Posts by Michael_dk

Quote from Kellerblues

A mixer would do

how so? It’s not just an issue of simple amplification

Quote from Camzouille

the turntable (it's not an amplified turntable if that exist, just an old one).

In that case, you may need a preamplifier including RIAA equalization. But test it first.

More info: https://en.wikipedia.org/wiki/RIAA_equalization

I would go with a A-C cable - also just to cut down on devices and clutter

I have no experience using hubs with kemper, so cannot recommend any either way.

Quote from ChayseB97

Im able to hear my clean D.I. signal when i arm the track for recording

Where do you hear the DI signal (kemper or monitors)?

Which tracj are you arming for recording?

Quote from ChayseB97

Right, sorry I'm just a bit brain scrambled. So, I'm trying to take my already previously recorded D.I tracks and reamp them through the Kemper. I have my D.I. guitar track routed to the SPDIF Left output and then I have a separate track for Reamping with the input being SPDIF Right, but then there's no playback sound at all on the track, all the videos I see it shows the D.I. having the profiler tones on them during playback but I'm getting nothing, it's almost as if the D.I. signal isn't even going into the Kemper. Sorry if I'm not describing this correctly, I've searched high and low, and I can't seem to find anyone with a similar problem.

And there is actual signal going to the track in Cubase, right? Preferably test by playing the DI track over the monitors, NOT routing to the Kemper. Just to rule stuff out up until that point.

Which tracks are you recording to in cubase?

We need specifics. We cannot help you if all the information you give is "it is all routed accordingly" and you've followed the tutorials.

Quote from spotter

From what I see, Kemper is using the usual versioning. So no one knows how many releases of OS 9.x we will get.

So, just for the understanding. A usual software versioning (it's called semantic versioning) looks something like this:

Code

2.3.5.0041
│ │ │  └────── Build number (optional)
│ │ └───────── Revision number
│ └─────────── minor version number
└───────────── major version number

For example: If everything is fine after 9.1.1, we could already get 10.0 as the next version and no 9.2, 9.3 or more...

So it could be something like

Major version: Major new features

Minor version: Minor new features or changes to behaviour

Revision number: bug fixes

(The above obviously doesn't take into account stuff that is not customer-oriented, like refactoring of code etc)

Quote from wwittman

The funny thing to me is that the same people arguing that "you can't hear the difference between sample rates" are the ones arguing that "you can hear how much better it sounds being taken in SPDIF digitally"

Funny. Never heard that from the same people.

Quote from franknputer

It's one thing if the unit isn't capable of 48k. However, there are a number of valid reasons for the higher sampling rate, including the construction of the low pass filter necessary on the back end. For one thing, 44.1 requires a much steeper filter, where 48 can use a gentler slope. You can rely on the SRC in your particular DAW to handle the conversion, but not all SRCs are created equal and the conversion can introduce artifacts. (That's the best reason for setting everything to the same sample rate rather than relying on conversion after the fact.) Now, if Kemper simply relied on SRC to produce a 48k signal then that puts the responsibility on them to deploy a high-quality SRC - so again, if the unit is actually designed to operate at 44.1 only then it's debatable as to whether that's really the best thing for them to do.

Good point on the slope of the low pass filter.

Isn't SRC (in the digital domain) a non-issue this days, though?

Quote from Tony G

I tried to understand the difference between 44.1khz and 48khz and its just not sinking in. So my question is: Is there a difference between both of them as far as quality goes? Or is it a compatibility thing.

From what I have read 44.1khz is what most people use at home and 48khz is what most studios use. If this is not correct please feel free to educate me because I really don't understand sample rate.

It's not that 44.1 kHz is used at home and 48 kHz is used by studios. Plenty of studios use 44.1, and plenty use higher sample rates.

48 kHz is the standard sample rate if you're doing stuff for movies or TV.

Sound quality is debatable - as to whether the human ear can detect a difference or not. In any case, if you want to use the DAWs monitoring, then higher sample rates generally have lower latency. This can be relevant if you want to monitor through plugins in the session, not just use the plugins after recording (say, you want to monitor the vocals through compressor and reverb in the DAW while recording.

For the vast majority of us I suspect that sample rate is the least of our worries insofar as the quality of the end product is concerned

Quote from mtmartin71

For those who rely on buying profiles to get our amp sounds though, it's a big deal and time saver for me to get the amp into my Kemper and then reliably work the gain and EQ for all the snapshots I need. That's if it works well. TBD.

My dream scenario would be if sellers will focus on capturing the amp as a direct amp profile just at one setting, but with multiple cabs / mics / mic positions (especially with a systematic approach to this, i.e. one-inch increments of mic movement etc). Provided the liquid profile magic works as advertised.

Opeth are the masters of contrast and dynamics, and blending totally disparate sections together seamlessly!

Pretty hard to refine a profile that doesn’t exist yet

Oh, this is genuinely cool!

Do I hear some slight opeth inspiration here and there?

Quote from RosboneMako

At the 6 minute mark he starts to explain that bandwidth limiting the input signal resolves the sine wave from a reduced set of samples. But he never quite explains how. Common sense would say a matching output filter? Oversampling, etc?

I don't know. Magic, I think

Random google search and click found me this page, which seems to explain some of it. Too technical for me to understand, at least by one quick read-through.

https://www.dspguide.com/ch3/3.htm

Quote from RosboneMako

One way to look at sample rate is this:

- Nyquist rate is double the frequency you want to resolve. So 20 kHz needs a minimum rate of 40 kHz.

- At 44.1kHz an 8 kHz signal is made up of 44.1 / 8 samples = 5. Can you draw a complicated waveform with only 5 points?

- At 96 kHz an 8 kHz signal is 12 samples. Much better than 5 for drawing a waveform.

More samples is always better.

Display More

This is a common and understandable error in understanding (that is absolutely not meant as a dig at you, even if it may sound like that).

If you're interested and have the time, I suggest to watch this video. He is really great at explaining and showing what actually happens

Quote from Morph

Here’s my take, sample rate determines how frequently a sample is taken, a sample being a measure of voltage. If frequencies higher than half the sample rate are processed, aliasing occurs. The aim is to capture frequencies to 20khz with an anti aliasing filter after that point hence sample rate of 44.1khz. The bit rate determines how closely to the measured voltage a sample might be represented in the digital domain. 16 bit is accurate to 1/65536 24 bit to 1/16777216. This gives theoretical dynamic ranges of 96 and 124 dB respectively.

This is exactly my take as well

With the dynamic range being loudest signal to noise floor from conversion process

I think many use something like 83 dB (I believe), which is where the Fletcher-Munson curve is most balanced.

But many mix at even lower levels much of the time, because there are benefits to that as well.

And check periodically (and shortly) at higher levels to see if bass overwhelms.

I'm not sure what you're after.

But couldn't you run the tonex into a line-level input on the kemper (e.g. setup for proper level reamping) and turn off everything apart from the cab section, and run that into the kemper Kab?

I'm wondering what a more "scientific" phrasing of the issue would be.

Is the "blanket thing" actually just general EQ (it doesn't sound like that's it, exactly)?

Is it lack of high end?

Is it constant, or is it in the decay of the notes? Is it lack of attack/transient?