Continuum-John Mayer signature/SSS/Wonderland amp-2x12

  • I would say they should sound great , big and clean with a natural compression the amp has. Depending on the musical context I would say on the neck pickup I'd roll off some bass from the Kemper tone knob exactly as you would with the real amp.
    I used the JM-SSS on this track , everything set at 12 O'clock no eq or compression on the recording. The reverb is the amps natural reverb which unfortunately cant be profiled. The guitar is a D'Angelico with Kent Armstrong humbuckers.



    Marcus

    This is the real amp, though, right? Not one of your profiles?

    Go for it now. The future is promised to no one. - Wayne Dyer

  • that is the amp yes, but the studio profile with everything at 12 O'clock I think it's V5 or 6 , the one without the bright switch on, would sound the same with some reverb added in the FX slot.


    As I said you can't profile the reverb and it's lovely on this amp, but I'm sure when Kemper do an update to the reverbs like they did with the delays then you'll be able to add a closer spring reverb sound to this :D



    Marcus

  • @VESmedic I tried these out at a gig on Friday too. I found them really boomy on my tele at volume and had to high pass at 100hz to even get close to taming it.


    I had very little time to tweak though and fell back in my usual performance rigs for safety. Did you find you had to tweak at all at volume?


    I love them in my studio and any advice on dialing them in for volume would be great - I never have much time for this at gigs and we rarely rehearse at the moment.

  • @VESmedic I tried these out at a gig on Friday too. I found them really boomy on my tele at volume and had to high pass at 100hz to even get close to taming it.


    I had very little time to tweak though and fell back in my usual performance rigs for safety. Did you find you had to tweak at all at volume?


    I love them in my studio and any advice on dialing them in for volume would be great - I never have much time for this at gigs and we rarely rehearse at the moment.

    Guys.



    here's my view on how I profile and how I use mic'd amps/Profiles LIve/studio.


    My aim when capturing a profile is to capture the sound of the amp/speaker as closely as possible as I hear it in the room. I then will do the A/B testing between source and profile and tweak if necessary. If you've set up your ,mic's properly then I find you usually don't have to do anything. I then save that as the profile.


    Now....If I were using the mic'd cab or the profile in a recording then 99% of the time I would use a high pass filter on the guitar as the bottom end end usually isn't required as you will have a bass player/keys covering that sonic area.


    However if you're a guy with your own guitar based trio for example then you might want the big bottom end that comes from a large cab as a big/Full range sound is required. You can't add what's not there so this is the reason I leave the full sound in the profile. It's easy to High pass the full original sound, you can't add back what's not there.


    Live:


    Similar considerations apply here. However, sticking a 57 or another dynamic mic on a cab will naturally limit the low end so even if your sound on stage is 'big' the soundman will be OK with the sound coming from the mic, unless you're using a Kemper profile that has a full sound , in which case he will high pass filter it.


    Other thing to take into account; A lot of live rigs unless they're high end are completely unbalanced frequency wise, usually with the emphasis on too much bottom end as it sounds impressive. Ever noticed how in most peoples domestic music systems, if they have a sub it's ALWYAYS too loud? same reason it sounds impressive.


    So even a well balanced profile like the JM set through a poorly set up system will sound way too bassy if played through this PA system.


    So; any profile may need some 'tweaking' , as would your amp depending on the venue and circumstances.


    With my profiles, I can guarantee however that they sound like the amp and speaker being profiles as close as possible because I have a good room, $10,000 monitors, $10,000 microphones and I've been doing this for 30 years :D I'm not saying this profile pack /Amp speaker is for everyone, same goes for any amp/profile, but they are authentic to the 'real' amp/cab.


    I used the same profile I recorded the jazz track with live yesterday in a very large monastery with a big PA system that was in fact poorly set up. I had a 100hz HPF across the whole desk output and had no issues with profile sound at all, it was left completely untouched.


    Last week terry Johnson used the JM profiles at Mark Knopflers studio without needing to tweak, he's also been using them in the West End theartre show Mamma Mia here in London.



    hope that helps.



    Marcus

  • @norburybrook


    The post above was no slur on the profiles. As said, I liked them enough in the studio to try live but had very little time to tweak. I play in a 6 piece funk band so really don’t need the bottom end dominant in that situation but understand why you’d profile with it there.


    As there is always such little time for me to adjust at volume I was interested in VESmedic’s experience. Thank you also for confirming the value of a filter at around 100hz. Seems I was pretty much spot on with your own thoughts there.


    I’ll definitely be trying them again and spending more time tweaking. However, my standard performance rigs are from another commercial seller and they sound great right out of the box on our pa, so it’s not just a case of a poor live sound.


    I am sure though that you know your stuff and I honestly am not questioning you, your approach or the quality of the profiles.


    All the best

  • For what it's worth, the guy running sound for us that night is considered one of the best in the state of Georgia, and owns a sound production company that runs sound (provides production atleast) for just about any major act that comes through the state. However, when I asked our guy what he had on me, he said nothing but a high pass filter around 80hz or so. Most of the profiles I used this weekend were Michael britts new CSR pack, but a few tunes the dumble was absolutely perfect. Our stage volume was so good, literally the best I've ever had, that I didn't even want to run ears for the show, so I didn't... some guys just know what they are doing for what it's worth. These didn't need any tweaking for me, lots of factors here of course, but it was absolutely the best stage sound I've ever had, let alone through the FOH.

  • I would much rather profilers take the above approach and keep the low end and original sound of the amp in the room than try to high pass it before it's captured. You can take it out but you can't naturally put the sound back the way it was meant to be (so long as it sounded good before profiling).

  • Sure I know it wasn't a slur on the profiles :D I just thought it was a good opportunity to express 'my' views on profiles and sound etc. there is no right and wrong when it comes to sound, it's what ever works for you and gives you the sound you hear in your head.


    I always say: tone comes from your head first :D




    marcus


  • So; any profile may need some 'tweaking' , as would your amp depending on the venue and circumstances.

    This is, at least for me, true for any commercial profile. I always use commercial profiles as a starting point. I match them to the guitar, set the effects and Remote switches to my liking, and create multiple alternatives from one profile.


    Marcus's profiles are a great starting point, as are M. Britt and TAF, IMHO.