Posts by Nikos

All nice profiles.Honestly.Sure I can "tweak" some of these profiles to get very close to what I want.Some EQs here,less gain there etc..

But..I am waiting still for some one to produce THE 80´s SLO-100 lead profile.Lots of gain(but not too much).Endless sustain,great dynamics,in the same time aggressive and elegant..ideal for pitch harmonics with a "fat sounding guitar" (I have my Les Paul in mind).

Poser-stuff..

My aim is to find a profile and to tweak it as little as possible.This is where the KPA is at its best imo.;)

@sinmix & @okstrat

I must admit that I did not try your profiles yet.But I will in the next days.I thank you both so much.

I know this is an old thread.Nevermind.I like the TAF-profiles of the SLO very much.As well as the Lammert-ones.But I am still searching for "the lead" profile of all the hardrock-players from the late 80s/early 90s who used this SLO-100..George Lynch used it.(wicked sensation),Mathias Jabs,Gary Moore..Warren de Martini etc..a dedicated "hair-metal"-profile..

I also wonder that there is no "money for nothing" or "still got the blues" profile.

As @tnipe said some months ago.Not so many SLO-100 profiles out there..

Nice guitars my friend.I wish I still had my FP.But at some point I was totally bored by any kind of Floyd Rose Superstrat and "lost"/sold all but my ESP.Big mistake.The Jem has a unique crisp and very trasparent clean sound.Unbeatable with a Twin Reverb.

And it is somehow one of the most beautiful guitars when it comes to the composition of colours.

I am a huuuge Vai-fan.

But I must admit that I liked his Sound with Zappa and most of all his Carvin-Charvel period (like to be heard in the "Crossroads"-movie) much more than his later sound.Allthough I also like the Jem777 very much (had the FP some years).

Anyway.

After thinking about the whole issue (this thread) there are two conclusions for me personally how to choose/select a profile;

1)I will do my own profiles when ever possible.
2)If not possible the best way for me to select a profile will be what @Armin suggests plus to choose any profile as close to the sound I am searching for as possible.As more as I have to tweak as much it wil be clear that this is not for me.The amp-style,gain and also EQs of any profile should be at least at 95-99% of that what I have in mind before the selection begins.

greetings

I am with you my friend.I remember long ago (more than 20 years have passed,ugh..) when we made experiments with larger brass and tungsten sustain-blocks for the Floyd Rose.Even Titanium was an option for some freaks back than(with more or less frustrating results).

Anyway..

We can do a lot.Today much more than back then.But we can´t cheat physics.

Indeed the turn back of the "Definition" works very good.

Quote

This is not an issue of the Profiler as you make it sound.

This was never my intention.I am very happy with the profiler.I just wanted to support @Armin in his points.

My ESP sound also great with the Kemper.The ONLY thing I wanted to say that me personally(!!!) need in the case of the ESP a little bit more "tweaking".But with the good amp-like interface of the Kemper this is absolutely no problem.Thats all.Dont shoot me..

In the end I habe made my personal expirience that Floyd Rose(or any floating fixed bridge) "sucks" some of the most important higher mid frequencies of any guitar,This is imo no big news.Just a (physical) fact.Adding in this case more presence is the wrong way to go.The better way is to "close the gap" between the "mids and the higher highs"(what;).Not to mention that when we talk about frequencies we must make a huge difference between what we guitar players call "lows,mids and treble" and what a sound engineer is learning about that stuff.The guitar like the human voice or some instruments (besides the guitar for example the snare drum,trumpet,saxophone and the keyboards etc) is most of all mids frequencies and what we guitar players mostly name "Treble" may be still mids in the HiFi-world.What we guitar players call "presence" may be" just the start" of the higher frequencies.But since all this stuff is named as it is let it better keep this way.

Greetings

P.S.

Yes.I will mic some own stuff.And I will ofcourse put it into the rig exchange.

Ya I know.Sorry for this off topic stuff.I will stop this here.

Sorry my friend but this time I have difficulties to get you.Ofcourse does any change of a pickup have some consequences on the sound of the guitar.Putting an Humbucker into a single coil strat will surely have a strong "impact".Same if you change the Humbuckers of a les paul with single coils.

But does that make a strat sound like a les paul;Or the les paul like a strat;Ofcourse not.Mahagony sounds very different than ash or elder.I also cant remember any serious blues player (from the past or today) who plays his vintage strat or his les paul with a floyd rose.

I had once a les paul with a floating floyd rose.Sounded still "good" but there is a reason why most serious players wont do this stuff anymore.They will keep their les paul as it is.Maybe changing the humbuckers.

Today after some decades of "Rock ´n` Roll" and many experiments most serious players have more than just one guitar with which they try to play everything.Most have several guitars for "each sound".There is a reason for this.Don´t you think;

@Frodebro & mwinter77

Hi my friends,

Me personally..I belong to the small group of players who doubt the "huge role" of the pickups in an electric guitar.Other things are much more important to the sound (always in my opinion).Like the quality of wood ofcourse,weight,neck/body-connection,bridge(and if this is "fixed" or "floating"),nut..but this is another issue we can discuss in another thread.

When I responded to @Armin I had more his points in mind.Most of all because he is right about point 1) and most of all 4) too..

Who are the guys who prefer mostly highgain-profiles;Right,the ones who also play some "axes" with high output-PU´s(from what I know some what like EMGs 81/85 etc) and sure some kind of Floyd Rose style bridge,thin necks and so on.And also very surely they will choose some kind of 5150/Triple Rectifier(talking about fizz) etc profile..so we talk about a lots of potential to produce some kind of mess if you don´t know about the issue.In these cases a floating bridge really does not add clearity and the "right high frequencies"..

All this will not really help to hear the "true character" of a profile.As @Armin said;Less gain.Play (if possible) the profile together with your bands music etc,etc

Greetings

No.You nailed it very well.Just one comment to your 1):

Floyd Rose style bridges(more so the ones "floating") need more instant tweaking.

My 70s Strat and my custom made Les Paul sound instantly (without much tweaking) great with any great profile(more so with Plexis,Jcm800s,Fender-Twins,Vox etc from the rig exchange) but my very good Custom ESP from the late 80s sounds some what harsh and a little bit fizzy with most high gain profiles(though this guitar sounds fantastic with my Steavens Poundcake and more so my Rectifier).For me it helps when I use less presence and more treble with most great higain profiles.

@db9190

Well,I did not say "never" days ago but I will say it now.

The Kemper (as well as maybe the other DigitalTech out there like AXEFX etc) is a fantastic tool but it will definitly not replace a Marshall with a top class 4x12 in the room.All the fine dynamics playing a sensitive lead passage,the "air" which takes your breath when you hammer a crunchy chord.At least not yet.And as I see it we are still far away from this.There are still limitations in the digital world.10 years ago (with all the Line6,Zoom etc stuff) this was a bigger problem.Today there is still the crucial "1%" which I miss.With the Kemper I get ALMOST the whole characteristics of any amp.But it is still not 100%.

But surely the Kemper is "one more crucial step" into the future.BUT (and there is a very big BUT) only a few people out there are right now able to use it to its full potential.Only a Pro will know how to mic up a cabinet,only a Pro will have all the other tools (studio-tech) to bring the best possible amplifier sound into the profiler.

This means automatically that the new bunch of guitar players will have to "leave" their existence as "simple consumers" and must develop themselves (ofcourse with the help of the "expirience" they will find in the internet) to evolve their untill now limited techical know how into a much more musical (wont say professional) approach.There will not only be just the guitar and the amp(andmaybe some pedals or a four track recorder) but also the mics,the consoles,the Hi-Fi-frequencies (with all the FRFR and studio-monitors etc)..I could go on for hours.

Education is always good.Learning to see the "big picture" is essential for any artist.The Kemper is a perfect tool for this.Having said this...my "animal instincts" will always retrurn me to the rude energy to stand next to my Rectifier and my 4x12 orange cabinet shaking my whole neighbourhood..

@and44

THanx my friend.This is my thinking too.Are there any channel strips/Mic-Pre´s you would recommend for the "crazy stuff";

Till yet I recorded my amps mostly with the universal audio 2-610 (with the "usua"l SM57/AKG414/R121 mics).I use ONLY my Orange 4x12 which is my "secret weapon".An 70s vintage monster with 25w blackbacks.

But as you said.One must try new ways.The KPA opens nice,new paths.

Thanx a lot Ingolf.I must try this Soldano profile.I am after a good one since..well..decades!

Same with Dumble OD special and some VOX lead sounds.Now I can have them all!

@The Lightspeeder

Yes.Something like this.Ofcourse I will try and I will let you know...better said:hear!

Hi Michael,

Agree.Most "professional" profiles (from TAF,M-Britt and all the other guys) are certainly recorded with high-end channel strips/consoles.

But there some very good profiles out there where I automatically thought like "wow..cool sound,but it needs some refreshment here and there".Stuff like that.Specially with some more ultra clean sounds.

If anyone has tried something like this I would like to know.All hints and thoughts on this matter are very welcomed.Thanks so far.

Yes,I know.Sorry for my bad english.I also did not spent more time to explain.

So in short;Loading down from the "rig-exchange" and adding more "warmth" or "headroom" to the profiles before sending them to the DAW;Does this make sense;

Yes ofcourse Ingolf.

This is what I will do also most of the time.

But I would like to try also to add to some (very few) profiles some more "tube saturation",more warmth.In the end at least the studio-profiles are miced amplifiers.So this could make sense;I dont know..need food for thought..

Therefore I would like to know if anyone has tried that at what results.

I have some (still boxed since I moved a year ago) recording stuff:UA-2610,Avalon 737,SPL-channel one(old version) with which I feed two Ramsa DA-7(with three adat cards-24 channels/Hammerfall) into a MAC/Logic.

Question;What do you guys think;Besides the good old micing up my tube amps into the channel strips (I have a Steavens Poundcake MK1A,Dual Rectifier(Revision F) a Marshall JCM800/2204 from 1981 and a Peavey classic 50s-410)..has anyone here tried to use the Kemper running straight into a channel strip-DAW-system;

I think about to try this;Kemper(Main outs)-UA2610-DAW.

Has anyonme tried something similiar;What would be the best KPA-configuration( I have the KPA-rack,unpowered version FW-2.7) to try this;

Thanx in advance.