BenIfin
Shredder
- Messages
- 1,764
If theres "an art" to doing captures then imo the technology or unit is flawed / semi flawed. If the goal of the thing is to take a great capture then why should you have to do hacks and weird things to make it work. Anyone should be able to use the walkthru guide and make "the best capture possible".
But that isnt the case for Kemper v1, a bunch of people had their bags of tricks like doing captures of captures or having to do weird things post capture "to make it good". ToneX v1 also had this kind of bizarre mojo where if you tried to do high gain captures it just wouldnt do it, but you could use some techniques like making the amp less bright or nudging the gain back a hair or two and the capture wouldnt meet in the middle and come out a bit better, but it was a balancing act.
NAM and ToneX v2 for the most part just work. You can question the 1:1 accuracy for sure but the hitrate of bad captures is like 1/100 for me or something, which is nothing what ToneX v1 used to be.
Anyway I have no idea what theyre doing for Kemper v2. I just assumed more data points means more detailed EQ matching. I doubt the underlying distortion models have changes but maybe the matching filters are just more detailed in some manner. It still just sounds like a "better" version of the old tech (which is fundamentally different to wavenet approaches).
Totally agree. We're not painting the Last Supper here or sculpting the statue of David.
"Art" is the wrong word ... there is only skill and the real world experience of knowing how to dial in and set up a cab mic to get a good and satisfying tone ... its all skill, experience and good ears.
I know some people here don't like his Profiles, but I gigged the KPA for a few years with only the MBritt MK1 profiles ... why ? ... because by sheer coincidence - and thats all it was - the way he dialled in his amps and tones was and still is, music to my ears.
I'm waiting on his 2.0 Liq Prof packs before I even open my Player box.
But that's just my preferences.