Actually ment only the amp settings info which I just now noticed were all already listed in the opening post!
What about your TS9DX settings as a booster - volume full, gain at minimum and tone somewhere between?
Ah yes now I understand.
Yes spot on regarding the Tube Screamer settings
The TS9DX settings were always:
Gain = Minimum
Level = Full
Tone = 5/Half Way
Mode = TS9
I was about to testdrive these profiles after copying them into my local library and randomly clicked the JMP 2203 3GS L TS9 + profile.... and couldn't put the guitar down for an hour...
The profile just floored me! Didn't have to touch it (Playing with my Jem 77FP with BKP War pig and Cold Sweat).
I love my TriAxis and Mark Profiles but next rehearsal i'm going to take these merged profiles for a spin on my live setup (Marshall EL34 50/50 into 1960a 4x12 G12T75 cab). Can't wait!!
Thank you so much mr. Thompson!
Thanks @tijlcarrein glad you enjoyed the profiles. I'll admit I'm not that keen on the middle batch of profiles that I did later with the higher brightness and presence settings personally, they are too shrill for me, especially through a real cab, the micing takes quite a bit of top end off that you don't hear as much when listening though the merged cab though FRFR speakers.
I still prefer my original batch dialed in with my personal settings (which is to be expected) and this profile is one of them. I also like the Dave Friedman settings and the Alternate settings also, however using the brighter profiles with the merged cab seem to sound great for some and in a mix were some more cut is probably needed as @musicmad has shown. It's all down to personal taste, I'm sure plenty of users will dislike these profiles and find the tone not to their liking. A good thing about all the commerical profiles available plus all the free profiles on the rig exchange, almost everyone can find something they really like and will use.
Just played these with a tele and with that one my favs are all the low input and mid heavy ones!
Just for sake of nerdiness would be interesting to hear what the 'original' 3GS settings were like in comparison to those Alt & DF settings? And maybe also TS9 settings.
Hi @JuLai how do you mean "hear the original 3GS settings in comparison to the Alt and DF settings"?
Let me know and I'll see what I can do!
Used the 3GS Zener PRES 6+ on a solo I was composing the other day (and probably a related profile for the second part):
In most cases, Soundcloud uses a bandwidth of only 128 kbps. As a result, what you hear isn't free of artefacts, especially the high end. For critical listening and also product comparison, please keep that in mind. Users who setup a comparison should use linear wave files and supply dropbox links.
Thanks again for these!
Thanks @musicmad, that sounds great!
Just uploaded another small batch of profiles.
Same naming as before:
3GS = 3 Gain Stages
4GS = 4 Gain Stages
ZENER = Zener diode clipping/SAT enabled
DF = Dave Friedman recommended dimed Plexi settings http://www.rig-talk.com/forum/viewtopic.php?f=57&t=156400
Alt = Dialed in with alternate settings from previous profiles
The alternate settings place more emphasis on using the presence control for brightness rather than the treble. The presence control works slightly different on most Friedman amps. As you dial the presence higher you get the expected boost in high frequencies but also a much "fuller" sound. It boosts low mids a touch and thickens the normal mid range up, giving a tighter weightier feel. Settings for the Alt profiles were:
Pres = 6, Bass = 8, Mids 8, Treble = 3, Master = 3, Gain 1 = 8, Gain 2 = 10, Resonance = 6
The DF profiles are set to Dave Friedman's recommended "Dimed Plexi" settings I took from the link above. Settings were:
Pres = 5, Bass = 4, Mids = 8, Treble = 6, Master = 6, Gain 1 = 8, Gain 2 = 10, Resonance = 8
Both these settings seem a little more open to me, see what you think.
Had a bit experience of this myself in the past with my powered Kemper.
The first thing is your cab is rated at 16 ohms. Although the Kemper can be run with a 16 ohm cab no problem it has to work about twice as hard to get the same volume you would out of an 8 ohm cab. You will have to drive the power map much harder to match an 8 ohm cab providing you are using the same senstivity speakers.
The good news is from what I understand is the EVH 2X12 comes with Heritage G12H speakers which are 100dB sensitivity so you will get back some of the volume there compared to running say a G12M which is only 97dB sensitivity. Bad news this this cab (from what I've read) is only 60 watts power handling. Bare in mind although class D 600 watts which the Kemper power amp is is no where near as loud as if it were a 600 valve power amp it's still rated 10 times what your speakers are, so when driving this cab hard be very wary of blowing your speakers. I blew 2 Neo Creambacks rated at 60 watts each totally 120 watts running at 16 ohms doing exactly this trying to keep up with a n Engl Powerball 100 watt amp and a 4x12 Engl cab running V30's.
Hardware wise this is where you could be running into issues, once I got a Mesa Recto 2X12 that is wired at 8 ohms, with 100dB V30's I could hold my own again due to former specs plus the high mid spike the V30's give out helps cut live.
Things you can do to help with the volume using what you have is add a 1dB or a bit more of mid range in the monitor output EQ section that feeds your cab (red output jack on the back), that will help your sound cut more and appear louder in a live situation.
I'll admit though, in a very similar scenario till I changed cabs I couldn't compete with a 100 watt valve amp neither, which is probably what you don't want to hear.
Hope this helps and you find a solution.
I have a Les Paul and found these profiles on the Rig Exchange yesterday before stumbling onto this thread. Outstanding. Out of all of the profiles I own, either free or commercial, these are some of my favorite.
Cheers @ColdFrixion I thought you might like some these profiles!
I would like to see a bit more bite if you redid some profiles. In a two guitar band, I prefer more top end to cut through. I definitely preferred the 3 tube versions for their clarity.
Ok will aim to get some brighter 3 gain stage profiles done very soon
Fantastic to hear that you found this too, mate.
I feel a little bad that whenever I banged on here about that Rig, nobody who tried it got very excited, and I suspect it's 'cause they weren't using LP's. I remember suggesting rolling the highs off a little, which would've helped the Strats but happened also to bring the Rig "to life" for my brother's LP. Lower treble in this case meant more mojo for sure.
Pity I can't get him over here to try Liam's Rigs with the LP. Looks like it'd have sounded fantastic.
Sounds like I need to give the Randy Rhodes rig a blast, got a '89 Les Paul Standard to put through it.
You rock, Liam.
Hey, I was going to respond to Antipodes right now, but when I hit "Reply" a post I thought I'd made yesterday popped up; I must've forgotten to hit the "Submit" button, so here 'tis anyway:
Great to know it's not just I who checks everything so many times, Liam. Glad to be of service, mate.
It sounds like you found a way to edit them on the exchange, but I was going to suggest deleting them, editing them offline and re-uploading them. Is that what you had to do?
Well I'll be. That was my and my brother's favourite Rig for his LP for a long time (still might be - I haven't seen or heard from him in a year), and I banged on about it quite a bit here. Doesn't quite cut it for Strat-style guitars IMHO, but for his LP it had a special vintage feel and graininess that we both loved.
You posted whilst I was typing, Liam.
Thank you, mate!
There is the option on the Kemper Home page once you are logged in at the top right corner to view your rigs that you have uploaded. In there you can edit all the tags online without having to re-upload.
OK, I've uploaded a second batch of profiles tonight.
These focus on mainly mid gain, crunch and edge of breakup tones. There is also a few profiles in the vain of the original higher gain profiles, but with the presence and treble dialed in higher on the amp to open the tone up a touch for the dudes that would like to hear the tone a little more open with a touch more bite and cut.
They keys for the naming convention follows the last batch but with a few new additions:
3GS = 3 gain stages
L = Low Input on amp
MIDS = Mids cranked on 10
PRES 4/6 = Presence on 4 or 6
PRES 6+ = Presence on 6 plus treble dialed to 8
ZENER = Zener diode clipping enabled
EDGE = Edge of breakup gain level
CRUNCH = Crunch level of gain
MID GAIN = Mid level of gain
One again just search for Liam Thompson or JMP 2203 MOD
These are really excellent. Liam has done us proud here. More mid gain profiles etc would definitely be cool.
I tried a more old school cab on these (both the DIs and some of the others) with great results - I borrowed a 1960a cab with 70s era 25w greenbacks from a profile on RE (1959RR Ch2 Vol 6 by David Gerard Burns). It is miced with a single 57 and does the business on Marshalls pretty consistently. Between the V30 sound and the GB sound this amp covers a massive amount of ground.
Glad you like them!. I'm partial to a good greenback/creamback also. I used Celestion Neo Creamback's till recently when I blew both up in my 2X12!!!
I'm actually doing some more profiles right now. A few with the same settings as the standard 3 gain and 4 gain stage profiles with and without the diode clipping before but with the presence upped on the amp plus a few mid gain/crunch and edge of breakup tones.
Also remember the Pre Amp only profiles are just that, pre amp only, no power section captured from the amp in the profile. They are really meant to be used through a valves power amp into a real cab. But if people like them with just a cab in the kemper attached then what sounds good, sounds good!.
Hi Liam, thank you very much for free rigs: nice job!
In my opinion, it miss some presence and it sounds a little bit compressed: did you cut some frequences?
I'm talking about distortion rigs...
Yeah, the amp settings also on the higher gain ones are my live settings that I use with the real amp, so may be a touch dark for some. Once Fletcher–Munson does it's thing when playing loud it sits just right for me. The presence setting I use use on the amp is only 2 out of 10, I could do a few profiles with the presence set a bit higher for more bite and cut when I get time this week?
I'll also do a few crunch and edge of breakup tones with and without a TS9 boosting.
I've changed the title of the thread to mention these are all merged profiles as I seem to have forgotten to mention this anyway.
You're a star, Liam, as I think I've told you privately before (no folks, it wasn't in a rented motel room!).
So generous of you to share your special Marshall. Methinks it'll be worth that 4 1/2 year wait for all of us, mate!
Thank you so much again, man!
In case you'd like to edit the names, Liam, the final two Rigs in the list are:
JMP 2003 4GS Zener (Pre Amp)
JMP 2003 4GS TS9
Should be 2203, obviously.
Also, if you're interested in consistency to the nth degree:
The 3GS Zener Rigs use "ZENER" in capitals, whereas the 4GS ones don't.
Please forgive my attention to detail; it's the bane of my life, man.
Thanks Nicky haha. So much for checking 5 times over to make sure I hadn't made those exact type of mistakes when I was tagging. Do you know if these can be edited by me in the exchange or would it take another upload? Believe me I am bothered to the nth degree consistency has to be key on these things haha.
EDIT: It's OK @Monkey_Man found the options!
Hi guys, after being a Kemper owner and forum member for four and a half years I’ve finally got round to uploading my profiles of my modded Marshall amp.
A little background on the amp.
It’s a 100 watt Marshall 2203 JMP Super Lead Mark II made in 1980 that been quite heavily modified by Steve Dawson of Root 2 Amplification and formally R&D Design Engineer for Marshall between 2005 to 2014.He is the guy that designed amps such as the Vintage Modern, JTM45/100 reissue, Super100 Jimi Hendrix, JMP1W head and combo, 1962 Bluesbreaker combo reissue and the Astoria to name just a few.
The pre amp circuit has been modified to very closely resemble the Friedman BE-100 but has the negative feedback circuit modified to similar values as the Mesa Boogie Dual Rectifier, giving the amp quite a bit more modern thump and thickness in the bottom end.This negative feedback is also adjustable by a pot on the rear which softens or tightens the feel of the amp almost identical to how the definition control works on within the Kemper itself.
It has a resonance pot on the rear to dial in how much bass you want in the power amp.
It has an extra valve gain stage and second gain control pot on the rear that allows you to dial in how much gain you would like on the extra stage.The 4th gain stage is footswitchable via a relay.This pot also doubles up as a push pull to engage the “Fat” boost, which as you can guess increases the bass in the pre amp.
It has two post phase inverter master volumes on the front which can operator as a footswitchable solo boost or just a way to tame the amps volume while being able to crank the master volume to distort the phase invertor making it easier to get “power valve” saturation at manageable volumes.
It has a valve FX loop added with an effects return pot.
Finally it also has a push pull pot also on the rear (this is also the variable negative feedback pot) which when pulled out enables zener diode clipping, think the Friedman SAT Switch or some Jose Arrendondo or Cameron mods.When enabled, two 24 volt zener diodes clip the peak to peak signal going into the tone stack by 25%.This gives a more compressed feel, a little more distortion and hair without colouring the tone like an overdrive in the front would.It also has a high pass filter wired to it to keep the lows tight with the extra distortion and compression.
Although the profiles are fully tagged with as much info as I can fit, here is what the naming convention means anyway. JMP 2203 followed by:
3GS = 3 Gain Stages
4GS = 4 Gain Sages
TS9 = Boosted with a Ibanez TS9DX
Zener = Zener diode clipping enabled
Pre Amp = Pre Amp only, no power section, profiles from the FX Loop Send
L = Low Input was used
+ = Cranked Master Volume
The distorted profile settings were:
Presence = 2, Bass = 8, Mids = 6, Treble = 6, Master Volume = 3, Gain 1 = 8, Gain 2 – 10, Variable Negative Feedback = 0 Tight, Resonance = 6
Clean profile settings were:
Low Input, Presence =7, Bass = 10, Mids = 6, Treble = 6, Master Volume = 3, Gain 1 = 2, Gain 2 – 10, Variable Negative Feedback = 0 Tight, Resonance = 8
The cab used was my Mesa Boogie Dual Rectifier horizontal 2X12 with V30’s, miced around 2” from the cap edge with a SM57 on the speaker and a MD421 on the other, both on axis, blended about 60/40 in favour of the SM57 with a low pass filter applied around 10kHZ on the distorted profiles only.
I’ve uploaded them all to the rig exchange just search for Liam Thompson and they’ll appear.
Hope you enjoy them!