Posts by Garrincha

    The amp of the original studio version was an early 60s brownface Fender Vibrolux. Brownface Fenders are far and in between in Kemper profile land. But there is one in a pack from ampfactory - the "vintage & rare" pack. Plug in a vintage sounding strat, bridge and middle PU and it nails the sultans sound. Back then when I got that pack I had the isolated guitar track of the original and did a comparison. It was frightenly close.

    Keep in mind that in the chorus (of the song) with THAT signature lick, there is clearly a chorus (the effect) to be heard, likely a Roland. Because of that some people thought Mark used a Jazz Chorus amp. Personally I don't think so. If you listen closely, the chorus fades in as if somebody turned up the aux on the desk during mixdown. Which is probably exactely what they did. The producer of the record was known as a fan of Roland Chorus devices, espacially the Dimension D. So if you recreate the sound, try putting an Air Chorus (post amp) and switch it on during the licks in the chorus.

    If you are going for the later versions of that song (e.g. on Alchemy or Live Aid), you need a Shecter instead of a Fender Strat and a profile of the clean channel of a Boogie MKIIb. The sound of the various famous live versions from the 80s is typical for a clean Boogie.

    That was originally a special kind of Tremolo in various Fender Brownface Amps (Vibrasonic, Super, Bandmaster, and more) and also the old Magnatones, if I recall correctly.

    There are many pedals which try to recreate that kind of trem, but unfortunately the Kemper doesn't have one. I use a Source Audio Vertigo, which serves me well for all kinds of tremolo (not only harmonic). It sounds exactely like my old 62 Brownface Deluxe.

    I wish Kemper would give the tremolo FX a bit more love. It's the only FX on the Kemper I feel is not up to todays standards.

    I do believe Lindsley and Jackson both had steel string singers. That’s where SRV first heard one I think, at Jackson’s studio. Not sure which s/n those were or which s/n this one was based on but it’s fantastic. I cannot imagine a real Dumble sounding much better.

    I bought the pack and found your take on "running on lindley". I took my Tele (actually a replica of Broadcaster #0211) and while that sure is not the Rickenbacker Lap Steel Lindley used on that song, the amp tone nails it. There is a video from that song from 1977 (different from the album version) where Browne plays a Strat with a Tele headstock. And that sound - probably a Dumble as well - I could really nail.

    Interestingly enough those are tones which do work in a more contemporary kind of music as well.

    Regarding the type of amps I did some research and it seems Lindley has stated in an recent interview that he was using an ODS (actually the second one ever made).


    But whatever it was, your Grammatico SSS pack sounds just like it.

    Isn't that also the amp David Lindley used while he was with Jackson Browne? Browne himself used a different Dumble if I remember correctly, but I always thought Lindley used an SSS on "Running on empty".

    I might be wrong though, it's probably 30 years since I've read that in a guitar magazine.

    I'm on the hunt for a quality profile of an Ampeg VT-22, particularly a distorted/gained-out profile (a la Josh Homme). I dug around the Rig Exchange but didn't really see anything that quite fit; anyone know where I might find one?

    I'm looking for an VT-22 or a VT-40 for ages. The only one I know of (a VT-40) was a very early factory profile from 2011. If I recall correctly, It was done during the "Nashville" sessions, when Chris Kemper flew over with his team and profiled a couple of amps from seasoned veterans. Profiles of these sessions go under the author "Gondwana".

    You'll finde that profile as a Rig Pack "Kemper legacy profiles" and there under "Amp Pig V-T Forty Cr". Unfortunately that profile doesn't have enough gain for the Stones sound I'm after and pushing it by upping the gain or using a booster doesn't work too well with that kind of profile.

    So yes, we are basically stucked regarding Ampeg guitar amps...

    The other "Amp Pig" profiles are from a Reverberocket which is more like a Fender Tweed Deluxe circuit and sound, probably not what you want.

    I always wondered why no one of the commercial profilers ever did an Ampeg VT amp. Though you'd think they are popular enought due to the Rolling Stones using them in the 69-75 era or today the stoner rock scene using them frequently.

    I still use pedals, although no Distortion/Fuzz/Overdrive. Those are covered by the Kemper sufficiently. Every once in a while I would use my BSM rangemaster clone because that one does some really nasty things that the Kemper treble booster does not. But that's about it. I haven't used my TS 808 or my ZVEX BOR for a very long time.

    I do however frequently use the Vertigo Tremolo in the Loop of the Kemper. The Trem is one of the few Kemper FX that never got updated and it just don't sound good to me. So when I need a Trem I use the Vertigo. It's also a digital device and I always thought when Vertigo can do it, Kemper can do it certainly as good. But unfortunately that never happened.

    I also use a Boss CE-2w from the Waza line, since it does CE-1 and CE-2 in one box. While the Kemper does a pretty good CE-1 (Vintage Chorus), it doesn't have the Vibrato mode the Boss has. And since I love to use that occasionally, I keep the pedal around.

    I found the question from the OP so interesting that I did some more research. Though I didn't find any old Magazin Interview I did however went through some live clips on youtube. There is a full concert from the '83 tour - following the album in question - available on Youtube. I even remember having seen it on TV back then. It was broadcasted by one of the two biggest TV-stations in Germany back then and I remember me and my bandmates (we were teenagers at that time) talking about that concert the next day in school ;)

    Anyway there is not much footage of the backline, but in one camera view you can see a Mesa Boogie MK-series amp. It's impossible to tell which one (in '83 it could have been a MK I or a MK II). It is also not visible if it is Roger's amp or belongs to Scott Page or Fred Mandel who joined the band for that tour.

    But it might be a hint. A Boogie MK II was widely used in those times (rather than a MK I). So you might look for a moderate gain MK-II profile (Top Jimi or Ampfactory come to my mind) and use the Vintage Chorus as I've already suggested in my last post. That should get you there when paired with a Les Paul with PAF-type pickups. The Vintage Chorus in the Kemper does a pretty good CE-1, there is even a "CE-1" labeld preset in the recent factory content. A CE-1 has a smooth but throaty sound and is easily recognizable. It's known Roger loved that pedal - as did many guitarists back in the day.

    Roger played a vintage '59 Les Paul throughout his career with Supertramp. That guitar and a Boss CE-1 is more important for that sound than the actual amp. He's playing with moderate gain and lots of Chorus. I know he played the CE-1 on the tour before that album so I'd assume he used that one still. It was kind of his trademark.

    As far as the amp goes, although I was already around when the album came out, I don't remember having read anything about Rogers amps in the magazines back then. It was common knowledge what his guitar was and that he loved his Roland/Boss Chorus (and a Wah), but I don't remember anything about his amp(s).

    If you want to replicate that sound, you need a Les Paul with low output PAF-type pickups and then try the "Vintage Chorus" on the kemper going in a profile with moderate gain (something like a Deluxe could work).

    I happen to like them very much. Especially the ones aiming at the "running on empty" sounds. The Lindley slide sound is great.

    But regarding Mark's profiles: I wonder if his tech profiled Mark's JTM45 with the cab (still loaded with EV's?). That would be the one to have for me. That's the Brothers in arms sound everybody wants. Or do they really use MBritts Marshalls for that sound? That would be interesting to know.

    Matter of fact I recently wanted that Brothers in arms sound on one of my tracks and I did use one of MBritts Marshalls (a profile with the Greenback G25M speakers) and with the Neck-PU of my R8 I came pretty close (minus the fingers of Mark of course). Would be funny if the master himself uses MBritts for that song.

    Some very-tasty plugin effects there, mate, and of course Repro-5 kicks some serious butt.

    Jealous! :pinch:

    Thanks. But I forgot the most used plugin I bought last year: Lindell 80 series. I use that to replace the UAD 1073 , since I haven't got enough DSP-power to run an instance on all channels. The Lindell fixed that problem for me ;-) And it comes with a separate bus emulation as well.

    Repro is really brilliant. This is one of the very few emulations that it is on par with what the Kemper does for guitar amplification.


    Les Paul Junior Singlecut 2019 (those new Gibsons from the "Originals Collection" are fucking amazing!)

    Source Audio Vertigo (the KPA trem doesn't cut it and I needed one)

    Boss CE-2w (CE-1 and CE-2 in one pedal, yummi)

    Throbak KZ-115 for my R8

    Mode Machines Professor (dedicated MIDI controller for U-He Repro-5, which makes it actually not only sounding but also feeling like a real Prophet-5)

    A shitload of plugins (Relab LX-480, Sonsig Rev-A, Transatlantik Plate, Capitol Chambers, Chandler Curvebender, U-He Hive, MTron Pro, IKM Leslie Collection)



    Although all tag is updated in the ispector for all selected rigs this isn't being reflected in the main list window for that column. I changed both amp and cabinet data for several rigs. The inspector showed the new names for each one but the respective columns in RM still showed the old data.

    It's not a bug. The column shows the "name" tag. So if you batch-edit that field, it will be updated in the inspector. You have probably edit the "manufacturer" tag, but that is not the one shown in the inspector.

    Trust me, you wouldn't want this one because there's nothing much original in this thing anyway. The modules (preamps and EQs) were swapped out and replaced by newer reissues many years ago. The original modules (preamps and the legendary EQ) were sold off to collectors. The new modules were replaced by Tony Martin's reissues.

    This basically is a replica in the original frame. Chances are the bussing stages are still original and the power supply as well, but that's about it.

    I find it rather irritating that Bonham's isn't upfront about those issues. This thing isn't worth more than a low 5-figure number.

    I might just try one out - the shop is only up the road.

    I'm pobably a bit late to the party but Andertons also carry the new line of Sigma guitars. After doing Martin clones for a while they now also offer some Gibson clones. Those are very good and I've heard the Hummingbird (and the J200) are the best of the bunch. So you just might visit the shop and check them out.

    I have one of their higher-end models (a D-28 copy with solid Adirondack top and solid Madagascan Rosewood back and sides) and that guitar kills every Martin twice the price. I didn't have much experience with the cheaper models though other than checking out their J45 clone. Nice guitar and very cheap.

    Has Access Music Electronics GmbH in the past 22 years ever introduced an own editor for their successful Virus synth(s) ?

    Yes, they have. The Virus TI comes with a VST-Plugin as an Editor.