Posts by Vinny Burns

    Yes, I would really love a compressor with traditional controls.

    Also, with a simple gain reduction meter to get exact settings I might want to reproduce from previous recordings.

    It’s no fun ‘using your ear’ to setup something that would take 5 seconds to achieve with a meter. Especially with these non traditional controls.

    So, studio compressor with all that entails. ?

    This always surprises me as I set Clean Sense around -5 and leave it there for all my guitars. I never feelthe need to tweak it on a per guitar basis.

    I am the same. -5 on Clean Sens. Les Paul, Strat, Tele etc.

    As stated in the post above by JEverly, I expect my different guitars to sound different.

    I have used the Suhr Reactive Load IR for profiling. It has worked fine.


    The last profiles had………

    Kemper Send going to a CAE 3~SE preamp input. Kemper Send was ground lifted.

    3+ SE preamp out into a Mesa 295 power amp input.
    Mesa 295 8 ohm speaker out in Suhr Reactive Load IR.
    Suhr Reactive Load IR out to the Kemper Return.


    When I needed to do a DI profile, I just switched to the Suhr unfiltered output back to the Kemper Return.

    Although we never used them on that album, I have always been intrigued by how the Lead 12 would sound and often toyed with the idea of getting one to mess about with. There was quite a genuine buzz about them at the time.

    Dude, that is so cool!

    Cheers. Even cooler is the Mesa Mk2C head in that photo that I was renting from Brauer is Steve Lukather’s. Looks to be the same one from the Starlicks videos.


    Even cooler than that was that I recorded half that album in Joni Mitchell’s home studio in Bel Air where these photos were taken. She was then married to Larry Klein who was co producing the album with Mike Shipley.
    It was an amazing studio and location to be recording in. Dip in the pool and sun bathing before or after guitar takes.

    I was only 22 when I first went. Had my 23rd Birthday out there. It was such a great experience for a boy from industrial Oldham. A whole world away from how I grew up.

    They were definitely a thing in certain quarters in the late 80’s.
    Most Bradshaw systems I hired in LA off Andy Brauer in 1988 all came with a little Marshall Lead 12 amp as an alternate selectable amp. I never used it but they were being put into all his hire rigs at the time so there must have been some demand for them.

    There's a chorus dial added to some of the reverbs and delays already. They even have a drive to add distortion.

    As far as I understood, those effects are added only to the specific effect signal.

    So, chorus is added only to the delay or reverb tails. It’s nothing like having a chorus on the guitar signal first and then having that sent to a reverb or delay in the same block. .
    If I want a chorus on my guitar signal, I want the original signal chorused and then have that sent serially to the delay and reverb which then choruses those effects signals too.

    I don’t want a delayed signal that is chorused or a reverb tail that is then modulated with the dry signal left without any chorus glued to the actual main guitar signal. .

    What you describe would be me hitting a note with a delay or reverb and then only hearing the chorus when the delay or reverb signal eventually sounds. So, if the delay is 400ms. I would hit a note that would be un-chorused. Then, 400ms later, a delay would come in with a chorus only on the delay taps.

    What I was suggesting was a multi block where there is a simple chorus section placed before and separate from a delay block.


    Yes, there are the more complex delay blocks where you can kind of set this up but there is a problem with them. The chorus effect ended up sounding like a slap back. Even with the chorus set to about 5 to 14 ms, it was delayed by about 55 ms and sounded like a slap back.

    I did mention it to Christoph. He acknowledged the problem with that block. It may have been fixed since but I have seen no mention of it. I came across it when trying to emulate a Tri Stereo chorus type effect like the TERC I own.

    I have most of my favourite Kemper sounds programmed and apart from a couple of things, I am happy with them.
    A multi Fx block was just a suggestion for others that are struggling with running out of blocks.
    It’s something I may not use often but I think it would be useful for others.

    It might be cool to have a couple of ‘multi fx’ style blocks. Something like a simple combined chorus and delay block and also a simple combined delay and reverb block.

    Might free up some blocks for people who are running out.

    I have three Mesa Mk3’s in my studio. One from 87 and two from 88. The graphics EQ’s are pretty much the same on all three. Graphic settings from one translate to the others although the red stripe version of the amp from 87 is slightly different texture wise than both the blue stripe versions from 88.


    So, I would personally love this graphic being available as an EQ block. The same with the MXR 6 band pedal that has been used by so many guitarists to shape the sound into their amps.
    Wasting two whole eq blocks just to emulate a simple 6 band pedal (in the case of the mxr) just seems silly and the one in the Kemper doesn’t have the right bands to emulate the pedal.


    Both the Mesa graphic and the MXR 6 band pedal are really great for tone shaping.

    Definitely needs the Mesa 5 band graphic and the MXR 6 band graphic.


    The MXR was used so much in front of a Marshall to shape a specific sound. From Boston to Van Halen. It’s a big part and it would be nicer not to have to bake these into a profile. The profiles would be much more flexible with the ability to add the graphic pre or post after an amp has already been profiled.