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SteinbergerHack

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Posts posted by SteinbergerHack

  1. What do you mean by "take away from tone"? 

    Changing the voicing of an amp (tone) is not the same thing as degrading measurable performance.

    Generally speaking, any time you introduce an external loop of any sort, you add some noise into the system, and you may well reduce the overall dynamic range available.  That said, a guitar amp running with anything other than an ultra-clean gain structure has already lost a lot of dynamic range.

    Here's the real underlying question that (I think) you are asking.  If you took a short jumper cable and patched through the FX loop with no other devices in the path, would it change the sound?  My experience is that switchable loops can change the sound very, very slightly; non-switchable loops do not, as there is no circuitry added.

    Put another way, the change you hear in your sound is nearly all a result of the things you put in the loop, not the fact that the amp has a loop.

    FWIW, my Bogner has a switchable FX loop.  I have a patch on my FX rack for "Digital Bypass" which has no actual FX programmed and unity gain, but running through everything in the rack.  When I am setting levels, I use this patch to make sure everything is balanced by setting it so that I can switch the FX loop in and out and have no change in the output sound (and see that every FX unit has the right gain setting, no clipping, etc.).

    • Thanks 1
  2. 29 minutes ago, Phil O'Keefe said:

    I started on reeds, so theory and reading notation came along with that. Then I learned bass clef when I started playing bass. But my eyes are not as good as my ears, so I tend to rely on my hearing and memory more - once I’ve read through and heard something a couple of times, the sheet music becomes an occasional reference rather than something I need to rely on. 

    Same here - I started on violin.

    • Like 1
  3. 5 minutes ago, gismo recording said:

    That's supposed to be about guitar players.

    It's been my experience that bass players in general are more knowledgeable about music theory than guitarists.

    I think that's because a reasonable number of bass players start out learning upright/classical bass, then transition to electric.  It seems that a LOT of guitar players start out by learning the "cowboy chords" and completely skip the basic sheet music/sight reading progression.

    • Like 1
  4. 3 minutes ago, flemtone said:

    Q:  How do you get a bass player to turn down?

    A:  Put sheet music in front of him.

     

    -As a bass player, I say....bring it on, ya pansies.  :love:

    Bass is relatively easy to sight read in comparison to guitar.  That said, there are a lot of non-readers in the rock world......

    • Like 1
  5. 2 minutes ago, Phil O'Keefe said:

    Guy + keyboard = Guy and three cats. 

    I can see it fine, and apparently so can AOF. What are you viewing the forum with ATM?  Phone? Tablet? Computer? What browser / OS?

     

    Win10 - Firefox - Dell laptop

    Can't see it with Internet Exploder 11 either.

  6. 13 hours ago, DeepEnd said:

    Here's the definition from the Klipsch web site, folks who have designed and manufactured speakers for several decades:

     

    In Theil/Small usage, "sensitivity" is the commonly used term for the driver's response function to a specified signal, while "reference efficiency" is the calculated energy transfer ratio.  The number most often seen (SPL @ 1W/1m) is the sensitivity number, while efficiency is calculated as a %.  They are different values which are closely related.

  7. 4 hours ago, Phil O'Keefe said:

    The same thing is typically true for things like inventions and patents that a person develops as part of their normal work. For example, if you work for a company that does research into new forms of energy and in the course of your research work you make a discovery that results in a breakthrough in fusion, the patent for that may include your name on it, but the company that was paying you for your research work is probably going to reap the greatest financial rewards from your breakthrough, not you. 

    100% true.  I am a named inventor on a number of patents, yet they are owned by the companies I was working for at the time they were filed.  I got a nice bonus for each of them, but the company that owned the lab space owns the work product that comes from it.

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  8. 10 hours ago, Grant Harding said:

    I have to say that I never have to deal with the fizz you mention

    I didn't either until I was in a performance situation.  When I was operating at full volume on the guitar and not fine-tuning, it sounded great.  Then when I started using the guitar's volume knob to fine-tune volume and gain to balance with other instruments, it was really noticeable.  I suspect that it's a quantization issues, so it might be addressable with more attention to the gain settings across the whole system.

    10 hours ago, Grant Harding said:

     5 performance slots per song is heaps for me.

    I am used to a MIDI rig that gives me 10 FX presets with a single button press.  For the number of groups I work with and the variety of material I do, trying to match songs to performance slots won't work.  I think in terms of a matrix of gain settings (amp channels) and FX presets (MIDI rack).  The Bogner gives me 6 distinct gain settings on the pedal, and then I have two banks of 10 each "standard" FX presets (song-specific patches go to other banks).  That's 120 potential pre-built combinations, all available with no more than 2 footswitch actions.  The Kemper is WAY more clunky in this regard.

    11 hours ago, Grant Harding said:

     I've not had software issues on Windows 10.
     

    I've had a number of crashes with Win8, and I've read reports of others having the same problem with it crashing while connected to the KPA.

    The good news is that they just released a new official (non-beta) version with a supposedly improved UI and the long-awaited patch editor.  I may give it a shot before I return the KPA later this week, and see how much it improves the usability.

    11 hours ago, Grant Harding said:

    I'm mad about versatility, so for me to be at my best I want Princeton, AC30, Dumble SSS, Shiva, Polytone, JCM800, Ecstacy, Champ... I'll always trade some tone to have a more varied palette.

    Well, that's where the Kemper really excels, so it would make a lot of sense for your goals.

    • Like 1
  9. After decades of playing through great tube amps, I've spent the last 6 weeks or so playing through a Kemper. It's a loaner that I acquired to play for a run of the musical theater show "We Will Rock You". This show is effectively a Queen tribute, and as such requires Brian May's signature sound...but a fully-cranked AC30 isn't going to work in this application. Thus, we found a Kemper that we could use to try to recreate May's sound at a more manageable performance volume. As a bonus, the pit band is playing a set of '70s and '80s rock as a pre-show "overture", so I got to try out some of the very popular hair metal and arena rock sounds. Next week I'll be returning it, and I wanted to share some impressions from my real world experience with the Kemper.

    > The factory profiles aren't that great, and do not reflect the ultimate capability of the rig. This is no different from a lot of digital products, but it means that a demo in-store won't show you what it can really do.

    > You really need a high-quality monitor system to use a profiler effectively. If your monitor cabinet is junk, it will make the entire rig sound like junk; this is a high-end, studio grade product, and should be paired with a similar level of amp/monitor to get the most out of the rig. You get what you pay for. Note that this is another reason that an in-store demo isn't going to be helpful; plugging into a $300 entry-level powered cabinet isn't going to give you the resolution that you need to hear the nuances that the Kemper creates.

    > You can get really good profiles from several 3rd party vendors, or you can make good ones yourself. Spend the time/$$$, and you will be rewarded. Be aware that this may require sourcing dozens of profiles for each one that ultimately works for you. It's time-consuming, but the end result will be impressive if you invest the effort.

    > A quality profile can sound very good indeed, but you can't do much tweaking without getting a very processed, "digital" sound. Changing gain, for example, I found to universally mess up an otherwise perfectly good profile.

    > It takes a lot of time to build a complete patch from a profile (rig) and the various FX options, and the UI is a bit clunky, IMO. As with everything, it gets better as you gain experience, but I didn't find it to be particularly easy to short-cut the process of building Performances and Presets.

    > The Performance mode is limited to 5 patches per block, which I find to be very limiting in real world use.

    > Using MIDI to select performances and patches can work, but I have found the patch change delay to be problematic at times.

    > I have found that some profiles do not respond well to partial-volume inputs - you really almost have to build a new profile for every different instrument and setpoint for it to sound really good. This may be acceptable for studio work, but trying to tweak on the fly during performance can be annoying when you start to hear that fizzy digitized sound.

    > The potential versatility is outstanding - but at the cost of a lot of effort for every individual sound.

    > The ability to control volume and send a perfectly matching signal to FOH is very helpful, just as when using a good loadbox/IR with a tube amp.

    > I think that the software is in need of some attention in several areas. I have had a number of crashes on a Win8 laptop, and lost a lot of time when changes I had made were undone due to non-intuitive workflow procedures. The lack of a patch editor has been a crucial missing piece of this system; V3.0 of the Rig Manager software with patch editing capabilities has finally been released, unfortunately right as I will be returning the Kemper. I would like to spend some time with it to see if this update addresses some of the workflow challenges, but I will not have the time with the Kemper to give it a fair shake-down.

    In the end, I can see why people with certain approaches to their playing would love this amp. It's capable of a lot of really good stuff, and the ability to customize it with your own profiles is something that the Fractal and Line6 units simply cannot do. For example, I have an old Marshall 3203 that sounds great and is relatively rare. With the Kemper, I can profile it with my own settings and duplicate it for performance use, without having to take it out to a gig. No other modeller gives me this ability, no matter how good they may sound with the amps that they have in their standard list.

    I can also see why others might want to throw it off a cliff after getting frustrated with its limitations. I think that for something this complex, they really need to spend some time on developing a software UI that is intuitive, comprehensive and simplified. I don't think it will work for me, either.....but it has convinced me that the digital technology is getting very, very close to duplicating what a tube amp can do. In fact, this one can very nearly duplicate what a dozen or more tube amps can do, in a compact, lightweight package.

    • Like 1
  10. It's an interesting thing.  I've spent the last 6 weeks or so playing with a Kemper.  Next week I'll be returning it...and I will probably not buy one.

    From real world experience, I have the following observations:

    > The factory profiles generally stink and do not reflect the ultimate capability of the rig.

    > You can get really good profiles from several 3rd party vendors, or you can make good ones yourself.  Spend the time/$$$, and you will be rewarded.

    > You really need a high-quality monitor system to use a profiler effectively.  If your monitor cabinet is junk, it will make the entire rig sound like junk.  You get what you pay for.

    > A good profile can sound very good indeed, but you can't do much tweaking without getting a very processed, "digital" sound.  Changing gain, for example, I found to universally mess up an otherwise perfectly good profile.

    > It takes a lot of time to build a complete patch from a profile (rig) and the various FX options, and the UI is a bit clunky, IMO.

    > The Performance mode is limited to 5 patches per block, which I find to be very limiting in real world use.

    > I have found that some profiles do not respond well to partial-volume inputs - you really almost have to build a new profile for every different instrument and setpoint for it to sound really good.  OK for studio work, but trying to tweak on the fly during performance can be annoying when you start to hear that fizzy digitized sound.

    > The potential versatility is outstanding - but at the cost of a lot of effort for every individual sound.

    > The ability to control volume and send a perfectly matching signal to FOH is very helpful, but I don't find it to be any more or less effective than using a good loadbox/IR with a tube amp.

    > The software ain't so great.  I have had a number of crashes on a Win8 laptop, and lost a lot of time when changes I had made were undone due to non-intuitive workflow procedures.  There is also still not a fully-functioning patch editor (there is one in Beta, but Kemper tells you not to use it for any actual performance or paid work). 

    In the end, I can see why people with certain approaches to their playing would love this amp.  It's capable of a lot of really good stuff, and the ability to customize it with your own profiles is something that the Fractal and Line6 units simply cannot do.  I can also see why others might want to throw it off a cliff after getting frustrated with its limitations.  I think that for something this complex, they really need to spend some time on developing a software UI that is intuitive, comprehensive and simplified.  I don't think it will work for me, either.....but it has convinced me that the digital technology is getting very. very close to duplicating what a tube amp can do.

  11. In this world of digital modellers and profilers, many of us still maintain that a good tube amp still sounds better, even if the digital rig is lighter, more versatile, has better volume control, etc.

    BUT:

    What about tube amps that just never sounded good?  Not all of 'em are created equal, and some just plain should never have seen the light of day.  What tube amps have you owned that just didn't sound good?  I'll start with a particularly wretched example of audio flaccidness:

    dvnnmvvp8jdevhv8m40k.jpg

  12. 8 hours ago, t_e_l_e said:

    i would love to down size and have a more transportable rig, as small as possible so i could use public transportation.
    so even a normal kemper i consider too big, as well as the floor kemper.

    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 instruments and vocals, so nothing additional there.

    ...and the Kemper sounds extremely good; in the FOH it is indistinguishable from a mic'd tube amp.

  13. 1 hour ago, 1001gear said:

    Only half serious about this; per Tele's post, you could make a go of merely adequate rather than stellar sound.

    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.

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