Posts by dgburns

    C'mon David, 'fess up, mate - what the heck is it? 8)


    I like to label things properly in my RM library... :/

    I ‘think’ it’s from 1966 - 1968. I met Jim Marshall, in 1992, and he signed it. He said it was likely in between those dates. It might be a JTM 45, and it has a rectifier tube along with the two power tubes and three preamp tubes. It’s a small box, not a 100 watter, but it is all original other than one cap tht looks like it got changed somewhere along the way. It runs hot, so the plate voltage is higher than any other Marshall I have. It seems to be voiced like a Superbass and not a Superlead.


    I’m going to call it a JTM45. It sounds boring and clean until it is dimed, and in between 6 and 10 is where the magic happens. but like I said, the bass got pulled back, so did the mid. I went straight into the channel 2. Channel 1 does nothing for me.


    For some reason, I keep coming back to this profile.

    Hello Fellow Axe Wielders,


    'old Marshall' profile was uploaded to the exchange.


    I put up one profile. Yep, just one. Of all the profiles I've made, I keep coming back to this one. I've played it ALOT in the past few months, so I figured I'd share with ya'll. Now maybe it ain't everyone's cup o' tea, and I'm certainly not saying it is for all styles. It just is what it is. What it is to me is a few things -


    -It doesn't seem to have a phase thing going on

    -It isn't too dark ( for me at least )

    -it has a fun attack, it doesn't seem hard to palm mute higher notes, although it may not be the best solo sound, dunno.

    -It is NOT a metal sound, it doesn't not do it for me on my 8 string, but it is designed for a 6 string rock tone.

    -I dialled it in and played it alot on headphones. I have not played it alot on actual studio speakers so YMMV.


    I just dimed the amp silly, but this time I pulled back a tiny bit and tried to get a 'good tone', by ear- this meant the eq settings got pulled back quite a bit, although the presence was up high.


    I mic'ed up two 4x12 vintage marshalls, which is not something I've seen done alot around here ( I think ). The mic's were close in and pointed direct on cone edge. An sm57 and royer 122 on the 70's cab. An EV (dynamic) and a 414 on the 1968 cab. Each cab alone sounded 'ok', but together, they just filled each other out. I was surprised, so I abandoned profiling each cab separately. Together was better. I profiled like 20 times. This was the best capture of all of them.


    I hope it brings some happiness to someone.

    Monkey_Man You know, it occurred to me that we put so much emphasis on which amp it is. Dare I say - I have a bias towards the sound when I know the amp it came from.

    But this is an experiment, in fun only. What if we did not see the amp and only judge the patch on the sound ??? ( and I know sound is so subjective, even I go back and like/hate things about my own patches from one day to the next, it never ends )

    Because I can't leave well enough alone !!!!


    So I added some eq'd versions ( I'm just learning how to work with this Two Torpedoes Captor 8 reactive load box )


    These additional profiles were uploaded into the exchange today:


    1959RR Captor cab solo eq b

    1959RR Captor Cab rythmn eq b

    1959RR Captor Cab Dark


    I also gave a whirl at profiling my 1966 JTM50 BlackFlag Marshall, same 1960ax cab and signal chain.


    JTM50 Captor A rythmn dry(ish)

    JTM50 Captor B rythmn flanger

    JTM50 Captor rythmn mid scoop

    JTM50 Captor wide

    JTM50 Captor dark


    There are two profiles for this JTM50, A & B and some additional presets where I played around with effects and curves. The dark preset is closer to the original amp sound. I'm still trying to find a balance between brightness and 'recordability' in the daw without having to eq much in a dense mix. These profiles seem to like the rythmn pickup on my Lespaul.


    All in all, I find Marshalls the hardest amp to get 'right', there is this sound the choke seems to impart on this JTM in particular, it's a nasal kinda thing, but I felt I should capture it before it no longer works. This amp was dimed full max on 10 for volume, and I won't be doing that much more. It also has a rectifier tube, so maybe it's not quite a 50 watt.

    Hey thanks guys, Monkey_Man and 69 Z28 very kind of you both. ( maybe you may not like these new brighter ones then ??? I was heavily thinking of EVH, not that I think I got close or anything, it's just the general vibe I was going for, especially the solo profile)


    Anyway, I finally got them uploaded, so lemme know whatcha think.

    OK, so today I don't know if I am digging the rawness of that first profile without a cab. So I made three more, but this time with a 4x12 and sm 57. They are called :


    1959RR Captor cab solo

    1959RR Captor Cab rythmn

    1959RR Captor Cab rythmn light


    They are kinda meant to be used together, but the light one is not meant to be played on the lead pickup alone. I have been trying to find a way to make the profiles brighter, my older ones are too dark imho. These are all more of a heavy rock sound, not a metal sound.

    Hey Kemperites,

    Been a while since I posted anything new. I have been experimenting with profiling with the Captor load box. I posted a new sound in the rig exchange called ‘1959 EVH Captor’.

    White Marshall 1959 Randy Rhoads 100 watt head through a Captor reactive loadbox to a Vintech X73i mic pre ( kindof a Neve 1073 clone ) direct into the Kemper. No pedals, volume on 6 all eq on 10. Been finding it getting close to that old EVH sound, so I tweaked a bit inside kemper to get it closer to that sound. I’ll try amp slaving next, as I’d like to try again with cabs at a later date.

    If it’s too bright, you can always roll down the treble in the eq which is post amp right before the effects. I used a Lespaul when dialing n the preset.

    I was digging this sound, but I’ll try it out again tomorrow, maybe it won’t shine as much ?? dunno. Thoughts....?

    Very kind of you mate ! @Monkey_Man


    The funny thing about tone is that it’s all relative. We’ve all done it, gone surfing for sounds on the exchange, and at the end of the day, the louder brighter more in your face tones tend to win. It’s hard to compare sounds when they are at different levels. But there are def some that come alive given the right situation.
    I appreciate your enthusiasm for my efforts, and in large part to how people use the sounds guides me when I make some and share some. I’m just as likely to use anyone else’s if it works.


    As to THAT profile, the 1959rr vol6 - it was concieved with a strat, but one of the newer Jeff Beck strats with those ceramic no hum pickups. It just shines with that model strat, and the lack of gain is made up by the mojo and top end that the single coils provide. But no question, it’s made to be played with LesPauls riffin out on old Foreigner or Aerosmith or whatever.


    Just happy to make someone else happy in some way. The Kemper has brought great joy and made working on music more enjoyable. Truly a remarkable achievement in a tool such as this.


    cheers!


    David

    Hi Guys,
    It's been a while since I uploaded stuff. Since I had positive feedback on some rigs, I felt like sharing some others.


    I had great success profiling a David Eden bass pedal, called the WTDI, which has some nice low end. The Kemper seems to remove some, but it's still a useful starting point. I modelled a few basses.


    -David Eden wtdi fender (for a fender precision with emg's)
    -David Eden wtdi fender b (alternate profile )
    -David Eden wtdi cln ernie ball (for an ernie ball 5 string )
    -David Eden wtdi cln b ernie ball (alternate profile )
    -David Eden wtdi frtls (for a bass fender fretless with stock passive pickups)


    -ErnieBass x73i 1 (a profile running through a Vintech X73i preamp pinned for ernie ball 5 strg bass, it's ok)


    -JTM50 chn 2 vol 8 mxr5 (from my very first attempt at profiling, with somewhat ok results, this profile has the old 1966 cab, and a brighter sound that breaks up in a weird way, maybe a bit reminiscent of early AC/DC kinda, sorta ...)


    -JTM50-70's cab chn 2 d alt mids ( this profile has an alternate mid sound, almost like there's a wah, but there isn't. The gain meter is wrong because it has more gain then it would indicate as there is an overdrive pedal on. Reminds me of early Black Sabbath territory, but dialled back a bit)


    -1959RR ch2 vol6 boost (maybe my favourite profiling session. I ended up dialing in the gain much higher after profiling, as some users were favouring doing that, so even though the amp was profiled at medium gain, it does a good job at higher gain, something I've learned is a good trick to remember. Anyway, this is a re-issue Randy Rhoads 1959 marshall JMP 100 w with a power soak and it's fun)


    1959RR ch2 vol6 boost 2 (brighter version, maybe I like better)


    You can find these all by searching my name-


    David G Burns

    Hey guys, David here. I happened to stumble on this post.


    Happy you like the patch. The amp is an old JTM50 blackflag marshal plexi 50 watt, but it has a rectifier tube, so I would guess the output is a bit lower. I have a matching cab from around the same time, say 1966. Tha amp was signed by Jim Marshall in 1992 when I did a concert with my then band in his honour when he came to town. He signed a good many amps that day. His signature looks just like the marshall logo. He also dated the amp for me to around 1966, with a serial number in the 10000’s which is confusing, but not unexpected for the era when serial numbers were a bit dodgy.
    As to the patch, I just opened up the amp and played a bit till I got a tone I liked, then did the capture. It was dialed in pretty loud. I think I used a 70’s cab though, which made the sound a bit darker. The old 1966 greenback speakers are more brittle to my ears. I have yet to really explore the tonal range of that head and the matching era cabinet.
    I’ve been going through an avalon 737 mic pre with either a royer mic or a 414.


    I also made a patch of my Randy Rhoads re-issue head which you can find by searching my name. I have a bunch of patches I never uploaded, bit if there’s interest, I could look into doing that. In the meantime, just search my name for some other patches that are up.


    cheers!


    David G Burns

    Hi Guys,
    Just posted a few rigs of my 1966 JTM50 blackflag Marshall. 6 rigs in all from mid rhythm to more overdriven. Recorded with a Royer 122 mic and germanium pre.
    I think the preset "JTM50 vol8 smoldering" is my favourite. I'd be curious to hear how it sounds with humbuckers, cause it was profiled with a strat. I guess this is bluesy and not a modern metal sound at all, more of a late 60's early 70's kind of thing.

    Original profiles/tracking but i played the session out of my home studio not my work studio. There was def something wrong in the bounce from my work studio. I think the sounds with definition turned up just pointed to another issue I'm facing at work.
    Funny thing is I never thought to bounce from home, I was just listening to the bounces in different locations, like car home stereo and headphones etc. Wife also heard the issue. Sorry for the fuss.

    So I think I found the issue and the Kemper actually pointed it out. I guess I should be thankful I heard it. While preparing a little clip, I opened the session at my home studio, not my work studio and found that issue not present, well as far as I can tell. I now suspect a clocking issue, or more pointedly, I may need to ditch the Big Ben clock and go back to the Avid clock. Anyway, if anyone hears something amiss, I'd appreciate it anyway.



    it's axe alone, then with band, another section axe alone then with band and finally a shot section of just drum and bass for reference. Anyway, it sounds fine to me, not hearing the issues I was before. Now I have some troubleshooting to do on my work studio. :(

    I should have thought to try a pedal in front. Good idea.


    Otherwise this one profile sounds interesting to me otherwise. I'll try pure cab as well. The problem with EQ is that it doesn't really seem to remove the "harshness" in the extreme top end that I'm hearing with definition turned up so much. Even post processing with an eq in the daw, like my fav wave ssl or whatever doesn't seem to fix this. It's like definition is affecting more then just the top, it's changing the tonel in a more fundamental way.


    What I'm now thinking is to just profile my own with a much brighter tone from one of my amps to begin with.


    I haven't tried any commercial profiles, what I heard in the demos for some didn't fair better then my own profiles for some reason.

    Hi Guys,
    Been loving the Kemper so far. Made and use my own profiles alot and with great success. Recently I have a project that required some fairly bright soft crunch marshall sounds like from the JMP era amps, and have been using some from the user free profiles posted in Rig Exchange. With a few tracks, either Lespaul or Strat, no issues, but as soon as I get four or moe tracks, like a few rythmn doubled and then a couple solo tracks on top, I get this harsh mash that seems to come from the grouping of guitar tracks. I solo them up and they are fine on their own, but with the rest of the band, it sounds harsh all together.
    I found out that in all cases the "definition" parameter was set to 10, so I lowered that but found that the sound lost the sparkle it had, and was less usefull.
    Any way to get that brighter sound in another way ?
    Any comments welcome (even if you feel my ears are toast).
    btw- I seem to get this only on Marshall type amps, not the high gain amps or fenders etc. There must be something in the Marshall that is hard to capture ....? (I have a few Marshalls, a JTM 50 blackflag,a JMP50 and a Randy Rhoad Re-issue) The JTM50 can sometimes breakup badly, but never with this hash up top like I'm hearing in the kemper.

    I just wanted to add a couple entries that I've been using ALOT lately for a particular project.-


    "MESA HOLY GRAIL MODE" by L.Barta which I've been having much success with an 8 strg guitar.Keeps the djent intact on the very lo F# string. Just love this profile.


    "VT Bass DI Growl Liv" by Peter Wilson. I have been struggling with bass,especially on hard rock with my Ernie Ball 5 strg.This profile has single handedly improved my rock recordings alone.I can't say enough good things about it.I also love the fact that for some reason it has a loud output but doesn't clip .The result is that I don't have to do anything to it during mix other then level it down into place with everything else.This has saved me hours and hours of time alone while scoring for television.Can't say enough about this profile .It is one of those things that sounds good in CONTEXT,which is so hard to pull off imho.


    thnx guys!

    @'DonPetersen


    While the manual states the guitar makes no difference-I have found that one of my guitars in particular seems to play nicer with profiling then the rest.This particular guitar has Anderson pickups and I find it is very even in response across the board.For some reason,the refining that was done with that gtr comes out more favourably to me then when I use say,a Lespaul or Strat.-even if the Lp or strat is the intended guitar for that sound.


    When I first tried profiling my old Black Flag 50 w Marshall,with my lespaul,the profiles came out weird in the way they broke up into tube distortion.It is a strange amp in that it breaks up in the hi mid band,and with a LP,it kind of gets almost transistor sounding,like bad breakup.With a more modern pickup,like the Anderson,I was able to get that particular odd breakup in the hi mid band under control and get a profile that the LesPaul could play without that artifact.Same amp/profile different gtr in the refining process.


    I'd actually like to know more about the refining process,as that is the place I find that I either make or break a profile.I've profiled the same amp in rapid succession and found,to my surprise,that they can come out sounding fairly different from each other.


    respectfully submitted.