Posts by Wheresthedug

    Thanks Alan...I have tried the software monitoring set to both: enabled and disabled, but I'm still hearing nothing via the Apollo even though the Kemper output is being recorded; doubtless it's something I am not doing that I should lol! Thanks for your help.

    Terry

    Have you set up an aggregate device in the Apple Audio Midi application?

    I have one set up but I can't remember if it was strictly necessary for the scenario you require.

    Do you have software monitoring enabled in Logic. It is likely that when using the UAD you were monithe direct signal to minimise latency but in the new setup the UAD isn’t seeing the direct signal so you need to use software monitoring in Logic. It will increathe latency a little though.

    Try that stunt with a cello string. Not happening.

    As far as tuning up guitar strings that far I guess that is true if you start wtih a new string from a 008 or 009 set. A 2nd string B (0.011) from a 009 set can work as a 1st string E (0.011) and 49 to 11 or 52 to11 sets come this way. And that E can probably be bent up a tone no problem. If you take your E 0.011 and try to tune it up to the 7th fret B it is going to break.

    I don’t know about cellos but as far as guitars go 3 hz isn’t going to make any difference. I usedmtomplay 11 - 49 but have gone all wimpy and now use 10 - 46. My trems are set up to pull up a minor 3rd on the G string (I have had them at a major 3rd but the forward tip on the bridge was too much) but with a rout behind the trem I’m sure I manage a 4th on the G. If a string breaks on a guitar when tuning to 443hz something else is the cause.

    First the main output to PA is never affected by the Kone so don’t worry about that.


    The difference between full range with Kone and full range without it is simply that the EQ is optimised to make the Kone speaker almost totally flat. The speaker itself is fairly flat but no speaker is truly flat response. Therefore, the Kone algorithm in the KPA applies an EQ curve to correct the peaks and troughs of the speaker’s response. I would always activate Kone in the output menu when using a Kemper Kabinet.

    I have some presets with the option of no delay, delay 1, delay 2, delays 1 + 2.

    I set up two delays in different blocks (one long solo delay and one Andy Timmons Halo style delay). I link the long delay to an FX footswitch. The Halo style delay is always active but has mix controlled by the morph pedal so it can be set anywhere between off and whatever upper limit I set in the morph range.

    No delay = Halo morph pedal at heel and long delay bypassed.

    Long Delay = Halo morph pedal at heel and long delay active

    Halo = Halo morph above 0 and long delay bypassed.

    Both active = Halo above 0 and long delay active

    This give the ability to ride the Halo effect’s intensity in real time without tying up an FX footswitch which might be needed for something else.

    There are a couple of ways to do this. One is to make the amp and cab you want into presets and simply drag n drop the presets. However, the way I would do it is Lock All but Amp then manually unlock the Cabinet. Now just load the the new rig you want to use. Only the Amp and Cab will actually load as all the effects in the original rig have been locked. Once finished just unlock all and you’re back to normal operation.

    In essance I am saying plug a DI between amp and speaker and take an XLR from there. However, you need to check whether the Radial JDI can handle speaker level signals before doing that. I have a few cheap ART DI boxes that work well with my Dual Rectifier etc. there is a thread on the forum somewhere with a list of some DI boxes that are known to work.

    The slave output should also work and is definitely worth a try. You don’t need a DI box in this scenario as the slave is already a lone level signal. The volume level on the slave is just to let you match the signal level to the receiving device. Set it low and increase until you have a healthy level without clipping.

    Short answer - yes ot will work. And won’t harm anything in the scenario you described where a speaker is connected to the amp as a load.


    Longer answer

    You never use a mic for Direct Amp Profiles with no speaker. The recommendation is to use a DI box between the amp and speaker to capture to full response of the amp. Some people use a Loadbox to do the same thing but this will change the sound of the amp to some extent. In reality the change may be very subtle and possibly even unnoticeable but it will definitely have some impact due to the impedance curve interacting with the power amp. A cheap DI box costs very little and is worth owning anyway.


    The slave output on Mesas is tapped from the 4ohm speaker output and reduced to line level with resistors so should behave very similarly to a loadbox.

    I came up with a workaround for two delays which you might find useful in some situations.


    I have delay 1 set up as a quarter note solo delay and delay two set up with the Andy Timmons Halo style dotted 1/8 and quarte in series.

    Switch IIII is set up to toggle between which delay is active.

    Morph pedal is set up to control Mix of the second delay.

    With delay 1 active you get a full on solo delay all the time but then you switch to delay 2 you get the Halo,effect with no mix (or some other low setting of your choice). You can then control the Halo mix with the expression pedal on real time as required. Obviously doesn’t work if you already need morph for something else in the rig but it might be useful depending on your setup.

    Also locking the input locks the noise gate which I want to be variable.

    That’s a fair point.


    It doesn’t bother me personally as I set it as low as I can get away with and leave it there. I don’t mind a tiny bit of noise if I switchto an occasional super high gain sound but need it to not interfere with clean sounds regardless. I can understand how others may use a wider range of gains though. Modern metal players seem to use mega gain on the dirty sounds and ultra clean compressed (almost DI) sounds for clean stuff. That would probably need individual noise gate settings but I rarely use totally clean or gain on 11. I live in the middle ground and can get away with locking the noise gate.