Bummer: really nice guy!
Peace and strength my friend!
Posts by PdeCaumette
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This is a Kemper Profiling Amplifier Head in excellent condition (smoke-free studio)
Rarely used for gigs and was always in its gig bag while performing.
Additionally it comes with the Kemper Remote foot controller (plus optical connection cable) and the Kemper Gig Bag.
The Remote has a few small scratches of the paint (it is a foot controller!) but absolutely no structural damage.
The Kemper Head is mint, save for a couple of LED lights for the Gain knob (around 10 o'clock) that stopped working early on.
I never bothered returning the unit for such a small issue and all other LEDs have worked great.
The Kemper Head comes with over a hundred commercial profiles in a wide variety of styles, including some personal patches.
See link below for photos:
https://reverb.com/item/74434317-…-bag-2017-green -
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.
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. -
Question: How do you label frequencies in the broadband signal that is NOT at a defined interval from the fundamental?
This would imply the addition of a new frequency, independently from the initial fundamental frequency, not a resonant frequency generated by the initial fundamental.
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Which is something I said.
Overtones don’t have to be harmonics….its physics.
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. -
I guess we will agree to disagree.
Again, my issue is with this statement: "Overtones are *any* frequency above the fundamental"
Overtones are not "any" frequencies.
They sit at very clearly defined intervals from the fundamental.
Whether you want to identify them as inharmonic is up to you. -
This is not fuzzy science...
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Harmonics are set frequencies above the fundamental. Overtones are not.
It's in their definitions. Harmonics have set frequencies. Overtones are *any* frequency above the fundamental.
The correct therm is harmonic sequence (or series), although overtone sequence (or series) is often used interchangeably. Regardless, the two words describe similar - but decidedly different - things.
Completely disagree.
The first search that you'll do on the overtone series will clearly show that the overtone series is set at mesurable, set nodes.
You're wrong, sorry.
Unless, by that, you mean that one is free to choose which fundamental to start with, which will determine at what pitch each of the overtones will resonate.
But that is also the case with harmonics, so i don't see the point. -
Which is something I said.
Overtones don’t have to be harmonics….its physics.
My comment was about "overtones can be any frequency"
I may misunderstand you, but overtones are set frequencies that exist above the fondamental.
Based on the fundamental they are very clearly positionned at set intervals, not in a random fashion... -
'Overtones can be any frequency, so long as its above the fundamental. So, a harmonic is an overtone, but an overtone doesn't have to be a harmonic.'
This is not correct: there is a specific order in the overtone series.
Each instrument can have some of those overtones louder than others, which is the reason why the tone of different instruments playing the same note vary,
but overtones are all positionned at very specific locations:
Note -> 1st overtone up an octave-> 2nd overtone up a fifth from 1st- > 3rd overtone up a fourth from 2nd-> 4th overtone up a major third from 3rd ...etc
Harmonics are overtones. -
Nice, great sax
Thanks!
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Comping and soloing over one of my World fusion tracks:
Twisted
Thanks for watching! -
Great stuff!
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Very well done! The bends and subtle slides immediately reminded me of JB...it's hard to pin that down but you seem to have figured it out and made it your own!
Thank you so much, i appreciate it!
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WOW! Just WOW!!!!
I can hear almost Peter Gabriel's voice in here somewhere.
Then the California fusion comes in and dominates the track and I love fusion like this.
The arrangement and the mix allows me to enjoy all the instruments.
And to lay the groundwork, there's solid musicianship.
Did I say WOW already?
Cheers,
Mats N
Hey Mats, thank you so much for the kind words!
I'm a big Peter Gabriel fan myself!
Funny, i hadn't him in mind when i wrote the riff (i had Stevie's Superstition)
but since Peter's Sledgehammer is in the same bag, it makes sense!
Cheers! -
Tu l'as dit ! un son dans la tête fini invariablement atteignable avec le kemper , ça débride la créativité ...
Le tout c'est de ne pas en faire trop!
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great diversity of parts & lots of players , that makes a great production once again, well done
Thank you Renaud!
With the Kemper, iIt's hard to resist laying down complementary colors... -
Sounds like a cool mixing of Southern Rock and Jazz. Nicely done.
Thank you!
I am originally from the South of France, so i guess I qualify -
Sounds fab PdeCaumette
Thank you, i appreciate it very much!
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A track from my new release, Ostinati
I wrote this as an homage to JB, not knowing he would soon be gone.
Not trying to sound like him.
One of my all time favorite rock guitarists.
Particularly loved Wired and Blow by Blow!