Posts by Garrincha

Great song and great production. The mix ain't that bad either

If there's a MK I among the Boogie combos I'd like to hear that one. We don't have a MK I in Kemperland yet.

Other than that the '55 Bassman would be very interesting and of course the migthy Vibroverb (both years please, as they are very different from each other). Oh and the '59 Deluxe. We do have Andy's tweed Deluxe, but that's a different year and different circuit. The '59 should get you in Joe Walsh territory easily.

The Twins sound very interesting either, especially the '57 and '59.

I saw the show in Frankfurt last tuesday. I was too far away to spot Levin's gear but I think I saw David Rhodes playing a Boogie (looked like some Rectifier).

What a great show and Peter's vocal performance was top notch. Unfortunately the location (Festhalle Frankfurt) nearly ruined it for me because the acoustics there are the worst in the world. It's a beautiful location (built around 1900) but it sounds horrible...

Edit:

Just researched a bit and David seems to play a Rivera amp, no Boogie at all

A pretty please for both of the Ampegs. Those are desperately missing in the Kemper world. There is only one single profile of an Ampeg and we could really use some more. Crank those buggers and they should make a great Stones sound (think "exile on mainstreet" era).

Quote from Armin

There is a big bubble for vintage guitars and some amps - it will - as all other bubbles burst some time .....

I used to think the same when I saw and played a '59 burst with a celebrity history in '87 for 12.500 at No. 1 in Hamburg.
When the "Guitar and Coffee Shop" in Mannheim sold a '58 for 60.000 bucks to Gregor Hilden ten years later I thought the bursting bubble thing was long overdue... Those days I was still hoping the prices would come back into regions I could afford eventually. Last time I checked bursts are still going between 150.000 and 250.000 depending on the figure of top.

I gave up hoping on bursting bubbles in my forseeable future...

Seriously: The vintage market has already hit the bottom. The bubble bursted in 2008/09 and now it's again rising. When vintage ES-330s are around 5.000 you know that the market is going up again.

Quote from paults

Garrincha - thanks for distilling it down to that short list

I was about to add an Ampeg VT series too (iconic because the Stones played it on iconic albums and tours) but then I realized we have one already among the factory profiles.

Everything I could think of from Supro to Selmer and from Matamp to Hiwatt is already captured.

Isn't it great times we live in?

Quote from paults

Are there any "classic" iconic amps (before 1980?) that are not in the Kemper factory rigs or available in the Rig Exchange?

The only iconic amps that haven't been profiled yet are probably the Marshall JTM45/100 (Hendrix, Cream, The Who and Free) and the vintage Bluesbreaker combos. We do have good profiles of reissue Bluesbreakers style II but a Style I with origninal alnico speakers would be really interesting. As for the later "Clapton"-style Bluesbreaker Series II: We do have some good profiles of reissues. And given that most if not all of the currently existing "vintage" Bluesbreakers with JTM chassis are fakes done by the infamous Music Ground people, we are probably better off with profiles of a good reissue (which Andy has done pretty well).

A vintage JTM-45 with a matching vintage greenback cab would be nice as well. We have loads of JTMs but most of them are reissues. Only Andys free pack has a vintage JTM 45. The JTM50 from Joptunes is already a different amp circuitwise and Andys black flag JTM45 is actually a JTM 50 as well and sounds like it is broken or also a fake by Music Ground

So a real vintage JTM 45 with a period correct cab would be nice.

Other than those I can only think of a Mesa Boogie Mk I and a '59 Fender Tweed Deluxe . I'm actually surprised no one has done those yet as they are not that rare.

Quote from Ingolf

Ahem... I don't mean to sound like bad mouthing anyone or anything but there are people that think that G.H. always sounds the same no matter what pedal he features in his videos.

I really like Gregors playing but I always found his tone boring as hell when he used the "clean Fender plus Okko pedal" in his videos (and sometimes on stage). He is utterly exciting when he plays straight into a cranked amp - what he does on his records. Then he shines and there's tone in spades. But that "clean plus Okko" never did it for me. It always sounds like generic blues lift music then and every guitar sounds the same. I always wondered why he uses that approach when he showcases the guitars he wants to sell. IMHO you can't tell a chinese Strat from a '59 Burst with that approach

Quote from paults

From what I have been told, many/most/all were originally built for specific people. So, trying one at random could be "hit or miss", depending on the type of guitar and playing style of the original owner, versus the playing style of the person trying it.

That's what I've heard as well. Part of Dumble's service was to tailor the amp exactely to the customer's wishes.

I like the sound David Lindley and Jackson Browne got out of their Dumbles in the late 70s and early 80s (on "Running on empty" for example). But I didn't like the sound of that Mr. Mister guy in the late 80s who was also playing a Dumble. Presumably those amps were very different from each other.

So it might be hit and miss. You never know for which purpose/guitar the amp was originally voiced.

I did buy loads of commercial profiles but not because the factory profiles don't sound good. I got the commercial ones because I wanted certain amps and cabs that just didn't exist among the factory profiles or the free ones on the rig exchange. I love vintage amps and there wasn't much among the factory profiles so I turned to theampfactory.com because Andy just had what I wanted.

For example there are no brownface Fenders among the factory profiles and only very few on the rig exchange. Since brownfaces are my favourite Fender amps I got Andy's vintage pack (the Vibrolux is worth the price of the pack alone if you are into early Dire Straits cleans). The other day I was trying to recreate a sound I've done with my original brown Deluxe years ago. The 62/63 Deluxe has a very special crunch sound espacially when driven with a pedal that is hard to match otherwise. Tried many profiles and could get close but no cigar. So I bought Andy's Fender pack which has profile of a brownface Deluxe just like my old one and it instantely nailed the sound I was after.

So the point is:
Get commercial profiles if you know exactely what you want and when the factory rigs or rig exchange can't give you that. But for a general "good sound" there is plenty of great factory profiles or real gems on the Rig Exchange.

Quote from DonPetersen

all you have to do is to disable all the fancy visuals and streamline it a bit just like you would XP for a DAW.

Don't do that, chances are likely you actually achieve the opposite!

If you are running Aero (AKA "fancy visuals") on any grafic card that is younger than 5 years, chances are good all workload is done by the card. DirectX 10 takes care of that. If you turn off all the visuals and use the legacy GUI DX is not used and it's no longer rendered by the card but by the your CPU and you really don't want that. Running the legacy window design is only recommende if your grafic card doesn't support DX10 or the GPU is very old and very slow or you are running AGP/PCI-cards. Then the bandwidth comes into play.

But with every modern PCIe-grafics adapter: Leave everything as it comes out of the box.

There are other optimization tipps that were required with XP (or at least would have a slightly positive effect) but not with Windows 7 or 8. I have done extensive tests with all the internet tipps and myth's and it's all a waste of time. It doesn't change the DAW-related performance a single bit. But it might hurt other applications if you accidentally disabled a service you that is required for the proper functions of other applications.

Frankly:

In my experience optimisation and streamlining is responsible as much for PC-problems as is crappy hardware. So please everybody: If you use Windows 7, leave it alone and use it as it came out of the box.

Sorry for the rant, but I had to troubleshoot so many PCs that had been screwed with in good faith and by using some optimization tutorials from the net that I just can't stand it anymore.

Quote from Sergeant_Pepper

Can anybody verify this? Neumann u67 vs MC-200?

I did not find any reviews.

There is a thread on Gearslutz about them though they don't go much into details there.

What I figured out from the pictures of the website it is probably closer to an U87, as it has a FET-circuit not a tube. The capsule looks like it comes from one of the better chinese vendors, looks like the same that is sold by microphone-parts.com and they are good indeed. The capsule in the MC-200 also looks more like the K87 clone, hence I wouldn't expect true U67 sound. But the circuit looks very clean and they used quality (WIMA) parts, so it's a steal for that price.

Quote from r_u_sirius

http://www.recording-tools.com…o.php/info/p3_mc-200.html

A mic-expert told me, that these mics are in fact U67s......for the money they are unbelievably good!

Thanks a lot, I've just ordered one. For that money it's worth a try. I have a vintage Neumann CMV-563 with a original M7 capsule (that is in surprisingly good condition) which works well as a poor mans U47 though the CMVs aren't exactely cheap either. But sometimes I'm looking for an U67 sound which has a lot more bottom end for recording thin male voices like my own

That chinese U67 clone looks interesting. What is it exately and where did you got it?

Quote from studio66

Anyone tracking with plug ins or having your KPA go through anything before it prints?

Most likely a stupid question but its been playing on my mind lately...Thanks!

I use plugins a lot but I treat the KPA just like I have been doing a real amp for all the years. I would record pretty much dry and use EQ, compression, reverb, delay later on during the mixing process if I need to.

I would refrain from using EQ for tracking because you only know which frequencies you want to cut or boost much later down the line. It depends on how you mix your rhythm section and other stuff you have going on in your song. You also wouldn't want to much compression for distorted sounds as they are compressed anyway and you have not much dynamics to tame (clean sounds are completely different in that regard). It can be great to add a bit of compression with something like a 1176 or a LA3A even with highly distorted tracks just for the sake of the tone but as with EQ I would do that at a later stage during mixdown when you know what you want.

Of course there are always exceptions from the rules but unless you know exactely what you want from a guitar track I wouldn't print the takes with EQ and comp. Otherwise you might find yourself trying to undo later what you did at record stage.

Quote from paults

If you'll settle for NON-reissues, there are 1970s JTM profiles in the Rig Exchange, and in the Stock Rigs.

The Amp Factory has several JTM amps profiled, including a 1966.

The 70s amps are JMPs, AFAIK Marshall didn't produce a JTM 45 in the 70s.

Andy's '66 is a "black flag" (=reverse logo) amp which is kind of a transitional amp and might have a slightly different circuit and different transformers. Many people speak of those as JTM50. I also think that this very amp Andy has profiled is not really typical for a JTM-sound. It is quite muddy with a boomy low end. Although JTMs are supposed to have a looser bass than the later JMP models, they are still not that boomy. My guess is that either there is something wrong with that particular amp (caps or tubes) or the JTM50 are vastly different from JTM45. Since I never played an original "black flag" I don't know what the case is. But joptunes has profiles from his black flag JTM50 on rig exchange and they sound much more like a typical JTM to me.

Andy has another JTM45 in one of his earlier packs but I don't know which year this is from or if it is really a vintage one. A true JTM45 would have to be from '65 or earlier, from '66 on they modified the circuit to what eventually would become the JMP series in '67 (100 or 50 Watt).

The other JTM45 profiles I know of (including the factory profiles) are all reissues. The JTM45 was reissued somewhere around 1990 and is around since then. I believe - though I'm not absolutely sure - they mostly used EL34s since KT66s were not available then. It is only the handwired version that was released last year. And since KT66 are available again Marshall could get these new reissues closer to the original vintage amps.

I definitely think they are worth profiling as they are much closer to an old JTM as the older reissues have been. I wouldn't mind a profile of a real '65 or even an earlier block-logo JTM45 though

What I'm actually still waiting for is somebody doing a "complete" vintage Marshall pack:

In my dreams that would consist of a JTM45 from '65, a JTM45/100 from '66, and JMPs from '67,'68 and '69 (all as Superleads and Superbass). All these amps with period correct cabs with G12M25 (75 and 55Hz) and G12H30 (75 and 55 Hz as well). That would make 8 different amps and 4 different cabs. And if somebody would find an early Series 1 Bluesbreaker with G12M or even alnicos that would be even better. But I'm not holding my breath though, most people who own these collectors pieces probably never even heard about the Kemper let alone profiling them.

Edit:
Seems like I misunderstood the original question. It was all about that 1 Watt Andertons special edition. Armin has a profile pack of that little baby. Never heard it so I don't know how good it is in creating a JTM45 sound.

Fantastic profiles, highly recommended. Great represantation of the '68 flavour. Those were hotter and brighter than '67 JMPs and these profiles reflect that exactly. These profiles compliment Ampfactory's Marshalls very well. Andy has the earlier lower gain Marshalls from '66 and '67 and Jimi has the gainier and brighter '68.

As usual I hate the cabs with V30s (I never like those speakers), but fortunately there are also fantastic Greenback 25 Watt cabs in there.

Jimi can you share some details about the cabs? That Greenback cab sounds fantastic and I would like to know which year it is. I'm a sucker for old Marshall cabs.

Quote from coipu

did it to me luckily I run it in a virtual machine so just reset the system date/time and it went away.

Why not just update to Beta 2? Not only does it not show that error, it also has some bugfixes and notably better performance.

I'm also active over at the Les Paul Forum so I always loved those clips from Tommy and drooled over the pictures of his collection. It would be fantastic to have profiles of those. Maybe the folks at Kemper could arrange something. If I'm not mistaken, a couple of the factory profiles were made on a similar arrangement. And that took place in Nashville as well I believe.

Great song btw., Tommy is a monster player.

Quote from 1fastdog

This is a clip from a good friend's seminar he occasionally does at amp shows. http://www.soundclick.com/play…id=11807570&q=hi&newref=1

It's a 68 Superlead through an appropriate vintage cab.

I would kill for profiles of his amps. He demonstrated a '66 and '67 as well I believe. Can't you team your Kemper with his amp-stash and make a Marshall profile pack? I would pay serious money for that.

Here are some more clips of him:

http://www.soundclick.com/band…ndID=654962&content=music

I particularly love the '68 clip with the Les Paul. But the '67 ain't too shabby either. And the '66 is a JTM45/100 and that's an amp we don't have on the KPA at all I believe.