Posts by Vinny Burns

Quote from keemarcello

Kee also told me that he took the amp to Folkesson to improve it.

I wrote to Folkesson to know what modification I was going to make, and if I would eliminate the mid boost.

This is what Tommy Folkesson answered:

I'm adding the Eternal Classic distortion circuit. This is the mod I have done the last five years

and it makes any amp sound better in my opinion. Faster attack, better dynamics, a classic

Marshall rawness and nose.

The Eternal Classic is using the cathode follower that Marshall copied from Fender Bassman,

back in 1963 when they starded building their amps. But I have improved dynamics and

other things, from the standard circuit.

About the mid boost, I think he didn't use it in concert, he only used the mid boost to record the album out of this world.

I'm dying to have that tone.

Mats Grahm, Kee, Ron nevison and Folkesson, have been giving me some info about those things.

This is the info I have collected from these people. It's not much, but it's something:

Larrivee RS2 cm guitars, with seymour duncan 59 in neck and Seymour Duncan JB in bridge

Strings D´Adario XL 009-045 or 009-040 based on the 5150 in Out of this world.

Dunlop's Jazz III pick

Marshall 1959 JMP Superlead early 1970's (with EL34 power valve, and 12ax7 preamp valve) modified by Tommy Folkesson.

Mid-boost built in the lead channel tone circuit in the preamp

with this modification, No boss pedal for boost is neccesary.

Mesa Boogie Mark II

Roland JC-120 this 3 amps where used to add some color on some clean sounds

Fender Twin

Cab: Live: 2 Marshall 1960A 4x12" but with XLR connector with Celestion G12M25 from early 70´. (GREENBACKS) In Studio only 1 cab

Mic: In studio: 2 Shure SM57 CAP EDGE OFF AXIS. Live: EV or Sennheiser they where also Cap edge

Live or studio, Studio 2 x Sm57 Cap edge only one cabinett Closeup Live 2 cabinetts

Don´t remeber if it was EV or Sennheiser they where also Cap edge all where close up I think it´s EV but

I dont remeber the model no (they look like Sennheier E 906 but one of the Grills is Golden)

Only the compressor from the GP8 on the Clean sound Sustain from Kee himself

George Masenburg Parametric EQ

biamp eq 210 graphic equalizer 10 bands

chorus: Roland sdd-320 Dimension D

Reduccion de ruido: Rocktron Hush IICX, 2 Channel, Noise Reduction System

Roland GP-8 multi-effects

NOTE:

For distorted sound Boss DC-2 dimension c

For clean sound Roland sdd-320 Dimension D on OOTW In a loop

All guitars where mono recordings but Kee played all rythm guitars two Times and then panned left right

about guitars:

On the US and Asian tour they were standard configurated. On the European We installed push pull potentiometers I cant remember if We did it on both the White and the yellow guitars t

hose potentiometers has a built in switch so depending how you connect them you can do all sorts of different switching What We did was to make the SD’s in single coil mode to get a more strat like sound

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From Tommy Folkesson:

If we speak about the Solo sound in OOTW, its was my regular modifocation, as I did it then in a

Marshall JMP 100W. And after that Kee wanted something of his own, maybe a little like

Brian May-king od sound-

Then i built in a special midboostfilter,don't know if its right in english, in the lead channel.

That works like if you put in a WhaWha pedal in a permanet position between the guitar and amp!

But Kee only used this position during the solos, whit the Humbucker at neck position,

and maby the tone a bit weakned(The Seymour Duncan fits in their pretty well, a high output single coil,

low out put humbucker, right?). And during the rythms it were only the standard modification

and the pickup in birgde position!!

A parametric eq can do just that.

With the parametric EQ you can do what a wha-wha does but with more precision than any wha.

You just pick a frequency at 650hz boost it about 15dB and then check what Q-value

e.g. bandwith is up to your taste. There you have your fixed wha sound!

A parametric eq is just what I put in Kee´s Marshall. The first time Kee visited me

in my workshop we used a pedal parametric eq from Ibanez. Dialed in his sound

and then I built it into his Marshalls.

From Ron Nervison:

Kee had his sound already to go. I think I enhanced it a great deal though. I used vintage Neve mic pre's

through an SSL console (not sure which one from 1988) I probably used 2 SM57's on the top 2 speakers

of a Marshall through one side of a Massenberg stereo EQ and then an 1176 black face limiter to a

Mitsubishi 32 track dig. hope that helps...............Best Ron........

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Well, you are certainly getting this covered from all angles.
hope you get to nail the sound.

Yes, just got two Stage units a few months back for all the gigs and the next Dare album.
Yes, I remember Mats very well from when we toured with them for four months on that tour. Very clever guy, great tech and really nice bloke too.
Been with Kee a few times over the last few years. Picked him up from Manchester airport and we drove to HRH festival in Wales when he did it a few years back. We discussed that sound and he said it was Folkesson modded amps but maybe he was just referring to live although I know Joey already had Folkesson modded Marshall’s and the band seemed to be already working with Tommy before Kee joined.
Anyway, Kee did mention that Tommy is working on a sig model amp of his OOTW sound.

Will ask Kee how progress is going next time I see him.

Oh, and yes, both amps were modded 1959 model Marshall Super Leads.

Try this to start with. Roughly in the right area. Swell is just volume pot on guitar like VH Cathedral on Diver Down.
To get this setting of ms delay, you need to untick the ‘to tempo’ switch at the top of the screen. Mix should have been 100% but I was just sketching it out quickly

Quote from Burkhard

I think, that is exactly what Rig Manager is here for. Focus the PROFILER browse pool on personal best or the one project you are currently in.

it’s probably a good idea not to make certain functions solely dependent on the unit being attached to a computer or rig manager. These things should be achievable with just the Stage or the other profilers on their own.

I know you guys are working really hard on the new Rig Manager/editor but please don’t tie everyone to having to use it for simple search and organisational functions.

Quote from keemarcello

No, I don't have that amp, although I would love to have it.

What I want is to get as close as possible to the tone of Kee Marcello (Ex-Europe).

His guitar technician Mats Grahm told me what amp, cabs, mics, etc. they used to record the album. That's why I wish I could have a rig with that configuration. If possible with a mid boost and a Boss DS-1 pedal. A few profiles with that configuration I would love

Hi. Wasn’t Kee using Folkesson modded Marshall super lead 1959 heads? On the OOTW tour he definitely had the two Tommy Folkesson heads. He had them housed in a flight case with his small rack. Back then as far as I remember, Mats was Mic’s keyboard tech. Benty was Kee’s guitar tech. Maybe Mats was his tech on the album though.

A full frame DSLR is much better. To get a great shallow depth of field, I use a Canon f1.2 50mm lens on my 5D Mk3. Before I had that lens, I got good results with the f1.4 50mm.

Quote from AlexVaca

Hi, recently? Days ago? When the messages started appearing?

About a week ago. One is a brand new unit bought this month, the other was a replacement straight from Kemper.
I was testing them both out so I am not 100% sure which one did it. Not happened since but none of them have been completely unplugged from the mains since.
I have a feeling it was the one in my control room as I seem to remember it happening in there. If that is the case, it is the new replacement unit from Kemper.
Been using it extensively since and it has not done it since. Like I said, it has not been unplugged from the mains.
Going to get round to putting it in my live room and swapping it round for the unit in there as I have not profiled with this replacement and it’s quicker to setup and test in the live room.

I had this clock message show up on one of my Stage units. None are on the latest OS. Thy are both on 2.08.

You have to place the looper at the end of the whole chain for that to happen. It’s in one of the menus.

Nice. Love that Tele too.

I don’t think anyone is saying they don’t need it. All I was saying is the same handful of people crying about it not being released yet makes zero difference to when it will arrive. They have no influence on its release at all. Nothing they say will hasten it’s arrival

Quote from Nimbas

If you have good headphones it's the opposite.

My Neumann NDH 20’s plug straight into my Stage.

Quote from aftec1570

Hi Vin! Always nice to see old HRI guys!

I already wrote, I'm not screaming for an Editor, I was just contemplating if allocating resources had the right balance from a business perspective.

Ah, really miss the HRI days. 😊

Who would imagine back then that we could all ditch our Bradshaw systems and pretty much have it all on one unit.

Quote from spikey

Hi Vinny, I agree to all but one thing - I think the "importance" of the Editor changes per the users needs. And thats why one is being made, because G-String see's this as an issue as well, and not just for having to bend down to adjust the Stage. For example, what you may not be thinking about is using the Kemper in a studio some distance "away" from your DAW/Mixer/ETC. Here is where the Editor will be very handy to have.

Yes, agreed. If it’s racked far away, that is a pain. Same with bending over to edit the Stage. Like I said in another post a while back, it’s still infinitely better than programming an old school Bradshaw system from back in the day.
The thing is, it will be released. I just don’t understand why the same handful of people fill two new pages everyday with the same complaints. I just don’t see the point. It won’t speed things up. The editor will land when it lands.

Quote from aftec1570

Well, none of the other players (Fractal, Line6) have ever announced an editor, or charged for it. It was evident 7-8 years ago to have something to easily manage presets and "performances" or edit effects parameters without scrolling and page shifting. Although all of them provided the possibility to do that from the unit itself.

It's a shrinking market, kemper needs to step up and widen it's possible consumer market by releasing an editor.

The stage is 5-6 years late, but the company is catching up, but I still believe releasing the stage without the editor was a misfire.

Kemper cone? Couldn't care less. Way too much resources wasted into a product, for a very narrow possible market and profit.

I have bought two Kemper Stage units knowing there was no editor. These have replaced my two Fractal Axe8’s which did have an editor but not at the initial launch. I also owned the Axefx 2 XL and a regular AxeFX 2 before that.

I have not owned any other Kemper stuff before the Stage. For me and many others, they were the unit that I have been waiting for Kemper to release.
I think you are over doing the importance of the editor. So many Kemper units out there and not one of them was sold while an editor was available.
Don’t get me wrong, I think it will be a great addition but, in the grand scheme of things, this is a actually quite a simple unit to program due to the user interface. Hence the massive amount of Kemper units already out there.
So many posts in this thread complaining but it’s mainly the same handful of people. Everyone else is just getting on with making music and playing.
So, lack of editor was not what kept me from buying Kemper. I was only ever waiting for a floor board like the Stage to be released. The editor never came into the equation.
I know people who have also dumped their Fractal gear to get the Stage too.

Yes, the editor will be great but it’s not a deal breaker.

Quote from paults

Make a Backup of one Stage, and Restore it on the other.

Seriously? Not really an elegant solution.
Just because things are the way they are does not mean they have to stay that way. Why are you so reluctant to a change for the better.
I know the workarounds. I tend to stay well clear of Rig Manager in it’s current state after a few of my profiled amps completely disappeared. Fortunately, I had the missing profiles in a Performance. Hmmm, if only there was a quick way to get that Performance onto the other Stage.
So yes, the only way for me to do it this time was by using Rig Manager. On the road, I don’t have my laptop with me. Just the two Stage units.

I also think it would be great to be able to import Performances via USB stick. I have two Kemper Stage units and the easiest way for me to keep them synced would be just using the import function in the usb menu and have it include Performances.

Like the post above said, just give an error if there are not enough slots. On our own units, I think we can manage to know what is on there already and what we are adding so it’s not hard to keep track of if they get put in performance slots away from each other on import.

Quote from Burkhard

There is a dedicated Youtube video "Mission EP1 KP & Kemper Set Up", which explains exactly this application. The only difference at the Stage is that you find the pedal configurations via the PEDALS button.

When calibrating a pedal, is there some sort of indication that it is in calibration mode? Pressing the calibrate button changes nothing on the screen to let you know if it’s working or not (I am using a Stage). Same with exiting the calibration process.

All seems very hit and miss as to having any indication if it’s working or not.

Quote from mistertyler

Am I missing something?

Computer?

As was suggested the other week, the refine option needs an undo for when it freaks out and ruins the profile.