Posts by Garrincha

Finally got around finishing my latest Partscaster project, a Replica of Broadcaster #0211.

Musikraft Neck (Blackguard #0211)
Marc Rutters body
Nitrofinish
Fender Bridge and Brass saddles
Misc. hardware Marc Rutters
Klein Broadcaster pickups
original blend circuit

Easily the best Tele I ever played with the exception of a real '53 I once had the pleasure to play. Sustain like my Custom Shop Les Paul, plays like butter and roars like mad. Has the classic Broadcaster tones (Mike Campbell, Keith Richards), a true rock maschine.

[Blocked Image: https://c1.staticflickr.com/5/4168/34433222496_efd3209bd4_c.jpg]_DSC8019 Kopie,

It's not only missing different shapes it doesn't sound really great as it is currently. There are several methods to do tremolo in real live (amps) but the favorite sound for most is the bias-varying tremolo. This doesn't only modulate the volume it has some sonic side-effects that make it sound so smooth and swooshy, even when driven hard by a rectangle.

I used to have that sound in my early 60s brownface amps and I still miss it. That's one of the very few effects where the Kemper doesn't really shine.

Played with it a bit more and found that this pack nails many of Paul Kossoffs tones as well. Was playing along to "Free live" and the H2H Lead Profile was spot on to Koss' Sound at the Sunderland Mayfair gig without any tweaking.

I used a couple of Andy's Marshalls for those sounds before and got close either, but they had to be tweaked a bit more. Your's are right there from the beginning, given you use a nice Les Paul with PAF-like PUs.

May I ask why you leave the EQ-stack on "post amp"? Was that intentionally? I found switching it to "pre" makes the tonestack behave more like a real Marshall would do. It doesn't do much EQ-wise but you can shape the distortion character a bit which I like on old Marshalls.

Quote from Jimi71

Recently picked up an original '70 G12M with 55 Hz Pulsonic cone. Perhaps the next pack will need to be Hendrix...?

OMG, I'm already dying to hear that cab in action. I'm a sucker for those pre-rola cabs. Those were also favourites of Paul Kossoff. So maybe you can do a Kossoff pack either Just make sure you use a Selmer T&B for the "Allright now" lead.

Absolutely stunning. Just when I thought I really had my Marshalls covered owning all of your, ampfactory, Bert M. and MBritt Marshall profiles, that one came around. But I just can't resist to anything Marshall, I just feel the urge to buy.

You are really a master in capturing that magical vintage Marshall sounds. What made it for me this time is that gorgeous '67 20 Watt cab. That is pure magic. I already paired it with your JTM 45 from a different pack and got authentic Clapton Beano era sounds. Although nobody really knows since the amp got lost and was probably a one off anyway, it is quite likely that Clapton got a JTM 45 with 2 x 20 Watters. This is an ongoing debate among Clapton nerds for years, but matching your cab to a JTM 45 profile gives me that woody tone that Beano is known for.

This pack is highly recommended for anything Marshally. I got into Kossoff territory quite easily, No surprise since Angus loved Pauls playing and sound.

Oh and my newly built Broadcaster replica fucking loves that pack

Bought in 2016:

1. Sigma SDR-28MLE (solid Adirondack top and solid madagascar rosewood back and sides. Sounds like a golden era Martin for a fraction of the Price) 10/10
2. Neumann Gefell MV582 with M94 and M93 capsule (vintage tube small diaphragm condenser) 10/10
3. Neumann Gefell M691 with M70 capsule (FET Version of above) 10/10
4. finally got my Neumann CMV563 w/t M7 restored at the factory 10/10
5. Spectrasonics Keyscape 8/10 (soundwise 10/10, but crashes with more than one instance so I subtracted 2 points)
6. Cinesamples Piano in Blue 8/10
7. Empirical Labs Arousor 9/10
8. AKG C451 B (nice SD mic, but will be sold in 2017 since the two Neumanns better suit my taste)
9. Studiologic Numa Nero 10/10

Sold in 2016:
1. Martin D-16 RGT (figured I wouldn't use it anymore since I got the Sigma)
2. Event 20/20bas didn't use them for years anyway

Planned for 2017:
1. finish my Blackguard Project, a replica of Broadcaster #0211 Got the neck from Musikrafts blackguard series and the body from Marc Rutters. Those are already at Mathias Schindehütte in Frankfurt for painting and aging, I've got the PUs from Klein and assorted hardware also from Marc Rutters. He even made me a Bakelite pickguard with a nitro clearcoat just like the originals. I will age the Hardware and put the thing together as soon as it arrives back from Mathias Schindehütte.

2. Gretsch electromatic The 2016 models look very promising to me and I've always wanted a Gretsch

3. A vintage Les Paul Junior. I'm considering a 1959 DC model in cherry - TV yellow is too expensive for me.

This is pretty much how a 4x12 is supposed to sound. And it is exactely the reason why engineers routinely dial out everything below 100 Hz or even higher. Anyway, it's typical für a 4x12" to have a resonance in bass and/or lower mids. It just the cab moving a lot of air and partly it's the wood resonating when the cab is not built really stable. Many people like 4x12s for exactely that sound which is also what moves your trousers when you stand in front of such a cab driven by a 100 Watter.

There is no point in looking for a solution because there ain't one. It's the nature of it. Simple as that.

Frankly, I'd rather see a couple of IR's of studio 2 and the echo chambers (where John and Paul used to smoke pot) than another EMT 140. Although I have to say this one sounds pretty good. I have the UAD EMT 140 for quite some years so I don't need this one. But I'd love to have the sound of the room and the chambers. Won't ever happen though...

As I understand it, this is much like the Fishman Aura system. I've played some higher end Martins equipped with Aura and definitely works very well. Aura is already on the market for years.

Only problem with Aura is, you can't make your own profiles with it. In that regard this new system sounds promising.

The guitarist in question was most likely Ian Bairnson, at least Wikipedia listed him for the harmony guitar parts on that track. I don't know what he played on "Magic", but that guy also played the legendary solo on Kate Bush's "wuthering hights" and there he used an early ES 335 straight in a Marshall plexi.

That sound is pretty archetypical 70s Marshall + Humbucker pop-guitar sound, there have been loads of bands working with the same formula (from Slade to Kiss). I'm not sure if there are too many pedals involved, maybe a big muff or a simple booster.

If you want to copy that sound, just get a good Plexi profile (by Topjimi or Ampfactory) and an ES-type guitar. Maybe try a booster to taste.

I don't mind the amps at all, but the cabinets could be interesting for the Kemper as well. Curious as to what is actually in there.

I recently found a great website about vintage cabs and speakers, you might enjoy as well:

http://www.bygonetones.com/

There is so much info about all the little details I never knew, really great readings. I recetly spent the better part of an evening with a bottle of wine and brosing that website.

Do the speakers inside this Hendrix cab have Celestion or Marshall stickers on the back? Not that it matters for tone, but it makes them even rarer (and more pricey).

Thanks Andy! That cab is in pretty good shape considering Hendrix used it

And those Celestion alnico are very rare. I don't remember ever seing one of those in Germany at all. All the cabs I've come across are '67 and later when some german stores began importing them and they all would have either the 25 or 30 watt ceramic. But those early gems never made it over here. Maybe some collectors bought into them in recent years but poor musician can't get them that way either.

That's the great thing about the Kemper: It puts those legendary amps and cabs back into the hands of working musicians.

Quote from and44

I own the Marshall cab that Hendrix used day in day out

Just out of curiosity: Is that the one that is usually labeled as "Basketweave" in the tags of your profiles? I've noticed that "Baskeweave" cab sounds a bit different from an usual Marshall cab.

Quote from echirouze

Yes waraba but the sound of sultans of swing is really a graal... And I never Heard a Kemper sounds so close yet.

Try the Vibrolux from ampfactory. It's in the "Vintage & Rare Amp Collection" and AFAIK only available as a bundle. The Vibrolux was the amp on the original recording and Mark still has it. That amp just sounds like sultans which is one reason they are highly regarded and pretty pricey these days.

A maple neck/alder body strat with vintage-style pickups and that Vibrolux will get you 100% there.

Keep in mind that they flew in a chorus during the famous riff at mixing stage. Most likely a Roland chorus as their producer was very much into Roland at that time. To cover that with the KPA you could use the Air-chorus which is pretty much Roland-inspired and should work.

If you need the original isolated guitar part from Mark to compare for tweaking purposes, you will find it on this site:

http://www.mk-guitar.com/?s=su…wing+guitar+track&x=0&y=0

mk-guitar.com is generally a very profound ressource for everything Mark Knopfler!

Quote from Bilbosmeggins

Didn't know about the Kossoff amp. Will deffo investigate further. Thanks

Neither did Andy when he profiled it

That was a funny thing. I requested a profile of a Selmer Treble and Bass since they are very hard to come by in Germany and I always wanted one to see if the rumours were correct, that Kossoff used a Selmer on the Allright Now lead. That solo sounds completely different from his usual stuff which was all done with early Marshalls. And even he couldn't reproduce that sound on stage, it always sounded like, well, a Marshall. So there had been ongoing rumours he used a Selmer T&B on that particular track.

Andy went out of his way to source a Selmer and did a great profile that captures the very special attack/transient portion of that amp that I can hear in the ARN-lead as well. That gave it away for me, it's THE portion of the sound that a Marshall is missing. To nail the original sound I did swap cabinets and use a Marshall cab I lifted from one rig in Andy's Marshall pack. Also keep in mind that this song was remixed in the 90s and there was loads of treble added to the guitar parts. The version you usually hear in AOR radio is the remix and sounds nothing like the original. To compare the sound I used the original single version which has a much darker guitar sound.

Anyway, that was the first part of the story. I was happy, Andy was happy because he liked the Selmer for other great sounds either.

I was only much later when Andy discovered that this very Selmer amp was owned by Kossoff back in the day and is now resting in a museum. The theory behind the ARN solo now made even more sense

There is a pretty nice profile of a vintage Marshall Bluesbreaker on Rig Exchange which really has the "Beano" tone. Great for old school british blues and has that woody 2x12 open back sound that sets it apart from the usual JTM45 sound.

The author of that rig is Daniel Henriksson. Daniel, are you an active forum member by any chance?

I'd like to know a bit more of that amp and wouldn't mind more profiles as well

Sad news indeed, Andy. You're not only the first commercial 3rd-party profil developer, you released some of the very best profiles ever and you probably helped selling lots of Kempers. I know some people that bought a Kemper and were underwhelmed with the factory Rigs but fell in love after I pointed them to your website.

But I also see your point. You have covered practically every interesting amp on the planet and the market is pretty much saturated. Most people will find profiles for their personal holy grail sound already and probably most of the time among your offerings. So I can understand your thoughts about it, it's only so much you can do with an amp.

Anyway, you provided me with some of my personal holy grail sounds. Being able to have profiles of Paul Kossoffs very own Selmer (that could be the one he recorded the ARN solo with), Mark Knopflers Trainwreck, Gilmours HiWatt, still give me goose bumps.

You also did most of the Fender brownfaces, which are my favourite vintage Fenders and got overlooked most of the time. You brought me back the '62 Deluxe that I sold two years bevore I got my Kemper. And you brought me a Vibrolux, that was the amp I was looking for and couldn't afford and got aforementioned Deluxe instead. Now I have both in my Kemper, it's a blast.

Thanks for all your work and good luck with your future projects.

I don't want to spoil the party, but unless I'm missing something, it's only three years since 2012 Not that it matters anyway.