Posts by Mateo_2006

    Place the verb pre-amp , not post.

    Check my settings post and pre amp on my rig ex rig ' Boogie on spring' , but be sure to disengage all your FXs before.

    "Boogie On a Spring" is nice Waraba. Thanks for that. Four reverb choices on that rig. You are certainly a reverb enthusiast! Nice to hear the different options that you were thinking about there.

    I also like the settings on CHuckC's "ANDYS VIBROLUX" profile, with Spring and a Legacy reverb choices in the post amp position but the Spring pretty tame there.

    Of course, I had tried the presets but they didn't do it for me at those settings. None of them sound a bit like how I would set up my Ampeg or my Twin.

    The thing is it is dead simple to get great reverb sounds out of a Fender or similar amp. Even stand-alone Fender tube reverb units only have three controlls: dwell, mixer and tone. I guess it is nice to have greater control over the reverb sound but having so many parameters also makes it more difficult to dial in.

    Of course, once I have a few of the right recipes down, I am sure I will no longer be able to live without the extra options! ;)

    Thanks for the suggestions.

    First of all, I try every profile named tweed-anything (or champ or princeton or deluxe for that matter).

    I had even wanted mention them in the Hidden Gems thread, but didn't want to try to explain my tweaks. If you haven't already, maybe you should mention them in that thread Mateo_2006.

    Absolutely, Kevin. If see the words "tweed" or "blonde" in the description there is a pretty good chance I'll take an aural "peek".

    Perhaps "Hidden Gems" is better for this post than a thread of its own.

    I just wanted to send a shout out of appreciation for Zoltan1957's "1955 SUPER TWEED" profile.

    I usually have to tweak most profiles a bit to get the kinds of sounds that I am after from a particular amp. Not so with the Super Tweed!

    This baby is good "right out of the box" (or Rig Exchange, in this case)!

    If you are like me and didn't grow up with a lot of Tweed era amps lying around the house, when you think of a "Super" it is a blackface Super Reverb that comes to mind. And for good reason, as that amp has one of the most iconic sounds ever. It was so popular it had many imitators. My main amp as a teenager and in my twenties was Ampeg's take on the Super Reverb formula, the VT40.

    The 1960s Blackfaced Super Reverb formula was:

    4 x 10 inch speakers

    Accutronics made reverb units

    45 watts

    Awesome cleans

    Singing sustain up loud.

    But the tweed era, Fender Super, was totally different from the later era Blackface and Silverface amps carrying the name "Super".

    Two slanted 10 inch speakers

    18-20 Watts

    Classic tweed breakup

    Tubes: 5U4, 6V6 (2), 12AX7 (2), 12AY7(2) 1955-1958

    (The Supers before and after the late 50s sported 6L6s)

    So the version of this amp profiled is a world away from a Blackface era Super Reverb.

    I love playing this profile through bridge position of my Lollar Charlie Christian equipped strat. (Output similar to a humbucker but breaks up later). A nice break up and focused tone without excessive "honkiness". A real winner and not just a sound for those nostalgic for that 50s sound either!

    Thanks to Zoltan1957 for posting such a great profile!

    I rename everything according to something that means something to me. The name of an artist or a tune that the sound evokes and just put a prefix for what guitar I tweaked the sound with so I have stuff like:

    "CCC Soulero brighter" - denoting that I tweaked it for the strat I have with 3 Charlie Christian pickups, that it reminds me of Kenny Burrell's Tweed Deluxe on the edge of break up on that early 60s Blue Note recording. "Brighter" refers to the fact that I have another tweaked profile saved with a darker EQ.


    HUM Carlton Vibroverb - denoting humbuckers, Larry Carlton's clean sound on the Sleepwalk album, and the amp which be different from another profile like "Carlton's Tweed Grit". I also use "Clean", "Hot Clean", "Grit", "Brown", "High Gain" etc as I might have multiple tweaks of an amp saved with different amounts of gain.

    The prefix is handy because is gathers all the profiles for specific guitars together in the same place. A standard strat is my default and so gets no prefix.

    In the Rig Manager, I sort my saved profiles into files built up more around amp names like "Blackface Bassman" or "Tweed Deluxe" or "Dumble-esque", although I do have some file which denote sounds also. So I have files like "Marshall Lo" "Marshall Mid Gain" and "Marshall Hi" but also files named "Gnarly" and "Old Tyme". :)

    If you call up a profile in RM you can always see all the details of what went into the profile, amp, cab, mike etc., so I don't feel I need to record it in the name. You can often see the original amp on the screen of the Kemper too, like "1950 SUPER TWEED" or whatever, so there is no trouble retracing your steps and finding the original amp profile it came from.

    I focus more on the "outcome" of the sound and an image it brings to my mind rather than the "parts" that put it together for naming the rigs I save.

    So "CCC Sultans Darker" is better for me than preserving the oblique name the profiler gave a profile like "Fan Show Girl" or always using the amp in the title (although I often do). Rigs are collection of sound snapshops rather than being "just the amp" or even being "the amp in its entirety" as you might have 4 profiles of that amp with different gain stages and EQ settings profiled. I am going to name those individual sounds rather than just name the amp and it is easier for me also to have a file in Rig Manager marked "Pushed Clean" than to have to look through all files I have saved under "Twin", "Showman", "Deluxe", "Dumble", or "Vox" and look through all the various profiles I have saved in those files when what I need is just a great clean profile, so I will organize them that way as well.

    The Spring is especially tricky. I don't really have 3 or 4 go to Spring settings yet. ...But you have to do the work to get the results and I haven't spent enough time with it yet.

    Still I don't hear a lot of the new profiles on the Rig Exchange sporting beautiful spring reverbs settings either ... so I must not be alone. ;)

    Funny thing about uploading rigs, I haven't for a moment considered that my stomp and FX slots are uploaded as well! Goes to show how new I am to making my own profiles, I guess!

    Oh, for sure. I get lots of ideas from the way other people are setting their effects up with certain guitar sounds.

    For example Boogiem has a great "63 Vibroverb" profile and he uses the Legacy Reverb to great effect to get a nice atmospheric reverb. I save that reverb set-up into my effects and just modify the Mix settings to my application. I call it up for a lot of my cleaner Fenderish sounds where I will have parts played unaccompanied or without dense keys and other guitars playing or it might be too muddy.

    So if you take your Deluxe profile, -1 on Gain, +3 on Treble, Treble Booster at 3.1/Tone and -1, 10:00 for compression in the AMP section and add Boogiem's reverb settings you get a tone somewhat reminiscent of Larry Carlton's tone on "Last Night" on the "Sleepwalk" album.

    Last Night

    Boogiem's Legacy Reverb setting:

    Mix ( reduced to 16.4) Delay (3.78) Room Size (Hall) Predelay (20 ms)

    High damp (2.2) Bandwidth (4.5) Mid freq (-1.4) Ducking (0.0)

    Thanks for sharing man! Good profile.

    Good stomp and reverb settings too.

    I made the following tweaks for my set up using a 3 Lollar CC pickup equipped rosewood fretboard strat

    Neither humbuckers nor strat singles coils but closer to humbucker output and tone than to that of a conventional strat.

    - I bumped down the Gain from 4 lights to 3 or 8:00 (sounds less like speaker break up to me.)

    - I put on compression in the AMP section to about 10:00 o'clock (I just tend to like that compression.)

    - Liking what your Pure Boost did to the amp, I replaced the second stomp with a my go-to Treble Boost setting -Tone 3, Volume 1.5

    - Increased the bass to 2:00 as this guitar seems to have a hole there with these settings.

    This gave really nice note definition (too much for a lot of people) and some more brightness.

    I was raised on Larry Carlton's tweed sound in 1970s/80s and this is what I have in mind when dialing something like this Deluxe up. He definitely had no fear of compression. :)

    I think everybody needs to tweak their settings for each guitar and application. These settings wouldn't make it with my pine-bodied maple-necked CC equipped tele. Same pickups but different brightness between those two instruments for sure. The great thing with the Kemper is you can just save different EQ settings for different guitars!

    Thanks again for the profile.

    Thanks. That spring reverb setting is MUCH better than anything I was able to come up with and sounds good on it's own.

    Here is a Legacy Reverb setting that I have used prior to the existence of a Kemper Spring Reverb that has worked for me to good effect.

    Mix - 25.5% Decay -1.910s Size - Large Room Pre-Delay - 106ms

    High Damp - 2.4 Bandwidth - 0.0 Mid Freq - 1.8 Ducking - 0.0

    I think reverb is a really personal taste. I was in my teens in the 80s when people were applauding the existence of these new digital reverb/delay units which came into fashion (Lexicons were king!), so even while many of my heroes might have used spring reverb sounds, their engineers were definitely using digital reverbs for specific instruments and for the mixes as a whole. When I think of great reverb sounds on guitars, I think of the early Dire Straits albums and Larry Carlton albums from that era. I think Steely Dan's "Gaucho" and "Donald Fagen's "Night Fly" were often put on the turntables to check out people's stereo systems in that era. ( We also used Seiji Azawa's "Four Seasons" as it got a very high rating in audiophile magazines of the time.) Anyway, the stuff we listened to coming up often establish what we are looking for in a reverb so it can really vary.

    Here is an interesting history of reverb that I learned stuff from:…-history-of-reverb-602421

    I also think that the above reverb sounds real good on a solo guitar or a sparse mix but you are going to want to tame it down if there are lots of instruments in the same frequency ranges.

    I use that reverb sound with fender guitars with single coil pickups and a clean sound. Gain increases your perception of your reverb levels too and I think this might make for a 'soupy' mix if you did not make some adjustments to it.

    One sound I use it with a lot is John Tyler's "1962 Bassman" with 6L6s - a clean bassman sound which I add compression, treble boost and mids to. Once again showing that 80s influence.

    Studio ace, Carl Verheyen wrote an article in Guitar Player warning guitarists not to record their tracks with reverb as they may not fit in with the overall mix and the Kemper gives us lots of options for a 'dry' / 'wet' rig or even reamping to make sure our parts fit, so we are pretty lucky in 2019!

    Actually I have tried that, to give it that "stand alone reverb unit in front of a tweed amp" sort-of-thing.

    (A Vibro King also works this way.)

    But if we are thinking of blackface amps like the 67 Vibrolux in the video, I believe that the reverb comes between the preamp stage and the power amp stage just like in a modern effects loop.

    However, if it sounds more authentic in the Kemper that way I will keep my efforts focused on placing it there.

    So on another thread posted recently someone was speaking of difficulty in getting good Spring Reverb sounds.

    I had assumed that I was the only one but didn't want to speak up as I didn't think I had spent enough time decoding the Spring Reverb's parameters and to be honest I have been getting good sounds out of the Legacy Reverb and so it wasn't such a high priority for me.

    Then I was watching guitar builder/modifier and Peter Green expert Larry Corsa playing:

    Larry Corsa

    Whoa! What a great sound through that 1967 Vibrolux! (1:30 - )

    That heavy reverb may be consistent with some of Peter Green's recordings but I was instantly brought back to listening to B.B. King's late 60s live recordings - No fear of reverb there and sounds are not at all clean!: Night Life

    So I was wondering if anyone has had success using the Kemper's "Spring Reverb" to recreate this kind of heavily reverb laden sound?

    Recommendations for profiles or settings?


    Cleans are my thing and I have a propensity toward Fender Blonde/Brownface era sounding amps with 6L6s

    John Tyler's - 1962 Blonde Bassman

    Boogiem's - 63 Vibroverb

    Bert Meulendijk's - Fan Showgirl 1962

    Pino Supertino's - Line 6 Pod Pro (for a more compressed clean for jazz)

    ZAP's - Polytone MB IV (for jazz and more middy sounding cleans)

    Giacomo's - Mesa V Twin - 6L6 (for extra low end)

    I usually put in the following stomps on clean amps to make these clean profiles flexible for many sounds from clean to grit to grind. :

    [ Comp - TrebleBooster - Green Scream (low gain) - Green Scream or Mouse (medium gain) ]

    I use the Treble Boost set up for brightening the sound not increasing the volume.

    Medium Grit:

    Luckbad's - Ethos Overdrive

    Heater's - Heaters Kingsley DL30

    M. Wienstroer's -Fan (65 Bassman)

    Joptones' -Trainwreck Express


    Joptunes' - JTM50BF (Bridge pickup)

    And44's - Brown+Timmy D/13

    Actually I think there are dozens of great vintage Marshall and 5150 profiles. People don't seem to have much difficulty making profiles of these that I like.

    It is the cleans that are tricky and combining them with the right reverb makes all the difference to me.

    I feel your pain.

    I am new to the reverbs and am still feel it may be my lack of understanding that is preventing me from getting Fendery sounding reverbs without the harshness I am currently getting from the Kemper spring.

    I am actually quite fond of spring reverb as it exists in Fender, Boogie and Ampeg amps (My Ampeg VT 40 had a great spring reverb and I was used to hearing that for 20 years.) however my experience with spring reverbs has been confined to one and two knob options in amps.

    I also quite the enjoy the plate reverbs within the Kemper.

    If you go on to the gear exchange you can find under "ANDYS VIBROLUX" that, like you, rig author "ChuckC" has two reverbs settings set up which are pretty nice with a "Spring" which could be used going in the "Legacy" reverb - both are post amp though.

    But the Spring isn't very overt. The Legacy would be doing most of the heavy lifting for that one combined with a fatter blackface-ish clean sound. (Actually a Divided by 13 into a Riviera Cab).

    You might take a look at the settings there.

    It may not sound like a Vibrolux's reverb turned up (It doesn't.). But sounds pretty good to me and might give you some ideas of how someone else has dealt with using the spring combined with another reverb in a musical way.

    With the Kemper, we are not restricted to one amp but a multitude, so I'm just asking if actually the same effect is possible using different amps rather than stomps. In the case of the Fender, you could choose a HotRod deluxe for extra grit or a matchless blah blah.

    But as I said, I'm not a stomp guy ( I'm not anti stomp either :) ). I've always just used the the Amp gain structure and eq. I've never got on with pedals in the front...but that's just me..maybe there is a big world I'm missing :)

    I feel the same too.

    Why put a Wampler Pinnacle in front of your Plexi Profile when you can use a 5150 profile set where it is cooking? Rather than placing a Dude Pedal in front a Vox profile, I'd rather use a Kingsley Profile. No contest - for me, that is. ^^

    On the other hand, if you normally play with a Klon in front of your JTM 50 and you want exactly that sound for your boost and the ability to change the settings then you should probably buy a Klon.

    If you haven't already been using one, I can't see you 'Jonesing' for one with a Kemper. There are already endless gain stage options with profiles.

    The Klon was made to solve a problem that a Kemper owner doesn't have.

    Definitely, but he can also use anything on the planet and he chose the Archer which is a viable option for people not wanting to buy a Klon.

    I think the Archer sounds great too. I like the Silver. The silver archer would be my second choice.

    I think the Tumnus is a great variation on the theme with a bit more 'girth'.

    There are tons of variation around nowadays. I think most of them sound great!

    I chose the ARC Effects Klon Klone because of the bass boost but in reality I almost never ended up using that feature.

    I thought Toronto was humid in the summer until I lived in Seoul. I thought Seoul was humid until I lived near Kyoto. :wacko: Conditions can vary a huge amount from place to place

    "In the future, I will simply cover with a plastic bag if I encounter that kind of humidity again. But, my question is , have any of you had humidity related issues? "

    I would have thought that a towel would work better. Wouldn't a plastic bag trap all humidity in?

    I think humidity really effects tube amps a lot as well. My buddies and I would often go back to a killer sound we had yesterday and wonder where it had vanished to. ;(

    A lot of old school effects like Fuzz Faces are certainly effected by temperature.

    If the air conditioner comes on right in the vent right behind my guitar, my guitar with definitely go out of tune and when it goes off and the guitar warms up again, it will go out of tune again ... fortunately close to uniformly. ^^ Blessed are those LEDs which automatically show us our pitch on the Kemper.

    A bit of a dead thread, but I have the Kemper and I have Arc Effects Klone V2

    Arc Effects Klone V2

    as well as Timmy


    I completely love the Klon Klone and it sounds fantastic in front the Kemper. The Timmy is even more flexible but doesn't impart that 'warm sheen' that most Klon clones are famous for.

    I cannot replicate this sound exactly with the Kemper's stomp boxes. This video shows an approach using a combination of the Green Scream and an EQ to create something more Bluesbreaker pedal. For me it doesn't really ever sound like a Bluesbreaker pedal or a Morning Glory but rather like Green Scream with a softened mid hump ;) (but I still hear a bit of the hump). Kemper OD Stomps It does however sound good and creates something totally useable.

    So I love the Klon clone and the Timmy but to be honest for the last couple of years I only break them out very occasionally. I wanted to simplify stuff when I was getting the Kemper and anything that requires a power supply and multiple connections, any one of which could fail is not simplifying (for me).

    Instead I use different amp profiles with different flavours of gain for different levels of distortion and I use the Kemper's Compressor/Treble Booster/Green Scream (down low)/Green Scream (set higher) or the Mouse to create flexibility with a particular profile.

    I cannot even replicate the low gain level sounds of a real RAT pedal with the MOUSE ... but I don't really care.

    I can get so many different gain sounds from amp profiles that I could never get from putting a box in front of an amp and I can add flexibility to those profiles with the gain STOMPS so I have a huge range of sounds at my disposal.

    ...and you know what? I never have to check batteries, wonder what is the best place to put a new pedal in the signal chain, wonder why my Fuzz Face sounds so different today than yesterday or if one of the connectors is loose. On top of that, it is so QUIET! People forget about how much noise those pedal chains insert into your signal path until they aren't using them.

    So I have a Klon and a Timmy and, as Tony the Tiger says, "They're great!". I pull them out every once in a while when I want some their particular mojo but I don't really feel I NEED them ... at all.

    There are so many choices of great amp profiles with gain. I don't feel I need to rely on outboard stompboxes.

    But if you really want the sound of a Klon, you should get a Klon or one of the clones. You can't make stuff sound EXACTLY like stuff it isn't.

    Hi Don:

    I respect your perspective and I am sure superior knowledge (most people are more tech savvy than myself) ...but I was always under the impression that what we were getting was more like a photograph of the amp as the exact setting we profile it. If not, why do multiple profiles of an amp with different levels of gain? (That is a real question and not an attempt to be a 'smart' guy.)

    The gain seems like a generic gain effect which is applied in the same way to all profiles. It isn't modeling the gain structure across the dial

    But having said that, I have never actually tried upping the gain significantly while turning the definition down as a particular strategy ... and that is a strategy that I will certainly give a shot! Thanks Don.

    Tone Junkie also has a video about modifying the EQ of existing profiles that is pretty cool: Thoughts On Kemper EQ

    The fellow on the video advocates not minusing much more than 3 to 4 clicks of GAIN or adding more than 2 clicks before it "starts getting away from the amp" (14:00 minutes in). This seems more consistent with my own experience ... but like I said, I am eager to experiment with dialing down definition in direct relation to the gain and see if good things happen! :thumbup: