When you send a cable from an amp to a speaker, that cable is amplified (powered) when it hits the speaker so a "Speaker Cable" is required to handle the power. A regular TS or TRS cable will get fried like chicken.
The Powered Kab only needs a line-level (un-amped and un-powered) cable since you are sending the line signal before the amp in the Kab. Just like when you go from guitar to plugging into an amp. So, TS, or TRS would be used.
Look on Page 6 of 10 on the Output Menu. Uncheck the box for Space>HeadphOnly. Then set the Space parameter to anything you like. Then do a A/B comparison of the Kemper headphone jack and the Focusrite jack.
If you can also plug in the Kemper headphone jack into your Focusrite line input and do an A/B comparison to see if the Focusrite is changing the sound. But set Output to mono or use a Y-splitter when Output set to stereo and use Inputs 1 and 2 on Focusrite.
Note that the headphone amp on the Focusrite may make the sound a little different than on the Kemper headphone amp as some amps can add color.
So it seems Ducking only responds to how hard or soft you strum/pick? This means it has no real effect if strumming levels are consistent no matter it's setting?
If I wanted to kill the chorus on low end bass notes from a chord but leave the effect on the high end strings then I would raise the Crossover from 20.6Hz to like 166.0Hz (or similar)?
If I wanted to shorten the effect of the chorus over a sustained chord then I would add a positive Ducking? And negative ducking is vice-versa?
I would have liked to record the string noise of the clean tele with a mic but did not have enough inputs this time. The sound of the string noise made the acoustic tone very convincing in person in the studio. I will try that on another mix.
Renaud, I will never tell a bass player he has the easiest job.
The intro is a D Major to a D Suspended 2nd Sharp 5th. I love that chord and have used it before (actually had to look up the name). I like how the Dsus leaves a question mark. This song is a celebration of life after tragedy, and inspired by a good fiend. I kept the song simple and used layers to make it grow.
I used my G&L Tele on clean and lead. I love how easy it is for me to get wonderful tones by just rolling the tone knob. This one has the MFD pickups and I think they are Killer! Clean was done using Kemper Acoustic sim with a Fender Twin profile and cab off. Lead was done with the GB-Pea V 150 TS9 profile. Bass was Ampeg. Drums was SD3. Synth was the Free Orchestra 2.
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Many people find it difficult to set the exact delay time in Rig Manager as the mouse moves the knobs too quickly to get accurate results. However, if you press Shift while adjusting the delay time it gives you a slower (fine resolution) option which greatly improves the accuracy. Click and type values would be much better still but Kemper seem to be strongly against this concept so I don’t think we will ever get it unfortunately.
I think Kemper mentioned that with natural knob's, like on amps and pedals, a person never does land exactly on the number they want. Say you want 50% then you may land on 49 or 51%. However, in the studio, I want to be exact. The shift+mouse does not always get me "exact".
Make sure your are sending a strong signal into the Focusrite. You might want to go from -12.0db on the Kemper outputs to a -6.0db. You also want the Kemper LED lights to push yellow on your hardest note/palm mute.
I've been able to speak with Muddy again! He is hanging on but at the same time saying he is ready to go. We were both trying not to be morbid in conversation and talked about music as he gave me more tips on playing the bass. So, we talked like any other day. He asked that I post these two songs which are self explanatory.
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