Posts by Vinny Burns

I would love the Kemper to have the ability that some of these other products have to mix speakers and mic’s. Although in its present state, I don’t think it’s possible. Who knows?

One of my rhythm sounds on many albums involved using an SM57 and an AKG 451 mixed together and recorded to one track (both mic’s recorded to the same track) for each of the left and right rhythm parts. For the centre, (again both mic’s mixed to one track), one of the mic’s polarity was reversed creating a scooped sound that kept more space for all the stuff that was panned central but was also similar enough to tie the left and right guitars together. Used to mostly keep the centre track 3 db down.

Would be be great to be able to tweak inside the Kemper Cab section to be able to simply set up something like this.

it makes no difference to me but I can see why for others it would be advantageous to have it as an option to display it either way.

Quote from Monkey_Man

Thank you, Thumas!

Just a small note:

The masking tape will affect the tone even 'though you're close-mic'ing on-axis. Probably not by much, but there will be an effect 'cause the off-axis bleed to the mic will be impeded a little bit.

If you could use something narrower to mark your chosen spot, even cut-down strips of the same tape, there'll theoretically be less tainting of the "authentic " tone.

Display More

Yes, absolutely spot on. Marking the close mic with tape massively changes the sound from the cab. Use a Chinagraph pencil instead.

Quote from Mattes

Regarding that 'matching' thing here my two workhorses:

Both play really smooth, have a great sound, are very silent because of the SSCII noise cancelling system and, like all guitars of Suhr, i've heard of, they are extremely tuning stable.

The Suhr’s look lovely.

I had two Suhr classics. Still have one and my oldest son now has the other.
Absolute workhorse guitars. The blonde chambered swamp ash classic that my son now has was my main gigging guitar for 10 years. I used it every show as my main guitar and the tuning stability was just brilliant.

Some days, straight from the freezing baggage hold off the flight and down to soundcheck. Always solid, in tune and dependable.
The other is a 3 tone sunburst. I had John reserve my birthday for the serial as I knew they were getting into that range and it was a 40th birthday present off my wife. So 4465 serial. ?

That is also a wonderful guitar. Had it made for clean tones in the studio and over the years, it has mellowed into a really sweet sounding guitar.

No idea why the middle photo keeps getting flipped. It shows both Suhr’s and both my 78 Les Paul’s.

Just think of the second morphing as how you would want to control a wah. Morphing itself would be useless for controlling a wah so it needs real time control.

That is how people with large Bradshaw systems have sometimes controlled delays and reverbs. They have total control over the output of the delay and reverb on a dedicated pedal.

Look at some Lukather (his later Bradshaw systems) and EdgeU2 Bradshaw videos.
There are loads of other players that wanted full control at anytime of reverb or delays while onstage.

Quote from Crookster

Love it, I was tempted with an ultra, still am.

I think they are great guitars. Modern feel but cover all the traditional sounds.

Quote from V8guitar

Not a big strat fan but that Tele is fantastic and to get a matching Strat is very cool - plus anything called Ultra must be good! Good choice my man! Our mutual friend Clive will be very jealous!

Ha. I think Clive would like it although I bet he would have preferred the HB in the bridge version. They are every bit as good as my Suhr Classic’s.

Well impressed with both of them. They sound really good.

I bought this Strat Ultra before Christmas. Goes well with my Tele Ultra.

I am loving my rhythm profile I took from my CAE 3+SE through a Mesa 295 into a Suhr Reactive Load IR.
The 3+SE is probably my favorite amp of all time (through my Mesa 295). I have used one on and off for 20 years now.

I didn’t mind letting my Soldano SLO100 go and I had that amp for 15 years. SLO is great but you can never get rid of that mid range aggressive bark and grind. Great amp though at what it does.
The CAE is so touch responsive. Even after profiling. It feels the same. You can lightly play something with your fingers and it’s almost clean. Then hit with a pick and it’s full on distorted rhythm.

It’s a bit of a nightmare to profile. It’s just got such a wide dynamic and audio range. There is a top end sheen and big low end that when you first get one you think something is not right. But, once sat in a track or band context, it’s great. It’s the only amp besides the SLO where the top E sounds as big as the bottom E without thinning out.
The refining process takes a long time to capture the amps range and dynamics though.

Did my rhythm channel a couple of months ago now and I play it that much still that I still haven’t done the lead or clean channel.
Works well with Strat, Tele and the Les Paul I originally profiled it with.
Very happy. ?

Any update on when then cab tab settings don’t display amp settings when profiling.

Quote from wwittman

I don’t know any professionals working at 44.1

most I know work at 96k with a few at 48.

I work at 44.1, 24 bit. Never had any complaints.

it’s a great sounding amp. ?

Quote from Jemjulio

I was there. If I remember correctly , Joey Tempest sang like crap... Throat trouble I think.

Soprry OP ..back to topic

I don’t remember Europe’s show that night. Joey nailed it every time I watched them though (which was most nights) and we did something like 58 shows with them. It was a great tour to be on and it was a party from January until we finished in April. ?
It was Kee’s birthday while we were in Madrid and one of Europe’s crew got married while we were in Madrid too so I do remember getting very drunk in the hotel on one of the nights we were there ?

Quote from Jemjulio

I was working at a rock record store in Madrid at the time and "Out of the Silence" got played a lot. It was a goodun.

Wow. Brilliant. I loved playing Spain that first time in 88 when we toured there with Europe. Amazing crowds. ❤️
Thank you so much. ???

Quote from kyo gt

Wow, thank you so much for your detailed explanation on the 1988 recording session! I always love to learn what type of equipment was used in the studio.

I guess it's "Out of the Silence" session that you're talking about. Embarrassed to say I didn't know that album until now, just checked it out and really loved it. The guitar tone is exactly what was in my mind when I decided to get Pacific and to shoot IRs from it.

Hope you like my cabs and looking forward to your feedback as well!

Thank you so much. ? Yes, it was our first album Out Of The Silence.

The majority of the recordings (distorted rhythm and main solos) was all done in the UK with a Mesa Mk3 head and a Marshall 260w JCM800 angled 4x12 cab.
Everything else though was the various Bradshaw systems with Boogie amps through the PW cabs. So, all the intros, cleans and every other solo and ad-lib guitar throughout the songs. There was definitely as much done through the PW cabs.
They really are great cabs and you should keep hold of it.

Quote from kyo gt

Very honored to hear you have downloaded my cabs. I guess back in 1988 you recorded with some top studio quality equipment (like SSL, Neve...), so to be honest I'm not sure if my cabs provide what you got at that time.

I'd be very grateful if you could share ideas on tweaking to fill in the gap between your memory/experience. Thank you.

For those LA sessions. It was at Joni Mitchell’s private studio in her house in Bel Air.

For the stuff we had already recorded in the UK it was SSL but we actually bypassed the SSL preamps and Mike Shipley had bought a few Focusrite ISA110 modules that we tracked the guitars through.

Joni’s studio had a Trident desk in it but I am 100% sure we would have still inserted the Focusrite ISA110 preamps to keep consistency with what we had done in the UK.

To be honest, a 57 through your Midas shouldn’t sound too different than a Focusrite ISA preamp. I have an ISA828 8 channel pre and an ISA 220 in my studio. The ISA are actually quite transparent preamps.
Will definitely get round to trying your cab profiles within the next few days. So glad they showed up. I always regretted not picking up a couple of those Pacific Woodwork cabs back then. They were impossible to track down in the UK by the time I bothered to look for them.

Once again. Thank you for posting.

PS. A good way of finding a cabs sweet spot is to get a set of headphones on, turn up and just listening to the hiss of the cab through the headphones, sweep the mic backwards and forwards, up and down across the speaker until you find the most intense hiss. It can be anywhere and on a 4x12 etc , you might have to sweep all 4 speakers to hear the one that is the most intense. It’s really obvious when sweeping for this sound.
Simply mark it with a chinagraph pencil and unless you change the speaker, that sweet spot will always be there. Don’t use tape to mark it as it changes the sound around the mic.

I used a couple of these Pacific Woodwork cabs that we hired from Andy Brauer in 1988 along with some Bradshaw systems. They recorded really well. Thanks for posting. Will give them a try.

What a wonderful guitarist

If you sort the rigs by date on the unit in browse mode, whatever you have just profiled should be last in the list.

Quote from paults

You don't have to do that. If you want to use multiple guitars, and have each of them react like they normally would, you can level the Rigs for relative volume, and leave both Sense controls on "0".

Thank Paul. I didn’t know that.