Posts by Nikos

Quote from DonPetersen

nobody can tell you which ones are right for you, but when you pick one you like - you will know it

this

Thanks Michael_dk.. I got sentimental it seems..

But since the thread is about "how to love a LesPaul" I dont have regrets..

Btw..

Once I tried changing the golden50s and the (brass) nut with SDs (still have a Pearly Gates for the bridge & AlnicoII for the neckI bought as replacement some 25 years ago) but this changed the sound of my LesPaul to much.Specially the brass nut seems to ad silky highs and "openess"..for those who think that "small things" dont count.

There is a Stratocaster world and LesPaul world...if not to say universe..

You cant have them both "in one guitar".It is simple like this.Both kinds of sounds have written legend songs on their own,created legend riffs on their own..

In the late 80s I took some thousand deutsch marks(I played literally "every night" back then and I still went to school ..) and wanted to buy my a LesPaul.I tried literally "thousands" in many,many shops all around germany (where I lived by that time) I looked also outside of germany and at some point I did a journey to london to find "my LesPaul"..and was heavily dissapointed.Dead wood.I heard peopple who said that "outside of the US you will not find a good LesPaul"..I started to believe exactly this and that was it.

Two years later I finally found a luthier who worked at Heritage (and Gibson prior to Heritage) and just opened his guitar customshop in my neighbourhood..he had personally selected wood to build his "personal guitars",his own "dream-axes"..if I remember correctly he had a Tele with a walnut-body,some Strats and...a LesPaul made by one-pieces for the mahagony-body and the neck (both same wood..honduras) with a two-piece of wonderfull maple top..since he came from Heritage he just used schaller-hardware(including golden 50s)..he allowed me to play this guitar and this was it..this was the sound you hear on these albums..like some famous guitar legend said once (Gibbons:I dont remember) "the real lespaul sound is like to step on a ripe plum..it makes first pfffltschhh....and then the tone develops in something wonderfull"..

To bad he did not want to sell any of these very personal guitars but just a little bit later his daughter got ill(she died later) and he needed every single penny..he wanted 2000 deutsch marks from me for the LesPaul and I gave him 2200.Only the wood must have been worth double as much if not much more.And this LesPaul was mine.At some point years later I asked if he wanted his guitar back because I felt so bad that I bought this guitar under these circumstances,seeing this guy comming to my gigs,looking at the LesPaul with tears in his eyes.He still rejects to this day...saying that he is happy that I play it..the finest compliment I ever recieved.

Anyway..I heard a lot of stories (from "people who know" in most cases) that many,many famous guitar players have a LesPaul made by some unknown luthier while they just put the Gibson-Logo on it..

Just one year later I went one day to the ESP-customshop in Duesseldorf where they started to sell "vintage-guitars" for a while before they closed down completely in the mid-90s..and there I found my ´77 Stratocaster.She has the legend-twang but also an unbelieveable sustain..

I owned and played many,many guitars(including late 80s ESP custom shops) but I sold,lost or lent them all to everyone I knew and who asked.Both these two axes,the LesPaul and the Stratocaster mean the guitar world to me.

The main reason (and this by far..) for the success of the Kemper is that it can sound like the "organic" tube amps overdrive.This is the reason why 99% of its costumers bought it.

For me this discussion is very interesting because @Bommel might be very right and that the profiler has "difficulties" to sound "fuzzy"..simply because this kind of distortion represents everything all the KPA-algorithms are NOT being programmed for;This is just my thesis.I could be plain wrong about this.And the two clips from @Bommel actually show this to me.I liked the "more organic" clip which was the profile of the fuzz-original.This was out of question "for my ears"..

Anyway.It shoud be no problem for the KPA-guys to make an "upgrade" in the future for profiling fuzz-style gain sounds.

Quote from schreckmusic

Please stop debating and let someone from Kemper post an example. You're not helping here. This is not about opinions, it's been said you should not be able to hear the difference. Let them teach us what to do!

Let us not be so absolute..

The interview with CK (in 2014!) is great.He says something which I tried to say above.We are still learning.The whole concept of the KPA is about "re-learning" about recording electric guitar.

@CK gave this example with the "one hour later"-tube amp which is one of the greatest examples ever because it leads to the "core" of what we are discussing here in in a gazillion past,present (like this one) and more so future threads..how can the profiler sound 100% like something which does "never" sound the 100% same itself;

Ich denke mal Du brauchst ein gutes Mastering-Studio..und mindestens einen "extra-Mix" für´s Kino (5.1)..

Persönlich kenne Ich einige Mastering-Experten die eigentlich immer froh sind wenn der Mix den sie ins Haus bekommen "gut" ist aber nicht "übermixt".Das "Verbiegen" für diverse Anwendungen fällt Ihnen dann beim Mastern wesentlich leichter.

Quote from Webb

Maybe you can hear the difference between the profile and the real amp. And maybe my profiling skills need some improving. But do you think the Kemper clip in the OP sounds bad? Just curious because I would be completely happy with that tone in a mix. Is there room for improvement? Sure. But this CCV profile puts a smile on my face every time I play it. You can't please everyone, but I've received a bunch of PM's from others who think it sounds great as well.

Look..it is a very good profile and I think you did it very,very good.

Let me put it this way without to bring it again in my "typical philosophical strange ways" or like @Sharry put it once nicely(and he is very right about it I guess) "academical discussion":

Will any profile ever made be "so good" that it cant be done better;

Both clips (in the starting post) sounded great..I just had problems with the fact that it was somehow "to far away" from the original than many other very great profiles I PERSONALLY like very much and which are so close to the "original" that I had to hear the difference with very good speakers..

Again..both great sounds.The profile is also very good and (I am sure) every usable in a mix.

Quote from Bommel

nope wrong sorry the first is the real fuzz you hear it how the notes ring together
only a fuzz does that the kemper sounds like a muddy distortion not like a fuzz

uhh..

This would mean I have no clue about how a fuzz should sound...which is something I have to admit since I never ever used this kind of OD and also I never liked it..

This also means that I will withdraw from commenting further on this profile since I obviously have no clue and all I achieve here is to create more confusion..

Quote from Bommel

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Man..again I sit here with my cheap laptop,using just the tiny cheap laptop-speaker..

The difference is just "too big".Ofcourse the second clip must be the original fuzz.But it is just to obvious because I know the KPA does much better if you mic it "correctly" which again is a wide field for discussion.With "correctly" at least me personylly would mean how to record this "gain structure" of this fuzzy sound..again,IMO the KPA can do much better than that.At least so much better that I would have to use better speakers to hear the difference.

Quote

however either nobody noticed or didn't feel like commenting.

hehe...communication breakdown...

Thanks dear @ColdFrixion

Actually I am following this thread from the beginning and I was thinking since the first post (original clip) this just cant be that I can hear the difference between the profile and the amp even through my cheap laptop-speaker..

There is an old saying in my language.."if you want to find something bad into someone/something you will find it no matter what it takes and no matter the cost"..

I said it in another thread..so many bad guitar recording on so many (in the meanwhile "re-mastered") classic rock/blues albums and no one ever questioned this "taboo" blaming the legend guitar player,producer,engineer which are "untouchables" today in our times with dozen of platin/gold albums..

But if we find a not sufficiently recorded profile for our profiler it MUST be the tool and not just the" human factor"..

The Kemper needs more work.Sure also from the KPA-team but most of all from us..the users..

Micing an tube amp in a way you hear all the tiny nuances,dynamics and the pure reaction to the differences of sound when working with the volume knob on your guitar was always a very difficult thing.But for some reason the guitar player does not react as sensible to bad or insufficient micing of his tube rig for his recordings compared to how furious we react to "bad" or at least insufficient miced profiles for the Kemper.In the latter case it is "the fault of the Kemper" rather than to look into the way the profile was created.This was not the same with the "history of recording tube amps"..

Is there a reason why everyone out there agrees since decades that "blues is 100% a live-thang..";;;

Most of the early 50,60s and even 70s recordings have been done by then very young producers/engineers and some of their recordings were plain simple "bad".Many of the 60 & 70s guitar legends did not play as good as they could on their recordings/albums as they did during their live gigs for this reason.Is this a "taboo" to speak about;Somehow yes IMO..this issue is somehow "untouchable"..nobody will "insult" a guitar legend or his passion during his recordings.Btw..many of the recodrings done in the 80s with all the new "speciallized equipment" ended in a desaster because of lack of experience with all these new tools.Not true;

It is very easy to hammer the KPA and many,many of its profiles of lesser quality but I guess it has a lot to do with the fact that we all gained a lot of know how during the last two decades.And I mean not only the engineers & producers who "got older" and gave their knowhow to the next generation of professional engineers & producers(and ofcourse developers) but also the musician himself today has a completely different level of knowhow than he had in the past.

The Kemper will not only change the way we will use our tools for playing guitar but most of all it will also enhance our understanding of how to create guitar sound as a result of a whole recording chain beyond the amp and the cab..

Quote from acroberts

This is too bad, as over in Fractal World, communication, releases and fixes are fast a furious. Hell, the captain of the ship over there is known to directly answer questions from the masses. Different strokes.

Yea great..lets make this blog and the whole product a kindergarten too..new FWs every few days,re-programming of our presets every few days because captain Ahab has a new englightment for the "realer sound" and how to run the ship on the next rock with the "masses" hailing him..that is really a great idea..

The editor is coming.Just give the guys the time they need to do it.

Making a break in my "ethno-studies" I went back to my "pure rock roots" for a few days:

"Rock this..rock that...yeah baby...lets do it.."

Cant get more pure rock than this,right;Besides it must have been one of the main albums which influenced good ol´Eddie..I mean he even hired the singer 15 years later.. ..the mother of "california hardrock".

And:

Man did I hear this album..I guess must have been 3-4 times every day for 2-3 years."Rumblin train" is still the perfect mix of blues and hardrock IMO.Ray Gillan..I am still crying for this singer.,,

Wow..this is hot..

The guy has a healthy portion Paul Rodgers in his voice.But also a lot of 2017 in there.Indeed good stuff.

http://www.musicradar.com/news…e-of-the-amp-stack-625262

I gave the link with the last page/conclusion first because there is all the sauce..about the "peacefull co-existance" between the past and the future.

It is a good article and a nice round table(CK is there too).

@MementoMori

Remember the last time CK announced something on NAMM 2016 and people were grousing for 10 months untill they got it;

Actually I was waiting for this denial since the NAMM 2017 ended and it is more than justified.

@ashtweth

I am very interested in this kind of set-up..some "experience" on this and how all this works would be mucho appreciated.I like the idea with the stereo-2x2x12 thing.Keep us updated.

@Sharry
Agree on all points.I dont know if it was a joke and even if not I think @Armin has a point.The KPA is the best "supplement" for every guitar player out there who has nice tube amps and wants them easy and handy in a box.

This is how I see the profiler too (and not the axefx or even less the L6 stuff)..it is an absolute professional tool for live and studio BUT it needs tube amps and cabs for breakfast,lunch and dinner..

I dont know why you are so upset.Calm down buddy..

I also believe that it is no good idea to call me (or any other of the millions guitar players including the best of the world) "tube amp bigots".Or all the other musicians of this world using old steinbergs,stradivaris or whatever instead of carbonfiber and glass or silicone..

It is actually a really bad idea.

Anyway..I do not like to discuss in this tone.I guess the best idea is to let this thread stay like this.Have a nice evening dear @cybermgk

Quote

And, not sure what the problem is here.

Have you ever played a rectifer with a 2x10 or a 1x15 cab;
Have you ever played a vox through a 4x12 cab;

Honestly dear friend..how could this NOT be a problem;

@Sharry

Quote

It's legion I faced disappearing technic gear in the last 60 years

I think this argument is not valuable at at.I could name you a thousand issues from navigation to urgency-hospitals to military to whatever where the guys are being thought to forget about modern tech and to depend on ancient tools in the "case of cases" when everything else fails..now you will tell me that making music is not "emergency" but THIS would be indeed the start of an "academic discussion".