Posts by DukeOURL

    @ SgtPepper, Thank you for your response!

    yes I'm looking to get closer to a cabinet loaded with Celestion Creambacks G12M 65's.. but with a full range monitor.. QSC K8.2's as my stage monitor and not a guitar cabinet..

    The G12-65's have a range of around 80 to 5K as you've stated.. so it'd make sense at least to me to roll them off somewhere around 5k.. and tweak them based on lead or cleanliness desired..

    I also use a set of vintage Altec Lansing 417C's which have a range of 60 to 8K.. beautifully wonderful tone.. because they have the greater range compared to the G12-65's, I tend to roll off higher to obtain some of the brightness of the Altecs..

    I mainly use the 10 band portion of the eq to enhance a frequency range to obtain punch to the tone for the desired need..

    Lately I've been fiddling with the shelf to find new sweet spots.. there's always something new to learn with the Kemper.. I've been playing my Two-Rock 10th Anniversary J2 and Blackface Princeton Reverb a lot over the past year and now back on the Kemper.. its always nice to reground one's self... so to speak.

    SO I've been experimenting around with a 10 Band EQ at the front of my output section with my delay and reverb and I use the rolloff/shelf function to rolloff everything above a certain frequency... it gets rid of the unwanted highs from my full range monitors and warms the sound more like my amp.. Currently I'm rolling off on average around 8K but can go down to about 5.7K on some of my overdrive lead tones..

    Is anyone else out here doing this and if so, where do you find your happiest shelf frequency or average?

    I just received my Kemper Remote.. hooked it up and added an EXP1 with no issues. Set Kemper to Performance Mode and scrolled through performances and rigs 1-5 with no issues on the remote. But for some reason, I can't turn my stomps on and off.. They are correctly displayed on the remote but the switches 1-4 do not change the status of the stomp.. What am I missing?

    First, Great work Kemper Staff for the new Profiler and RM software.. very nice! Thank you.

    I experienced an issue when I upgraded to RM 1.5 today. The OS, loaded first, no issues. I loaded RM 1.5.20 next on my Mac 10.9.5; no issues with the load.

    When I borught up RM, it updated my library and performances. The KPA was set to performance #3 when I turned it on, which should be Two-Rock MS 50. But somehow RM overwrote it with performance 1 data, 78' Dumble. And the Two Rock performance data was gone for good..

    I rebuilt the performance and now will have to tweak it back to cool... but thought you might like to know the experience.

    WONDER Performance capturing on the new RM; Thank you! and AWESOME PURE CABINET!!! THANK YOU THANK YOU THANK YOU!!!
    Best Regards; Live Blessed!

    "But mp3s don't cost anything to produce, you just copy it!"

    "But it's only the record companies that are losing money, not the artists!"

    You're right, there are a thousand excuses existing for a destructive and illegal behaviour, in the end it's all bullshit.

    Guenterhaas, you're absolutely correct sir! It's terrible how people care so little about the hard work of artists and pirate... sorry excuses if you ask me..

    My point was that there wasn't a need for custom shop.. 50's and 60's guitars were readily available and affordable. As in my examples, it was commonplace to own Les Pauls' from the 50's and Strats' from the 60's and Teles' from the 70's... even for a poor broke teenage musician such as myself in the day.

    Strange to hear this. I've always known that guitars were quite expensive. IIRC, a Strato in the early '60s cost around 200 $. LPs cost more, of course.

    I feel ya... my stepfather made around $20K in the 70's.... my brother and I lived in the attic of a four room house when my mother remarried; I was 8. seriously.. the attic, no heat or AC, just a small window and 100+ degrees in the summer and crazy cold in the winter.. 4 or 5 homemade quilts from grandma did the trick. We were low income but still had more than others... I started playing baritone uke when I was 3 1/2.. a college student down the block had a band; I'd go watch and listen, he gave me lessons as my uncle did too; it was his Martin uke that I played until mom bought me a Silvertone the following Christmas. I was reading music before I could read words... picked up the guitar when I was 5... my uncle had a 40' Martin 000-18.. that was my first and I still have her, Sally. Amazing guitar.. nothing like the sound of a pre-war Martin. I bought my first guitar (used, from my aunt) the next year... saved my money from Christmas from family and relatives... guess mom spread the word... that would have been around 60' or 61'. It was a Stella... green and black burst... ugly by some standards but it was mine! My first electric came when I was in the 3rd grade.. again I bought it used with money I'd saved; a Telestar.. looked like a Jaguar sort of.. and my first amp was donated from an uncle who didn't play anymore, a 2-12 Silvertone combo; not the stack. Made my first dollar playing at Duke university in the 5th grade... so not much different than other musicians that start early.

    So to your point.. I'd noted in an earlier post of this thread that I purchased my 52' LP for less than $100. Actually, I'd purchased a MXR distortion pedal for $50 and traded it for the LP. Sounds crazy huh? But she was ragged out even in the mid-70's.. she was a gold top, back and neck.. no serial number. the trapeze didn't mount to the body, it floated in air above the body; the headstock was cracked; found out later she was one of the first 200 prototypes. Ken Hoover rebuilt the guitar for me.. Ken was the founder of Zion Guitars and now Moriah Guitars. I asked him to do her as a 59 faded cherry burst. He just happened to have one in his shop that we copied the color from; it took him 3 attempts to get it right and then aged it. We put real PAF's in it... amazing guitar.. I had to sell her in 84' to pay for college.. had a baby that needed shoes.

    Ok, I can clearly see the historic consciousness in case of Martin and other manufacturers of Acoustic instruments.
    But Fender and Gibson as makers of electric guitars? In the 60’s and early 70’s?
    Don't you think you're just 'special' in your retro attitude (meant in a positive way... )

    Is your summary 'older is always better' then?

    nothing special here.. merely playing those guitars back then... what I owned and what I'd played... what others played and I heard. To think that players couldn't tell the difference in sound of a 50's strat or tele or a 50's LP from a 70's... it's the same difference today just pick 'em up and play, nothing's changed. To think that it was the 80's when guitar players finally grew ears, or at least started using them, and realized that a PAF sounded different... then maybe it was just complete luck that Duane Allman played a 57 LP on all his historic albums in the 70's? ... and he didn't upgrade to a 70's LP... he bought a 59'. my 52' LP weighed nothing compared to my 70's LP Custom and the sound... not comparable. That Custom sat around waiting for a string to break to get its moment in the limelight. Players didn't buy 50's guitars because they looked cool... it was because they sounded great and played amazing.

    Well in summary.. I believe there are lots of great manufacturers available today making fabulous products. Of course many/most are in search of the holy grail sound and feel of the 50's and early 60's era guitars; go figure. But it's a tough chew when it comes to cash to buy an old guitar, even for me.. but if cash were not an issue... why not own the real thing instead of a good copy? unless maybe it's a Kris Derrig LP?? :rolleyes:

    I didn't say anything different. I said custom shop wasn't available, but NOT because quality was always high but because there simply wasn't a market for it yet, partly because there was no historic consciousness established concerning guitars, and no vintage terminology or market.
    Quality, believe me in the 60’s or 70’s was sometimes only so-so, and sometimes bad.

    My point was that there wasn't a need for custom shop.. 50's and 60's guitars were readily available and affordable. As in my examples, it was commonplace to own Les Pauls' from the 50's and Strats' from the 60's and Teles' from the 70's... even for a poor broke teenage musician such as myself in the day. As to quality.. yes there were variances in quality but lets not fool ourselves thinking quality didn't exist during that time period; Edward Deming would take a issue with such speculation considering standards of quality had been established during the turn of the century with the onset of the industrial age. I'll still take any original, unaltered LP Strat or Tele built during that period compared to custom shop today; but unfortunately,you'll only find axes from the 70's at the CS price point, (ref. Guenterhaas). Even in the 60's they knew the best Martins were built in the late 30's through late 40's and prewar era guitars continues to rule today. At 15, I just wanted a 46' D28... had a 40' 000-18, and still have it but had to settle for the 49' D28 :-) oh yeah... though I had/have a 63' strat, I knew in 71' (age of 15) that the 57' V neck strat smoked everything, but I couldn't afford it... and the 60-61' slab neck strat was better than my 63'... so, I disagree with your preponderance that we had no historical conscious established... you're just wrong. If ya don't believe me, go talk to some old guys... they'll tell ya.. :-)

    Vintage Fanboy??!!!?? a little negative bias, I'm feeling. The 60's & 70's didn't need custom shop.. I bought my 52' Les Paul for less than a hundred bucks in the 70's and my 63' strat for nothing as well.. I've had tons of 70's teles and strats all that played and sounded magnificent that will stand their own ground today against any custom shop or custom manufacturer.. Honestly, Guenterhaas made a good recommendation with looking for a 70's model... Fender built really good guitars back then... and then we got flooded in the 80's from Japan with knock offs... Still many good parts and guitars built... and now today, we have custom shop guitars to compete with custom manufacturers and to build a guitar much more like the original.. not knocking it, I own a few and love them. Will probably never buy another vintage strat or tele again as a result. Now I'm jones-ing a SVL strat... :-) It's just never enough....

    For the rock thang, I love the 62' Tele Custom.. rosewood slab warms it up a bit. The Japan version is nice but if you have the cash go for the AVRI.. and combine it with a Two-Rock from Andy... smokin'. and if you've got to replace the pickups consider Lollars...

    Also notably, the Anderson Cobra is a killer Tele as well as his Classic T. Both have a bit different tones and his neck action is incredible, at a very fair price.

    enjoy your quest

    dunno 'bout that... there are so many variables around cloning versus proving beyond a shadow of doubt. I'll be surprised if they could successfully prove that some profile of an amp, was actually theirs..tubes, mics, caps, etc. all vary and create the slightest nuances of tone... solo many variations, so little time. Bring on the profiler!

    I've got SPDIF's but have switched to just using the analogs... no reverb and no delay.. do those post production... the dig's just caused interfacing issues for me.. I didn't have a problem with the sound; that was fine... just switching stuff on and off.. the Kemper just got in the way as the Master. (old story.. still the same news)