Posts by Garrincha

Anybody succeeded in watching that on Netflix Germany?

I can't even find it there. I'm using the app on a Sony Smart TV though. Anybody in Germany can give me a hint how to get it on Netflix?

Quote from DonPetersen

the factory content rigs "S.Mehl..." are profiles of a one of a kind amp.

Yeah but not exactely that famous outside of Germany

Hello Andy, I'm still around, still enjoying my KPA and your profiles. And I'm still buying them, the Abbey Road AC30 was my latest addition. I mostly check this forum on my phone when I'm outside for a smoke. But typing posts on a phone is still a major PITA for me so I don't write that much

Mark still has his old Vibrolux, I saw it on a recent youtube interview with him. So yours probably wasn't his actual amp. But it sounds as if it was. I have a mapleneck Strat I bolted together for a 50s style strat and with that guitar it is spooky how close your Vibrolux profile is to the original recording. I have heard the isolated guitar track of Sultans of Swing so I could compare the raw take to what the KPA with your profile ist doing.

As for the guy with Kossoffs Selmer: Does "his books" mean he had written one or more books about Kossoff and his gear? If so care to mention the title? I would buy such a book in a heartbeat.

Anyway, when I used to bug you about profiling a Selmer T&B I wasn't sure if he even used one since it was only a rumor. And now we have a profile of Kossoffs actual amp. What great times for a guitarist!

Quote from and44

Cool
[...]
Mark Knoflers Tweed twin (Vintage & Rare) & trainwreck (Pack 2)

Kossoff's Selmer (Vintage & rare) I think...

So it was Knopfler's Trainwreck after all. I thought so when it came out and you were still keeping it secret as to who the owner was Your brownface Vibrolux profiles sound so much like Dire Straits 1st Album, are you sure it's not the actual amp too?

But is the Selmer really Kossoffs actual amp? There is that ongoing rumor he recorded that famous solo with a Selmer T&B and going by the sound I am going to believe that, but I would have thought the whereabouts of the actual amp are not known.

Thanks for chiming in Pete!

I still think there is a technical problem, maybe on my end. Since I posted my concerns I've learned that my current 2.7.4 indeed supports the new format already. That would explain why I see the "merge cab" option. But that would also mean my KPA detects that profile as a DI-profile and that is strange.

I know you are doing a broad range of sounds with your profiles and the 70 and 74 show this and they are absolutely phantastic! It's just that '72 that doesn't sound like something you would have intended. Using a cab from one of the 70 or 74 profiles with the 72 works well and makes the 72 sound like your usual high standard. So I'd expect the problem to be somewhere in the cab-section.

I will try and install a firmware lower than 2.7.4 to make absolutely sure my KPA doesn't have a trace of the new format options left. I will also reset everything and see how it goes. There must be something OS-related.

When I understand Andy's problem with some of his recent AC30 profiles it was also a problem with the new format.

Interestingly enough those profiles worked for me on my KPA. I was on 2.8 then though and have downgraded since.

I'm a bit late to comment, since I have them already for some time. I just love the '70 and '74, those are so "in the room" sounding, it's unreal. There's also a lot of tonal variety. For example "PTP 70 Marshall 05" is just great for the neck PU of a Les Paul. Those who still seek to recreate the "brothers in arms" tone: This is your ticket. 70 Marshall 04 is great for a more balanced rhythm sound with less midrange. And so on....

I have a problem with the '72 though, all profiles of that amp sound awful to me. No bottom end, brittle and harsh. Pretty much like a broken Line 6 POD first generation. I don't belive they were meant that way and when I mix and match the cabs from the '70 Marshall all is well.

"PTP 72 Marshall 08" has the Cab-section switched of and when I switch it on there is no cab at all. This lead me to believe there might be a technical problem with the cab part of the '72 profiles. I have to say I had 2.8 installed at one point and thought it might be a problem with the new format. But I have downgraded to 2.7.4 release since and the problem still retains. When I choose a different cab for that cabless 72 M 08 profile I get the "merge cabinet" option which is very strange since I am on 2.7.4 and shouldn't see that option at all.

Pete did you do anything different when profiling the '72? Maybe it's the same problem that Andy had with some of his AC30 profiles?

Quote from ckemper

It is an incredible neglect that the audiophile scene has never got into finding the best sounding hard disk. Now the best ones are out of production

That line gave it away, Chris

You don't read satire - uhm, Hifi-Magazines, don't you? A couple of years ago a german Hifi-Magazine indeed tested the sound of several harddisks and found audible differences descriped with the usual bullshit terms.

I used to read that stuff when those magazines were at least partly serious. But since digital took over these magazines are nothing but a huge joke.

It's a fucking digital device for God's sake. No power cable will make any difference other than crashing the DSP in case it's broken. All audio is processed by a DSP who runs a set of algorithms which are the same regardless of the power-cord. As long as the DSP gets stable current inside the range it is supposed to work, it doesn't matter if the current gets there by a VoVox cable or a $ 1,50 radio shack (or Conrad as we say in Germany) strip.

VoVox makes a lot of money from psychoacoustic effects. I remember they once had a MIDI-cable for 100 bucks and claiming it would help the performance. A company that does what they do either is completely unaware how those things actually work or they are very aware and just fool their customers.

Anyway: It's a load of bullshit and VoVox are really the worst.

Just when I thought I didn't need another EQ...

I think I'm sold.

Great profiles as always, Joptunes!

I must confess I'm not too familiar with Claptons stint at Blind Faith (only know "presence of the lord"), but I love channel jumpering on Marshalls. I think you've nailed the sweet spot right there!

May I ask what cab did you use?

Quote from whippinpost91850

I'm not sure in the long run, price is the real question as much as the fact most are surprised there are very few more traditional amps,Marshall, Fender, and I believe no Vox amps, that have a special MW touch

I think Vox and Fender are probably not exactely what you'd expect from MW.

But he has some very nice Marshalls in there, only they are called "Metropoulos" You might know the Metro amp kits, that were sold until some years ago. I was about to get one when he just stopped making them

George Metropoulos went on and started a complete amp-business and those are the best Marshall replicas you can get. I was always lusting for one but they were just too expensive for me.

I'm a bit confused though, since George has basically 3 types: A '66 JTM45/100, a '67 JMP and a '68 JMP. The MW RokPak has the '67 (as Superbass, yummi) but a '69 Superlead. That would be a custom order and even more desireable.

Basically I'll be getting the complete pack just for these two amps alone.

When listening to the samples I was pleasently surprised from some amps I didn't even know they existed (that Yamaha T50 for example, sounded phantastic to me). I think there is a lot inspiration in this RokPak.

A '68 Jmp Superlead wouldn't have KT 88. Marshall switched to EL 34 around late 66. We have several JTM 50 AKA "black flag" ( because of the reverse logo on the frontplate) that have KTs. Search for Joptunes in Rig Exchange. He has some great profiles of a particular Black Flag with KTs.

You are probably thinking of the 100 Watt JTMs with 4 KT88 and dual trannies. Those are called JTM 45/100 and unfortunately we have no profiles of those. They were made in 66 and are super rare.

Quote from and44

I do remember the journey we had with that tone. - but glad that's working out for you now. - are you working on doing a cover of that track? or just simply tone searching.

Best to you
Andy

I've played that song for years in a cover band and I always loved to do my Koss impersonation. I'd rather played "Mr. Big" or "my brother Jake" but the other guys decided that our typical audience wouldn't know those songs. So we played "allright now", as that's what is still in heavy rotation on german AOR radio stations.

The band broke up years ago and although I don't need that sound for a cover anymore, I always wanted that sound for my original material. This lead sound is very special and even Koss never sounded like that before or after and he couldn't pull it off live either. I have a couple of songs that I always imagined with that lead sound. Actually I'm working on one right now, that's how I got into tinkering with the Selmer and that C1 cab in the first place

For everybody who wants to cover the actual song:
It really only works with a good Les Paul and a very good PAF-clone, as you need the double-tone, midrange-honk that can only be found with some boutique pickups and very good wood (light and resonant mahogany). The original also has a kind of doubling going on through the solo, presumably a Tape-Delay with a very short delaytime and not much feedback if any. Some guys even think Koss had doubled that lead part, but I don't think so. He doubled the rhythm though and used different chord voicings for the left and the right part. The rhythm part and the famous opening riff are probably played on a different amp. Koss used Fender occasionally for rhythm stuff and it could be in this case, as it sounds a bit like a combo amp to me.

I forgot one thing:

The JTM is labeled "JTM 45 BF" does that mean it was the same black flag (BF) JTM you had done in a previous pack? I didn't like the previous one but I frigging love the one in the Ultimate Marshall pack. That one has an fantastic crunch sound, very AC/DC-like with my Les Paul.

Quote from and44

Heya Garrincha, long time no see? hope you are well my friend!.

The heads were all vintage spec, the JMP was not a MKII and was a 50, sadly the cabs were not pre-rola they were just after that period (date unknown) sorry. - at least this is what my memory tells me, I will visit them, and take a look and try to get the facts you seek..

But 10K rigs, wow!. sucks to be you right now, going though that many!

Carefull of ear fatigue.

Best
A

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Hi Andy,

yep all is well, it's just my little daughter now demands more of my time and rightfully so. She's already much into music and always grabs for my guitars to pick a string and enjoy the noise that makes. She prefers a Telecaster for whatever reason and cries when I hand her the Les Paul ;). I still play and record and can't keep my fingers from my KPA, but don't have much time for forums these days.

Among those 10.000 are probably quite some doubles, since I've used that batch-tag-editor much, that a user provided before we had rigmanager and I can't tell those apart now. With RM it's very easy to manage all those profiles. I just use the search function and it quickly takes me to the profile I have in mind for a given song or project. Most of the time I know which amp I want and it's just a matter of scrolling through 50 profiles of Marshall JMPs or 20 Fender Deluxes. And then it's playing one profile for 5 hrs straight

That C1 cab really works some magic for me. Remember our journey to get that "Allright now" lead tone and trying a Selmer T&B 50 for that? I always felt the amp was spot on (and the rumour it being a Selmer and not a Marshall was true) but the cab wasn't quite there. I recently tried that C1 cab with your Selmer Kossoff amp and - bang - there it was. That's THE sound of that famous solo. I have to say that I was going after the version from 1970 which is probably much closer to the sound in the studio than the remix Bob Clearmountain did in the 90s. Bob added loads of treble EQ via his SSL desk on all guitar tracks and that sounds strange to me. I much prefer the original, darker version and get that sound with the C1 cab and the Selmer T&B.

I know this thread is from the stoneage, but I've done much organisation work on my KPA with the Rigmanager lately. I like tagging my profiles with detailed infos about type and year of an amp or cab, that makes it easier to go through the 10.000 profiles I have.

So my question to Andy:

Do you know what year the amps and cabs are from? And is the JMP MKII a 50 or 100 Watter?

I'm espacially excited about the C1 and C2 cabs. I know those are G12M25 and G12H30 (that's in the tags already) but I really like to know which year (or period they are from). Pre-Rola or Rola? Basketweave or checkered grill?

Part 2 sounds different from the other three parts. It's a bit boomy in the bass and lacks some of the nasal, honky midrange that I personally love so much about Les Pauls. Based on my experience and the fact that I really hate Norlin Gibsons I'd say that one is the real Les Paul

The comparison isn't fair though, since a 1970 Les Paul from the Norlin era is constructed differently (pancake body and volute) and thus sounds different from their highly regarded 50s predecessors and also from modern clones since today the builders go back to the 50s originals and not the Norlin era boatanchors....

A comparison with a '59 Standard or a modern Custom Shop Historic Reissue would be a bit more interesting.

Both guitars lack a bit of top end though but that could also be down to the profile used. I would really like to check out the profile you used with my R8.

Quote from db9091

Stratitus is not some incurable disease. You just adjust the pickups. Which is a must on a stock guitar almost always.

Another thing that can act like it is rusty strings. Not rust you can see, but normal micro-corrosion on the underside of strings. But almost always it's the pickup height.

Another possible cause is a rattling part of the tremolo or the springs. I had that with one particular strat in the past but that could be fixed with a bit of glue or wax.

But as you said: Almost always it is the pickup height. And I also find it highly unlikely that a luthier or even the Fender support don't know how to cure "Stratitus". This is stuff that even the guys at Leo's shop in 1954 knew and of course Fender support knows how to deal with it.

Stratitus is so easily cured it's not even funny.

I've spent more time with those profiles now and I really love the '59 Bassman. It has a different flavour than other peoples profiles of the same amp. This one is really raw and also has more gain than other Bassman profiles, possibly because the profiled amp is a very special unit. The crunch sounds are really great, even with a Les Paul. Usually Les Pauls with tweed Fenders are not really my cup of tea (just personal taste, some famous players obviously thought different and made that combination work). But in this case even me could get my Les Paul working great with that amp.

But I still think it really shines with my Strat and Tele. I have a really nice custom made Strat and while scrolling through the various variations many times I couldn't help but thinking "SRV". With my Tele (maple neck and van Zandt pickups) I was happily jamming to some Springsteen songs, great for the single note licks like in "Born to run" or "Darkness at the edge of town". The profiles have the reight amout of dirt to make those sounds work.

The '62 Bassman is great as well, but I have Andy's '63 Bassman and they are not that far apart soundwise, so I wasn't as surprised as I was with the '59.

Picked up both but have yet to try them thoroughly. The football world cup gets my attention lately