Posts by Vinny Burns

    weren’t they brilliant? I was lucky enough to see them play an afternoon slot in an Edinburgh nightclub in the mid eighties. Well past their ‘famous’ stage. They were absolutely amazing. Dan Mcaffertys’ voice is even more outstanding live.

    Yes, such a fantastic band. Still listen to them now.

    Seem to remember Manny using a Blue Box round about the Hair Of the Dog era so I think you are on the right track.
    I used to have a 70s Blue Box and I probably only bought that because I thought Manny had used one.
    Thanks to my older brother, Nazareth were the first band I was ever into.

    I think certain power amp distortion can maybe freak the profiling process out. Not sure though.
    Gain wise, I have had no real problems with very high gain sounds from my Mesa Mk3’s, CAE3+SE, ADA MP-1 etc.


    I do find the refine step quite fascinating. Finding ways to bring the Profile back on track when it sometimes takes a left turn while using Refine.

    Also, getting the full range of a high gain sound that reacts to different pick angles and attacks.


    I spend ages refining my profiles but have a few set things that I normally play during that process. Discordant harmonics being one thing. I check everything all over the neck. Sort the bottom end out….. has that changed the top end and mid range. Making sure that the Profile is representative.


    Having no undo, I have developed a few things that can normally get my Profile back if it goes south during a Refine.

    I think Burkhard is right that to get to the root of this, simplifying the process for now might help find where the problem is.
    It would only mean muting one mic just to test.


    How far out is the created Profile from the source? Slightly out or a night and day difference?

    If it’s slight, you can most of the time salvage during Refine. When the Kemper overshoots the gain, bottom and and mids, I normally do some discordant harmonics to get back on track during Refine after adjusting the gain on the Profile to match the source (if the gain has overshot)


    For instance…. During Refine, playing harmonics across all strings..…

    4th fret bottom E, 5th fret on the A string

    4th fret A and 5th fret D

    4th fret D and 5th fret G…..

    Same pattern up all the strings.


    Another harmonic pattern I use is…..

    3rd fret bottom E, 4th Fret A and 5th fret D

    3rd fret A, 4th fret D and 5th fret G

    All the way up the strings.


    I did have a situation where the Profile was completely out and I couldn’t fix it. That was on one of my 70s 50w non master Marshall heads.
    Had the volume on 10 and the resulting profiles were completely freaked out. All muffled bottom end and distorted. Knocked the volume back to 8 on the Marshall and it would the profile fine.

    Simplification is the way to go in order to understand what is causing the issue.


    Other than that I'm wondering why you want to use two microphones of the same type. What is the value add? Usually people use one microphone to capture the speaker sound closely - this is a typical application for the SM57 - and another to capture the room - this is a typical application for condenser or ribbon mikes. Are you using different types of speaker chassis in your guitar cabinet(s)? Or what is the purpose? In any case you need to avoid phase issues between both microphones.

    A tiny bit off topic but, this following scenario is a situation where you are definitely not avoiding phase issues. Lol………..

    A great purpose for this is to record an SM57 and an AKG 451 (but, it can be two 57’s). Works best with a small condenser and a 57. Both mic’ing a different speaker on a 4x12

    Set the 451 out of phase with the 57. Get a nice scooped balance between both mic’s on this out of phase sound by riding the faders. Think scooped Van Halen 1. Once you find it, Leave the faders right there.

    Put the phase back to normal on the 451.

    Then, send both mic signals together to a mono track in your daw. Record a left and right track of this (in phase).
    Then record a third track (panned central) with the 451 out of phase.
    You end up with a lovely panoramic sound where the centre track still ties the left and right together. But, the centre track now has more space for the kick drum, lead vocal and anything else that is panned central.


    It’s best to sweep the speakers first. Simply put your headphones on and listening to the amp hiss, sweep the mic up, down. Left and right on the first speaker until you hear the most intense hiss. It’s easy to spot where it is. Mark that spot and repeat for the second speaker and mic. Place the mic’s a couple of centimetres off the grill. I am using Marshall 4x12’s for this.


    I am going to make a few profiles like this as it will be so much quicker once I have profiled an amp with both in phase and out of phase sounds to just recall for the next time I use that sound for why the guitars.

    So, it was just a quick tip for a nice full tracked rhythm guitar sound.

    The GLXD16 definitely works with the Stage.
    The blue LED on the receiver should be solid to show you are getting a constant connection from transmitter to receiver.
    The green LED on the receiver will show a signal when playing. The Green led on the receiver will go out when you stop playing.

    If none of the above is happening, you need to trouble shoot that first before moving on to the Kemper.


    Also, make sure that once the receiver is properly paired with the transmitter to set the gain on 0 (zero) by pressing the menu button on the receiver. The first option will say ‘db’. It should be set to ‘0’ already but if not, change it to ‘0’

    Press the foot switch and you will be back out of the menu settings.


    Also, press the group button on the receiver and it will scan for the best signal for where you are.


    Hope you get it running ok.

    Izotope RX 9.
    You can isolate percussion, bass, vocals and instruments separately and export all or any of those.

    You choose just the ones you want included in your export.

    It does quite a reasonable job.

    Not that I would know. But we certainly have the highly respected Vinny Burns on this forum who plays together with Thin Lizzy's Darren Wharton in a band called Dare :)


    Seen a nice clip from those folks here some days ago...

    I have loved working with Darren. We originally started Dare in 85. Not long after Lizzy finished their ‘farewell’ Thunder & Lighting tour. The last time they would tour with Phil.
    I was a huge Lizzy fan growing up. It’s one of the reasons I bought a Les Paul as my first decent guitar.

    So when someone from my home town joined Lizzy at18yo, it was a huge thing in our town.

    A few years later, we started our band Dare.
    Through Darren, I have got to know Scott and Robbo over the years. Even played with them both onstage.
    Being a Lizzy fan, that is great. ?

    I would say that if you are doing fly gigs, get a flight case. I have two Kemper stage units and they are both flight cased.
    I have those two Kemper’s and two guitars that are also flight cased. They all go in the hold on the plane.

    I know that once we get to the destination country for our gigs, all our stuff is then put in the van the promoter has. Usually with the the rest of the hire gear for the dates.

    The last thing you want is your Kemper in a little soft bag being banged around in the back of a van by every other piece of gear that is in a proper case.

    Obviously, this is how I do it but you may have other reasons that you don’t want to do it like this.

    I use the compressor in there all the time. I am getting results that I can use ?

    It cannot get it to do what my DBX does though. The compressor needs traditional controls and a gain reduction meter. I would like to replicate exactly what I get from my DBX and not ‘use my ear’ to get something similar but not quite right.

    No one has to use any future studio style compressor if they don’t want to. They will still have the stomp one that is in there if they are perfectly happy with it.

    Would be nice to have the option of something more precise with traditional controls.

    I know it’s not possible…….. yet…… who knows what the future will hold. As mentioned above, profiling didn’t exist at one time……. Anyway, I would love to be able to profile modulation effects then I can have my Tri Stereo Chorus unit and some of my Flanger pedals. ?

    Well, they are not in my Classic Profiler as that is just for my studio stuff. Don’t really want to mess with my studio unit.

    I keep everything on that unit separate from my live stuff. I just use this Classic Profiler for recording and for profiling.

    It was then a simple process of just exporting my Profiles via USB then copy and pasting them into the amp section in each individual Rig of a Performance that already had the Rig volume and all the effects tweaked. I did this as and when I updated the amps I had profiled until I settled on what I was happy with.


    Think I am going to have to rebuild everything. Making note of the individual Rig volumes and exporting each effect.

    This highlights the problem with not being able to edit the Rig Author in Rig Manager as well as not being able to export a Performance via USB.
    I think even an unused Performance would have Kemper as the rig author as every slot is pre populated with the Crunch rig.

    It is what it is though. I have two Stage units (one is a backup) so if anything goes wrong, I have a safety copy on the backup unit.

    I see a bit of re programming work in my near future. ?