Posts by lbieber

Pretty much any guitar with a bar, a cranked Marshall, and flanger should get you very close. Nothing complex about getting those sounds.

That song is all about attitude and arrangement. Roger is one of the unsung greats. His attitude and originality are UNIQUE. As Finally said, cleverly arranged. That dude is a badass and he alone made that band rock. They were never the same without him. In my mind similar to what happened with Chicago and Terry Kath. Both unsung guitarists that were completely unique. Neither got the credit they deserve(d).

Oh and good luck singing it or finding a singer that can. I tend to dislike Heart covers due to the singing and guitar playing.

Quote from Steve5478

How do you achieve this ? You read the FRFR's specs and get rid of frequencies (with highcut) that go to the tweeter ?

It is useful to know the spec of the FRFR, but this still leaves alot of uncertainty from a numerical POV. I simply use a combination of hi cut, definition, presence, treble, and EQ while listening. It is easy to hear the tweeter's influence on the sound. As an experiement, I have added a switch to connect/disconnect the tweeter and listen to the difference. It makes the influence of the tweeter undeniably obvious.

Quote from Steve5478

At 3"00/4"00, he says he dislikes all FRFR solutions for monitoring but likes Speaker designed for modelers with coaxials speakers....

Some tracks to explore

I've posted on this quite a few times. The 'video guy' makes a distinction between a PA cab and a vocal wedge. That is mostly a distinction without a difference. The coaxial idea is nonsense, IMO. IME, the problem is the crossover frequency and how much content is directed to the tweeter. Historically, we are used to guitar sound from a guitar cabinet, i.e. no tweeter present. Why would we expect a full range cabinet to sound as good, if content is directed to the tweeter? I have gotten very good results by removing the tweeter content coming from the Kemper. This is also true with a traditional amp into a PA, especially if the mic and placement are not ideal . Tweeter content ruins guitar tone. The Kemper offers many ways to resolve this - some of which have already been mentioned.

I just watched the string fuel video. Horrible performance by the 'actor' and the product seems silly. The majority of the gunk that builds up on the strings is located on the underside of the string between the string and fretboard. How could dragging a sponge across the topside be effective? The idea of applying oil to a wound string seems problematic and not much different than applying the natural oil from our clean fingers. As mentioned, wash your hands.

I know quite a few use 'oily' products or baby powder. I have seen Jeff Beck and Ronnie Wood using powder. For me, powder makes a big mess and provides very little benefit.

I don't understand why the finger squeaks are such a 'big' topic? For me, it is easily improved through good technique to the point of not being an issue. Sure, certain profiles/EQ can highlight it, but I would argue those are bad settings. Steel string acoustic guitars are the worst IME, and are a good platform to develop anti-squeak technique. Some squeak is unavoidable especially with round wounds.

Quote from PatriotsBiker

Guitar setup matters to me nearly as much as technique. It all matters. Nut slot depth, string height at the 12th, neck relief, level frets and intonation. A well set up guitar can make or break a situation. My acoustics are all set perfectly. I'm not there with my electrics yet, but I will soon be. I'm dragging my feet on the nut filing front.

I have never played a guitar where the setup had any influence on squeak. Yes, setup matters for playability which is what you are referring to? Interesting that you have acoustics that are setup perfectly. I don't believe I have ever played an acoustic or any other guitar with a perfect setup. There is no acoustic guitar, or any guitar for that matter, that is perfectly intonated in all keys. Such a thing does not exist especially considering Western tuning. We are subject to that problem. The player must play the instrument so that it sounds in tune. I have had many other guitarist play one of my guitars and make the tuning sounding horrible. Yet it is in tune when they hand it back to me.

I've tried the acoustic profiles on RE. I one or two that I thought were ok, but only ok. Bought Bert's pack and found some very nice profiles that work well with my acoustics, most of which have K&K sensors.

I have had similar experiences with and without the Kemper in the chain. I have had speakers that exhibited the behavior you describe. Many ported speakers have an odd bass response. But it sounds like you have tried different speakers. Next, I would suspect the room as every room has resonant frequencies. Have you experimented with different rooms? I would guess it is related to those two things.

Lot's of US people who don't see US TV as well. Have no idea what a Bledsoe or a Ryan are and not a believer in the first coming or any coming fairytale.

I thought the subject was Kemper and US tariffs...time will tell

Definitely not clickbait. Maybe you meant to say trolling?

A reading of the executive order indicates the tariffs are on imports from Canada, Mexico and China. Mexico tariffs were delayed today. Note that this is an initial order and that further tariffs on imports from additional countries are likely. Trump has expressed many times that the EU is taking advantage of the US. Another round of tariffs targetting EU countries may occur.

I think it is better to offer the actual Rockman tone. Some good tones in that video but very few have what I consider to be the Rockman/Boston tone. Scholz used a Marshall and heavy EQ to arrive at his sound and then built the Rockman to replicate it. Undoing that EQ is simply unwinding the tone toward a Marshall sound. I am speaking mainly about the driven sounds. Clean is something different.

No problem. The pedal format has upsides. Depending on how you approach songs there can be advantages. In my duo, I did not want to be locked into performing a song with the exact same arrangement every time. So, I setup beats for different parts of the songs and fills to do transitions. I use the pedal to trigger changes as the mood strikes me rather than having a full song which simply runs from beginning to end. This allows the 'drummer' to follow along in real time with the arrangement as it evolves. Not as good as a real drummer in that repsect, but it can work at a decent level.

Yes, .mid import works fine. This is how I do the programming.

One of my projects is a duo where we switch back and forth between guitar and bass. My partner has a Beat Buddy drum machine, which I programmed for all the songs that we do. It works well, sounds great and is easy to use. Unlike a real drum kit, it is easy to transport, it plays exactly what you want, and you set the volume. The volume part is a BIG advantage.

Whether you think it is dated or not, the guy is simply asking for this sound. As far as getting the sound. Try some of the rig exchange rigs and add an EQ with a boost around 400Hz and 800Hz. 800Hz is more important than 400Hz to my ear. With a good stereo system, I find the air chorus works well. I tinkered with this a few years back, and I don't remember which rigs I started with anymore, but I got them from the RE. I was able to get pretty close but never exact.

I have tried many different PA cabs and FRFR. I notice that I enjoy cabs with a higher crossover frequency. The ones I have sampled generally are crossed over close to 1.5 to 2 kHz. This is why I mentioned the Kemper hi cut frequency above. My approach is to minimize the contribution of the tweeter and this is dependent on the specific cab. The more tweeter contribution the worse the sound in general, IME. This is especially true with distorted tones. I have a few cabs that have a switch that allows the tweeter and woofer to be fed seperately. I get the best result when using just the woofer with the Kemper. But this obviously is no longer a standard PA usage and will give bad results for most other sound sources. I have done this simply as a test. Again, I want 'no tweeter in the room'.

I have never experienced bad sound using the Kemper into a mixer that I could not solve by proper gain staging and proper eq. Of course, the whole chain needs be working properly and to be setup properly. The question is how to get it to sound right? There have been some good suggestions given already. In my view, the basic issue of high frequency artifacts(sometimes described as fizz or digital sounding) is related to trying to replicate a good guitar sound through full range speakers. This was and is a problem with analog equipment as well. For the past 50 years, I have always had to completely rolloff the treble on the guitar channel of every mixer I have ever used. Regardless of the mixer, the amp, or the mic. No part of the guitar frequency spectrum should be allowed into the tweeter of a PA cab. This is true for any tube amp and Kemper. Guitar content in a tweeter is a horrible, unnatural sound and is the reason why I think so many complain about FRFR and long for the amp in the room sound. I think what guitar players really want is 'no tweeter in the room', not 'amp in the room'.

For me the main adjustments to tame the highs are to lower the presence, treble, and definitioin in the rig. Next is how to address the proper staging of the Kemper and mixer. The hi cut on the Kemper is key here. I have seen many posts stating that the hi cut should be set to xxxHz. This is variable depending on what you like and what system you are using. You will be surprised, I was, at how good a rig can sound with a hi cut frequency as low as a 1kHz for instance. I never run that low, but I think it makes the point that it can be set much lower that most think. The mixer treble should be completely reduced. The Kemper hi cut is sufficient in my experience, but the mixer is an additional method to cut highs. In any case, I believe that you must find settings where there is little or no guitar content in the tweeter.

There is an issue that I faced that I have not been able to solve regarding balancing volume when using drives, and especially fuzz, in effects slots. I will balance the volume of the drive effect at lower then gig volume. So, engaging/disengaging the effect results in balanced volume. So far so good, but at gig volumes the effect is no longer balanced and is often massively out of balance.

Anyone have a similar experience? I have not been able to solve this in any useful way.

Quote from G String

This forum is for music and tech. We don't want a political discussion here; if you wish to discuss that, there are already enough places available. Please respect that. I'll leave this thread open; I've edited the thread's subject, though.

I apologize if I crossed the line. I will refrain in the future

I don't respect the unelected politician. It is extremely doubtful that he is much of an inventor. He has managed to hire talented engineers, but that's about it on the technical front. He is not a founder of Tesla. SpaceX is being done mainly with NASA engineers and without NASA red tape. He is an emotional child that needs the help of a psychiatrist, IMO.

His son transitioned to female causing Elon's brain to break and declare war on wokeism. It seems he conflated transitioning and wokeism, however he defines it. He is now Ahab and wokeism is his Moby Dick.

Love the name of your song and the song itself. I agree, Etron should shut the fuck up.

Be careful not to conflate the quality of equipment with the quality of the musician. One has nothing to do with the other.

Making a profile accuracy measurment is certainly not useless. Sorry, but that statement is just wrong. We can question the results based on whether or not the measurement is performed in a flawed way. But an accurate measurement is not useless. But I guess I'm off in the weeds because I'm using specific words?!?! Is this a Twilight Zone episode?

We can talk about a profile's accuracy compared to the 'original' because the 'original' is the specific amp that was profiled. It's a completely valid comparison. Yes different examples of the same amp have variation, but the profile is being compared to one specific amp.

Liquid profile is more useful in some cases than others. The liquid profile of a plexi is useful in terms of gain, but isn't all that useful for TMBP because the plexi tone stack doesn't really do that much. This is why MBritt prefers the generic tonestack for the plexi. Turning the knobs acutally does something.