told you how to do it, and you don't want to do it. You want someone else to do it. I'm done.
This is a thread in the Feature Requests part of the forum - not the Q&A. It's fine to offer advice on alternative means, but there's no reason to get miffed when the OP stands by his or her request.