Posts by wwittman

I don’t WANT an additional and unnecessary A-D-A conversion in the chain.

My position is that if I use a purchased IR in my recordings via software or hardware or a Kemper profile I create from it, it’s the same.

I’m still using it to make my recordings, and for what one could clearly argue as the intended purpose of my purchase and the implied use.

Quote from mollydyer

Okay then- so therefore I'm able to use your guitar sounds then for my own performance, which I release for sale to the public. I'm totally free to sample your music and use it for my own commercial purposes. Right?

I say it's not black and white - it's a grey zone that needs to be clarified by legal minds more finely tuned than ours .

it is indeed "black and white"

i haven't sold you or licensed you the use the use of my recorded performance.

the IR maker HAS done.

He/she is certainly entitled to attach terms or conditions to that license, but a commercially sold IR HAS those attached implicit use conditions.

If I use your commercially available IR to get the guitar sounds I record onto my record and release for sale to the public, do I owe you a royalty?

Or was that use (for my personal guitar sounds) included in the license you sold me with the IR?

This is the same.

You buy it as a license for your personal use, right?

This is presumably just another personal use.

You equally own the microphone and mic preamp that you’d be using to profile.

Or for that matter the amps you’d be Profiling

If you’re not violating some moral contract with Vox or Hiwatt by Profiling their creations then you’re just as much not doing so with the IR maker.

As long as you own the products

On crazy hot days, we cover the amps and synths with thermal blankets to protect them as they sit between soundcheck and show time.

But we played in 95 to 100F degree weather all last summer and the year before without problems.

Quote from Chris Duncan

Good heavens, man. If you're able to eliminate all of my second guessing, how is my therapist going to feed her kids?

Let me help you with that:

Is that vocal loud enough?

That’s the reason I recommend making your choices the way you’re doing it; in context.

And then not second guessing them later.

Well..: as a “beginner” what happens if you commit to a sound and are stuck with it?

Who dies?

How many sales do you lose?

Who gets fired or dropped from a label?

As a beginner, that’s the time to make mistakes and LEARN.

OTOH, if you record that guitar sound that you choose in the moment , and then are forced to choose the NEXT sounds you overdub to work with those choices, then you’re actually learning how to make records.

If you put off all your choices you’re not.

I've been using the powered head with an Ampeg 1x15 cab even in arenas

a good passive cab will be fine

with careful gain staging and recording 24bit is indeed 'just as good' as 32

what 32 gets you is mostly a kind of clipping safety factour

Record in analogue instead of via spdif.

Then Kemper clocking is a non-issue.

Record everything, not just guitars with ample headroom and at 32bit float if you can.

Use the highest sample rate practical.

I do almost everything at 96k.

Monitor with as good a rough balance as you can. Some people call this ‘always be mixing’; but it’s important to have perspective on context as you overdub; don’t just throw stuff on and hope to sort it later.

It’s far better to commit to a sound and make your subsequent choices BASED on those you’ve already made. Otherwise you can endlessly chase your tail.

“Perfection” is both unattainable by humans and highly overrated. Don’t “fix” everything. PERFORM.

Quote from flyingheelhook

This... it was cool when I had long hair, ...

No. It wasn’t.

The Kemper wants to be the master clock.

So, assuming you have it set that way, if you shut it off you are pulling the clock from the system and you should ASSUME the DAW and interface will freak out, at least temporarily until it reverts to internal clock (if it does)

also, let's say you GET that perfect amp sound in your head out into a cab on stage...

then what?

how does that get to the audience?

through the beer-soaked, multiply dropped, stepped on, spit into, loose wired SM57 the club has had for 25 years?

great

no thanks

I'll give you a feed of my amp profiled through a high quality mic and preamp n KNOW what's going to FOH sounds good.

first thing I'd do is check the playback engine and be sure the Clarett is still selected.

next thing would be to check the I/O set up for the session you have open and see if that changed.

can you go back to a session where it worked and see if it's still working (on input) there?

Worth mentioning, even if late, to create PERFORMANCES rather than just using the BROWSE mode for live use.

Then you should set the output level of each slot to sound about the same apparent loudness as the others and STORE them that way.

There’s a whole cottage industry of self appointed internets ‘myth busters’.

And their recurrent theme tends to be ‘nothing matters’

they fail to acknowledge that there is a big difference between “I can’t hear it” and “NO ONE can hear it”.

Exactly. I want to shut it down correctly. Not have it go suddenly unexpectedly dark.