Get a BBE Sonic Maximiser. It make pinched harmonics POP !!!!
Had one…..thought it was great for a while….but I got over it. 🤣
As far as generating better punch harmonics, a bit of extra gain helps. A fuzz does wonders. Billy Gibbons is one example. Eric Johnson’s violin-like lead tone (in part) is a fuzz-face and the liquid sustain it gives.
As Ruefus says, the two rigs have different time/date stamps so can be identified as unique but it is a pain in the posterior having to add this additional step rather than simply having a Save As option like every other piece of software since the dinosaurs.
But is it truly and added step?
Granted, the sequence appears odd, but here’s the thing…..
You rename the performance rig first. Then export - and now the browse rig name matches what’s in performance. When you do the opposite (browse rig to performance) - the same thing happens.
I think that makes WAY more sense than a traditional Save As, where any relation to where the new Rig came from is lost.
Did you submit more than one request?
The problem is as follows.
If you have a rig that you have imported into a performance, then made changes to it, and want to save it, how do you know afterwards which of the two identically named rigs is the latest version?
This is a problem for me because i actually want to go back from performance mode to rig mode. And i do NOT want to connect my kpa to rig manager ever again if i can help it.
Save, then sort by date in Browse would be my first stop.
Or, as RVS0002 suggested - rename the rig BEFORE exporting from the performance. Which I'd never thought to try.
I was able to rename my rig with no issues. What am I missing? Just trying to understand so I don't have to ask a stupid question later.
I'm and old "amp with knobs in the room" guy so trying to teach this old dog new tricks with menus, rigs, performances, rig manager, etc. is quite an adventure and I appreciate being able to read these forum entries when I get lost. Everyone is really good about helping and it is appreciated more than you probably realize.
I believe he would like to be able to rename the rig while exporting it. Instead of having to go find it, then rename.
I agree. When we save Performances, it asks for the location and name. This request is similar.
I've been around and messed with high-quality versions of the Amazon stand. Both folding and weighted bases. The problem with any stand is the higher you go, the wider the base needs to be. Zero chance I trust something as heavy as a Profiler up that high. It's certainly solid, but one decent bump and it's all over. Those stands aren't meant to hold something that weighs nearly 12 pounds (13+ if powered) that high. They're designed for laptops and projectors that (often) weigh less than the stand itself.
I converted an old drum throne to have a flat board on top. Even at full extension its slightly over 24" high. My Head rests on their very solidly, but the stand is heavy (made by Gibraltor) and a pain to setup, take down and transport. I've used it at gigs, but look for ANY reason not to. Its sat against a wall at our rehearsal space for nearly a year.
The process has not changed. In Performance mode, select the slot you want to save.
Press store.
A soft button will activate for Export to browse pool.
I rarely - if ever - use more than 3 slots.
In a live setting - clean & dirty, with morphs or effects switching in and out for variation.
I’ll use specific performances just to set tempo without having to tap/beat scan. I’m lazy like that.
A combination of clarity and direct mix is what I'd start with.
Clarity to 'clean up' the distortion (read the manual...neat concept). Direct mix for.....well...your clean signal.
You can replace valves/tubes. I have a NAD hifi stereo amp that ran hot. It had to be sent to the importer for an expensive repair.
To discount any amp that generates heat - which is to say all of them - based on one experience seems overkill. NAD makes good stuff, so I can only surmise something was faulty and caused a problem.
Sometimes stuff breaks.
Heat in and of itself isn’t bad. Proper design allows for it and reliability becomes a complete non-issue.
I’ve got a Denon receiver I bought new in the 80’s. To this day, it gets nice and toasty when used…yet....never an issue no matter how hard the amp is pushed.
I use a Kabinet. The versatility is ridiculous.
YMMV but i tested a powered Kemper in the shop and found that it ran warm. I don't like electronics that go warm if not hot. My unpowered Kemper runs nice and cool. There are lots of possibilities, do a search here, FRFR amps etc.
So…..no valve amps, then…..
I serve on my church’s worship team, which uses a quiet stage (no amps/speakers). Just IEMs.
I send a main out signal to FOH and use the in-ears to monitor. My Profiler is unpowered.
That’s pretty much the ‘normal’ way to handle the situation.
This forum is here to help, certainly, and the users here want you to be successful and enjoy your Profiler.
Make sure you’re looking at the Main Manual And not the Quick Start guide or an a addendum.
The Main Manual is as comprehensive a document as you will find. 99% of what you seek is there.
In Rog Manager, go to the Help menu, you’ll see an option for the Main Manual.
How about profiling your own amp and use it together with the effects in the Stage?
Excellent point. Using a Profiler just for the effects seems odd.
No problem.
I would venture to say that all harmonics are overtones though...
Thank you for that discussion: it got me to look further into it, which is always a good thing.
Agreed. Discussion and debate where both sides learn is always good.
Overtones as I understand them are any (resonant) frequencies above the fundamental. Whether harmonic or inharmonic.
I'm not interested in a Quad Cortex but I have a Kemper Stage listed on craigslist for $950 (local sale only in N.W. Florida)
Anywhere near Panama City?
I challenge you to "just use your ears" and see if you can tell if the low or high harmonics (or overtones) are being distorted. You can report your perception of what's happening but not technically what the control does.
I think this is a case of "I'm not going to tell you how to build a watch. I will tell you what time it is."
I quote your link:
"The term overtone is used to refer to any resonant frequency above the fundamental"
The fact that it states that an overtone can be any RESONANT frequency doesn't mean that it can be ANY frequency.
An overtone can be any of the upper partials above the fundamental and they all have a very specific spot in the frequency range, based on the fundamental.
You are correct - perhaps I took that detail for granted or implicit and glossed over it. My mistake.
At the same time - resonant frequency does not necessarily refer to a harmonic. Those have specific nodes, whereas other resonant frequencies do not. Hence the term enharmonic.
Strymon calls theirs the Ice delay. Others use the term shimmer something along those lines.
TC Electronic Flashback 2, Strymon Timeline, Eventide's PitcFactor has a Crystals setting.
Depending on which one you hear, the effect is a bit of a mashup of delay, modulation and reverb in varying amounts.
