Posts by Garrincha

    I gave up hoping for an updated tremolo effect 5 years ago and bought a Source Audio Vertigo. Fantastic pedal, all digital but sounding just like my old '62 brownface Deluxe.

    It's a shame that the Kemper's tremolo FX never got updated, but it seems their priorities have gravitated away from effects.

    install the last beta

    I did of course, otherwise there wouldn't be MIDI over USB to even try :)

    Anyway, as it seems to work unsing Logic on Mac and I'm on Cubase on Windows, I'll have a look into configuration of the Kemper port and see if I find a solution.

    Anybody has any luck sending MIDI-clock to the profiler via USB-MIDI?

    It works with the classic MIDI-Input and Cubase can sync my Waldorf M over it's USB-port.

    Just with the Kempers MIDI-over-USB it does not work over here.

    An overdriven/distorted sound is actually very compressed already. I wouldn't even touch a compressor for crunchy rhythm guitars. Some engineers do use one, but only for color not for compression. And they would set it up so that the needle barely moves. Bob Clearmountain und Chris Lord-Alge come to my mind, they like an LA-3A for that purpose.

    Clean sounds are a different cattle of fish. I usually use a compressor on clean sounds as most players and engineers in my generation do. A clean guitar is much less compressed so a compressor can do good.

    But with gain way up - not so much.

    Let us all know how you go :)

    Thanks alot for that file.

    Tried it and it did work :)

    With the 10.0 OS I did a short test drive and compared it with 10.1. TO me it sounds like they did change the parameter range of "bright cap intensity" a bit . I believe in 10.1 I need to turn the knob much further to get the effect.

    That could be purely psychological though. Usually I do recordings of before and after when I test such things, but I forgot to do that tonight and now I'm too tired to start the procedure all over again.

    Anyway, I got it working again in 10.1 which is a great thing for me.

    I had that with a previous RM update some months ago.

    After some headscratching I found this to be a problem of the installer not being able to overwrite existing data in the RM directory. I manually deleted what was in there (the Rig database is in a different directory in Windows, so that was not a problem, but I did a backup anyway).

    After that the install went smoothly and I could also rollback to an older version as well.

    What actually created that hickup I never found out. Could be something with the Windows file access that got corrupted.

    I would pay good money for a pack of the '72 Marshall, with greenbacks


    A pretty please for Michael:

    Please do that amp with a Greenback Cab (and both G25Ms and G30Hs).

    I have the Vintage pack with that '72, but I never really bonded with that 3rd power cab. With a vintage Marshall I want a vintage cab and his '69 Marshall pack, which contains profiles with vintage Marshall cabs instead of that 3rd power, are much more to my liking. In real live I use his '69 pack all the time, it's my go to Marshall pack but I rarely use the '72. While of course I could change cabs in the profile, but since he doesn't do merged profiles, getting that to actually work is a bit of a hit or miss.

    On a general note:

    MBritt is one of my favourite vendors and I use his profiles daily. But the ones that are out of this world and give me goosebumps whenever I use them, are these with a "matching cab" (for the amp in question) so to speak. I don't care that much for his profiles with that 3rd power cab, because in the end they all sound too similar to me, regardless of the amp. I want my tweed Fenders in their "natural habitat" like vintage Jensen speakers or brownface/white tolex Fenders with Oxford speakers. I don't want them with a generic Celestion loaded cab. And I like my Marshalls with 4x12 Celestion G25Ms or G30Hs.


    If you are at it for some new Packs with Liquid Profiling, please do more stuff with other cabs. Vintage Marshall Cabs, Voxes with Blues, Fenders with their old pinewood cabs and Jensens or Oxfords, Hiwatts with Fanes and so on :*

    When I look at my Profile collection - most are commercial - the bases are surely covered.

    But there are a some stacks missing, that I can't really emulate with one of the currently existing ones:

    Dumble ODS or SSS.

    Although I know these are supposed to be basically Fender-style, the controls work much more interdependent than - say - a Twin Reverb tone stack.

    Mesa Boogie Mark-Series

    Again a tone stack that was originally derived from a Fender (Princeton I believe), but they use slightly different frequencies and ranges and are also highly interdependent. And that property could be something where Liquid Profiling really shines, given how well that works already with the typical Marshall tone stack or the Cut parameter of an AC-30. Actually MBritts AC-30 with LP blew my mind last night while checking it out. The Cut was like the missing link to get the feel of a AC-30 in the Kemper.

    Since we have an large number of Boogie MK profiles and even more and more Dumble profiles, that would pretty neat to have in Liquid Profiling.

    If they find the time I would like to see the following as well:

    Hiwatt DR-103

    Fender deluxe (brownface, the one with only a tone control and nothing else)

    Fender Tweed Twin or Tweed Deluxe, maybe a Super or Pro as well (those are also amps that could use LP for sure). The Super would be espacially nice for all Green Day fans who like to play the intro of American Idiot properly :)

    After 10 mins of playing with Mbritt DOES make a difference =O 8| . Applied the correspondent Liquid stack to a couple of my go-to Rigs and it changes something in the gain structure...for the better.

    That is exactely what a Marshall tonestack does. As for it's actual purpose being an EQ, it'spretty useless, but for shaping the gain it was actually quite useful. I'Ve learned that the hard way when I played a *68 Plexi the first time 40 years ago.

    He is still on facebook. Seems like he is more into studio work these days. But maybe if you contact him on facebook and ask nicely he might sell you some profiles privately.

    Andy was one of the first 3rd-party Profilers out there - if not THE first - and I used to use his profiles a lot back then. Things have come a long way since and there are certain amps and their sounds that I think are better covered by more recent offerings from guys like MBritt, Bert Meulendijk , Tone Junkies, Top Jimi and the likes.

    But there is still one area Andy stands out till today:

    Brown Face Fender amps!

    He has the sweetest *62 Deluxe . I used to have on of these amps and foolishly sold it to finance a 5 Watt recording setup with a Marshall Class 5, Laney Lionheart and a Fender Champ . But when I eventuallyI got a Kemper I kicked myself for not being able to profile my *62 Fender anymore. But Andys profiles took care of that. He seems to mic the amp the same way I used to record mine and I actually used his profiles for an overdub in a song I originally recorded with the real Deluxe.

    And Andy also had a *63 Vibrolux, which is THE amp for t"Sultans of Swing". I think Knopfler still has that amp in his collection. Plug a good Strat in the Kemper with that profile loaded up and you have instant Knopfler on the Straits first two albums.

    I think the brownface Fenders were spread out over two packs and they are not part of the free Rig packs on the Kemper website. It's a shame these are not available anymore.

    There are not that many brownface Deluxe profiles on the market. MBritt has some, but he profiled them with his usual 3rd Power cab, which makes it sound rather generic. Tone Junkies also have one, but theirs has a Jensen Speaker while my old amp had an Oxford , hence sounding different. I still haven't found an alternative to Ampfactory in that regard.

    That sounds phantastic. Pretty much exactely what I always wanted. I never got into the generic tone stack of the Kemper because it reacted too different from what I used to get from the profiled amp. I'd rather choose a different profile instead. But that feature I see myself using quite a lot. I'm espacially keen on trying the Marshal tone stack on my myriads of plexi profiles.

    I updated Rig Manager from 3.3.50 to 3.4.28. Install went without any error. My Profiler runs OS 9 beta.

    Now Rig Manager won't start anymore. After start it will load some things and then shows the following error message:

    The debuglog.txt says:

    ------------- session start 2023-05-18 13:01:17------------------

    Windows 11.0 Build 23451 de-DE

    0|UPM XML parsing error 2: Line 1, Col 1: tag or eof expected, illegal character

    73|UPM XML parsing error 2: Line 1, Col 1: tag or eof expected, illegal character

    75|UPM XML parsing error 2: Line 1, Col 1: tag or eof expected, illegal character

    51|UPM XML parsing error 2: Line 1, Col 1: tag or eof expected, illegal character

    5|Location added: Local Library

    9|Location added: Local Library

    371|Location added: Local Library

    5|Location added: Rig Packs

    274|Location added: Preset Packs


    4|Der Typ "KemperControlLibrary.LayoutPanel" in der Assembly "KemperControlLibrary, Version=, Culture=neutral, PublicKeyToken=null" konnte nicht geladen werden.

    3| bei ProfilerControlCenter.FormMain.InitializeComponent()

    bei ProfilerControlCenter.FormMain..ctor(WinApp* app, list<Access::MetaCollection \*\,std::allocator<Access::MetaCollection \*> >* metaCollections, Collection* currentCollection)

    bei Access.WinApp.OnApplicationMessage(WinApp* , UInt32 message, Int64 param1, Int64 param2)

    bei Access.Application.WinProc(HWND__* hwnd, UInt32 msg, UInt64 wp, Int64 lp)

    bei System.Windows.Forms.UnsafeNativeMethods.DispatchMessageA(MSG& msg)

    bei System.Windows.Forms.Application.ComponentManager.System.Windows.Forms.UnsafeNativeMethods.IMsoComponentManager.FPushMessageLoop(IntPtr dwComponentID, Int32 reason, Int32 pvLoopData)

    bei System.Windows.Forms.Application.ThreadContext.RunMessageLoopInner(Int32 reason, ApplicationContext context)

    bei System.Windows.Forms.Application.ThreadContext.RunMessageLoop(Int32 reason, ApplicationContext context)

    bei Access.Application.Run(Application* , Int32 argc, SByte** argv)

    bei Launch()

    33|FileUpdater XML parsing error 2: Line 1, Col 1: tag or eof expected, illegal character

    74|FileUpdater XML parsing error 2: Line 1, Col 1: tag or eof expected, illegal character

    ------------------ closing application -------------------

    Any ideas?

    I remember a very long time ago - in one of the first interviews ckemper did - he talked about some idea for different tone stacks. That must have been around 2012/13 or something.

    That idea obviously evolved into something very exciting. I'm very much looking forward checking this out. The tone stack (and gain) not reacting like the real amp is one of the things the Kemper always could haven been improved. Seems now it has :)

    The amp of the original studio version was an early 60s brownface Fender Vibrolux. Brownface Fenders are far and in between in Kemper profile land. But there is one in a pack from ampfactory - the "vintage & rare" pack. Plug in a vintage sounding strat, bridge and middle PU and it nails the sultans sound. Back then when I got that pack I had the isolated guitar track of the original and did a comparison. It was frightenly close.

    Keep in mind that in the chorus (of the song) with THAT signature lick, there is clearly a chorus (the effect) to be heard, likely a Roland. Because of that some people thought Mark used a Jazz Chorus amp. Personally I don't think so. If you listen closely, the chorus fades in as if somebody turned up the aux on the desk during mixdown. Which is probably exactely what they did. The producer of the record was known as a fan of Roland Chorus devices, espacially the Dimension D. So if you recreate the sound, try putting an Air Chorus (post amp) and switch it on during the licks in the chorus.

    If you are going for the later versions of that song (e.g. on Alchemy or Live Aid), you need a Shecter instead of a Fender Strat and a profile of the clean channel of a Boogie MKIIb. The sound of the various famous live versions from the 80s is typical for a clean Boogie.

    That was originally a special kind of Tremolo in various Fender Brownface Amps (Vibrasonic, Super, Bandmaster, and more) and also the old Magnatones, if I recall correctly.

    There are many pedals which try to recreate that kind of trem, but unfortunately the Kemper doesn't have one. I use a Source Audio Vertigo, which serves me well for all kinds of tremolo (not only harmonic). It sounds exactely like my old 62 Brownface Deluxe.

    I wish Kemper would give the tremolo FX a bit more love. It's the only FX on the Kemper I feel is not up to todays standards.

    I do believe Lindsley and Jackson both had steel string singers. That’s where SRV first heard one I think, at Jackson’s studio. Not sure which s/n those were or which s/n this one was based on but it’s fantastic. I cannot imagine a real Dumble sounding much better.

    I bought the pack and found your take on "running on lindley". I took my Tele (actually a replica of Broadcaster #0211) and while that sure is not the Rickenbacker Lap Steel Lindley used on that song, the amp tone nails it. There is a video from that song from 1977 (different from the album version) where Browne plays a Strat with a Tele headstock. And that sound - probably a Dumble as well - I could really nail.

    Interestingly enough those are tones which do work in a more contemporary kind of music as well.

    Regarding the type of amps I did some research and it seems Lindley has stated in an recent interview that he was using an ODS (actually the second one ever made).


    But whatever it was, your Grammatico SSS pack sounds just like it.

    Isn't that also the amp David Lindley used while he was with Jackson Browne? Browne himself used a different Dumble if I remember correctly, but I always thought Lindley used an SSS on "Running on empty".

    I might be wrong though, it's probably 30 years since I've read that in a guitar magazine.