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Post by Deleted on Feb 3, 2019 23:47:30 GMT
Well that's a lovely set of instructions. Thanks for taking the time saltee. I've been playing with each of those things and, it seems, partly understood each one. Don't know why they expect you to write it out for me! It's a good question about that Global setting. I don't remember now whether I chose OFF or ON by that 'SW'. If I remember rightly, and I probably don't, I think I thought SW stood for 'switch' as in footswitch! I'll definitely go and have another look at that. I'm sure that'll be the reason. Thanks. There IS something to be said for that idea of reducing volume as you raise gain. I know Che said he hated pedals that didn't do that. I have no intention of using an expression pedal. I have a feeling I'll be happy enough if I can just make the amp sound good for a good while to come. Odd how there are no instructions allied to that final screen shot. There are those 'Q's again! Oh and you said that one of those other tabs in the screen shot at the top was for 'channel eq'. Is that different again from the eq knobs that are on the amp? How much eq can an amp have? If I'm not careful I'll go supersonic and all the neighbourhood dogs'll be round.  |
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Post by salteedog on Feb 4, 2019 10:12:12 GMT
You can have a lot of EQ options on the KAT
1. The pre-amp EQ - low, mid, high knobs.
2. Channel EQ : This allows you to add another EQ overlay just for each of the preset channels (CH1 - 4). {I need to check if you can also add it to 'panel'}.
3. You can also add virtual Parameteric or Graphic EQ pedals into your 'Mod' or 'FX' slots - for each channel and for the panel.
3. Global EQ - This applies to everything (all preset channels) and panel.
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Post by Deleted on Feb 4, 2019 12:25:08 GMT
Yep, it's quite a maze, saltee. Thanks to your last in depth advice I really began to at least understand some of those screens. Thank you so much. Sadly I'm not with the Katana, or any amp, at the moment  , but I'm looking forward to getting to grips with it when I get back home just to see if I can rescue the Kat from being just another friend of my Blackstar ID Core or a useful compadre to my Champ. I'm happy to cut it down or re-cabinet it or anything else if it makes it supper usable (and a hell of a lot more attractive - I really do detest the look of it, anyone would think Boss WANT me to turn against it!  ). It'll never do that if it's always second best to the Champ. I'll slowly stop using it. |
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Post by salteedog on Feb 4, 2019 14:35:41 GMT
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Post by salteedog on Feb 4, 2019 14:38:27 GMT
It also gives you access to the emulation of the very cool 'Terra-echo' effect (which is in the firmware but BOSS have decided to suppress).
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Post by Deleted on Feb 4, 2019 16:03:14 GMT
I'll take a look saltee, although I feel as though I have just started to understand the Boss version. Still this may be easier.
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Post by Deleted on Jul 6, 2019 11:41:05 GMT
This guy thinks he's getting a Hammond B3 sound from his Katana. I'm not sure he is but just around the 1:45 mark, that sound seems great if it would stay in the treble rolled off sound rather than letting the T Wah open up the filter. Treble rolled off seems to be where the sound is at. Maybe that plus some fast tremolo to simulate a rotary speaker. aybe the Kat has a rotary speaker setting in the Tone Studio software. I must check that out.  |
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Post by Deleted on Sept 13, 2019 9:16:56 GMT
I used the Katana 50 for the first time at a gig last night. It was so nice to carry something light, I felt as though I'd forgotten something. I had, a trolley. Didn't need it! I was able to use it on the 25w setting, set to clean, no on board booster or effects, all effects coming from pedals. Initially, at the sound check there was a complaint that it couldn't be heard over the room-filling PA, but that seemed to be down to me placing it in a new place for me, up on a chair just to my right and behind me. This resulted in me hearing far too much piercing brightness from the telecaster bridge pickup and thinking I'd better turn it down. That beaming issue again? Not sure. Next time I think I'll put it down at ground level again and move it away from me. If it's going to beam anyone I'd rather it wasn't me.  Not sure yet how it would cope in a bigger louder gig. There's still 25 more watts to go AND the booster function so it may cope well. I just wouldn't want it too near me! |
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Post by LeoThunder on Sept 13, 2019 9:36:34 GMT
Isn't it mic'ed and going through the PA? I know nothing of these things.
If some tiny singer with acoustic vocal cords vibrating into a 4" speaker (in the literal sense) can shout things into a microphone, why would anyone need a 15 to 25W guitar amplifier?
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Post by Deleted on Sept 13, 2019 10:11:12 GMT
It CAN be mic'ed and sent through the PA if the PA has enough channels or the venue requires it or is equipped with it. That will all vary. Last night's gig had no sound technician so we were our own sound engineers. Previously this has been fine, two voices, sound effects, keyboards and other drum gadgetry through the mixer to the PA and then balance the two amps on stage. We take a couple of onstage monitors too so we can get a mix but, of course this doesn't include the guitar amps. It's a juggle and takes time getting all of this comfortable and usable on stage let alone right for the audience. I decided an hour and a quarter to setup and sound check was enough for us since we've played there before with all the other equipment the same, but it wasn't! This change to a different amp seems to have caused some problems.
A different venue may have a really good PA and some mics spare to mic up the amps too but may not have on stage monitoring and that is the most miserable experience too. The audience gets a lovely mix and the performers can't hear each other, themselves, any tempo guidance or know how loud to sing. It's depressing! Of course one other way would be to use NO amps, and I have used just the Joyo American Sound pedal as an amp emulation into the PA. It wasn't bad actually but is a bit more like playing along to your home stereo. There seems to be a weird slight delay. Just slightly disconnected. I think I could get used to it though in the hands of a good sound man/woman (actually the best we've ever had was a woman. A student from the sound egineering department at Bristol University or somewhere, determined to do everything exactly as she had been taught. Brilliant, caring, responsive and adaptable. Why couldn't I marry her?!).
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Post by LeoThunder on Sept 13, 2019 10:25:24 GMT
Of course one other way would be to use NO amps, and I have used just the Joyo American Sound pedal as an amp emulation into the PA. It wasn't bad actually but is a bit more like playing along to your home stereo. There seems to be a weird slight delay. Just slightly disconnected. I suppose this is the situation of musicians sitting on the side of a large orchestra. If the trombones take their cue from the double basses on the other side, the result is some muddy sound soup. That's why they pay for a gesticulating penguin to stand in the middle. |
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Post by Deleted on Sept 13, 2019 10:41:59 GMT
To some extent, with an orchestra being all analogue there is a sort of onstage mix but there must definitely be subtle delays between what each side is hearing and also WHAT they are hearing. If you're a flautist and your cue comes from a rumbly double bass far, far away I can see all sorts of opportunities for disaster. I remember a conductor explaining what he does once and he said he has to be ahead of the beat. Anticipate it so that by the time his body has registered it, he's moved his arms, the instruction has reached the players, they have responded to it and played a note, everything is all in sync and together. It sounds like a nightmare. I've only had the simple job of hitting sample pads and had to learn how much delay there was between hearing a beat and hearing the sample, "So remember, count one two three, four, one, two, three-and-three-quarters..."  I couldn't bear cuing a whole orchestra. Especially if they all hate me. |
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Post by LeoThunder on Sept 13, 2019 11:28:30 GMT
Yes, conductors are ahead of the beat, to make things even simpler…
Watch one here, just the beginning:
He's a bit of a show but it illustrates the point.
This one's not. He's a better one too.
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Post by LeoThunder on Sept 13, 2019 11:49:39 GMT
In the 18th century, orchestras would take their cue from the harpsichord, often played by the composer.
This is how Haydn's 98th symphony makes a joke of it by having it exuberantly bubbling along at the very end. Size and distance were not an issue yet.
Visual conducting designed to implement detailed inflection, tempo flexibility and precise cues came with Louis Spohr in the first half of the 19th century. Before that, conducting was a mere matter of getting everyone to start together and giving the tempo. It is said Beethoven would crouch behind his music stand to tell the orchestra to be quieter then rise again above it to signify a volume swell. He heard none of it anyway. When he conducted the 9th, the orchestra actually followed the first violin. Someone had to go to Beethoven and stop him after they had finished.
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Post by Deleted on Sept 13, 2019 12:04:56 GMT
I wonder what Beethoven thought he was hearing and still conducting at the end of his own symphony? Maybe someone had stolen a final movement and Ludwig never knew!
I was struck by the amount of concert hall reverb that Boulez video has. It would be interesting to hear the same piece played in a low reverb setting. Venue is all, in the sound. I rarely use any reverb live unless the room is carpeted and packed. I keep it off on my amp and dial it in if needed but tend to rely on delay more. If I'm going straight into the PA I have to trust the sound tech to do it the way he sees fit to sort of match my wishes. It can go well or badly. Every gig is so different that you just have to hope that all the stars align for both the audience and the band to have a good time.
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I couldn't bear cuing a whole orchestra. Especially if they all hate me.