Using one amp.

  • I think it's a clean profile from The Amp Factory. It's got that ever so slight breakup if you dig in but a lovely, full, smooth tone when not.


    Happy to double check later if you want but I'm certain it's aTAF profile.

    Thank you. I have some BE100 clean profiles that are good but nothing that rolls my socks up. I'll try to find it!

  • Although I have profiled numerous of my amps (Vox AC 15/30/30 HW, Marshall 6100, Marshall 2525 Mini Jubilee) and although I've gotten quite good at it and like the results the one profile I rely on in both bands I play in is the Morgan AC20 by rmpacheco, which I use since 2012 because it's so tried and trusted.

    I even recorded 2 albums with it.

    Variations I do is using a pure booster with Volume +2.5 for more grit and a Plus DS (Distortion plus) with Drive at 4.0 and Volume at +3 for heavier stuff and soloing. Lately I also use the Kemper Fuzz occasionally with Drive at 4.0, Volume 0.0, Trans Shape 5.0, Trans tone 5.0, Definition 10.0, Octa 0.0 Mix 100%.

    This gives me all the versatility and expressiveness that I need.

  • Sadly they didn't at least keep the nickname rmpacheco in the rig comment. He is only present as the "Author". This column isn't shown by default. To add to the confusion it got a different rig name: 2011 More Gain AC20

    rmpacheco as author tag is as it should be, why should the author appear as a comment?


    The name is consistent with the naming scheme we used from the start. :)

  • I think using one cab could be the best way to avoid ear vertigo and even things out. Many profiles I thought were vastly different became very similar with the same cab. The cab does a lot for sure.

    I've got a mental block to where I think if you use a cab the profile wasn't profiled with it could be lacking something knowing that cab driver is making it's best guess at what is and what isn't cab. As maybe what is taken out with one cab is part of the amp but would be there with the original studio profile. Of course using a direct recorded amp profile would negate this.

    Obviously comparing my old Line 6 stuff to the Kemper isn't a fair fight, but recording an entire CD in 2002 with just an old POD 2.0 taught me a lot about cabinets. The normal mindset of so many people, myself included, is to use the digital version of the cabinet that they're used to playing through in real life.


    But your ears & the playback of the recording is the real deal breaker. I've had the Kemper for just over a year, and in the first few months, I must have tried 100+ cabinets. This free Rig Exchange no-name 5150 cab that I tried just kept winning, in back-to-back comparisons. Even the Fender Bandmaster Profile I use for clean & semi-dirty tones sounds perfect with the 5150 cab, and not the stock one. Weird.

  • Although I have profiled numerous of my amps (Vox AC 15/30/30 HW, Marshall 6100, Marshall 2525 Mini Jubilee) and although I've gotten quite good at it and like the results the one profile I rely on in both bands I play in is the Morgan AC20 by rmpacheco, which I use since 2012 because it's so tried and trusted.

    I even recorded 2 albums with it.

    Variations I do is using a pure booster with Volume +2.5 for more grit and a Plus DS (Distortion plus) with Drive at 4.0 and Volume at +3 for heavier stuff and soloing. Lately I also use the Kemper Fuzz occasionally with Drive at 4.0, Volume 0.0, Trans Shape 5.0, Trans tone 5.0, Definition 10.0, Octa 0.0 Mix 100%.

    This gives me all the versatility and expressiveness that I need.

    For sure it's one of those "perfect" profile gems that are widely versatile. Just like having that prize recording amp you wouldn't trade for the world but you can store it on a thumbdrive!

  • Although I have profiled numerous of my amps (Vox AC 15/30/30 HW, Marshall 6100, Marshall 2525 Mini Jubilee) and although I've gotten quite good at it and like the results the one profile I rely on in both bands I play in is the Morgan AC20 by rmpacheco, which I use since 2012 because it's so tried and trusted.

    I even recorded 2 albums with it.

    Variations I do is using a pure booster with Volume +2.5 for more grit and a Plus DS (Distortion plus) with Drive at 4.0 and Volume at +3 for heavier stuff and soloing. Lately I also use the Kemper Fuzz occasionally with Drive at 4.0, Volume 0.0, Trans Shape 5.0, Trans tone 5.0, Definition 10.0, Octa 0.0 Mix 100%.

    This gives me all the versatility and expressiveness that I need.

    Thank very much vyou for sharing this. I set up like this and played a bit with my Les Paul Custom and I can see why you favor it! Wow! What you can do with ONE profile! I have the boost in D and dist+ in C is this the order you prefer, or does it matter since you never have them both on?

  • Thank very much vyou for sharing this. I set up like this and played a bit with my Les Paul Custom and I can see why you favor it! Wow! What you can do with ONE profile! I have the boost in D and dist+ in C is this the order you prefer, or does it matter since you never have them both on?

    My boost is in C and the DS+ in D, just because it’s the "right" order. I rarely have them on both at the same time but just in case I wanna go over the top… ;)

  • My boost is in C and the DS+ in D, just because it’s the "right" order. I rarely have them on both at the same time but just in case I wanna go over the top… ;)

    Yes I noticed with both on it was a little pushy. Not knowing how you set the order, I had the boost after the dist +. I always thought that was the correct order to boost after the gain pedal to get volume rather than overdrive the overdrive and "smash" it?

    I've never had a pedalboard with both boost and overdrive or multiple overdrives so I don't have a lot of experience there, I just know I haven't had good experiences boosting into a distortion pedal, it usually turns to pushed non dynamic fuzz.