Yes, and you should IF you have stereo effects selected.
Otherwise it's not worth the bother, and one less thing to remember to change or change back.
Posts by wwittman
-
-
as my mate Geoff Daking likes to say: 'It's useful if there is a nail loose somewhere in the studio that needs to be hammered...'
but as a microphone, no.
-
There isn;t any evidence that Hendrix ever used a spring reverb though. Is there?
All of his reverb would likely have been added in the control room AFTER the recording, and would most likely have been EMT plate reverb.
I saw his studio set-up once.
Marshall with KT88s.
Univibe.
Roger Mayer modded (I was told) Fuzz Face
Octavia
Vox wah
FWIW
-
you can use one output, and it won't matter which, unless you have stereo effects set up.
-
-
There follows a list of things I would use an Sm57 on to record:
-
Except that’s one mic too many. <g>
-
To me part of the appeal of the Kemper was in fact that I could start with MY sound preferences from MY amps adjusted and mic’ed the way I already liked them.
Then those profiles are so close that I could fool myself as to which was the original and which the profile.
I'd suggest that if the Kemper sounds “bad” to you it’s most likely because your taste differs from that of the people who made those profiles.
Mine certainly does more often than not.
So the short answer is: get the sound you like on your amps and PROFILE them.
That’s the best way to get started into understanding and loving the thing.
-
because so many churches use Yamaha monitors for PA
not
-
No, because you're still sending EVERYTHING through your amp (or Kemper).
so the microphone "hears" clean bass through the amp until you dig in and the distortion is added to the high register.
it would be what you hear, I suppose, if you went direct out of the Ashdown pedal into the desk.
But I'd never do that.
Using the parallel path mixes direct from the instrument bass into the mix... that's what I don't like.
You could do something sort of like it in the Kemper by adding a distortion stomp but mixing it back to 30% or so, but the difference is that it's a constant 30%, not really touch dependent and not limited to the high frequencies.
-
Personally, I don't like the sound of direct inject bass guitar.
even mixed in.
-
I’m a big fan of the Ashdown Lomenzo Overdrive pedal because it allows you to dial the distortion into just the high end frequencies you choose and then dial back the mix so that it plays clean when you play softly and growls when you dig in, without losing the bottom.
It’s kind of a secret weapon.
-
Monitors are an intensely personal choice.
it really comes down to what the speakers make you 'do' in your recording and mixing and how well that translates.
But speakers that work great for one person often don't for another.
Personally, in that choice, I'm JBL all the way.
-
Isn’t this a discussion of “tips and tricks”?
And NOT a discussion about a third party profile?
-
-
the best, and most useful, audio gear is designed by people who know the "hard maths" and who also are responsive to the artists who actually use the stuff.
the worst is designed by people who think they can tell the guy who recorded Sgt Pepper that the "can't hear" something when he does.
-
Chuck Zwicky:
The Pro Tools HD system interfaces use switchmode power supplies, I believe, and there is really no way to eliminate the RF hash that these supplies introduce into the AC supply. AC cables can become powerful transmitters of this RF energy. These "special" cables that you sent have a tremendous braided stainless shield which should prove very effective in blocking a lot of this energy. Some RF energy can be so powerful that it can introduce common mode signals beyond the capabilities of active input circuits. I have discovered that here in manhattan, on the seventh floor, there is a tremendous lot of RF from cell "towers" , WiFi, and the usual radio signals. I have modified much of my gear to include really high end input transformers, and the improvement in sound quality is remarkable. I believe that this is due to the near invulnerability to RF my system gained with this simple mod.
Bob Olhsson:I've long been convinced that differences in wire sound are caused by the wire's effect on the gear's sensitivity to RFI as opposed to any effect on the signal passing through the wire.
-
once again, I don't PERSONALLY necessarily huy that power cabling is worthwhile area to fret about.
but all I AM saying is that reputable, smart, experienced, talented people tell me it's worth paying attention to and I am unwilling to just dismiss what they say out of hand because "the internets"
at the risk of rabbit holing:
it's bit like the '96k doesn't make a difference' arguments.
thats great on gearslutz.
in the actual record making world, all the high end guys I know (and I know them all) work at 96k of not 192.
but if you'd rather take advice from a bass trap shill, feel free.
won't bother me.
-
Over the years I've seen numerous blind-tests of cables, mostly speaker cables, and testers routinely fail to hear any difference between decent quality cabled and overpriced snake-oil products.
again, the difference between "most people" and "anyone"
most people can't tell the difference between 1 cent sharp or not. but SOME people can every single time
it's fine if you don't hear it.
but once you start to say "NO ONE" can hear it, you're losing the plot
unless you're invested in the "nothing matters' internets philosophy. which is your right, but it's not where great records are being made.
-
If'f someone can hear it it is measurable. If it is measurable it is science.
When it comes to power cables never heard of publications that prove that some high class gold power cables have any influence on the audio quality.
it's undoubtedly "measurable" IF you know what you're measuring.
as I said in the examples, it doesn't always mean that people measuring either know what to look for or are convinced what they are measuring is "audible"
there's a lot of internets "myth busting" that works great for hobbyists
