Posts by Enchilada_Jones

I'm surprised I can't find anything 'liquid' by Tone Junkie.

Am I just not looking hard enough? Using "Tone Junkie" to search Rig Exchange turns up 1 profile.

It’s one of the tabs in the Output block I believe.

It’s a Rig specific choice I think. You might not be able to edit that in Performance mode. Sorry, can’t get to my Stage right now to verify. You can have the global imprint choice for some Rigs just by selecting that and still have a specific Imprint for others.

Basically you make two choices. In each rig you tell it what imprint you want and global is one of the choices. Then elsewhere you tell it which imprint you want to be the global choice.

I have four of these things. The Kemper Kone in a 1x12 guitar cab, Kemper Kab (passive), the Celestion F12-150 in a 1x12 guitar cab and Celestion F12-X200 in the cabinet they designed with front facing bass port.

For me the Kemper cab is best with Kemper as it works exactly as designed with the software cab 'sim' feature built into the monitor output of Kempers.

the F12-150 is next best, a bit more 'guitar speaker' type delivery of the sound when used with modelers, although the Kemper cab used the same way (FRFR mode) is different but not better or worse. Just different the way two similar guitar speakers are different but equally rewarding. I'd say the F12-150 is a bit more directional than the Kemper cab is when used as FRFR. Similar to the way a guitar speaker is directional. Not extremely directional but the Kemper cab as FRFR is a bit less 'beamy'.

However, the F12-150 can be better still if you want to add another layer to the process.

There is a forum user on TGP who made special IR's for the Celestion F12's that are a 'subtractive' EQ of many popular guitar speakers....I think he takes a shot of a speaker, like a Greenback for example, overlays that result with the shot of the F12 and creates an IR that eliminates or reduces to proper ratio, the unwanted frequencies? Making the F12's impersonate the guitar speaker the IR is taken from.

I'm not really knowledgable enough to be able to explain it properly but from what I hear when I use them it does the same thing the Kemper 'Imprints' does for the Kone.

So with those IR's and the F12-150 I can get that same result for any modeler the Kone gives the Kemper.

(I find the F12-150 works much better in this way than the F12-x200 does)

So in the realm of speaker simulation of particular speakers...V30, Greenback, Jensen, etc, etc. the F12-150 is like a universal 'Kone'. Where as, the Kemper Kone is for Kemper only since the magic code for the Kone is baked into the Kemper toaster, head and Stage instead of in IR's you can load into any modeler.

I plan to sell the F12-x200 in its proprietary cabinet but imagine it will be hard to find someone who wants it so haven't bothered yet. It is the least effective of the four. Not that it isn't much better than most 'FRFR'. It is way better than the Headrush monitors for example as well as a couple other PA floor monitors people recommend for modelers that I've tried.

take an EQ before the amp slot and start backing of a few dB in a particular frequency range like 350kHz.
Experiment with a narrow Q, I usually keep it at or below .7 and cut it from 0 down into negative 2 or 3 range until you hear it having its effect on things then decide do you think it needs to be happening in a higher or lower frequency to optimize the desired results and make that change if so. Alternatively you can set a narrow Q cut at around 3 dB and sweep the frequency across the spectrum to identify the frequency you find most disturbing to the tightness you seek.

cutting approximately 3 dB around 300-400 kHz ahead of the amps gain stages can tighten things up get rid of mud/ flub etc and you can go downstream of the amp/cab and use another EQ to boost the same frequency a similar amount to compensate for what your cut did to characteristics of the sound if you like and it won’t increase the mud/flub or make the tightness suffer.

its reducing the problematic frequency before it becomes a component of the distortion/ gain that keeps things tight. That’s what so many people love about drive pedals, like tube screamer, it isn’t really what they add it’s what they filter out, even though lots of people don’t realize that’s the reason they like it

I love the idea of having gain control perform more realistically and a proper Cut control on Vox. Those are the two areas where the current controls would make me think there was a weakness to the concept. And it spilled over into a psychological mistrust of the tone stack to the point I didn't want to play with it at all....which compounded my perception of a 'weakness' forcing me to audition way too many like profiles instead of play more (even though I knew the logic behind my perception was the true weak part).

As to profile creators turning out less versions of an amp I want. I think the LP improvements will let us do the fine tuning in real time twisting knobs, a much more rewarding experience than auditioning countless profiles that are almost identical except for incremental movement of the TMB & G settings. Leaving the profile creators to compete with each other by offering more speaker, mic and cabinet choices which are much more difficult and expensive to 'audition'.

how do merged profile compare when used in place of direct or studio?

Are they able to fill either role or a compromise?

I often use studio profiles into studio monitors and the same studio profile into a Kemper Kab with the ‘monitor cab off’ enabled.

I’m mostly curious if people find a direct profile is better for use with the Kemper Kab. Are there even proper profiles available where the DI version and the Studio version are identical profiles so the comparison is legitimate?

on OS 8.7.10 and trying to recreate the sound on That Tone Show #16

I see the "Tremelo (delay)" is what he has but I'm too dumb to find it, or do I not have it?

I'm trying it with Tremelo (MOD) but it isn't right assuming I've copied his settings (hard to read, the video is kind of blurred).

I wish these videos had Rigs uploaded so we could have access to the exact settings.

Thanks for any assistance!

EDIT to update....I figured out the (MOD) or (DLY ) etc in the display of the effect in RM was simply denoting the slot it was in, not a variation of the effect type.

I also figured out it was having a delay in line in front of the tremolo effect that was messing things up....all good now.

So if anyone else has trouble with tremolo behavior maybe they will find this info helpful.

a room mic comparison won’t have problems with the kone. If it would then so would your ears…

It is a typical close mic method that it has trouble with. Of course a room mic recording isn’t usually a preferred sound so that has to be considered but at least both devices will be equally represented.

Quote from scratch17

Wired fret guitar to MIDI has been around for years. Keith McMillen (KMI) has a fret wired MIDI controller that he is ready to produce. He showed a prototype at NAMM a few years ago.

Richard McClish (RMC) sold a fret wired guitar to MIDI controller in the 90’s called the Zeta Mirror 6 that was really expensive ( > £3,200 ). It worked but the fret / string contact had issues over time.

It looks like Bib O’Reilly has overcome many of the issues of fret wiring used as a switch to (almost) instantly determine pitch. I saw mention of the contact degradation issue on his web site.

Also, the pitch bending function seems to work really well.

Having said that, I have some big issues with this product.

1. I won’t consider an instrument that must cross the Atlantic for service. I see no mention of a warranty, what it covers, and what the return time expectation might be.

Further, the site says that there is a 6 to 12 month wait once you place an order. And that the guitars are ”hand built”. So how long will I be without my guitar if I have to send it for service.

And I hate the “hand built” description. That is great for a standard guitar; it’s silly for a guitar based on specialized electronics. A human is far more likely to create a production flaw than a robot when it comes to complex electronics. And humans cost more and take longer to do the job.

2. Why do I have to have to pay for all of the extra switches, joystick and X/Y pad? Why can’t I have a basic guitar with fret wiring? At half the price. And as a far less complex instrument, I’d expect less chance of failure.

3. Where is a full operator’s manual? How can Mr. O’Reilly expect a potential buyer to buy his instrument without knowing its specs, MIDI implementation, and a complete description of the software it comes with?

4. Mr. O’Reilly is terrible at demonstrating his instrument in the online videos. He misses key points about MIDI guitar controller requirements like matching pitch bend range to the target. And he never explains the need for either a Mode 4 or MPE target if you need polyphonic pitch bend.

With the potential of this technology, it seems that it could be a home run. But I suspect that the company is woefully under funded based on my above observations. I can’t see it surviving long.

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yea I am hoping it all comes together and is a huge success so I can buy one eventually but it’s too expensive to get in on the bleeding edge as well as the pre-order/ build time and then as you said hope it doesn’t need service.

Really what would be great, (from my self interest perspective anyway) is that you are correct in it not surviving but then as it starts to fail Line 6 would buy it out and with their experience and capacity to serve a large market they could deliver it world wide at a lower price.

maybe Doug Doppler has done it? He was working on a series of similar tests recently.

made a minor change to a Rig and wanted to overwrite it in profiler so I went to the Stage and hit Store. It says 'Please select an Option'..."store as to create a new Rig" ...thats the only option I see. The only button that is lit is that option. Should others be lit too or some way to scroll to other options? On the latest beta if that is the reason...

I see the two arrows to navigate/select Rigs and it works but I was expecting some kind of drop down list or a page open up so you don’t have to scroll through the selection in order. Is that the way it is supposed to be? With Performances it’s a little easier since I don’t have many but with Rigs I have no way to remember which direction a particular rig is based on seeing another one and only having left/right to choose from.

Quote from StealthDJ

Tried quite literally 30cm away from the router, with no difference. Can you tell me how I should be expecting the Stage to behave in this instance? The odd 'half-lit' status of the WPS soft button suggests an issue (it's completely off when in 'home network' mode), but I don't know whether I should expect a change in the display to show that the soft button press has been registered and the stage is attempting a WPS connection. Without resorting to a WiFi sniffer, there's not much else I think I can do...

I'm getting the same exact results.

I have made an ‘ir’ of each of the imprints and use them in a Quad Cortex in place of the QC’s regular Cab block to send to a pair of Cabs with Kones.

With just a touch of eq tweaking in the ir block and then save those tweaks per preset it really improves the sound and makes it a viable way to get away from the FRFR and closer to the cab-in-the-room sound.

Is it as effective as when I use the Stage into the Kemper Kab ? I’d say not as easy to achieve and not nearly as fast to try out different imprints but the end result sound wise is really close. Well worth doing in my mind

I have an F12 in a Celestion designed cab and it sounded great (I've got a couple Kemper Kones now so I'm focused on dialing stereo Rigs in for them). I imagine if I created a Rig using headphones the results would be bass heavy through the F12.

I haven't set up any rigs for headphone use yet because I'm not using headphones much but that is something I generally do with any 'modeler' because of the EQ and amount of gain usually doesn't translate to FRFR at full volume (the amount of gain I use is usually higher in headphones to get the same kind of sounds).

Also, I use the Monitor out for any kind of FRFR cab and the Output section has EQ separated for Main and Monitor I believe Headphones mirror Main output so you might just need to tweak the EQ for Monitor output and only use Mains for going to FOH or audio interface/mixer/DAW

I have a Kone in need of a home and I'm liking the passive Kab (with Kone) that I have so having a matched pair would be good....

Quote from paults

Yes. The JBL is not the default imprint.

All you have to do is select a different Imprint in Imprint Mode, while auditioning a Rig that does not have a specific assigned Imprint.

So the ‘default’ global is simply the last imprint that was selected? That’s actually a good way to make it .

.thanks

I have searched everywhere I can think of and not found out if it even is possible but I'm guessing it is. I have saved particular imprints to the rigs I have tagged favorite but I'd like to change the default Global Imprint to something different than the JBL that it defaults to right now and can't find it anywhere...

I had a Syn 50 head that can have two modules at the same time, so basically a four channel amp since most modules have two channels. You can have countless more modules ready to swap out in seconds if you want.

It was really good....really, really good.....and yet I sold it and bought a Kemper Stage.

No regrets because the new Kemper sounds better than I remembered them sounding, weighs much less and Profiles are a lot more abundant than modules and cost ranges from cheap to free. Made enough to cover a brand new Stage and most of the cost of a passive Kemper Cab.

I'm in for that!