Posts by Nikos

Think about what you get for 700$/€.

I am happy that when the "next spontaneous call" for a jam arrives I will be able to just grab a guitar and this Player and there I go..swuuush..out of the door..

I guess in the end it is really all about the size and the time you save for certain situations..and these situations are not "doing pro-/semipro things..".

Most likely all the situations I would like to have the player are about "having fun with my homies" somewhere with a FOH or an old FRFR waiting..

Why would I need tons of fx and more pedals for morphing for this; Highly unlikely.

Would I use the player for work in the studio or a bigger gig; No. This is why I have the rack and a extra laptop(for the studio) and the head/remote/3 EPs for "serious gigs".

Choose your weapons wisely.

And I am absolutely willing to pay 700€ to get this player just for having fun with my beloved rigs I use for years now. Even with half of the fx I never use.

Peace

The only negative issue I have with the player ..it is a little late.

Me and other folks asked for it (I think) for the first time around 2017-2018.

Now most lads already have a tonex or a stomp or a fm3 or whatever. The pedal-guys have their amp1s..

Now it is a thing for all the kemper guys like me who has already the rack and the head and would like to leave all this in the studio or to use it for "more serious" work.

I hope this player will find its buyers and take its market share. Sure it will. But just 4 years earlier this would have been an easier task by far.

This is REALLY small. Fits into a good guitar bag.

You have YOUR kemper presets maybe with less fx.

It us just as simple as that. I don't think to much about it..this little guy does not look like it likes big discussions. Go to the jam,go to the rehearsal. Plug in a foh and play. After that in 1 minute you are ready to get into the bus again which will bring you home with no stress.

No drama..

Who ever needs that. Like me for example.

If someone needs "his sound" with tons of fx,2 expression pedals and his stereo FRFR set..completely different story.

As for the player on a pedal board..if it has only very few delay & reverb options this could be a problem.

But I am no pedal board guy.

Quote from Sollazzon

I see what You say but.. tecnically, it's not Me needing everything Extra. It’s what I'm always used to have. Isnt it?

Think positive..

Half the fx will urge you to compensate x2 with your fingers..

No seriously..I think it depends on what you need. For jamming or rehearsals I don't need the full action. Even less for small gigs with no FOH and bad acoustics in the small room. A drive,a compressor plus delay/reverb is all I need for these situations.

Finally..a bit late but here it is..

Looks good. Price is great.

Honestly this is all you need for jam sessions,rehearsals and small gigs around the corner.

2 fx pre and 2 post is a compromise I can live with.

look here:

Quote from Amcolan

I saw that video. That’s how I learned the phase trick and where to place the mics. He doesn’t really go into much detail on how he chooses to blend the two with the faders.

Oops..sorry my friend..

I did not not watch the vid,I just remembered that it exists and posted it.

In any case..

It is all "down to taste" I guess. There is no general rule how to mix two mics. I am sorry. It is all about this silly "when it sounds good it is good " kind of thing. It all depends on what you want to achieve and the gear you have.

Quote from Morph

I held back on the beta because of gigs but I cheekily upgraded yesterday and I swear that the feel through my in ears was better, even with no other tweakage. Psychosomatic possibly but I had a really enjoyable gig.

Everything in music is "psychosomatic". I needed decades to understand this 100% for me.

Anyway..

Actually LP leads us out of the rabbit hole again. And after 20 years of tweaking parameters..this is a huge thing.

For "tweakers" not so much. Ofcourse.

There are definitely some circuits which "fight back" any attempt for "easy shred".

And others which will support it.

I have been following this thread now for some weeks.

My personal opinion on the "I feel I can play faster now"-kind of discussion is the same now for the last 40 years:

Grab a classical guitar (nylons) and practice patterns with a thick,fat pick. In my experience there is no better way to train the fingers..

Quote from HamerJo

when I was much younger than today we enjoyed jokes about playing the guitar. One was the good advice to add a little "fast fret" lotion before trying again the tricky part.

The fast fret lotion!!!

The best part about it was the face of the guy in the shop.."yeah with this you can play like eddie.."

When you're 13-14 you believe in this kind of stuff..'nature of things I guess..

Quote from lbieber

Funny how we all have different experiences and viewpoints. I bought a Mesa Mark iii 60/100 (head and 4x12) in 1985 which I still own.

That amp can be punishingly loud in a way that I never experienced with any Marshall or any other amp for that matter. It made every Marshall sound like crickets on a cool night. Not saying louder is better, just stating the fact.

The Mark iii in rhythm 2 could be tweaked to sound almost exactly like a 1959, for better or worse. The 1959 was never my cup of tea, but it is a data point for tone.

The MARKIII is the John Sykes Sound 9n the 1987 album. .. some people even claim it is "very marshally "..

I don't know I played this amp only once or twice not very loud in a music shop.

Quote from V8guitar

I think the example given was more about scoping mids than volume because that was the trend with the graphic as Metallica always quoted it...

Yes ofcourse!

Quote from alerich

The 2205/2210 amps weren't horrible. You just had to keep them away from a 2203/2204. I gigged in a band with a guy who played a 2205 (2210 - not sure). I thought his tone sounded good. In his next band he played with a guy who had an early 80s 2204. The difference in tone was unmistakable. Life is sometimes a matter of perspective.

oh yes..

The same funny thing happened with many mesa guys and their caliber 50/studio preamp rack with the graphic EQ (always "V-tweak") in these two-guitar-players bands...

Mesa guy:"Hey guys listen..this is the metallica-sound.."

Marshall guy: graaaaang....

Mesa guy: "I can't hear me,I can't hear me..."

It was always the same. Hehe...

Quote from stratdude

My brother had a 2204, sounded great cranked until the cops came, but we both thought it was dumb, no gain until you crank it.

I ended up getting a 2210, the shop had three of them that I was switching between, 2 sounded like ****, just fuzzy gain. But one sounded not fuzzy at all, and I still own it 28 years later. Sounds glorious with my Monte Allums modded SD-1, I've yet to find a profile that sounds as good.

Only recently I discovered the pre '87 units were the less desirable units (I assume the 2 fuzzy ones I tried), that seem to give the 2210/05s a bad reputation.

My brother swapped his 2204 for a Peavey Triumph 60. Possibly the dumbest trade ever

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I actually knew a guy who had a very convincing sounding 2205 back in the day. But in general there was a 2204/modifying hype specially after the this hype spilled over from the USA and a very famous (back then) german guitar player went on tour with a Baldringer modified 2204. Which sounded fantastic. REALLY fantastic.

The issue with all these mods..they broke down a lot. Preferably during the gig. The reason I never modified my beloved 2204..I went one day to the shop to this amp guy with the amp and the money in my hands ..and there were like 6-7 plexis & 2204 standing and waiting for "repair" while an angry player just left the shop saying in an angry tone that "this is the second time" and that he would "need his amp on stage and not in the repair all the time".

Anyway..

Until the Rectifier and the 5150 appeared the "hunt for the grail tone" was a mess. Broken Marshall's,silly racks and expensive Mesa mk amps.. and ofcourse the epic '80s "fx-loop misery".. haha..

And then people ask why whoever went though all that ..loves his Kemper today..

Quote from GearJocke

Dalls Rangemaster was used by many well known guitarists. Didn't many guitarists used rack effects with built in OD's in the 80's?

https://en.wikipedia.org/wiki/…angemaster_Treble_Booster

For sure..and many other treble boosters,some even custom made (eddie kramer for jimiand others) but this is not my point.

My point is that there was never a "nerdy pedal hype"..This came in the late '90s and became "transcendental" and somewhat ZEN in the following decade.

Quote from lbieber

The MXR+ was not a treble booster. For me the trick was to use an almost dead 9V battery. It was maybe the best drive pedal ever in that configuration.

The DA treble booster was a great unit as well. Plugged right into the guitar. Did way more than the name indicates.

We have a slighty different perespective. Maybe due to location? I appreciate your viewpoint.

All good. I fully agree with you. I just don't remember anyone back then in the 80s who was into any kind of pedal hype. That's all..

Quote from Wheresthedug

I know. Unfortunately rehearsal studios were full of them though. Probably because it made wannabe rockstars feel like the real thing so brought in business.

Oh yes.. whatever played the "big names"..

Quote from lbieber

I had a Dan Armstrong treble booster, a big muff, an MXR distortion +, and Fuzz face myself. I bought the treble booster in 75 and all others came after that.

From memory Maestro fuzz, Fuzzrite, Tonebender, Rangemaster, Boss offered a few I think.

Along the way 80s and beyond I owned many others

Absolutely..fuzz..

Treble boosters..that mxr..wasn't that a treble booster too?

All the drives and distortion pedals came later in the 80s. I wouldn't say that people loved them. As they did not love the od-channel of the 2205/2210.

Otherwise there would have not been this hysteria with the marshall mods of the 2204 back then.

Anyway..