Posts by sambrox

    Really nice Sam...you have a few Charvel's don't you?

    That would’ve been my third. Still waiting on UPS to come pick it up, then it has to be assessed as to whether it was their fault as the shipping company, or Thomann’s fault as the supplier :wacko:

    I can unfortunately see this dragging on a while;(

    The thing is, the Amp1 just sounds great with minimal tweaking. The AmpX is the same tech, just with a programmable preamp section instead of the standard 4 you get with the Amp1, and with popular stomp box type effects built in. For me, it’s perfect for small or fly gigs (though I can attest to the Amp1 being super loud and sounding huge through a 4x12, too).

    Amp X isn’t a modeller.

    I had the original Amp1 and really liked it, but the gap in the switching was a deal breaker. Thomas Blug fixed it for the Mercury Edition, whilst improving the tone and the reverb. I bought one. It’s great. I also got the Blubox, with Thomas’ IR tech, so I can go from the powered output into the Blubox and direct into my DAW or FOH.

    People who only play modellers will get a shock when playing through truly analogue gear; the instantaneous response and attack is visceral. That’s what I love about the Amp1.

    It has a nano tube in the poweramp, so no need for poweramp modelling. All it was missing was FX, which is why I have it paired on a board with a Fractal FM3, an HX Stomp or a collection of my ever-expanding pedal collection.

    Modellers are convenient and lots of fun, but sometimes I get bored of them without knowing why, and when I come back to playing through a real amp (yes, Amp1 is a real amp) I realise why.

    I’m really looking forward to the Amp X and have done ever since it was announced as a proof-of-concept. Good times.


    ps I still love my Kemper Stage and Powered Kabinet, so no worries there

    Kemper have consistently and persistently stated that the guitar used for profiling does not affect the resulting profile whatsoever. It only affects how you dial in the amp for that specific guitar and sound before the profiling process starts.

    I think a big part of them not offering the plugins is also licensing. I’m sure that each individual Archetype plug-in has its own licensing deal with the artist in question, most likely exclusive to the plug-in format and not hardware. That would be a huge can of worms to work out individually with each artist after the fact, especially considering that they probably all have other exclusive deals with hardware producers that would cause conflicts.

    The OP said that profiles generically had too much high and low EQ. I have also read about EQing profiles at volume.


    I am curious if people here have had issue with EQing at volume. When a speaker is getting pushed to its limit the highs and lows will fall away. Probably due to the non linear region of the magnetic fields at the ends of travel. Where a professional PA will be designed to be handle the power and stay linear throughout that power curve.


    So I wonder if it is better to EQ at a much lower volume where things sound best and trust that the PA used will be flat and linear?

    The Fletcher/Munson phenomenon will rear its head before you start to push speakers to their limits.

    I bought the UA pedal too, for when I use my amp and pedalboard. It's a great unit. I've been searching for a decent spring in pedal format for years, and I've been through Catalinbread Topanga (returned it, though it was nice), Strymon Flint (nice, but not enough boing/drip, kept it mainly for the tremolo), Anasounds Element with a spring tank used in the Fender reverbs screwed to the bottom of the board (noise floor way too high) plus demoed many others in my local pedal pusher's store that weren't worth me taking home (Carl Martin Headroom, Source Audio True Spring, Wampler Faux Spring, J Rockett Boing, Subdecay Spring Theory, Mad Professor Silver Spring). The UA has something that definitely feels more authentic than any of the other digital offerings, though I can dial the Kemper Spring in to be totally happy with it at a gig :-)

    Scored this 2003 Ibanez Universe UV777P on Thursday. It needs some love and care, as the frets are corroded, the neck needs lightly sanding and oiling and all the screws and trem blades are rusty, but I unblocked the trem, slapped some new strings on it and got it to stay in tune (ish) long enough to fumble my way through For the love of God. I’ve wanted a 7-string since P&W came out in 1990, so it was about time!


    I bought a powered Kabinet, tried it at a band rehearsal with a real drummer, playing rock/punk style music and with its volume knob up all the way it wasn't really loud enough for him to hear behind his kit, nor really for me to hear well in the loud room. I'm quite confused about this, since I have two 100 watt amps (each with 2x12's), neither of which I can turn past 3 before they're too loud at rehearsal, but the powered Kabinet is 200 watts and maxed at 10 it was not loud enough.


    Am I missing something? How can I get the max volume from the powered Kabinet with my unpowered toaster?


    Thanks in advance!

    2x12s will always sound louder than 1x12s, due to there being two speakers, twice the amount of air moving and double the dispersion.

    I’m based in Denmark and bought a BluAmp Blubox from Anderton’s just before Brexit officially came in to play. It was dead on arrival, so I had to send it back. Anderton’s wouldn’t exchange it for a new unit and insisted on sending it for repair. Once it came back, the UK had officially left the EU and I was charged import duty and tax, which added 50% to the price. The packing invoice declared it as a sale, not a repair. Though Anderton’s did what they could to get me my money back, they laid blame with the shipping company. I contacted the shipping company and they told me that they couldn’t do anything as they were bound by bureaucratic law. It’s a horror show, but it’s neither the company’s or the shipper’s fault.

    I think the Kemper has a lot of musical "feel" that makes me want to use it more than the "real thing". For the sake of curiosity, when I think of 80's Shred tone the LAST person I think of Is Vai. I've always thought his tone was mediocre at best. Could you name 3 Vai songs where you thought his tone was to strive for? Maybe I need to take another listen.

    The whole of Eat 'em and smile and even though it's mixed pretty awfully to my taste, I love Whitesnake's Slip of the tongue for Vai's playing, too.

    I'm also a massive fan of Megadeth's Rust in peace (though technically a 90's album), and I can much more easily get tones close to Marty's.

    Can you explain why shredding is better on the FM3 while the Kemper sounds more like an amp? Because of better delays/effects?


    I recently tried the NDSP Petrucci and really it sounded better than my Kemper for Petrucci's tones. But it didn't FEEL as good.

    I just could quickly dial in those 80s/90s shred tones with little fuss (think Steve Vai on the Dave Lee Roth records etc.). I only had a couple of profiles that I liked on the Kemper that were kind of in the ballpark (not that the Kemper is incapable of doing those kinds of tones, just that I couldn’t be bothered to find/pay for such profiles, when it’s not actually that kind of music that I make a portion of my living with).


    Kemper just sounds more analogue than the Fractal and Line6 gear. Can’t really put my finger on it, but it’s just a little dirtier, grittier in some way, whereas the others are a little clinical.

    I'm on the waiting list. I already have an FM3 and enjoy playing it at home and with one particular project. When I'm out doing bigger shows, I take the Stage and a couple of Kabinets; can't beat it for ease of use and set up. I also have an HX Stomp for jamming and putting down quick guitar lines at work. They're all great yet different solutions. I would probably be happy with just one of them, but where's the fun in that?


    For me, the Kemper is an amp and pedalboard replacement. It just sounds and feels more organic to me, whereas the likes of the FM3 is more like a studio rack set up, in both sound and routing possibilities. Horses for courses. I enjoy shredding 80's style on the FM3 more than the Kemper, though.