Posts by Michael_dk
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I like where this is going, Tim!
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Hi Tim, if you have any more time would you be able to attempt to replicate the BE100 tone from the first part of this video?:
External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.The EQ settings are shown at 1:12 (though I don't know how the switches (FAT, SAT, C45...etc are set). Could you maybe do a few variations of activating different switches on the same settings as think this would be really interesting to hear!
Thanks so much for everything already!
Is that an SM57 on grill, at around edge of dust cap? Maybe that's also something to try
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I think you can save some money if you buy the unpowered one and get a separate power amp. That depends on money available and whether there really is an audible difference- and how much it matters to you
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It depends alot on your needs.
For recording, you definitely need an audio interface.
You might want studio monitors if you want to make decent recordings and do a bit of mixing.
If you're OK with practicing on headphones and have lower ambitions for your recordings, you can get by without the monitors.Gigging setup: if you can run the sound to the board and back to a monitor wedge on the stage, then you don't need a power amp. Most people like to have something different though. Powered version of kemper plus either a guitar cab or a passive speaker, same setup but with a separate power amp and the "unpowered" kemper. You can also get an active speaker like the yamaha DXR10, or one of the more expensive solutions.
Really, what you NEED is something you know better than us
You might also want a footcontroller to switch "patches" on the kemper. You can go cheap and get for instance the behringer fcb1010, or you could go for a more expensive midi solution. Or, of course, kemper's own remote.
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Cool, Andy. It takes discipline!!!!
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I think so. If you're happy with the speaker emulation sound. Other people have done it from amps with speaker emulated line outs.
It's not the same as a real miced cab, though
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Stupid question, I know - but are you absolutely sure the right cable is connected to the kemper's return when doing the profiles? I.e. the mic rather than the DI box?
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<p>Those profiles, can you hear the CAB in them?</p>
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Haha, I wasn't trying to slam you or anything. I'm sure that 9 times out of 10 that method won't give the results you're after - but that's true of any mic placement. It's just that you have less flexibility this way.
The results are what matter whichever way you do it - not the technique
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Guerilla micing!!!!
That IS a side address mic, right?
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And speaking from recent experience: nothing beats recording and committing to a tone immediately. I have heard this a lot, but only just now experienced how much it helps the production along. Of course you need to learn how a tone "reacts" in a mix (that's how I think of it), and reamping is great for this - but it's a good policy to keep that stuff SEPARATE from laying down tracks for a song instead of oscillating between the two. It's a mindf*ck, and you loose sight of your vision that way.
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I would say go for what you think is the best sound immediately you want something that inspires you to play at your best - to be able to immerse yourself in the playing. And you want some great tracks to build upon if you are going to lay down other tracks after guitar (this includes vocals, keyboards etc). The key here is inspiration.
So if you want a leslie effect on a part, by all means record it!
The idea is to get the RIGHT sounding tracks immediately. Reamping is a backup - like an insurance, hopefully you won't need it at all
You get the dry track (DI) without amp, effects or anything, so it makes no difference what is on the "amped" part of your recording. If you reamp, you (probably) won't use that one anyway.
Does this make sense?
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Regarding the 57/08s, some people seem to think the Gibson 57/57 plus and/or DiMarzio 36th anniversary PAFs are very much like 'em. Might be something to try
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Yeah, the bass! A HUGE part of the guitar tone is the bass. Bass can take a lot of distortion without it being very audible in the mix. That can help tone as well.
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(which is also why some people's first reaction of trying to cover the mic with their hands when it feeds back is not necessarily a good idea :-))
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A question: how do you hold the mic?
If you tend to have your hand over the ball (i.e. cover some part of the rear area of the grill), you're essentially turning it into an omnidirectional mic => instant feedback
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otherwise, Becouse all my 5 samples are RAW sound only delay + reverb added in DAW please reamp it on your favorite profile and show what do you like? no eq,delay,reverb, - just "pure" amp profile sound ok? can you do this for me?
http://www.brickwall.pl/michael/ - DI ADDED
Stay Metal!
I said they all sucked cause the playing was bad, not due to the tone sorry if that didn't come across clearly
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@Michael_dk special for You 5 Samples (DI from You) What sound the best?
http://www.brickwall.pl/michael/
Stay Metal!
I don't know man, they all suck pretty bad (but that's the playing)... Where did you get that DI? Was that from the MW free pack thread?
Anyway, I liked E the best, I think.
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Different tones then for me at least. Different guitars and/or amps and/or settings. I'll ususally hard pan, but send the signal to a slapback delay up the middle (maybe 80 ms?), to make them sound like they're in the same room. Adjust the level to be below notice until you turn the send off.