I actually think it’s EASY to beat a 58.
They’re indestructible but they’re not great sounding.
I actually think it’s EASY to beat a 58.
They’re indestructible but they’re not great sounding.
Is this for live use?
I’d recommend looking at a Telefunken M80
I’m not sure the model. But it’s an APC
I have a UPS.
It happens too often that, in a quick changeover, local stage hands run on and cut the power.
I’d much rather my OWN tech have some extra time to shut it down rather than having it unceremoniously cut off.
"One of the first places this sound was made famous was on the Beatles “Revolution” with the spiky lead guitar lines throughout the song...."
which was not done with anything made y Neve and had nothing to do with Neve. (it was the EMI desk)
to my knowledge, neither did Black Dog, which they also cite. (a Helios I believe)
there's some marketing BS there... but it's a good sounding pedal.
Color box is a cool pedal.
But what’s it have to do with Neve?
To my knowledge, nothing.
I
Miss seeing the links and number of nread posts and followed thread posts at the top of the page on the mobile version. Now that requires multiple clicks to get there.
Sprint Center, Kansas City tonight. Cyndi Lauper and Rod Stewart.
I don’t see any way that the unpowered Version is “more versatile”
It has exactly the same outputs MINUS the powered one.
You’re simply giving yourself another option by choosing the powered versions.
...
Initial impression is that it's less-clear / trickier-to-navigate and more of an eyestrain (glare).
...
exactly
are you getting enough level into the Kemper to drive whatever profile you’re using ?
My first suggestion would be to come out of the Scarlett analogue and into the regular input of the KPA and then back into a mic pre input on the Scarlett; and try that.
I don’t get the attraction to using spdif if you have enough analogue ins and outs.
By the way, minor aside:
Phantom power does no damage to the direct out of any amp.
It’s completely benign unless you have a MISWIRED ribbon mic.
Hysteria over phantom power is a modern internets hobbyist era obsession.
I’m all for tech riders.
And on the level I tour now they obviously matter.
But in other situations and other ‘levels’ I’ve seen them blatantly ignored.
Just like other riders.
But no matter what there was a presumption that the guitar was going to be mic’ed.
So yanking that XLR out of his beer soaked sm57 and plugging it into the back of a Kemper was not asking for too much
In fact you’re making his job EASIER, if he isn’t being a dick about it.
Short answer is that is EXACTLY what I do.
One analogue output into a mic pre input.
Works brilliantly.
Some of these guys are wannabe record producers.
It’s not UP to him.
I remember once being told by a local club soundtwat that he was “out of mics” so couldn’t mic the bass amp.
I grabbed the floor Tom mic and said “okay. We will use this one then”
Amazingly enough another mic was suddenly “found”
As someone else at least alluded to, the electrical or metered level of a sound isn’t the same as its APPARENT, or perceived, level.
That’s why even “normalized” or heavily compressed records don’t all sound as “loud” as each other.
In particular, more midrangey sounds tend to be perceived as louder because the ear is more sensitive in those speech ranges.
So you need to set your scoopy metal profiles louder than a 3k heavy AC30 sound in order for them to sound “as loud” SUBJECTIVELY.
My first suspicion, given the way you describe the event AND my general experience on stage, is a bad or intermittent cable connection.
Otherwise, it is diifficult to see why the main output died but the headphone out did not
No. I was asking if you send a different output to the front of house mix than to the monitor desk.
Hmmm so you’re sending a different Kemper output to your in-ears (or the monitor desk) than to FOH??
Why???
Or... just come into two preamp inputs in the Apollo. Analogue in.