Posts by kevinduren

    I agree with most of the above, but want to re-emphasize: If you have an amp and/or profiles(s) that you do not want to or cannot name, I would still buy the profile(s). If you think that the the profiles are worthy, then I'd like to hear them. And like patrick2099, I do enjoy the little blurbs that are included with the profiles. It would be interesting to know why you declined to include the amp name!

    So, that begs the question: Why did you ask?

    It is fun to "know" what "amp" I am playing through, but not completely necessary. I have used profiles of amps that I was not familiar with (Quidley for example) and that has in no way been a deal breaker. In fact, I use the Quidley for low-tuned/tic tac/baritone type sounds, but discovered later that the amp is actually a vox/marshall type of amp.

    If you were not able to reveal the name of an amp that you were going to profile, I would much rather have the profile and not know the name.

    Any info about the circuit , tubes...or some indication of voxy, fenderish, marshall-like, would be interesting.

    For a while, I have wanted to blind audition my favorite profiles, just to make sure I am not "listening with my eyes", if you know what I mean.

    i remember trying to create the killswitch effect when someone else asked about it a while ago. I couldn’t get close as the tremolo doesn’t go to off but an idea might be to put the Tremolo in front of a 4:1 gate with a high threshold. In this case the gate should kick in as the tremolo sweep goes negative. I haven’t tried it and suspect the gate attack might not be fast enough but its worth a try.

    I had the same thought regarding the gate, but had no luck.

    This is how my very bad dreams go... I had that once at a very small venue when the owner intentionally unplugged us because "you guys are too loud!". The drummer kept playing and smiling... while we others were looking around with a mixture of horror and laughter 8)

    I saw this happen to KISS, so like I said...

    YoavHanuka, my first impression: you are probably not listening to the profiles at a high enough volume.


    My perception is that there has been a progression of MBritt profiles. The earliest profiles(including those in the free pack), the "middle" profiles(such as GrabnGo & CranknGo), and the most recent 2020 pack, each have some overall differences. In my opinion, there are outstanding profiles in every pack, with the most recent profiles being "better". This is almost certainly due to Michael's learning curve, refinement of his process, finding amps that profile better, and many other factors. And he started at a very high benchmark. Based on reading these forums, his earliest profiles were the benchmark.

    For some perspective, Michael and I are of a similar age, and based on his playing on his demos, have similar tastes in music and playing style. For full disclosure, while Michael was enjoying(I hope) huge success with Lonestar, I was playing covers of all their hits. Point being, his profiles are perfectly suited for me because I have similar tastes and needs. Your tastes and needs might be different.

    Putting this in writing feels heretical, but there is no requirement that you must like and use MBritt profiles to successfully use the Kemper. Based on reading these forums and my observations of other players I meet on the road, it appears that a large percentage of players do like and use his profiles. My observation has been that, many professional, working, accomplished players, are using the free MBritt profiles. Even players that are successful to the point where money is in no way a limiting factor. And those player run the spectrum of genres and styles. And those player run the spectrum from "I use them right out of the box." to "...they are HEAVILY tweaked..." . Those are both direct quotes from players I met at gigs and are household names.

    Suggestion: If you don't like a profile (or set of profiles) and if it is not in your personality to tweak away, there are other great options both free and paid. Your time is best spent starting from a good "base" profile and then making some great, inspired music.

    I have started a song in the wrong key....forgotten an intro....had to get the band to hum it to me before I could start it...

    My most recent was at a festival, first song thumping it out, solo comes round, I walk out on the cat walk....KPA switches of the band not sure whats going on but carries on.....I scuttle back to the amp to find no power....turns out power lead have fallen out of my power conditioner...frantic plugging back in and rebooting.

    By this time the song has finished and manage to get back on line without too much delay....nightmare..

    HA! Yeah, if you play live for more than a few gigs, statistically you are going to have "Spinal Tap" moments. If this thread gets going, this could be the longest internet thread in history! Not counting the shows you've played, just think about all of the shows you have seen where things went "Spinal Tap" .

    There is another great one on the Winery Dogs first(only??) live CD (which you can see on youtube,

    ) where Ritchen Kotzen starts a song wrong and recovers. Right after 1:26:00 in the vid. In addition to "how to recover from a mistake", that show, IMHO, is a clinic on how to be awesome at everything.

    I played around with this a bit. Try putting the tremolo before the stack. That will make it mono and stop the panning.

    Set the tremolo with the depth at 10.0 and the crossover at 20.6. Set ducking at <0.0>.

    Then set the rate. For me, the tremolo didn't "stutter" unless the rate was set faster than 1/16trip with the tempo tapped in as quarter notes. It seemed the faster it was set, the more it stuttered. It's just perception because the trough of the tremolo does not go down all the way to silent/off and at slower note values it is discernible.

    It seemed to "stutter better" with no other effects prior to the tremolo. Try putting the Tremolo in Slot A.

    If you need it to be stereo, add stereo delay(s) after the stack. They will stutter also.

    As I tweaked on this, I got more of a "sputter" effect by using two tremolos with one set at 1/16 and the other set at 1/32 (and many other note values).

    And, I could not help myself: try putting three (okay, I'll admit it: I tried four ) tremolos prior to the stack. This did get closer to a stutter at slower note values. Set the tremolos to the same note values. Two tremolos set at the same note value seemed to improve the stutter.

    (Okay, Okay, just don't tell anyone else, but I also put a fifth tremolo after the stack and various combinations are worth checking out;))

    But seriously, I'm not sure if that will work for you, or even sure if that is the effect you are trying to achieve. My thoughts are that, at faster note values, the tremolo does sound like a stutter. The trough of the tremolo does not go low enough to cut the sound off so, at slower note values you can hear that there is no break in the sound.

    Please update us here as you tweak on it and let us know what you discover.

    Spinal Tap is funny because all that stuff really happens... to everybody.

    One of my "best" ones was getting a sub gig with a new artist and having a couple of days to learn a set of original music that I had never heard before. That is pretty typical. I did my diligence and learned the songs...had them down cold, no charts needed.

    At the first gig I realized what I did not learn was the NAMES of the songs. This was not a problem until the first song came up that I had to start by myself. I did not clue anyone in that I didn't know the song names and was getting along by judging the tempo of the countoff, or hearing the first few notes and jumping in. I should mention that, though I didn't know the artists songs prior to getting the gig, his fans DID know his songs. AND he chose this point in the show to announce the name of the next song in his chatter and get the crowd fired up.

    I'm sure you can see where this is going: He announced the song, I thought I was starting the next song on the set list (the one announced to the crowd), but started a different song...with guitar blazing. The guy was a trooper and announced, "Well, I guess the new guy wants to hear (song X)!" and we rocked on.

    I made it through the rest of the night, with the band fully aware that someone needed to sing some of each song to me so I would know which song was coming up.

    Good news though: I got my act together before the next night. I ended up subbing on that gig a few times and then got the gig permanently for a few years.

    I keep as few as possible in the Profiler, currently about 75, but use only about a dozen regularly. Those 75 are my "favorites" and I keep them on the Profiler just in case there is a call for something different than my normal dozen. If I modify a rig, I usually keep the original as a reference or a "start over" point. I also have about 25 performances that are set up for specific uses. I only use about 4 of those performances regularly.

    In RM, I keep everything that I've purchased or downloaded and didn't just delete right away. I keep them in folders by author/profiler and I rate and/or favorite them for future use. I copy some rigs into separate folders to quickly access rigs I like for specific purposes: funk, rock solo, crunch, surf, octaves, EL84 clean, sitar sounds, 80s tones, neck pickup tones, Pink Floyd sounds, etc., etc. I make myself notes in the comments: dark, bright, Fendery, Voxy, smooth, edge of breakup, solo, the name of a specific song, etc. to allow me to quickly search for those types of profiles. There is quite a bit of duplication, but it allows me to quickly find what I need.

    Of course, ask me next week, and all of the above may have changed! :P