Posts by keemarcello

    When are they going to add the presets to the rig manager? For example, all the effects of wah, like Cry baby, CAE etc ??

    I would also love to add a Boss DC-2 Dimension C pedal. Or a Roland sdd-320 Dimension D, and a Massenburg parametric equalizer

    Hi, thank you very much. I don't know English very well, I translate everything with google. Do you speak Spanish?

    My email is:

    I want to make the tone of that video of kee marcello, but I am very bad to do rigs, I also bought the Kemper 2 weeks ago and I still don't know how everything works.

    But I can tell you that I am crazy about that tone of kee marcello, and also about the tone of the album out of this world

    Hi, Thank you very much, it sounds great. I would like to know if you can tell us what effects you have included, and what adjustments you have made in each one. Well, if you could share the full rig with the modifications you made, it would be great.
    Have you tried to make a rig with the tone of kee marcello? I'm dying for the tone of The Final Countdown World tour 1987

    above all I die from the tone of out of this world. If you know how to make any of those tones, I pay you for them.

    Buenas. Cuando tuve el axe fx, yo podía tocar la guitarra a través del axe y escucharme en el daw (samplitude) en tiempo real poniendo plugins, osea, escuchaba el axe mas los plugins al mismo tiempo, sin necesidad de grabar, y se escuchaba muy bien. Con el kemper no puedo hacerlo, al activar el botón de monitoreo en el daw, se oye con eco, como dos guitarra, pero suena asqueroso. Alguien me dijo que desactive el botón de monitoreo. No, porque si lo desactivo, se oye la guitarra con el kemper, pero no se oyen los plugins. Como digo, con el axe tenia el boton de monitoreo encendido y así podia escuchar los amplis del axe mas los plugins que me diese la gana, cosa que no logro hacer con kemper. ¿Alguna idea de cómo solucionarlo, si es que se puede?

    But he doesn't want to share that rig. And I don't understand why, since he says it's a stock rig, but modified.

    Anyway,. if someone can do that kee marcello tone, I pay him for it

    Here is an Italian with a 99% identical tone. It lacks a little serious, but it sounds very good, almost identical to the tone of the song tower´s callin´

    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


    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


    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........

    The heads were modified by Folkesson, you're right. They put a Mid-Boost in the tone circuit, inside the preamp.

    I've been trying to have that tone for years, but I haven't succeeded, that's why I bought the kemper, to try.

    That's why I asked for that rig, because Mats told me that in the Kee studio he carried a 4x12 Marshall 1960A with greenbacks from the early 1970s, and they placed 2 sm57 on the top speakers cap edge ff axis.

    Maybe with a 1959 jmp and the greenbacks, placing a mid boost in front or a wah, I can get closer to that tone. That certainly sounds brutal

    Hi Vinny, I didn't know you also have a kemper.

    This is what Mats told me:

    I was Kee guitartech from the Final Countdown tour. Guitar Bass and Keybordtech during the recording of OOTW. the Def Leppard tour, but when we did the European I only did Keybord (on all other tours I did both) I worked with Kee from Easy Action and onwards untill I decided to quit touring, I design most of the Backlineriggs for them, of course they chose a lot of what to use but I put them togheter with failsafe sollution for backups

    Kee's JMP superlead, was it a JMP 1959 ? I knew it was a superlead JMP, but I didn't know what the exact model was.

    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

    Hello I'm new to the forum, since I just bought a kemper rack, and I don't know if this is the right place to make a request, if not, move it to the right place, thanks. I just bought a new Kemper, and I was wondering if someone with experience could make a custom pack.

    I am looking for a very particular configuration.

    I need the following:

    Marshall JMP 1959 Superlead 100w from the early 70s.

    Cab: 4x12 Marshall 1960A

    Speakers: G12M25 from the early 70s (I guess Rola-celestion ipswik).

    Microphone: 2 SM57

    Capture the 2 upper speakers with 2 shure sm57 cap-edge off axis, the microphones, as far apart as possible from each other (Placed on the outside of the speakers).

    Would anyone choose to do it? I would greatly appreciate it.

    It would also be great to put a Boss DS-1 and a mid boost if possible, since I am looking for the tone of kee marcello

    Hello, I would love to release a firmware with which you can put 2 different rigs, at least 2 amps and / or 2 cabs, and be able to pan right / left without having to record.
    Also, a stereo mode