Posts by JJ

    Yes. Mick used a 200 watt Marshall Major. This version of a Major was different to Ritchie Blackmore's Marshall Major. The "Pig" major had 3 knobs: Vol ,Treble and Bass. Live- the vol was cranked to full. This is why the two outer KT88 valves were removed. The Marshall Major Pig was mindblowingly loud amp!

    Micks fuzz was Tonebender mk1 fuzz. Wah wah- vox was early days ,Jen crybaby later on.

    Mick also used a Marshall cab. David used the Simms watts amp . After the first American tour Mick switched his celestions to JBLs, likely as they handled the Pig more efficiently . Mick's sound became brighter with the JBLs.

    Micks main guitar was a 1968 les Paul. It's pickup likely a mid period 1960s paf humbucker. (yes t tops did also appear on some 68s)

    I'm fortunate to be friends with Robin Mayhew (Bowies sound guy during the Ziggy era) and I've also been lucky enough to play with some of Micks former band mates in Hull.

    Ched the bass player from the Micks early band The Rats has also been a great source of info. David Main (D*A*M) and I also spent a great deal of time in the mid 90s trying to work out the fuzz Mick used from photos. Ched also confirmed it was a MK1.

    At some stage in future I will release profiles of my Marshall Major Pigs and Vampower amps- once im completely happy with the profiles.

    Hope this info helps .


    Was wondering if any other users here have trouble profiling amps with kt88 valves.
    I notice when i try profile my Marshall Pig major or Marshall PA major - i cant seem to capture that output valve distortion very characteristic of kt 88s.
    Yet, when i capture my vintage vampower amps at loud volumes, the character and crunch of the el34s comes through no probs.
    Does anyone here have much experience with profiling cranked kt 88 type amps like hiwatts and majors?

    I love the FAMC LF+ 12+. I was one of their first customers for that product. I use the 12+ for both my Eleven Rack rig and my Kemper rig.

    If I just wanted something to work with the the Kemper, I'd consider the FCB1010 with Uno4Kemper. The 1010 is a *huge* board, but it's pretty good physically. I had one before all the third-party EPROMS...


    -was wondering-have you had issues with the LF+ not turning on Kemper stomps consistantly?

    if so many of us are loosing leds this would make a good solution.
    Im contemplaying sending mine back overseas and a solution like this would really help me out

    the cloured leds wen

    Do you have colored LEDs if you don't have the Liquid Foot connected?

    No- the coloured leds are gone all the time now.

    The coloured leds went out on me when two way midi communication first became possible
    It may be the liquidfoots fault-maybe the kemper. Hooked up two way midi cable then bam-no coloured leds.
    Kemper staff have been trying hard to sort this one out by the way.

    I also have two dead green leds as well as no color leds after a liquid foot update.
    The green leds died while i was touring in Stockholm
    I love my toaster but-Im concerned to say the least
    Its a long way to send this unit from Australia to Thomann in Germany.

    Now this is a strange one......

    Updated my liquidfoot and kemper for two way midi communication.
    Update in liquidfoot completed but it suddenly made my kemper led dials grow super bright green.
    Adjust the light settings to normal but notice my kemper stomp leds have faded -yes..all colours gone except green!
    Checked colours via maintenance check -all good but in normal mode stomp leds colour vanish.
    system reset,usb flash reboot..still no luck
    Anyone out there had this problem ? -its a doozy!

    anyone had this one?

    When assigning Rigs to program numbers occasionally my Kemper will forget assigned numbers
    Im using a liquid midi controller.
    I had this problem a few times in the early days and its popped up again in 2.1
    any ideas/solutions would be greatly appreciated


    100% with you on the tap tempo access on the bottom row!

    I vote for the larger one. If it's a tie or close, it should go to the larger one cuz the folks that prefer the larger one have more to loose than those that prefer the smaller one. (Yes, I'm a bit biased)

    Here's my reasoning though:

    The people that prefer the smaller version simply don't need or use tap tempo at all or much and if asked, will simply prefer the smaller one. I would too if I had no use for it. Why would anyone want something to be any larger than suits their needs? When asked of, course, they'll give an opinion for smaller. However, they likely won't be pissed or inconvenienced if the larger one is chosen. At the proposed dimensions of even the larger design (wasn't it 16.5 x 7.5 inches? ), this thing will be smaller than what most people are currently using to control their KPC's. In other words, it's not like they are going to be like "This controller is so massive but I have no other choice." In fact if Chris had simply released the larger one without coming to us first, I doubt that there would be many folks grumbling about it being too big.

    However, the people that want the larger one are folks that have a true need for an ergonomic tap tempo. I'm always amazed with the number of controllers with the tap tempo moved to a second row. Other than bank buttons, it's the only button that you're ever going to hit more than once in a row, often in the middle of a song if the drummer speeds up. It's quite difficult to do when playing and singing into a mic, now add standing on one foot and reaching over the first row to tap multiple times. On the front row, you can keep your heel on the ground and tap. At least bank buttons aren't usually needed in the middle of a song, assuming you organize your presets well. Those that want the larger are folks that have a genuine NEED for ergonomic tap tempo. It will be a major inconvenience if the smaller one is chosen. In fact, I might not buy it, but stick with my Rocktron midi mate.

    I use a liquidfoot+ with the Kemper
    like so many other users here- it works 9 times out of ten
    then ill use a delay or boost function and it fails to engage when im playing at a live gig
    ....this TOTALLY does my head in
    there are other threads here about this problem

    great thread !
    With my Les Paul: most chosen are

    VooDooLabPre RTHM (with till mixed cab 022)-crank up the gain -this preamp can do no wrong!

    Dav EJ 100w (with till cab) - i swear i can hear the glass cooking in the valves in this one
    Peavey c30 Pagey- (with Till Cab 1) -very underestimated
    Vampower mk3- for you 70s glam rockers

    Cornell Romany Plus (with Dammit cab)-addictive
    Vox 30w TB Cl- profiled from fractal. Managed to crossover really well.

    Velocette 10 335 (with Till mixed 4x12 022 ) the clean sound that just keeps on giving

    Moog Distortion, and just about anything from Ruppert:VG99 Acoutic fuzz, German fuzz, Rodes Piano ,Drive thru speaker.....etc

    Thanks Chris
    yes- im talking about cone breakup. the resonance this creates is something overlooked/dismissed by many people
    In revalver /torpedo and fractal its called crunch and overload-(forgotton what its called in the fractal)
    I didnt know that the Kempers 'cabinet character' also brings in cone breakup. Thanks for the tip

    There is two separate effect:
    Cone distortion and cone breakup.

    Cone distortion is for sure not appreciable, while cone breakup is sometthing intended.
    It makes the cone resonate at certain frequencies when driven by high levels, deepening the character of the sound.

    You can modify this effect with Cabinet Character to your liking.
    What are the parameters in the Torpedo and AFX?

    Hi Christoph

    After using both torpedo and fractal stuff prior to my beloved Kemper one thing i'm missing is..speaker distortion.
    It would be great to have this in the cabinet section.
    Though people tend to either love or hate speaker distortion - i consider it an important factor in a loud overdriven amp sim/profile.
    In my experience there's an amazing resonance achieved when the output valves are cranked and when cabinet speakers are beginning to be slightly overdriven too.
    It would be nice feature to dial in more or less of this in a parameter.