Posts by b9788217979d0d8344db4da45919913948c2ac74

See the replies on this (double) thread on the other forum: Dual/Triple rectifier, TS9pro plus OD, Cannibal Corpse/Death metal tone.

Nice idea, didn't think of it.

I need to try to profile my BAE 1073MP, which is a pretty faithfully recreation of the Neve 1073 preamp. Sounds great when driven a bit. Will report back if I am coming up with something useful.

Should be great to have a moderately driven 1073 into a Pultec chain (with a slight high end boost) profiled. Should sound great on about anything... I don't have a Pultec, though :-(.

Kemper should add some machine learning algorithms to Rig Exchange where - based on the tunes you‘re playing on your KPA - the Rig Exchange will put the profiles you will like most on top of the list.

Quote from cecilbag

Let me know if you need an audition person. I play 80s rock and converted over to a kemper over Labor Day weekend and haven’t turned on one of my amps since. I still love my amps but this is such an easy setup plus it sounds truly amazing. I mainly just play JCM800 profiles with one exception (ada mp1) in one of my lead slots. I can say my keeper sounds better than any real 800 I owned. You can’t go wrong with a KPA

Yes, I do! Thank you. I will come back to you in a few days. Although I have my JCM 800 for 20+ years, I haven't played it much because I also had a 30th Anniversary head at the same time. So a set of ears that is familiar with that 800 tone can be very helpful to get on the right track with my profiles that I am currently working on.

Quote from SliderJeff

Sure, RiF. I'd be happy to provide feedback or whatever. Just understand that I don't own a KPA, myself, so if you need me to audition something you come up with, I wouldn't be able to do that. I'm happy to help out in any other way, though.

Regs,

Jeff

If you could listen to some audio and give honest (as in: not being friendly if the tone actually sucks) feedback, that would be great.

Quote from Monkey_Man

Do they come in a MaxGrip™ version, RiF?

Yes, but I am finding those MaxGrip picks far too grippy. The Jazz III XL is grippy enough for me. And they also come in red, so that they are easier to find if they happen to fly away.

Quote from thegman

Because I am selling these off, and would like a good profile. No, I don't have a Mic. or even the know-how yet to create one

But can I assume a m SM57 is the Mic I would want to do it with?

My advise would be to first check out the Super-/Deluxe Reverb profiles out there if they sound like you want them to sound like. If yes, sell 'em (the amps). If no, get a $100 SM57 (the standard mic for guitar amps, but can be a bit hard to find the right spot to place it. It's very sensitive to proper positioning) or a $100 Sennheiser e906 (far easier to handle, way more forgiving and has a great sound) and learn to mic an amp. It's actually not that hard if you're knowing what to do. If in doubt, you can ask me for help.

Yeah Savatage! I have listened to them a lot back then.

I will not mention commercial profiles, but from what I've read, Savatage was into JCM 800's of some sort. So look out for profiles of those amps.

Actually, I am currently working on a set of (free) profiles from my JCM 800 2205. I am not sure if it's the same they've actually used, because 1) it's the 50W version and 2) Savatage is older than the 2205, so they might have used the 2203, which is the earlier JCM 800 model.

I've also read that they had a Boss SD-1 Super Overdrive (or even two of them in series) in front of the amp. I happen to have a 1984 SD-1 right here.

That said, it would be fun do an experiment with you Jeff, where I am trying to get that Savatage tone with my gear into a Kemper profile. Just post here or PM me, if you're into this.

Why "Reissue"?

For classic rock/one guitar, I'd go for a short reverb that just adds some (invisible) space around your guitar tone. Making the guitar sound wide, but not really reverb'y. This applies to both rhythm and solo playing. For lead's - especially if there's no other guitarist doing rhythm "during the meanwhilst" - I like stereo delays with like a 2/16th or 4/16th on the one side and a 3/16th on the other (if you're going stereo to FOH). Then, reduce the frequency spectrum of the echos radically, something like 200Hz-2000Hz.

As an example, just grab one of my Marshall 6100 Ch2 profiles and copy away the FX section into the profile of your choice. Search the Rig Exchange for "RiF-30th Ch2" or check out this thread:

Free Marshall 6100 (30th Anniv.) / V30, T75 / SM57, e906 / BAE 1073MP profiles for dirty rock

_{These sound very in-ya-face, which like, but maybe you could tame that bass a bit.}

Jazz III XL . The XL‘s are larger.

Played thinner picks for decades, I regret not finding those Jazz III’s earlier.

Quote from Monkey_Man

Thank you RiFster!

Secretly, I'm now calling you The Documentation Guy™ 'cause you consistently do such a great job with it.

EDIT:

Did you go through the BAE for these ones as well, mate?

Display More

Once I need to have a username > 3 chars, I know which one to take ;-).

And yes, the U87 and the e906 all went through my BAE 1073 for sure!

That said, I just noticed that in case of the Neumann U87, there is €/$4,000 worth of equipment being profiled between the amp and the KPA. This solely isn't a guarantee for sounding better of course.

I've just added three more profiles where I mic'd the built-in Celestion G12-65 (early 1980's) speaker with two additional microphones:

• RiF-KittyJr Nrm G65 87: Normal channel /w Neumann U87ai
• RiF-KittyJr Nrm G65 906: Normal channel /w Sennheiser e906
• RiF-KittyJr Ovr G65 906: Overdrive channel /w Sennheiser e906

Thanks! Those are very good. The clean channel sounds great when the gain gets turned up a little. That hair on top makes it really fun to play.

I will probably get away with the "CL 5" and "DR 5" profiles, because they sounded pretty true to the 1-2 ones when the gain gets dialed down.

If I had a wish, it would be great to have some profiles with just a little less 121 in the mix, especially on the drive channel, for some variation.

Great job!

Quote from urpilus

Thanks! I love this cool amp: I had it for years

Are they merged? I would like to try with a Marshall cab to listen less Mesa sounds

If not merged, can you try with Marsh cab?

This amp was really modern 25 years ago!

Thanks again RiF!!

They aren't merged, because my merged profiles did not sound exactly the same as my Studio profiles yet. I am planning to do DI-profiles for using your cab of choice, though.

Quote from Ingolf

Thanks. It's a great amp that I owned a few times, and still have some private profiles from.

Don't keep them private, I'd say.

THE GEAR

AMP:

I bought this Marshall 6100 30th Anniversary amp back in the early 1990's new, so it's about 25 years old. It's kind of the father of the JVM heads we have now. 3 channels (lead, crunch, clean) with different settings on each channel. Channels are switchable by MIDI. The crunch channel 2 has three different modes: A = JTM 45'ish, B = Super Lead / JCM800'ish, C = JCM900'ish and these profiles here are from that channel's modes B and C. My version is the 6100B with EL34's and black tolex, no Lead-Mod (aka -LM version).

The poweramp can operate in Pentode and Triode mode, where the Triode mode has half the power (50W) and sounds a bit warmer than the more modern sounding Pentode mode.

SOME LINKS:

https://marshall.com/live-for-…f-30th-anniversary-series

https://en.wikipedia.org/wiki/…h_Anniversary_6100_series

CAB AND MIC:

The cabinet is a 1990's Mesa Rectifier Slant 4x12 where I have installed a Celestion G12-T75 besides the stock Vintage 30's (British). The mics were my trusty Shure SM57 and my new Sennheiser e906 which is pretty great btw. These went into a BAE 1073MP preamp. The amp gets power through a Furman power conditioner.

My profile chain is always all analog.

THE PROFILES

The profiles can be found on the Rig Exchange by searching for "RiF-30th".

My filename-coding is as follows:

RiF-30th Ch[channel-number][channel-mode]-[t for triode, p for pentode][brightness level][speaker][mic]

Example: "RiF-30th Ch2.B-t2 T75 906" = Channel 2, Mode B, Triode, Brightness level 2, T75 speaker, e906 microphone

I made sure that the filenames are short enough to see any relevant differences in the KPA's browser.

The brightness level goes from 1-3 , where 2 is what I consider "normal". 1 is darker and 3 is brighter. The difference in brightness is usually achieved by moving the microphone.

USAGE GUIDE

AMP SECTION:

• Too much bass? Turn down the BASS on the main screen slighty. Go down in 0.3 dB steps.
• Too much highs? Try one of the other profiles with a lower number or turn down the TREBLE knob on the main screen. Try values < 1 dB.
• The gain on the mode C profiles is pretty high and I left the original setting in the profile for authenticity, but I suggest to turn down the gain quite a bit.
• On the other hand, the mode B profiles can benefit from some added gain. The gain-upping is very true to the original behaviour of the amp if you put a clean boost in front of it. This juicy gain structure when driven hard - especially in Triode mode - is very tasty, imho.

FX SECTION:

• The EQ in the FX section makes the tone somehow "mix ready". A 70Hz low- and 10KHz high-cut plus a little notch at 4KHz to get rid of some harsh highs. It's off by default.
• The reverb is a small ambience which I think suits this kind of tone very well.

STOMP SECTION:

• Noise Gate, Green Screamer, Graphic EQ and Treble Booster (try this if you're playing a neck-position humbucker). All off by default.

THE SOUND SAMPLES

Here are some short clips. The guitars are louder than in a normal mix so you can hear them clearly. All guitar tracks have been recorded directly from the Kemper's STACK output with no FX applied. Even in Pro Tools they are kept bone dry, no EQ, no reverb, no nothing. WYHIWYG. There's a Waves SSL bus compressor and iZotope Ozone 8's Maximizer (only that module) as a brickwall limiter on the mix bus, that's it.

All clips have been recorded with a Gibson Les Paul Standard with a Duncan JB at the bridge position.

THE PICTURES

Here are some picture of the gear and the settings / mic positions used for the profiles.

Marshall 6100:

Celestion Vintage 30:

Celestion G12-T75:

Shure SM57:

Sennheiser e906:

As always, I appreciate any feedback (positive or negative) from you guys!

Did you try to adjust the pickup height on the neck pickup way down on the bassy strings side?

The neck pickup on a LP is very dark sounding in comparison to the bridge and switching back and forth isn’t always going to work without extra adjustments, but maybe that helps a bit.

You can do the program change at the end of the previous pattern.

I had the DI box in the loop for both profiles and I did not go through the refining process to keep the Studio- and the DI-profile as close to each other as possible. But I noticed that I have used the 1/4" return input on the Kemper for the DI and not the XLR input (due to the lack of another XLR->XLR mic-cable...). I think I have to investigate further to make sure I got everything right before blaming it on the PAN-01, which is a great little box, IMHO.

I might get closer by using the EQ but I want to fully understand where the difference comes from first. My brain currently struggles a bit to get that, to be honest :-).