• Hello I'm new to the forum, since I just bought a kemper rack, and I don't know if this is the right place to make a request, if not, move it to the right place, thanks. I just bought a new Kemper, and I was wondering if someone with experience could make a custom pack.

    I am looking for a very particular configuration.

    I need the following:

    Marshall JMP 1959 Superlead 100w from the early 70s.

    Cab: 4x12 Marshall 1960A

    Speakers: G12M25 from the early 70s (I guess Rola-celestion ipswik).

    Microphone: 2 SM57

    Capture the 2 upper speakers with 2 shure sm57 cap-edge off axis, the microphones, as far apart as possible from each other (Placed on the outside of the speakers).

    Would anyone choose to do it? I would greatly appreciate it.

    It would also be great to put a Boss DS-1 and a mid boost if possible, since I am looking for the tone of kee marcello

  • Oh... Until the last two words, I thought you were trying to replicate you're own amp. I was going to tell you that the best way to be satisfied with the results was to profile it yourself. Even paying to do it in a recording studio wouldn't be expensive if you already know the amp and pedal settings.

  • No, I don't have that amp, although I would love to have it.

    What I want is to get as close as possible to the tone of Kee Marcello (Ex-Europe).

    His guitar technician Mats Grahm told me what amp, cabs, mics, etc. they used to record the album. That's why I wish I could have a rig with that configuration. If possible with a mid boost and a Boss DS-1 pedal. A few profiles with that configuration I would love

  • No, I don't have that amp, although I would love to have it.

    What I want is to get as close as possible to the tone of Kee Marcello (Ex-Europe).

    His guitar technician Mats Grahm told me what amp, cabs, mics, etc. they used to record the album. That's why I wish I could have a rig with that configuration. If possible with a mid boost and a Boss DS-1 pedal. A few profiles with that configuration I would love

    Hi. Wasn’t Kee using Folkesson modded Marshall super lead 1959 heads? On the OOTW tour he definitely had the two Tommy Folkesson heads. He had them housed in a flight case with his small rack. Back then as far as I remember, Mats was Mic’s keyboard tech. Benty was Kee’s guitar tech. Maybe Mats was his tech on the album though.

  • Hi Vinny, I didn't know you also have a kemper.

    This is what Mats told me:

    I was Kee guitartech from the Final Countdown tour. Guitar Bass and Keybordtech during the recording of OOTW. the Def Leppard tour, but when we did the European I only did Keybord (on all other tours I did both) I worked with Kee from Easy Action and onwards untill I decided to quit touring, I design most of the Backlineriggs for them, of course they chose a lot of what to use but I put them togheter with failsafe sollution for backups


    Kee's JMP superlead, was it a JMP 1959 ? I knew it was a superlead JMP, but I didn't know what the exact model was.

  • The heads were modified by Folkesson, you're right. They put a Mid-Boost in the tone circuit, inside the preamp.

    I've been trying to have that tone for years, but I haven't succeeded, that's why I bought the kemper, to try.

    That's why I asked for that rig, because Mats told me that in the Kee studio he carried a 4x12 Marshall 1960A with greenbacks from the early 1970s, and they placed 2 sm57 on the top speakers cap edge ff axis.

    Maybe with a 1959 jmp and the greenbacks, placing a mid boost in front or a wah, I can get closer to that tone. That certainly sounds brutal

  • Yes, just got two Stage units a few months back for all the gigs and the next Dare album.
    Yes, I remember Mats very well from when we toured with them for four months on that tour. Very clever guy, great tech and really nice bloke too.
    Been with Kee a few times over the last few years. Picked him up from Manchester airport and we drove to HRH festival in Wales when he did it a few years back. We discussed that sound and he said it was Folkesson modded amps but maybe he was just referring to live although I know Joey already had Folkesson modded Marshall’s and the band seemed to be already working with Tommy before Kee joined.
    Anyway, Kee did mention that Tommy is working on a sig model amp of his OOTW sound.

    Will ask Kee how progress is going next time I see him.

    Oh, and yes, both amps were modded 1959 model Marshall Super Leads.

  • Kee also told me that he took the amp to Folkesson to improve it.

    I wrote to Folkesson to know what modification I was going to make, and if I would eliminate the mid boost.

    This is what Tommy Folkesson answered:


    I'm adding the Eternal Classic distortion circuit. This is the mod I have done the last five years

    and it makes any amp sound better in my opinion. Faster attack, better dynamics, a classic

    Marshall rawness and nose.

    The Eternal Classic is using the cathode follower that Marshall copied from Fender Bassman,

    back in 1963 when they starded building their amps. But I have improved dynamics and

    other things, from the standard circuit.


    About the mid boost, I think he didn't use it in concert, he only used the mid boost to record the album out of this world.

    I'm dying to have that tone.


    Mats Grahm, Kee, Ron nevison and Folkesson, have been giving me some info about those things.

    This is the info I have collected from these people. It's not much, but it's something:


    Larrivee RS2 cm guitars, with seymour duncan 59 in neck and Seymour Duncan JB in bridge

    Strings D´Adario XL 009-045 or 009-040 based on the 5150 in Out of this world.

    Dunlop's Jazz III pick


    Marshall 1959 JMP Superlead early 1970's (with EL34 power valve, and 12ax7 preamp valve) modified by Tommy Folkesson.

    Mid-boost built in the lead channel tone circuit in the preamp

    with this modification, No boss pedal for boost is neccesary.

    Mesa Boogie Mark II

    Roland JC-120 this 3 amps where used to add some color on some clean sounds

    Fender Twin


    Cab: Live: 2 Marshall 1960A 4x12" but with XLR connector with Celestion G12M25 from early 70´. (GREENBACKS) In Studio only 1 cab

    Mic: In studio: 2 Shure SM57 CAP EDGE OFF AXIS. Live: EV or Sennheiser they where also Cap edge

    Live or studio, Studio 2 x Sm57 Cap edge only one cabinett Closeup Live 2 cabinetts

    Don´t remeber if it was EV or Sennheiser they where also Cap edge all where close up I think it´s EV but

    I dont remeber the model no (they look like Sennheier E 906 but one of the Grills is Golden)


    Only the compressor from the GP8 on the Clean sound Sustain from Kee himself

    George Masenburg Parametric EQ

    biamp eq 210 graphic equalizer 10 bands

    chorus: Roland sdd-320 Dimension D

    Reduccion de ruido: Rocktron Hush IICX, 2 Channel, Noise Reduction System

    Roland GP-8 multi-effects

    NOTE:

    For distorted sound Boss DC-2 dimension c

    For clean sound Roland sdd-320 Dimension D on OOTW In a loop

    All guitars where mono recordings but Kee played all rythm guitars two Times and then panned left right


    about guitars:

    On the US and Asian tour they were standard configurated. On the European We installed push pull potentiometers I cant remember if We did it on both the White and the yellow guitars t

    hose potentiometers has a built in switch so depending how you connect them you can do all sorts of different switching What We did was to make the SD’s in single coil mode to get a more strat like sound

    ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------


    From Tommy Folkesson:

    If we speak about the Solo sound in OOTW, its was my regular modifocation, as I did it then in a

    Marshall JMP 100W. And after that Kee wanted something of his own, maybe a little like

    Brian May-king od sound-

    Then i built in a special midboostfilter,don't know if its right in english, in the lead channel.

    That works like if you put in a WhaWha pedal in a permanet position between the guitar and amp!

    But Kee only used this position during the solos, whit the Humbucker at neck position,

    and maby the tone a bit weakned(The Seymour Duncan fits in their pretty well, a high output single coil,

    low out put humbucker, right?). And during the rythms it were only the standard modification

    and the pickup in birgde position!!


    A parametric eq can do just that.


    With the parametric EQ you can do what a wha-wha does but with more precision than any wha.

    You just pick a frequency at 650hz boost it about 15dB and then check what Q-value

    e.g. bandwith is up to your taste. There you have your fixed wha sound!


    A parametric eq is just what I put in Kee´s Marshall. The first time Kee visited me

    in my workshop we used a pedal parametric eq from Ibanez. Dialed in his sound

    and then I built it into his Marshalls.


    From Ron Nervison:

    Kee had his sound already to go. I think I enhanced it a great deal though. I used vintage Neve mic pre's

    through an SSL console (not sure which one from 1988) I probably used 2 SM57's on the top 2 speakers

    of a Marshall through one side of a Massenberg stereo EQ and then an 1176 black face limiter to a

    Mitsubishi 32 track dig. hope that helps...............Best Ron........

  • Well, you are certainly getting this covered from all angles.
    hope you get to nail the sound.