Posts by MBE

Quote from paults

Contact Kemper Support through the Kemper website.

Thanks, I actually didn't realize that applied to Forum support as well. I've sent them an e-mail.

Hi,

I'm not exactly a newbie but apparently I'm a newbie again according to this forum. I use and love my Kemper every day, and have for a couple of years...just updated it with new firmware via the Rig Manager under this login, and I used to post in the Private Forum...except now it's not allowing me to?

I thought I was going crazy until I saw that I can still post in the public one. Did my Profiler somehow become un-registered with Kemper? Why am I able to log in in RM as per usual, but no longer post on the Private Forum?

Sorry if this is the wrong place to ask this...I have been trying to figure out where to post this, and there doesn't seem to be an obvious channel for this specific issue.

Any help would be appreciated!!

Quote from mickrich

Clean channel on the mxr but I drove the la610 a bit. Should be a fat full sound but fairly clean.

Awesome, look forward to giving it a go!

Quote from mickrich

The Duet is amazing. Quality over quantity.Won't get to the bass stuff for a while yet.
I did a quick MXR M80 profile with my favourite settings into LA-610 tube mic pre/compressor for you =]
https://www.dropbox.com/s/8r9p…0z4f/TMS_MXR_M80.zip?dl=0
Refined with Fender USA P Bass

Dude, you are awesome! I can't wait to get home and try it out. How clean/dirty was the tone when you refined it with the P Bass? I'll let you know how it sounds!

Quote from mickrich

Got an Apogee Duet 2 for mobile profiling. Have the Apogee One sold.
I'm using the Apogee Ensemble Thunderbolt in the studio so I can't live without Apogee quality at home or on location.
I'm going to get a bass amp pack done soon so I don't fancy carting Ampeg cabs back and forward to the studio so the Duet will be perfect.

Oh man, first off - I'm happy to see a pro who's happy with the Duet. That's what I use in my meager home studio, and I love it, but I don't have a pro's ears or experience so I wasn't sure if I just liked it because I didn't know any better

Secondly, I'm super excited to hear some bass profiles. The reason I haven't been able to give feedback yet on the guitar profiles has been because almost all my "music time" this month has been occupied by a new band where I've been playing bass. Would be very happy to give feedback on bass profiles using my Rick, Stingray, and Bass VI!

Quote from mickrich

I'll see can I get a hold of one.Might be hard to get in Ireland, where I am.
I can handle high volumes no prob.
The whole place was shaking when I was profiling the JCM800 =]

If you manage to get one, I'll be lined up on day one to order!

Quote from MementoMori

Have you tried the ones on Rig Exchange? I found a number just searching "Sunn", though there's no promise of quality vs a commercial reseller (and Mick knows his stuff).

You know what, I'll give them a shot, but my previous experiments with the Rig Exchange led me to stick to commercial profilers. My TAF/M Britt/guido/topjimi profiles have required much less tweaking to get to a usable state, and generally feel more consistent in quality. That's not to insult the work put in by people on the RE, but many of them lack the gear and experience (and treated rooms) of the commercial profilers. If Mickrich put in the effort to a Sunn profile that he's shown in the others so far, I have absolutely no doubt that it would become my #1 amp for my indie/alt/stoner material.

Have you tried putting the pedal in the effects loop and then assigning the effects loop to a Stomp slot, i.e. before the amp stack? That way your actual input level into the KPA will be the same with the pedal on or off, so the clean sens shouldn't need to be adjust. Then, if you still find a jump in volume, you could always put an EQ in the Stomp next in line with a gain cut to compensate, and just activate the two together to achieve unity gain.

I am really intrigued by the Acapulco Gold but I'd be reassured to hear whether you could get the thing to play nice with the KPA before dropping the money on one...

Is there any chance of you getting your hands on a Sunn Model T? My holy grail of amps, but no commercial profiler has offered it yet. I don't know why, like if maybe some people aren't equipped to handle the SPLs of a cranked Sunn, but you would think a commercial studio would handle it no problem. I see it on "requested amp" threads every few months, but nobody has gone there yet...

I understand you're probably starting with bread-and-butter amps, but a cranked Model T is the one iconic amp-based tone I can think of that nobody seems to offer.

Quote from Ingolf

I think it's time for the OP to RTFM, like @digbob said.

The kemper has so many amazing features that I didn't use in the first week where I hadn't RTFM.

Then I started working my way through it, and every few minutes I was saying "Oh wow, I can do THAT?"

Using a Kemper for the first time is like reading the Coles Notes (or Wikipedia page, for the Millennials out there) of a great work of literature. You'll get the gist, but you're basically missing most of what makes it great!

Quote from Michael_dk

Yup.
I can't help but think a lot of the "the tone is in you hands" come from the situation where somebody is trying to EMULATE another guitarist - but that's another aspect of tone.

I think we need to define specific terms for this to clear up future discussions:

"TONE" (as in the tone control on equipment):
what the amplifier, pedals and guitar supplies, disconnected from the playing. Other aspects could include type/size of pick, type/size of strings,etc etc.

"TOAN" (as in "that's mah TOAN!"):
what the fingers and hands supply, disconnected from the amplifier and guitar
- hereunder how hard you hit the strings and where you hit the string (closer to head or closer to bridge), influence of palm muting etc etc.

Then there's TECHNIQUE - vibrato, tremolo picking, whammy bar use, harmmer-ons/pull-offs etc etc - which I don't consider part of tone nor TOAN

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All good points. I think of it as "physical signal chain" (brain, hands/technique, strings, wood/bridge) and "electronic signal chain" (pickups, cables, FX, amp, speaker). The point remains the same though - transport me to Woodstock and hand me Jimi's Strat, and I'll still sound nothing like Jimi. I'll sound like me playing through Jimi's gear.

Here's a question for those of you with experience with the Mission Engineering Gemini cabs.

I picked up a Gemini 1 cab and absolutely love it. I've been using it as my main monitor for home and rehearsal use (always about 3 feet off the floor to avoid reflections). However, I haven't gigged since getting it, though I'm about to start. I have tweaked my profiles to sound good through the Gemini, but I don't know how truly flat-response the cab is, or in other words, what to expect when I send a direct line to the FOH (I'll be using the cab for monitoring onstage but FOH for the audience).

So for those with Gemini cabs (active or passive), do you find that you need to EQ any differently for the tone you're sending to FOH as opposed to your cab? Did any of your tones that sounded good at rehearsal volume on the Gemini end up sounding "wrong" when sent to the FOH PA? In other words, am I making a mistake by EQ'ing using my Gemini cab? I'm using the Gemini in "FRFR" mode using full profiles including cab (as opposed to using the Gemini's built in cab sim mode).

Any input is highly appreciated!

Quote from mickrich

Home from a long day in studio but you make some very good points that have got me thinking re specific hum bucker and single coil profiles for clean and crunch amps. You are absolutely correct that you would want different amp eq for a les Paul and tele.
I'm in studio sessions until Tuesday but I will do a test with 2 specific profiles on a mid gain amp and post them here to see what you guys think. Great idea

I'm so glad you're receptive to feedback - I feel like this is one of the often-skipped parts of discussions regarding profiles. Everyone talks about "sweet spots" on the amp - but for which guitar? My sweet spots for my Fender Jaguar are totally different than my LP!

I've often thought about M. Britt's success and reputation for profiles that work for "almost anyone". He's got a reputation for profiles that require minimal tweaking. He also almost exclusively plays his 3xP90 guitar. Maybe the secret to the "universality" of his profiles is that the amps are dialed in for P90s, which lie pretty much right in the middle ground between Fender singlecoils and PAFs?

Very cool to read a sort of "making of a commercial profiler" journal! I'll be downloading these profiles when I get home from work.

A quick question for you - when you play-test these profiles, which guitars are you using?

I might be crazy, but I feel like certain commercial profilers do their QC testing with certain guitars which affect their results. For example, Amp Factory profiles sound the best to me with my single coil Fenders out of the box (Gibsons sound too dark), while Topjimi tend to sound best with Gibson-style HBs (Fenders sound harsh). Guidorist demos are all on an active EMG-equipped guitar and the packs I bought actually sounded best when I borrowed my friend's active Jackson (until I started tweaking it for my passive guitars).

Of course, I tweaked all those profiles to get them to play nice with various guitars, but that's my very un-scientific anecdotal data for you. I feel like those characteristics lend "flavor" to each profile vendor and help me decide whose pack to buy depending on which band/guitar combo I'll be using it for (e.g. if I want a new clean-to-mildly-crunchy amp for my funk band where I play a Strat, I'll look at TAF rather than TopJimi since I feel like it'll require less tweaking before I'll be happy).

Can't wait to try out your profiles, and thanks for sharing a bit of your process with us!

Quote from nightlight

Get one of those clip-on gooseneck lights. Then you'll be able to see everything clearly.

This! A small battery-powered clip-on light has been in my pedalboard case for ages. I don't often need it, but when the lighting situation calls for it, it's an extremely simple solution to an extremely simple problem.

I completely disagree about the profiler infringing on amp maker's rights, and here's why.

Amps are a physical object. The tone of the amp isn't copyrighted. If it was, you'd have to pay royalties to Fender to release an album that was recorded with a Bassman. Every "Marshall in a box" distortion out there would owe royalties to marshall even though their schematics had nothing to do with anything Jim ever made.

Profiles are digital files created through the hard work of their author, and are sold to be used by a single party (the purchaser), who is free to do anything with it other than resell it (there are no licenses limiting a profile to, say, live performance vs making recordings). Pirates sell the exact file of the profile - which is digital theft. If they were creating their own original profiles and saying "this sounds JUST LIKE a TopJimi '59 Bassman", then it would be more analogous to what the profile vendors themselves are doing, but that's not the case.

Completely different.

Quote from and44

Depends what your looking for that your missing?

If you facebook my page, you can download free profiles Im giving away every day. (see my sig for link) some of those might be of interest to you..

Andy's "finale pack" (10) currently dominates the rigs I use. Whatever the change in technique that created this pack, I just can't get enough of it, and everyone who has heard my Kemper since I switched to them has wanted to buy one for themselves. It is truly one of those packs that shows off just how incredible this piece of hardware is, plain and simple.

Do you guys really low pass everything on rigs you send to FOH? I usually aim for the way I would set a real amp (not cranking the bass, but I never had a high pass filter in the effects loop of my tube amps or anything).

I figure that, if my rig sounds like a really good amp normally does, the FOH will EQ it the same way they do real amps, which they are used to dealing with. It's already probably less bassy than a mic with proximity effect anyway...

Then again, I'm a Fender guy so maybe my guitar tones are on the brighter side naturally than some.

The M Britt Modern Pack and TAF Finale Pack 10 are literally the only profiles left on my Kemper, and I haven't even explored 3/4 of them - have spent too much time playing all the patches I've saved based on the amazing profiles I've already found.

Quote from LiamThompson

Just been looking into this as I was unsure as to what a cascaded mod JCM 800 for the Dookie album was, seeing that a JCM 800 already has cascading gain stages same as any Marshall 2203 JMP Master Volume post late1976 would do (it's essentially the same amp in a different head shell)

From what I'm reading Dookie was a modded Marshall 1959 Super Lead, which is a non master volume amp when stock, which would need a pre phase master volume and the pre-amp gain stages cascaded to make it sound very similar to a JCM800/JMP 2203, this is a very common mod for non master volume Marshall's to get more pre amp gain and saturation at lower volumes.

So unless you are after a profile of the specific mod on a 1959 Super Lead done by was it Bob Bradshaw I'm reading??? a decent JMP 2303 or JCM800 profile should be all you need unless Billy Joe's amp was more than just as cascading gain stage mod.

Wow, I was completely wrong. I thought a JCM800 was the starting point, and that gain was added from there. That probably explains why I haven't been finding that tone as easily as I thought I could. Thank you for clarifying this!

Does anyone have any experience with their distortion pedal profiles? The idea intrigues me but I've never downloaded a profile of a pedal before.