Posts by Giallanon
-
-
I'm pretty much using Rosen Digital IRs exclusively nowadays. I like the sheer simplicity of their packs. 3 well thought out IRs per pack only.
Just about every single one is highly usable!
Hello Cederick, a quick question about Rosen Digital stuff. Are you using theirs kemper profile (and then eventually extracting cabs), or did you buy only IR response?
Thank you -
Hello, I'm experimenting with wah and exp pedal. I like the bypass @ toe/heel but I'm wondering if there's a way to adjust the bias that KPA use to detect if the pedal is at toe/heel.
I find that sometimes the wah is still active even if the pedal is "almost" at toe/heel; it's often a matters of millimiters so that it seems to me that the pedal is at toe/heel (and indeed an human will probably tell you that pedal is at toe/heel), but the KPA might read that the position is at 99% o 1% and so it won't deactivate the wah.
Also, when on stage, it might activate on his own due to floor vibration.I could also live with bypass at stop but,,, how long does it takes to detect the stop condition? (I guess half a second or little more). Is there a way to alter this value?
There's a song where I have to play a couple of notes with wah engaged and then go back to palm mute rhythm stuff very quickly, and I can hear the wah still enganged for the first couples of palm muted notes.
Tempo is around 150 bpm. The palm mute is at 4 notes per beat, while the wah part is at 1 note per beat (4 notes in total) and, when switching from quarter to sixteenth, I can hear at least 3 or 4 notes with wah still engaged even if my foot is not on the pedal at all. -
I had a similar problem with my brand new KPA.
Solution was to perform a rig reset:
Turn on KPA while holding RIG button.
This will reset some internal parameters and won't delete any rigs.If this does not works, you could also try a system reset, which is the same as before but holding the SYSTEM button instead of the RIG button.
You better make a full backup of your stuff before performing a reset, just in case... -
Il problema che tanti chitarristi hanno con le frfr, é che queste sono fin troppo fedeli. Se dalla cassa uscissero anche basso e batteria, prob ci sarebbero meno problemi. In un contesto di fullmix, la frfr da il meglio di se. Il punto é che il chitarrista non vuole sentire la sua chitarra "come la sente il pubblico attraverso la pa", la vuole sentire come la sente a casa o in sala prove perché quello é il suono al quale siamo abituati e che ci piace. La rs é un ottimo compromesso tra una vera frfr e un cab da chitarra. Ok, quello che esce dalla rs non é esattamente quello che esce dalla pa, diciamo che la rs colora il suono, ma non lo fa in maniera esagerata e in compenso ti restituisce il feel del cab da chitarra, soprattutto a volumi da gig. Io preferisco questa soluzione perché suono meglio e mi sento più a mio agio se sento la mia chitarra ruggire, se poi il fonico dovrà fare qualche aggiustamento di eq, pazienza. Questo in un contesto live/sala prove. In studio é diverso, soprattutto se suoni sopra una base di basso e batteria già esistente. A quel punto, preferisco la trasparenza ma solo per il fatto che quello che sento é già il fullmix e quindi la mia chitarra si incastra a pennello perché supportata dal suono degli altri strumenti
-
Prima della RS avevo una cassa della line6, si chiama stagesource. La RS secondo me é una soluzione più "chitarrosa". É meno full range, é meno flat delle varie clr, dxr, stagesouece. In compenso però ha quello che manca a queste soluzioni frfr pure. Ha quel tiro, quel sound da speaker per chitarra che tanti cercano. Non ti da quella sensazione di suono hi-fi super precisino e anche un po' sterile. Ha una ricca gamma di armoniche che la mia precedente cassa non aveva. Con lo stesso rig, stesso kpa, stessa chitarra, ho preso un suono bello distorto e l'ho pulito abbassando il volume della chitarra. Con la rs ho ottenuto un bel pulito ricco, con l'altra cassa invece avevo un distorto scarico francamente inutilizzabile. Secondo me con la rs vai sul sicuro, tutti quelli che l'hanno provata, ad eccezione di una persona, l'hanno trovata eccezionale. Certo non costa poco, ma quando hai un kpa che é il top, una chitarra che probabilmente anche lei non ti é costata poco, abbinare al tutto un cab non all'altezza, é un po' uno spreco (con queste parole ho giustificato a mia moglie l'acquisto della rs eheh)
-
The one in the amp section is unique in the kemper and I haven't seen anything like it elsewhwere.
It is much more subtle, and the genius is that it only works with the clean portion of a signal.
Therefore you can use it with fairly distorted rigs as well.
Turning down the guitar volume will give you a much better clean-up experience now than without it.I don't agree with this. In my experience, the "amp compressor" does effect the distorted signal. I can clearly hear the difference in the sound when playing with this control while using an high gain rig. I hear it better with rehearsal/gig volume, not that much at bedroom level. Surely it affects the distorted to clean transition, but it's not limited to this
-
Thats the thing. I do play a lot of shows and would be learning on the fly. We play shows about every week and we're still adding dates
I would not risk.
You will probably love the KPA at some point, but it takes some time to get used to it, to find the right profiles, the right monitors, whatever.
If you gig so much, it could be an hazard to jump on stage with the new gear and "fix it" on the fly. What if you don't like it? -
How do they monitor their in stage sound? Cab? In ear?
-
There's no SPDIF, but there's a so called L6Link input that works just like a SPDIF but only in pair with other L6 stuff (ie: pod and HD500). It accepts a standard XLR cable and wants digital data, not analog.
I use to have the HD500X and I could hear a big difference in tone and volume when connecting the POD throught the L6Link vs connecting throught the standarad XLR input.
The L6Link was much better, surely due to some missing AD/DA conversions (ie: POS does not need to convert digital to analog on output, L2m does not need to (re)convert analog to digital in input).
I'm not saying that AD/DA is evil and I'm sure that CLR does a great job and, frankly, we all know that line6 does not excels in quality so, maybe, they do not have the best AD/DA in the world even if the L2M is a quite expensive piece of gear.
I was lucky enough to have the chance to hear with my ears, and play with my stuff throught my KPA and the RS and that's why I've ordered one, just because I like what I've heard
-
How do you have your L6 set? Guitar or PA?
Curious! X)
PA of course
Obviously I've also tried the guitar mode and all other modes available but, to me, PA is the best one.
I'm also using the eq trick to cut high freq over 5-6K and under 80-100Hz.
I'm using this speaker since last year, so I know it very well.
I'm not saying L2M sounds bad, but surely it's missing something (body??) especially at higher volume.I also did a very significant (at least to me) test with L2M and RS. Using the same profile and with the same volume (well, at least to my ears), I've roll off the guitar volume to clear the very distorted rig (sinmix engl fireball)...surprise... with the RS I've got a perfect clean and full sound, very warm, very rich, almost better than my "to go clean sound". It was a big surprise indeed.
With the L2M, same output volume, same guitar volume, same everything, what I had was a "distorted but with not enough input" sound, if you understand what I mean. It wasn't a clean tone at all, it was more like a distorted rig with a not strong enough input signal; notes were dying soon, like if there was a noise gate clamping the input singnal, and you could hear the typical digital fizz (at least, this is how I call it) over the whole sound.I think it has to do with the L2M AD/DA. After all, it's a digital device that receive an analog signal from the kemper, then it convert it to a digital signal (and here is weak point IMHO), process it somehow (eq for example), the convert it again to analog in order to let you hear the sound.
Anyway, digital or non digital, I don't care; what I care is how I perceive the sound coming from the cab and, to me, the RS is much much better that the L2M
-
Mine will come near the end of this month, hopefully. ATM I'm playing with line6 stagesource L2M and I've had a chance to play my kpa using the L2M and the RS in the same room, with my rig (mostly sinmix stuff). IMHO there's no comparison, the RS totally kills the L2M and the more you rise the volume, the worst it get, meaning that the differences become very very noticeable. At lower volume there's not that much difference (RS still sounds better to me), but at rehearsal/gig volume IS day and night.
-
-
Even better would be a complete studio/parametric eq in the EQ section instead of low,mid,treble and presence that no one know which freq are altering
-
Same here, can't find anything on RE if searching for "Dual Pro"
-
Wouldn't be useful if we could assign a display color to every slots of a performance?
Not having the remote means that I don't have a visual fast/easy way to see what slot I'm in. Sometime I hit the pedal switch but I'm not sure the kpa has received the signal. Having slot 1 green. 2 red, 3 blue could an easy way to tell which slot I'd currently selected -
Thank you man, I've just bought the Tim Caswell profile and I must admit that it sounds great, especially the low and mid gain. Top jimi did a wonderful jobs in this one
-
....
OK, so my amended-request suggestion for Giallanon would be to "ask for higher-ratio options for the existing gates as well as an offset parameter that describes the level difference between opening and closing thresholds".
hehe, which is exactly the hard gate that I've proposed Take the current noise gate, add open and close threshold, maybe a non-fixed ratio and call it hard gate
I think what OP wants is more of an 8:1 or a 10:1 or a 20:1 gate. 4:1, when playing very staccato metal passages with high gain (djent stuff), is too little, even when the threshold is set properly. Setting two gates is an option, but it's really a band-aid on the correct solution, and you don't always have an extra slot available, particularly when you only have two post-amp slots to use for a gate.
Exactly Doug, that's the point.
You "can" simulate in some way the hard gate with current stomps, but in order to do it you've to use more than one slot and some magic trick to do something that, in all honesty, should be quite simple to obtain with just a litte modification of the code that is currently used for the noise gate -
To my understanding this is exactly the way the stomp gates in the profiler work.
IMO the critical part is dialing in the threshold right. If it's too low the gate kicks in too early and alters the sound when you have long decays with not much sonic energy.
If it's set too high it kicks in too late and you get some unwanted noise.
A gate, by design, can never be optimal.
It's similar but not the same.
A regular noise gate dump the "noise" under a specific threshold. The dump ratio is 2:1 or 4:1 if you consider the 2 noise gate that come wuth the KPA. This means that if the threshold is for example 0 dB, and the ratio is 2:1, if the input signal is -10db, then the gate will dump it to -5db then, after a while, it will dump it to -2.5, then 1.25 and so on.
The hard gate instead, does not dump, it kills the sound.
If the close threshold is 0 dB, then if the input signal is -10 db, the output will be muted and will remain muted forever until the input signal will be greater than the open threshold (ie, until you hit again a string with enough power).Anyway, I don't think it's a must have feature, you can live without it and use regular noise gate, volume pedal, volume pot, whatever; it was just something I found very useful while I was playing with the POD
-
Have you tried the STOMP Gate 4:1? I'm using it the way you describe, just set the threshold high. In combination with the INPUT Noisegate it cuts out the guitar pretty well.
Well, a regular noise gate is always on. Even when you are playing, the gate is trying to do its job and this will alter your tone (not saying that it's a bad thing).
An hard gate instead, works like a switch, it's either on or off.
When it's on, no sound will pass, at all. When it's off, it's like a true bypass pedal, it won't affect your tone
When it's on, it will listen to your input signal. If it's higher then close threshold, the gate won't apply any effect, your signal will be left unchanged.
If the signal goes lower than close threshold, the gate will switch to "close status" and from there on, no signal at all will pass.
While in the close state, it will listen your signal and will switch back to "open state" when your input signal will be higher than the open threshold.
Just like a volume pedal, all down or all up, but this work automatically based on the input signal strength.
What´s the advantage over a volume pedal (and a noise gate), or is it just an alternative? Or do you still get noise through, owing to the innate noisiness of the volume pedal and noise gate stuff? (The noise gate´s there to reduce the high gain buzzzzz).
You're right, it works similar to a volume pedal but:
1) it can't set the volume any way from 0 to 100%, it's only 0 or 100%, not 50%, not 20%, it's on or off
2) it does the job automatically based on the input signal strength
3) you don't need a volume pedal
