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Post by longscale on Jun 11, 2019 20:03:50 GMT -6
I did take advantage of the sale - as my demo was about to expire and this is a must have bit of software for me right now. However I'm now where Johnkenn was some posts back; nothing makes any sense anymore. Old mixes tell me I should have done things differently. New tracking full of indecision as old choices about eq, mic selection and placement are now all questioned. New mixing in a shambles as my tried and true moves all suck now. Ha. What great fun. I could not be more happy with how this system makes my room sound. Reference material is sounding awesome. I now feel I can trust my low end choices. I'm super excited even though it feels like I'm standing on ice.
I'm now more interested than ever in trying to build some simple room treatments. I suck at building but have just enough tools to make is possible (with a good friend that is more than competent). I need to find some plans that are worth building. If people have suggestions pm me please (or we move that to some other thread - happy to talk in public about it just don't want to eat up this thread space).
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Post by longscale on Jun 3, 2019 21:01:14 GMT -6
I decided to pick up the Sonarworks XREF20 mic as a way to try this out without having to drop $250 right away. I had spent some time listening to their canned headphone profiles first before I ordered the mic. I got the mic and did the measure dance to build a profile for one set of my monitors. I was astonished to see the *giant* drop of over 12dB down just below 100Hz and the giant lift of +6 above 100Hz. I really need to build some DIY room treatment. I'm sort of allergic to the idea of EQ to fix acoustic problems - but since I have no room treatment right now I thought I'd give this a go as a way of at least getting in the ballpark of a workable room. While I realize I have to spend considerable time with this yet to know if I can make it translate I do like what I'm hearing so far. Low end presents with much more clarity - punch and snap.
I was a little freaked out when the speaker distance measurement was a full two inches off. Not sure if that is common - or indicates some other trouble.
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Post by longscale on May 24, 2019 21:38:07 GMT -6
I've had a similar experience. Setup was for a singer/songwriter playing acoustic guitar. km84 for guitar, u87 for vocals. Once I had a rough take we were doing some doubles for the vocals and I found that I had flipped the input on the additional tracks so what I thought was the 87 was really the 84. It sounded really good. The only way I figured it out was when I wanted to reduce some of the compression I was using on the way in, and I adjusted the retro 176 which was on the 87 only to discover no difference. No difference because I was listening to the km84 which was patched into a 525. Blew my mind that the vocals sounded so good through the km84. The km84 makes so many things easy for me. I like what I hear very much with that mic.
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Post by longscale on Apr 28, 2019 18:32:48 GMT -6
There are some basics here that are unavoidable if you want to get close to that sound. Most likely that’s a Martin, the big low end is the giveaway. No argument for the general assessment here, but old Gibson's can be all over the map. My 1953 J50 somehow missed getting its kerfing glued to the top. That guitar has a *huge* bass voice. It also does the great dry Gibson tone to boot. My old Gibsons like Bronze strings for this direction of sound (I prefer them as well). I'll 2nd the suggestion of a little more air between the guitar and the mic. Once I start down that road (more distance between player and mic) I find that I start to really enjoy a good sounding room. I'll also 2nd the suggestion of playing with string guage. With my Gibsons I had to experiment to find which drove the instrument too hard or not hard enough. It is a cheap way to play around with the guitars tone; though I hate new strings so that game can eat up time (while I wait for the zing to die).
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Post by longscale on Jan 21, 2019 22:15:02 GMT -6
Sweet. Picked the ACE 30 and the Plexi. I've only had time to mess with some of the AC30 sounds. Got a really cool chime; think The Church, Starfish out of one of their profiles with the Blue's. I quite liked that.
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Post by longscale on Jan 1, 2019 21:42:34 GMT -6
I was listening to a few of the Tone Junkie offerings that I picked up during the sale today. One thing I tend to do when auditioning that I don't really think about is I flip the "effects" off every time. I've noticed a sameness quality to most profiles unless I do that. I'm 99% of the time listening in mono - with the effects off. I'm about the same for profiles I use for recording too; mono, no effects section. I'm sort of old school guitar sounds - so most of what I want to apply for effects I can do and would rather do in Pro Tools or with my outboard gear. If I was playing live with the Kemper then the effects would be killer. For recording - I'll stick to my outboard or plug-ins. If I'm completely honest it is not so much that I don't like the Kemper effects quality (though there is a little of that). It is more that I already know my outboard and plugins and can get exactly what I want with them; since they were what I was using for recording real amps already. Something to think about anyway or try if you find all profiles sounding similar.
This is not a knock on the Tone Junkie profiles. It is a generalized Kemper thing for me. The Tone Junkie profiles are top notch. I ended up getting three packs!
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Post by longscale on Dec 31, 2018 19:31:40 GMT -6
I love small tube guitar amps. It is a sickness. I'm a little confused what you are after because this started out Marshall and took a right turn at Vox. Anyway I'll second what Martin suggested, check out some of the small Matchless offerings for some fun Vox chime. I've got an 1x12 Matchless Lightning that does the Vox chime trick perfectly (imo). Mine is an older Sampson era amp that does many many things well. It is loud as hell for a 15w amp. My favorite grab and go small club amp. I've lost track of what Bad Cat offers but I'd think they would have something that would be swimming in a similar pool as the Lightning. The Lightning is one small amp that is imo NOT stuck as a one trick pony. From clean to dirty it sounds great.
If you can find them a old JMI Vox AC4 does a cool chime, but is not something you can gig with. I've not heard the new AC4s at all so I can't say what they sound like. My 1965 Vox AC4 is something special, but not loud enough to gig with under most conditions (like any time you have a drummer!). The Tremelo on the JMI AC4s is cool.
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Post by longscale on Dec 1, 2018 13:36:30 GMT -6
Do you guys use the Kemper recording Direct with a line out off of the Kemper? How would it work if you ran that signal into a nice monitor and recorded the monitor in the room as if it were the amp itself? 100% of the time direct line out. If I were to use it to drive a speaker and mic that up (say to capture a little air or room) I'd likely just wire up a real amp. I never use the digital out - not sure why I don't. Possibly the reason is I will occasionally run the Kemper into a REDD.47, or a API 512 and hit a compressor or two on the way in. But typically it is a straight wire from the Kemper to the AD for me. It is all about the turn it on start working flow. I do also record mono - mostly no effects from the Kemper. I treat it like I would an amp in the room.
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Post by longscale on Nov 28, 2018 22:31:40 GMT -6
Sorry for the shorthand. Yeah I got that you do think there are nuances. I was agreeing with you, but trying to pluck out that topic from the quote. I don't seem to know how to chop it up more for posting.
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Post by longscale on Nov 28, 2018 21:12:47 GMT -6
OK - I really am schizophrenic. I've tracked two songs the last two days with the Kemper...and it's just sooooo easy. And ultimately, the profiles DO sound different. Like I said above, I'm guilty of tweaking everything to sound like a 67 Deluxe lol. And then I go on a message board and complain about everything sounding the same. I'm starting to really figure out the nuances of electric guitar in production - i.e., it's how the amps fit into the entire mix...not just "I'm going to tweak this until it sounds killer by itself." Annnnyway. I can't sell it. The UAD stuff DOES sound fantastic. But the more I thought about putting more money into the UAD amps, the more I thought about never being able to get my money back. At least with this, I have a piece of HW that (currently) has some value. So, I'm about-facing. wrt nuances of electric guitar production. One thing I started to do was to really shape my profiles to get the result I wanted. Seems simple. Perhaps I'm thick. I started profiling by wanting to get a huge guitar tone that sounded like the amp. Then I realized - hold on - what if I shape the profile such that I get something to sound close to what I want in a mix right up front. Simple idea, light bulb moment...works for me. Now my profiles are still my guitars and amps, but perhaps shaped differently than a goal of sounding just like the amp in the room. For a live setup - I would have donated a kidney for this tech instead of hauling around two amps and cursing when the power sucked and they sounded different. Now you can give an artist a USB stick with all the sounds you used for whatever you recorded for them. They can tour with the profile of the sound that made the record. Pure gold imo.
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Post by longscale on Nov 25, 2018 11:09:50 GMT -6
A large part of the Kemper appeal for me is profiling my gear. I can then have at my fingertips the sounds I captured. My guitars, my amps, my mics, my signal chain, my room sounds. The results are to me quite usable. The downside to that success is that once the library of sounds is built up I do start to think about selling the old amps. I love those amps - so they are hard to part with. I also like the simplicity of turning it on and having the sounds there; without having to fire up a DAW and open a amp sim. I like the dedicated hardware box for this purpose; not to mention I like using it for just fun playing. I've got the powered version of the Kemper and I keep it connected to a speaker so it is ready to roll at all times.
The price is steep for sure so I do understand the tradeoff if you are able to get similar/better/whatever sounds with other gear.
I've been messing with bass guitar and the Kemper. I long ago sold my bass amps, so I'm currently only using profiles from others. That is adding to the Kemper appeal/fun for me; having it for guitar and bass. I do also like sending a vocal or other signals into the Kemper to mash it up and give me some dirt.
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Post by longscale on Nov 14, 2018 20:20:50 GMT -6
I have a love hate with the 525, when I get it set right it is magic on some sources. acoustic guitar as one that I like it on quite a bit. However if I'm the performer and the engineer I find that beast (525) to be super hard for me to setup. It is a little less hard if I can monitor via speakers while tracking (ie - I'm not the performer and the engineer). I can't explain why that happens to me. I just know I can regret my settings with a 525 if I'm not super careful.
Now the 176 is a different beast. Once I found a few sweet spot settings for things I'm typically tracking I find it super easy to work with. Sounds great. Sure if I really smash something it will sound smashed - but not typically in a omg this is crushed and screwed sort of way. I suppose I have more margin for error. The 176 is killer (imo) for vocals, guitars, mandolin - basically anything I toss at it. It sounds great on bass, both electric and upright. I had to learn the sweet spots on it for the sounds I want, but in general it has been a nice tool that does not kick my backside when I get it wrong. If I get it right - it rewards big time. I would like to re-tube it with some NOS things to see if that kicks up the game a little. Anybody with experience in doing that with this box?
I have been lusting hard for a CL1b, or the RS124, but so far the budget has not allowed for the experience.
Thanks for the welcome....
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Post by longscale on Nov 13, 2018 20:25:46 GMT -6
No experience with the 175, but I do enjoy the Retro 176. I find it hard to make it sound bad. Some compressors like the API 525 mess with my head. I don't hear the 525 crushing while tracking - but then hear it later during playback. Not so with my 176. I don't know why this is, but I've learned to go very easy with the 525. The 176 I can slam and not regret it.
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Post by longscale on Oct 27, 2018 22:39:54 GMT -6
I like the Kemper for a bunch of reasons. Not the least of which is availability. I can track electric guitar sounds that I don't hate and sometimes end up quite liking at a moments notice. Ok it does take longer than I'd care for to boot. However I mean availability in both setup time; I did not have to position an amp, wire it, hang a mic, position and wire it, get my signal path going. Plus availability in terms of the hour of day. I can play convincing sounding parts and not wake the dead (or the wife). That to me means I play more and have more fun. Some of the fun of the Kemper for me was had when I started to profile my own amps, and could use those sounds.
I find many of the available free profiles quite similar sounding. I purchased and gravitated to the M Britt profiles. To me they sound quite good to say the least. He is super nice to deal with and his sounds are really good imo.
I'm not saying people can't hear some flaw - I totally believe people when they tell me things like "I hear it". So not trying to argue. I like real amps. I'd use them all the time if I could. I even love the way an old Fender tweed *smells* when it is warm. ha
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Post by longscale on Aug 26, 2018 14:55:11 GMT -6
I've had a pair of NS10s forever. I've set them up - and taken them down several times over the decades. I never really understood them so they have sat in their boxes for years and years. Then a friend who is into Jazz read some review where they raved about the pure mids of the NS10s. I laughed quite hard at the idea of the NS10s as some audiophile blessing, but he wanted to hear them so I dug them out and set them up paired with a small Adcom amp I had laying around. I listened to them with some reference material for a few weeks to get their sound back into my head. I then decided to try to use them top to bottom for a small demo project (mostly all acoustic instruments, steel string guitars, mandolin, upright bass, and male vocals). I did flip a few times to my usual monitors just to sanity check what was going on in the bottom end - but mostly I stayed in the NS10s throughout the tracking/mixing process. I hate to say it but they really made things easy for me. I did not have the typical low end jumble that I fight against. Now don't get me wrong they (NS10s) sound ghastly (papery) but they allowed me to make some engineering choices that resulted in goodness (imo). I think I finally get them - and might start using them more. Then again I might just be confused again.
Do others find tracking and mixing on small speakers makes things easier? If so can you elaborate on why?
I was quite happy with how the rough mix translated in a few other systems without me having to spend any time on the usual issues I fight with. Typically I end up with too much energy in the bottom end that starts to make every other choice difficult and creates a muddy mess. Not so when I made my choices in tracking with the NS10s. Perhaps I just got lucky and had a good day.
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Post by longscale on Aug 26, 2018 13:05:14 GMT -6
For sure, I can do that. Are you guys recording the Kemper stereo or mono? Depends. Typically 99% mono for me. The exception is effects based washes or character sounds that I build in the Kemper that rely on stereo. I usually treat it as I would when recording a live room amp - mono.
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Post by longscale on Aug 25, 2018 13:18:42 GMT -6
I wonder if the non Ai version is worth the extra price and hassle of buying vintage instead of new... Only your ears can tell you that. For me the answer is yes. I've owned/used both. It is rather hard to describe the sound differences. Both are usable quality microphones. But my ears find the Ai to be hard/harsh and spitty on top. This is one of those things that you have to hear and use for yourself and then judge what works for you. I found the vintage 87s to be easy to use, and sounded right every time, where I struggled with the Ai to make it do what I wanted. I will say that same fear of vintage buying is what got me the experience I now have with the u87ai and km184s. I don't regret the lesson/education/experience with the tools, but I now know that for my use I find the 84s and the 87i to be what I'm after.
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Post by longscale on Aug 6, 2018 15:50:20 GMT -6
I listened to this hard when it first came out. Great songs, arrangements are nice (imo). I like the acoustic guitar sound quite a bit. Her voice is quite compelling too. Now that you reminded me of this album I've been listening to it again and it still sounds fresh to me.
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Post by longscale on Jul 22, 2018 14:44:55 GMT -6
For me I think it's the KM84's midrange and total lack of off axis coloration that sets it apart. It's one of the few SDC's, or almost any mic, that when you walk back into the control room, it sounds like the instrument you were just standing in front of in the studio. I agree that the mids sound just right - very lovely. Combine that with the open and non-pushed or harsh top - it really does sound like what I hear in the room. Off axis (lack of coloration) is super nice. I love how idiot proof it is - I need that. I can't get over how easy it is to dial in my acoustic guitars with this thing. I'm super happy - and on the hunt for a pair now.
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Post by longscale on Jul 20, 2018 14:15:38 GMT -6
I picked up a very nice km84 a few weeks back. Oh my. I like.
I tried to make my pair of 184s work - but for me personally they just don't. I don't wish to start a 184 vs 84 war but I'm really having fun with what is my first experience with a really good SDC. I'm irked that it took me this long to get one. I love how open the top is - not harsh. Man this thing sounds killer on my guitars and mandolin.
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Post by longscale on Jun 15, 2018 12:32:40 GMT -6
Dang - I really liked the M/S compression on this thing. Wish I had never downloaded the demo. I really liked this plugin! My demo has now expired. lol
What other plugs do the M/S widening thing? Fabfilter I think - but in the 30 seconds I had to explore using that I got lost on how to set it up (need two instances of it iiic).
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Post by longscale on Jan 5, 2018 18:43:31 GMT -6
Two words: Latch Lake. I hang a quite heavy CS-4 on a micKing 3300 and it is rock solid. Super nice people too.
I think the compact micKing 1100 shares much of the same rock solid tech as its big brothers.
Sorry to hear about the spill with your mic - hope its recovery is quick and painless.
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Post by longscale on Dec 15, 2017 22:03:14 GMT -6
Look at all the 500 series Pultec options, since you have a 500 rack and an interest in the Pultec. Usually the Pultec option I have with Analog Allstars EQP5S beats 550A type when using the upper boost with vocals or acoustics. Take the time to learn how to drive software dynamic EQ's as a potentially more elegant option over multi band compression for EQ purposes. Yeah I hear you. I use the FF Pro-Q2 a bunch, and a number of other plugin eqs. I don't reach for multi-band compression for all EQ needs by any means. However if I'm going to compress anyway and if I have EQ needs on that same track I've been reaching for multi-band compression. I can build up a vocal sound where I'm pushing up or down slightly various ranges with the multi-band. I end up in that case not needing EQ - I get a two for one, and it has a sound I like better than a plugin comp and eq stack. Not sure if I'm hearing less phase issues or what. It just sounds cleaner to my ears. I do have one 500 slot left (Nooooooo). But I was sort of looking more in the Retro 2a3, Fearn VT-4 direction of big 3D tube sound.
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Post by longscale on Dec 15, 2017 21:38:09 GMT -6
Thinking of adding a hardware character EQ. Intended use would be vocals, guitar (acoustic and electric), bass (electric and upright).
My only hardware EQ option at the moment is a API 550b. I don't tend to use it in any extreme ways. I do sometimes run through it just for the character and do some slight corrections on the way in. I'll use it on occasion in mix, but mostly I lean on FF plugins in PT. I'll admit I'm somewhat in a FF multi-band compression instead of EQ phase at the moment. Please school me if I'm using it wrong - but I love what I'm hearing. ;-)
I primarily want to add some character to vocals and acoustic guitars. I'm also interested in the tight bass boost into cut trick that Pultecs do. A tube EQ like a Fearn VT-4 has me interested. Anybody have experience with the Fearn they could share that might help me determine if I should pull the trigger on one and give it a test in my room?
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Post by longscale on Dec 7, 2017 8:35:56 GMT -6
All of the M Britt stuff is fantastic (and he seems to be a very class act to boot - responded to my email q). I'm quite fond of the Vintage Pack, the Tweedy Pack, 69 Marshall, BOC. Imo you can't go wrong with any of his profiles. They are my personal favorites at this point out of all that I've tried fwiw
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