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SteinbergerHack

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Everything posted by SteinbergerHack

  1. Think of it this way: You can go to a rack Kemper and use a plain old MIDI floor controller to select rigs and presets. No other pedals required - everything is in the rack box. For me, the Kemper would let me drop close to 100 lbs, cut floor space by roughly half, and simplify the setup massively. I add the kemper rack and a wah control pedal. I no longer have to carry the Bogner XTC, the Bogner pedals, rack FX unit, rack tuner, the 4x12 or 2x12 stage cabinet, my Morley wah, one 9V battery, and about a half-dozen cables. I already carry monitor(s) for acoustic instrumen
  2. Ahhh...sorry, I missed the sarcasm. And yeah, I agree, which is why none of the modellers have ever gotten me to consider moving fro tubes. The Kemper, OTOH, sounds pretty darned good.
  3. Sure, but what does that have to do with amp technologies?
  4. That plant manufactures Epiphones, not Gibsons.
  5. The Kemper has had the same hardware since its release about 8 years ago, so I'm not this is entirely accurate....but certainly true for the modellers. They go obsolete faster than cellphones and laptops. I would also point out that the profilers and modellers really aspire to sounding like a mic'd tube amp, not a tube amp in the room with you. This is not an inconsequential difference, and it has both positive and negative consequences. As far as "get a tube amp and be done with it"....well, that's fine, but what do you do when you get a call for a "silent stage" gig? This happen
  6. Looking at the current crop of products, it seems that there are 4 competing architectures, three of which have well-established market leaders: 1) Profile an existing amp to digitally copy and recreate the transfer function - Kemper. 2) Digitally process the signal through individual component blocks that represent the schematics of existing amps - Axe-FX (and maybe Helix?). 3) Digitally re-configure an analog circuit to re-create the analog circuits of existing amps - BluGuitar. 4) Use a tube amp - Marshall, Vox, Bogner, Diezel, Two Rock, Mesa, Fender, etc. Does this pretty well
  7. A new Torpedo Live showed up at my door just before Christmas. Nice piece of equipment, looks sharp, seems easy and intuitive to get started. Naturally, I dropped everything, unboxed it and connected the output of my Bogner XTC for a quick test.First impression:This thing has a lot of nice little tweaks that you can use to adjust speaker model, mic type and location, along with a modest EQ. You can also add a tube power amp emulator if you're using the line in, and you can add a touch of reverb or slap (room emulation).I selected the standard Marshall 1960 4x12 with a SM57 - that's about as "g
  8. SteinbergerHack

    Kemper!

    I have a show coming up where I need a radically different sound than I normally get from my Bogner, Marshall or MP-1. Solution? I borrowed a Kemper powered toaster to see if it could get me there. Now, I'm pretty picky about my sound/tone, as I am used to using GOOD tube amps and very little FX - no excuses, and no hiding behind gobs of delay/reverb/chorus/etc. My prior experience with all sorts of modellers has been that they just don't quite do it for me - they just don't have the feel of a great tube amp, and don't make me want to play more. When I last played a Kemper in a GC thr
  9. That looks like the ones that they built in the 80s - the shape of the upper bouts is unmistakeable. Japanese built, IIRC, though there were a couple of custom shops in the US that did some of their "special" jobs. My recollection is a bit hazy, though. I definitely remember that some of the Aria Pro II were really good-playing guitars when they first came out - not sure how they have held up since then, though.
  10. Not sure what sort of board you're looking for, but there are a number of people who still lurk here. YMMV.
  11. Good point - my Steinberger has an active tone control with boost and cut, so I normally set everything up with it in the center then boost or cut as needed. I never do that with my passive guitars, though.
  12. The company that made it is long out of business - it's a Matsumoku guitar from about '84. 500k, splined, likely a long shaft because it's rear-mount (similar to a Les Paul routing). The link looks like it will get me there - thanks!
  13. Question: I have an '80s superstrat in HSH configuration with three push-pull pots, (1) volume, (2) tone. All three are DPDT, the switches are (IIRC) coil-tap, phase, and center p/u enable. I need to replace the volume pot, and I'm not sure where to go for a direct replacement. Any ideas for source, and/or a spec or part number? I love this guitar, but the erratic volume pot has reached the point that I can't gig with it until it's fixed.
  14. This. As long as you have steady revenue and show a small profit every 2-3 years, you can deduct your years of losses on gear purchases. Some of my work results in 10-99s, so I have no choice but to report to the IRS - I do it every year.
  15. It depends on the cabinet you use and the band you're playing with. The cabinet/speaker pairing can have an efficiency difference of as much as 10dB - that's literally twice as loud with the exact same input power. Here's a good reference brochure - you can see that Celestion speakers range from 94-100 dB @1W. Add to that the differences in cabinets and it starts to add up. https://celestion.com/files/brochures/Guitar_Speaker_Catalogue.pdf
  16. The core issue here is that a guitar amp is the wrong device for a steel-string or classical guitar. A guitar amp intentionally colors the sound of the instrument, and you don't want that coloration when amplifying a steel-string or classical. The correct approach for an acoustic is to use a PA cabinet or equivalent, not a guitar amp. In order to have a single rig for both, the best solution (IMO) is to use either a modeller/profiler or a tube head with a loadbox/cabinet simulator. From there, go into small mixer (I use a XR12) that feeds a standard PA monitor cabinet. Run the aco
  17. Flexibility? Yes, there's no question about that. Sounds better? I can't see that even now, perhaps never. Given that the entire purpose of the Kemper is to copy the sound of a great amp, even if it were perfect it would sound just as good as the amp, not better. I am sitting in front of a Kemper toaster as I write this, and while it does indeed sound very, very good, it's not "better" than my Bogner XTC, JCM800 or MP-1.....but if I want a sound other than those three amps in my collection, the Kemper is the only way to get there without buying yet another tube amp. I am contemp
  18. Sorry, but this has no relationship to the way audio systems work. A guitar cabinet has a very non-flat response, and this response is part of the overall sound of the amp. In contrast, PA cabinets are designed to get as close to a perfectly flat response as possible. A regular old tube amp connected to a good PA cabinet is going to sound very gritty and harsh - nobody is going to like the sound very much. It won't damage the speaker, though, unless you exceed it's power rating (or if you connect the speaker output of the amp into the line input of a powered cabinet, which will rap
  19. 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.
  20. For me, the only real bucket list acoustics are: Maton Messiah Taylor K66CE 12-string I have a Taylor 814CE that I really, really like, and I'm into playing far more than collecting.
  21. Why? Because it's cheap, easy, and works.
  22. 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 grou
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