Posts by Wheresthedug

It’s also worth noting that you can use both XLR and 1/4” jack at the same time which might be helpful if you want to run stereo.

Quote from DonPetersen

being able to switch to a half time feel is a good skill to have. find the right note, the right bend, the right vibrato instead of playing scales up and down.

there are a few 1-2-3-4 (frets or fingers) exercises that get harder the slower you play them, simply keep the fingers on the strings, even if you are playing notes above it and especially when you switch to the next string (!) add string skipping for extra difficulty.

Another great skill to cultivate is changing from 1/8 and 1/16 notes to triplets and back. As well as switching between straight time and swing feel on demand.

I don’t think that would be technically possible but I could be wrong. In order to morph between two separate profiles they would both need to loaded simultaneously but the Kemper can’t handle due profiles.

Quote from taylorphototexas

Yeah that looks quite similar. Mine was called "McCarty Sunburst". I love that there are 6 completely buzz free positions.

Mine looks a bit different now. It was called Amber but like many PRS guitars of that period it even faded and developed the white hazing in a few spots under the clear coat. I messed PRS with some photos to ask for advice on how to prevent the few small areas spreading and they said they would refinish it under warranty. The covered shipping both ways and the full cost of the repair earlier this year. So it is literally like a brand new guitar other than a little wear on the gold plating where you rest your hand on the bridge.

Quote from thisamplifierisloud

Very nice one. Two PU switches ?

Yes. Then513 has 5 individual single coil pickups with the ability to combine them for humbuckers in the neck and bridge.

The first switch is a regular 5 way (neck, neck plus middle, middle, middle plus bridge, bridge)

The second blade is a 3 way which determines how the neck and bridge will be configured in any 5 way position which selects them. Single coil, tapped humbucker (low output HB) and high output humbucker.

In total that gives 5 pickups with 13 different sounds.

Quote from taylorphototexas

Did somebody say 513 ?

Case needs a little work but this one is in good shape!

Personally, I would still use the Loop option as it allows quick and easy bypass and the ability to shift location in the signal chain on per rig basis but either should work fine.

Either would work but they have some differences. Are you only using the Main Outs to FOH/Recording interface or are you also using the Monitor Outs for on stage. If you use the Loop option you will get the Lexicon on both Main and Monitor Outs. However, if you use the Main Outs then obviously the onstage monitors won’t get the Lexicon.

Yes, tinnitus drives me crazy too. It never stops 🥺 I spend way too many years playing loud on small stages and in rehearsal rooms because it was macho to rawk!!! Then I spent too long in a 10 piece soul band with a 5 piece horn section behind me blasting straight at my head. If I could turn back time I would definitely do things differently.

Although most people recommend tweaking sounds at high volume I would caution against this for several reasons.

First and most important - ear fatigue (which eventually becomes irreversible hearing damage). Our ears tire very quickly. After just a few minutes of listening at high volume you will not be able to make accurate informed decisions. In fact, just a few seconds of a loud enough sound can introduce “threshold shift” which will screw up you ability to make correct decisions for the rest of the day, or even days.

Next, the louder you are, the more the room influences the sound you are hearing. In a typical living room/bedroom/home studio there will be serious problems with the room itself which will cause you to make poor decisions. That’s why studios have so much bass trapping and broadband absorption.The lower the level you listen at, the less you excite the room and colour the sound letting you make informed decisions about what is coming out the speakers.

Everyone makes a big deal about Fletcher Munson (equal loudness curves) which is an important concept to grasp but way over stated in my opinion. Although our hearing does change significantly as volume increases it is flat enough by the time you reach about 80dB to make informed decisions for without tiring your ears and damaging you hearing. Listen “loud enough” rather than “gig volume”. Most recording engineers mix at around 80dB and many mix even quieter; only occasionally referencing at higher volumes for a reality check. Their mixes need to be able to be listened to at whisper quiet to bone crushing loud and everything in between.

You mentioned that you have had a rack for some time. Presumably during this period you have created some killer tones that work well for you live. This is THE KEY to getting good live tones in future.

Every good professional mix engineer (I’m NOT one unfortunately 😆) will tell you that they can achieve release quality mixes on just about any speakers in any room; although it is obviously easier and faster on great speakers in a world class room.

How do they manage this? Reference tracks.

They never go into a room or start a mix without first listening to their reference CD/playlist. They know how those tracks are supposed to sound and have the experience to be able to adjust today’s mixes to compensate. You can do exactly the same thing with a few Reference Rigs. Take your best live rigs covering different aspects - clean and bright, clean and warm, classic crunch, hi gain, wet with delay reverb etc (because our perception of how much delay and reverb we need will also change with volume). Now when setting up new sounds frequently check against an appropriate Reference Rig at the same volume. (This is important as our ears associate louder with better so you want to ensure a fair comparison) A good starting point might even be to try and recreate one of your Reference Rigs from scratch without looking at any pf the settings. How close can you get? With very little practice you should be able to get your new rigs in the ball park pretty quickly.

Even with all of this in mind, you shouldn’t expect to get perfect live rigs for a band context from home tweaking. When setting up sounds on your own you don’t have the important reference of how they will interact with the other instruments in the mix. However, if you already have some Reference Rigs that sit well with your band then you should at least get in the right ballpark. Another analogy to recording mixes is that engineers know they can’t achieve the perfect mix. Everyone will listen to their work on different systems at different levels and in different rooms/environments. What they need to know is that the mix they create will “translate” well to as many systems and environments as possible. With our own Rigs we should aim to get sounds that “translate” and gives the FOH engineer a great starting point to apply whatever tweaks necessary to make the guitar sit in the live mix properly.

I’m not familiar with Komposite101 but if there is a to e stack os still Kemper Generic then I don’t think they are using the term Liquid Profiles in the way that Kemper do.

Quote from skoczy

I think mic’d sound emulation will never give you that oomph, wider spread, or more airy sound. I have a Fender Princeton 65 RI tube amp and I’ve never come even close to that sound quality with the Kemper and studio monitors. And I’m not talking only about the “amp in the room” feeling — also the texture of the sound.

However, the headphone output on the Kemper does a surprisingly good job; the feel is much better than through studio monitors.

But for me, nothing beats the sound of a real amp in the room.

It appears that the OP is using a Kone/Kabinet presumably with imprints which are obviously Kempers attempt to nail the amp in th room sound instead of a mic in front of a cab sound. Totally agree that a mic in front of a cabinet through monitors and standing infant of a cabinet in the flesh are two totally different experiences.

Quote from V8guitar

None of these are new but have been living in my loft due to space. I've now managed to bring them down to my man cave, so please say hello to the kids....note they are all fairly cheap versions, most are upgraded etc but all play really well..Oh and not a bird in sight ha!! Quite a variation, I hope you agree...

Awesome but definitely lacking in feathers.

Quote from V8guitar

Me too!! Wheresthedug thats not a man cave, that's a studio!!!! That is going to be amazing!

You are welcome anytime Guy. Yes it is a full on studio and intend to rent it out commercially at some point but not quite yet.

I don’t think a second kone will help. The real difference is Open Back cabinet Vs Closed Back Cabinet. They are different beasts. Not only does open back radiate sound from the rear but also has less punch and tightness. Closed back is much more directinal. Trie taking the back off you current Kabinet to hear the difference. If this gives the result you want, I would get a separate Kone and mount it in an open back cabinet or modify the back of your existing Kabinet to make it open backed.

Totally agree with both Ruefus and Trazan.

If there is a weird room frequency that is problematic then it will be a problem for everyone in the mix so needs sorting on the PA not individual instruments.

On the other hand, it isn’t uncommon to have really crap sounding stages with weird resonances that need taming. Therefore, a fully parametric eq or GEQ with sufficient bands would be a great tool for the Monitor Output.

As dfdfan said, Mark Series Tone Stacks are just blackface Fender’s so they are already available by default. Although some of them have tone shift options that are not part of the Fender circuit. As far as I am aware these tone shifts can’t be modelled in the current tonestack format as there is no control for them so you would need several versions to cover the Pull Bright, Pull Shift and Pull Deep options. In fact you would pr0need one for each pull mode in isolation plus all the combinations of them (Bright and deep together etc). That’s 8 individual tonestacks just for the iiC+ if I am correct.

BayouTexan Feeling pretty jealous that your studio is finished properly usable Larry. But I’m getting close to finishing mine now. Spent a LOT of time on my knees with a soldering iron in my hand recently wiring patchbays but pretty much finished with that at last.

Still waiting on glass for the windows between live room and control room as well as for the iso booths. Hopefully, get that sorted this month. After that just finishing touches like window and door trims etc.

it has need a hell of a journey. Pretty much a solo effort which has now lasted over two years. I’m so over it now 😆

Quote from V8guitar

So I've not thaked you for your efforts! I like the scott Henderson one and

The Marcus Miller one - I get the musicianship and love the groove

Excellent. Glad you liked them

Can’t remember if i suggested it or not but definitely have a listen to Oz Noy Twisted Blues and Twisted Blues Vol 2

Open a support ticket and they will get you sorted in no time.