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SteinbergerHack

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Posts posted by SteinbergerHack


  1. 1 hour ago, kwakatak said:

    I'll give you credit for having a 12 string on the list. I don't know that particular model but a Taylor 12 string is on my list. I like the larger -58s though and haven't really been able to get on board the koa fan bus.

    This is the K66CE.  I played one a few weeks ago, and it is an outstanding instrument.  Koa really works nicely for this particular application, IMO.

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    • Thanks 1

  2. 23 minutes ago, Phil O'Keefe said:

    I use an app from Peterson called iStroboSoft. It's basically a Peterson strobe tuner in app form. I have it on both my iPad and my iPhone, so if someone needs to tune while we're working in the studio, I just hand them one or the other and away we go. I like it because I can teach someone how to use it in just a few seconds, and it's very accurate. 

     

    Do they have it for Android?


  3. On 1/24/2008 at 12:59 AM, missingastring said:

    Never run a tube amp on an extension cord. Such a long run of thin gauge wire carrying a high current could overheat and thereby cause a 'current bottleneck', which could cause the filament within the power tubes to combust. Flaming pieces of glass will be shot all across the room, possibly getting tangled up in nearby drapery or acoustic foam. Tube amps on extension cords are the third most cause of recording studio fires since the 1890's.

    From an engineering perspective, this is complete and utter BS.

    A 100W tube amp draws less than 2 Amps maximum, even at full power.  This is roughly equal to (2) 100 W light bulbs.

    From a code perspective, 14 gauge wire is acceptable for continuous duty at 15 Amps over runs much longer than an average extension cord.  Even a small 18 gauge extension is OK up to 25 or 30 feet, for a single guitar amp.

    Now, you can cause problems if you try to put several amps on a single extension, and/or if you leave the cord tightly coiled or on a spool.

    One thing that IS important is grounding.  ALWAYS use a grounded extension, and don't even think of using one of those two-prong adapters or cutting off the ground pin.  Ground faults are a serious hazard, and you can be seriously hurt or even killed by a fault from an ungrounded guitar or mic.

    • Like 1

  4. I agree with the obvious Aja, DSotM, Turn of a Friendly Card, etc. as complete works. 

    That said, I tend to find specific instrument sounds that hit a chord with me, even if the rest of the production isn't as good.  Examples:

    Bass track on the live "You're My Home" from Billy Joel's "Songs in the Attic".  It's probably the worst vocal track BJ has ever released, but the bass/kick sound is spot-on.

    The intro guitar sound in John Mayer's "Something Like Olivia"

    The guitar sound on Bryan Adams' "When You Love a Woman" (Paco De Lucia).

    The guitar sound on George Benson's "Masquerade" - IMO, the definitive jazz guitar sound.

    The vocal tracks on the Operation Mindcrime album - Queensryche.

    The drum track on "Rosanna" by Toto.

    The guitar sound on Michael Jackson's "Billie Jean" (Strat perfection, IMO).


  5. 10 hours ago, Grant Harding said:

    The deciding point for me was when I was jamming away, thinking I was playing through the Shiva, but it was the Kemper with a profile of the amp, powering the actual open-back speakers in the amp. It sounds and feels exactly like it.

    Then add all the effects I want, with incredible quality and a floorboard + expression pedal(s), etc..

    Some people complain about the lack of the "amp in the room sound" from the Kemper, but that's not true at all. 

    The Kemper powered head delivers primarily 2 different types of output (plus lots more options):

    - One is a stereo pair that sounds like the amp + stomp boxes + speakers with a mic on it and stereo post effects. The sound of the original speaker is baked into this output, which is really significant. Exactly what you want to send to a PA or full range powered speaker. This is supposed to sound like a guitar on a record or in a stadium, not an amp in a room. 

    - The other ignores the speaker cab/mic bit and runs through the internal 600w amp. This is designed to drive guitar speaker cabs onstage or if you want a grab and go for a jam or small gig. Sounds just like an amp in a room. It's going to sound best with an amp profile that matches the actual cab (eg: Fender Champ profile into a 4x12 with Celestion Greenbacks isn't going to sound very traditional),

    No I don't work for them. 😄🎵🎶

    My application would be the complete profile of my existing amp, including the cab (or cab sim).  I have exactly zero interest in hauling around my cabinets anymore - I haven't had them with me on a gig in over a year, and I don't have a desire to go backwards.

    Currently, I run my XTC into a Torpedo Live loadbox/cab sim, then into my XR12 which feeds both FOH and my personal monitors.  I've built a cab model that duplicates my mic'd 1960A, so I no longer carry anything except the one wedge monitor that I use for all of my instruments (acoustic and electric) and vocals.  My goal is to get rid of the amp head, just to reduce the weight and fragility.

    With the Stage version, I assume that I would also be able to leave the Torpedo Live at home, and only use it while actually profiling.

    So far, the playing I have done with the KPA leads me to the conclusion that it's very, very good, and much better for my application than any of the modellers.  It is not exactly the same thing as my XTC, but close enough that nobody in the audience will ever hear a difference, and the ease of use and mobility is a bigger benefit than the liability in tone.  It is also less of a difference than if I were to shift to a different amp, which should put it in perspective.

    Thanks for the input!

    • Thanks 1

  6. 13 hours ago, Grant Harding said:

    I use a Kemper powered head and love it. My Bogner Shiva got pushed out the door. Amazing being able to go from Bogner to Vox to Dumble to Fender...

    Really?  That's saying something.  I've had a hard time believing that anything could sound as good as the XTC....but the older I get, the heavier it is to carry.....


  7. 3 hours ago, Red Ant said:

    Considering the XTC is imho the finest and most versatile multi-channel amp available, that is a tall order. 

    Well, yes.  That's why I have stuck with the XTC for almost 15 years now.  There's nothing else out there that covers more ground, IMO.

    3 hours ago, Red Ant said:

    That being said, I think the Kemper is your best bet, as you can virtually "clone" your XTC and JCM800 and then add whatever else you may want/need.

    That's the idea. I played one for about 30 minutes today, and while it sounded very good, it wasn't inspiring.  I think that I need to borrow one and do my own profiling to see what it can really do.  The stock profiles aren't good enough, but they show that it might be able to get there. We'll see.


  8. 4 hours ago, redEL34 said:

    Freakin Monoprice 15 watt. NOS tubes, new reverb tank, Eminence Legend GB128, that`s one hell of an amp.

    Nice enough, but a combo amp is absolutely not the solution for my gigs.

    I'm not looking for a new sound, I am looking for a lighter weight, smaller way to duplicate what I already have - the Bogner XTC and JCM800.


  9.  

    58 minutes ago, Red Ant said:

    Makes sense, since what you do requires a very wide palette.

    Yeah, between the horn bands and the theater work, the two things that drive cashflow are being able to read and play a score/book/chart and having whatever sound/style is required for EVERY cue.  No leader/conductor wants to hear whining about needing a different guitar or not having the right pedal.

    Imagine session playing in front of an audience - very similar.  I think the last time we rehearsed the horn band was in 2012, so we just play from the charts every gig.  If the leader drops in a new chart, you play it when called, sight-reading if necessary.

    I may not have the shred chops of Satriani or the smoothness of Knopfler, but I stay busy playing.

    • Like 2

  10. 4 minutes ago, Opposite Day said:

    That is correct. Although it's still pretty minimalist. I think these modeling amps, despite claiming to be all things to all people pretty much sound like themselves, no matter what you do to them, at least that was the state of things when I got it. 

    The Kemper is supposedly different, which is what I want to find out.


  11. 1 minute ago, Red Ant said:

    I suspect he uses his vtx in conjunction with a pedal board.

    Perhaps, but even so, I find that I use all three amp channels and the two boost functions constantly, on top of the basic choris/reverb/delay/comp programs.  

    My core combinations are probably two dozen or so that are just generic sounds, then a few dozen more that are specific to artists or cover songs.

     

    .


  12. 5 minutes ago, Opposite Day said:

    My main amp has been a Vox ad60vtx for over a decade. I think when I was trying it out I probably tried to get the best overdriven sound I could punched up, and then the best clean one. Funnily enough though I use a single patch I made for 99.999% percent of the stuff I play. :D

    How?

    I can't even think of a single song I play that I could do with a single patch!


  13. 33 minutes ago, Telecruiser said:

    With something like the Kemper I think it boils down to how much time you want to spend with it. I'm sure people who have owned and used them for a while can get about anything they want out of them. With me, if I was in the market, I would buy it just to play with it to see what it is capable of. You're a bit more frugal than me, I think. :)

    Not sure if "frugal" is the right word, but I have a strong history of buying things only when planning to keep them for decades - and use them.  I don't mind spending what it takes to get good stuff, but i only do it once, and I don't like constantly changing things out.

    • Like 1

  14. Just now, Hoddy said:

    Not really...I bought a small box non-master volume 50 watt Marshall in 1970...I've stuck with non-master Marshalls ever since. Never needed anything else.

    Well, yeah - you got the right stuff on the first try.  There's nothing wrong with a Marshall of that era from just about any perspective!


  15. 5 minutes ago, gspointer said:

    HX stomp is pretty reasonably priced and is a decent modeler. You might just pick one up, play with it and see if it works. If you don’t like the amp sounds it’s a pretty sweet multi fx 

    Interesting concept, but I haven't played through any standard modeller that doesn't make me want to walk away in disgust.  They just don't work for me.  Keep in mind that the benchmark i am trying to duplicate is a Bogner XTC, occasionally paired with a JCM800.


  16. 9 minutes ago, arcadesonfire said:

    For something like being in a pit orchestra for a Broadway show, I could totally understand the need to go from country Fender cleans to deadly triple-rectified brutalz to plexi rock and on and on. Small tube amps can't cover the range. Even if the audience won't think of the guitar amp as they evaluate the show, the realism of the guitar's various sounds could affect their experience... And it could certainly affect casting directors' opinions.

    This - and the Bogner XTC combined with real acoustic instruments gets the job done.  Something like a Fender Princeton would not (or it would require a whole lot of pedals that I don't want to have to carry around).


  17. 39 minutes ago, Phil O'Keefe said:

    They're not using factory-predefined algorithms for the models, but basically it's still a form of modeling, just as using impulse responses and convolution is a form of modeling. You feed in the sound of the room (via a sample recorded in it) or the sound of a piece of gear (by running a test signal through it) when you create impulses for use in convolution reverbs. I could be mistaken, but my understanding is that the Kemper Profiler works in a similar manner.

    At the processing level I believe that you are correct (and it's probably the only way to effectively mimic a tube amp's transfer function).  For my application, the difference is that I can use my own amps' transfer functions as the base model - which is what I am looking for.  I don't want a different sound - I just want to be able carry it around without having to see a chiropractor after every gig.


  18. 28 minutes ago, erok123 said:

    You probably don't want to hear this, but why not just grab a blues jr. or an ac15? Do you need a modeler?

    I have some really good amps already.  The point is to have their sound (or extremely close) without having to take them out.  If I wanted the sound of a different amp I would already have it.

    • Like 1

  19. 3 minutes ago, Phil O'Keefe said:

    So why not just go through the presets then?

    There are hundreds, so it's not something that you can do in a short audition session.  It's also not clear from the naming exactly what they are, which makes it even more user-hostile, IMO.  Once I get my own setup built, I can easily remember what my own patch names mean, but figuring out what " ACE - CF Rh Zillah " is intended to denote is a bit obtuse, iMO.

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