Display MoreNot sure it it's just me but I find the Chorus on the KPA very weak - there is very little depth and just doesn't do it for me - fine when you want a subtle amount but when I need a lot it just can't quite get there.
Any tips before I go and buy a separate chorus pedal?
Think along the lines of "Run to You" by Brian Adams and all that 80's stuff where chorus was heavily used.
Thanks
exactly where do you place the Chorus and what are your Outputs set to in the OUTPUT section?
very precise playing and double-tracking.
NOT reamping or fx - proper, old school double tracking
quite often, the biggest factor in the wide sound created with different sound panned left and right is the actual double-tracking.
recording multiple takes of the same part is an art form, but if done correctly it'll create a bigger sound than any reamping or recording two amps simultaneously approach ever can.
are you sure it was the Rotary?
AFAIK the speeds were never adjusted.
Maybe the original used a Tremolo as a Panner effect?
Update: Acoustic panels are finally up! Verb and echo is almost Zero! The music is directed right at me now. It was a labor of love and PIA. I was hoping the centered color accents would complement the curtians and rugs instead of just a plain row of black. I will be using Sonarworks to calibrate everything. I still have much more decorating to do on the sides and back walls but that is coming for Xmas. I will also look into left and right bass traps.
just my personal opinion & experience:
Curtains often only have the effect of filtering a bit of high end and possibly one narrow band, so instead of somewhat clean reflections, you get muffled ones - not really an improvement
Choosing an EQ to adress issues in the time domain is kind of a band aid anyway, but after all the work you put into the absorbers it almost seems like an afterthought.
Bass traps will be a great improvement I'm sure.
threads merged since they were pretty much identical
edited the title for less drama
Late to the party but thank you so much for this. I have really missed my beloved Dunlop Rotovibe since migrating to the Kemper. This is really close. I never would have thought to attempt this with the Phaser.
The Univibe is indded a phaser, albeit one with a somewhat unique waveform.
Since the PROFILER migrates parameter settings where applicable, it might be interesting to recall this preset and then switch the type from 'Phaser' to 'Phaser Vibe',
The Wah stomp in the PROFILER is so flexible that it can easily replicate the Vox wah.
I've done quite a few 'real' Wah pedal to Wah stomp preset conversions, including a few Wahs I modded myself (range and resonance travel), even inductor swaps (Red Fasel and Whipple).
check out the Vibrato effect, or any Chorus 100% wet
Nice, learn something new everyday. I wonder how well it works. Ever used one? Looks like it might be difficult to procure one.
it is hard to get hold of one.
I have played PROFILEs made with a G12 - and they are great!
and so can you:
Willi Dammeier Rig Pack (December 2019)
Founded in the early 90s by Willi Dammeier and Rüdiger Klose, the „Institut für Wohlklangforschung“ in Hannover has built an International reputation, hosting renowned producers for a large variety of musical genres that recorded and produced in Hannover like Grailknights, Apoptygma Berzerk, The Beauty of Gemina, Colourhaze and many more.
All PROFILE™s of this Rig pack are original sounds used in productions and often live.
The sounds were captured using a very unique hand-built microphone from South Africa, the Tul G12. The Tul G12 was designed to capture the sound of a guitar cabinet as if a classic combination of three mics was being used. Just by pointing it straight at the cone of the speaker, the Tul G12 captures a wide range of characteristics in one single go, taking most of the guesswork out of properly mic’ing a guitar cabinet.
This Rig pack includes 22 Rigs for guitar plus five Rigs for bass..
put the Lead Booster in one of the STOMP slots
The best recorderd guitar tones are not close mic'd on the dust cover IMO. And no profile should be made with the mic close and at the center of the cone. So, sure we can imagine dumb places to locate our ear/mic and then say it is unpleasant.
it's all in the execution - there actually is a mic that sounds amazing on axis, dead center of the speaker https://tulmicrophones.com/G12.html
fresh strings capable of creating higher order harmonics certainly help.
a hard pick with a point, like a Jazz III also helps, the rest is technique
Never dialed up a tone that needed unpleasant, high frequency content to get a good a sound.
FWIW
Guitar speakers are rarely, if ever, pointed directly at the ears, which makes them seem much softer than they really are - while a close mic will pick up it's actual sound quite accurately.
Yes, I have tried Pure Cab. It helps but doesn't seem to solve the whole high frequency problem for me.
is that in isolation, or in mix context?
a lot of unpleasant high frequency content, that even tube amps generate, is masked by cymbals, but carry important transients that make the up most of the note attacks.
I have had good result using those numbers as a starting point.
that's all I really meant - use them to get started, but always involve the ears, preferably in a meaningful band/mix context.
Huh? I don't see the logic here. If one looks at the attached plot the -3dB points are approximately 75 and 5kHz. Setting the cuts to those values will absolutely get you more than nowhere. Yes, I agree that one would want to use their ears. But if I were deaf (thankfully I'm not, yet ) these settings would be a relatively good approximation and would be much better than nothing. The cuts are simple hi and lo cut, so none of the frequency response detail (comb-like response) is accounted for with the cut filters, but that's the nature of filter approximation.
IME, the cabinet model never properly accounts for the high frequency issues that the Kemper commonly reproduces through FRFR speakers. This might be due to micing techniques and could be why some profiles are better in this respect than others. I never like the result of a mic placed near the center of the cone. The highs are never pleasant for me in that case.
have you tried Pure Cab? It is specifically there to alleviate artifacts introduced by close-mic'ing.
This same thing happened to me once before. I did a "init globals" on the system settings to get back to default settings, and then turned the Power Amp on and everything was working again. I never found out what I did to cause the power amp not to make sound.
the SPEAKER OUT gets the same signal as the Monitor Output, so if Monitor Output is set to 'Off' there will be no signal.
also on page 10/10 ('Power Amp') of the OUTPUT Section there is a Volume control, if set to -inf there will be no signal.
these parameters would also have been initialized back to 'normal' settings when doing the 'init global' procedure
Display MoreI like the Celestion Creamback speakers. Here are the responses.
Creamback 65 75Hz - 5kHz
Creamback 75 70Hz - 5kHz
These are the two speakers I use with my Friedman Twin Sister amp. I am using profiles of a Friedman Dirty Shirley with these. The Twin Sister is a two channel amp that has two Dirty Shirley circuits in it.
numbers like this really mean nothing.
as you can see in the frequency plot of the Creamback 65, the speaker does reproduce frequencies well outside this area.
a PROFILE will already have this information as part of the CABINET, but since close mic'ing can emphasize the high end use either the Pure Cabinet or High Cut parameters to adjust the signal by ear. Preferably in context of a full band playing.
Simply copying numbers will honestly get you nowhere I'm afraid - trust your ears.
