Posts by Pre-Amp

    SE535 ‘s. Had two sets in 6 years. Watch the plastic joints that seal the two sides of the “shell” together. They can get worn by taking in and out and begin to crumble a bit. Great with spin fit tips, good overall sound, a bit mid biased but that helps with guitar and vocals anyway.

    Pre Amp

    You should try lugging the TSL122. 2x 12 celestion speakers, all the amp chassis and cab wood in one Monster heavy package.

    I’ve done it now!

    I expect someone else will chip in with…

    “That’s nothin. When I were a lad, we had amps that were made from concrete with solid steel 22 inch speaker cones mounted on iron girders…. Oh and I lived in’ matchbox under drain in’t street ‘n’ ad worms with mud for breakfast.”

    I’ll try the profiles when I get a mo.




    The cable definitely has a short wire inside that section of the cable where the extra plastic provides more support. The cables do work well holding the earphones in place but also have a limited life span. They are not that cheap to replace either… Over time and extended use the wire inside the audio cable itself tends to turn green due to reactions inside the metals. They usually fail on one side before the other through the process of repositioning and placement.

    My current set of 535’s are prone to cutting out on the right side. The input plug and socket on both the wire and the earphone itself, require more regular cleaning than the left side.

    Cables last approximately a year of everyday use.

    Are they good value? Possibly… Do you have much choice? Not really. Aftermarket cables may be no better and many lack the moulding wire that helps fitting significantly. Would I buy Shure again? Not without a hefty discount. The sound is good but the cables are a pain and can fail so you definitely need a spare if playing live.

    Good luck


    If you want to lower the volume of the second delay in the dual delay, I think you have to adjust the delay balance. I think this favours delay 1 to the left (negative values) and delay 2 to the right with positive values. Please feel free to correct me if I am wrong.🙂



    Apologies for the delay! Literally just sat down infront of my profiler for the first time since my first post.

    FWIW here are my delay settings. Interestingly they are in ms not to tempo!

    Dual delay

    Mix 100%/100%

    Delay 1 time 360ms

    Delay 2 time 120 ms

    Delay balance -25.0%

    Feedback 1. 0%

    Feedback 2. 0%

    Low cut 80.9 Hz

    High Cut set to top setting do No Cut. (It gets tamed by the cabinet stage.)

    Everything else is at 0% except

    Modulation 0.8

    Grit 0.8

    No ducking either.

    My chain adds the compressor, delay and pure booster before the Amp stack section.

    I use The Amp factory Cooper 1964 AC30 rig plus the Silver Bulldog Cab by Sam rather than Andy’s Original one.

    X module - Dual Crystal Delay (for a very subtle shimmer (Could probably use Ionosphere Reverb instead)

    Mod - A very subtle phaser for the Middle Eight before the Love Love love section

    Delay has the double tracker do that I can be wide in the verses and centered for the intro and outro.

    Reverb - currently a Natural reverb but very subtle and low mix.

    Sorry this is so long in materialising.

    Good luck


    Everyone will just think it’s the amp equivalent of a £30 Encore starter guitar…. The name alone says, “wide birth…” for many.

    If there was one to try, to see what all the fuss is about, it’d be worth a few minutes.

    Not likely to spend that much money on anything, let alone a guitar amp!

    It looks bizarrely like a dolphin to me.

    Perhaps you have to use a Sharks Fin pick to get it really moving the waves!


    You might find this idea useful…

    Set up a performance of 5 rigs where each one is panned to a specific point in the stereo field. Rigs 1 and 5 panned hard left and hard right respectively. Rigs 2 and 4 panned 50% left and right respectively and rig 3 in the centre.

    If you are acoustic looping the centred Rig would be for rhythm beats, bass sounds and solos etc.

    If you plan your rigs carefully, you can use stomps to add a pitch shifter/octave to get bass sounds, Kemper drive to get lead sounds and delays reverbs etc all in the four stomp switches from the remote or a midi controller.

    If you use this set up, you can get some really great, complex and spacious loops going. If you are just using this in a live context it can create the sense of more than one guitarist or just create more interest in what you are playing.

    Just be aware that stereo in live situations can leave some of your audience missing some of your playing. It can also sound great though if you have a good space to play in and PA with good width dispersal.

    Use the Panorama effect to manage the panning. Either control with expression pedal or through the rig switch as described above.

    Have fun!


    My top tip is to set up a performance of 5 rigs where each one is panned to a specific point in the stereo field. Rigs 1 and 5 panned hard left and hard right respectively. Rigs 2 and 4 panned 50% left and right respectively and rig 3 in the centre. This one would be for rhythm beats, bass sounds and solos etc. If you use this set up, you can get some really great, complex and spacious loops going. If you are careful enough, it leaves more space for your lead vocal.

    Use the Panorama effect to manage the panning.

    Happy looping.


    This is all getting a bit Edgey! 😁

    Peace and more delay ramblings!

    As I said in my previous post, using the Blue Herdim pick gives the scratch to the attack of the strings. This is key to the initial sound. It will obviously be repeated by the delay.

    Unfortunately, I have not been able to get to my Kemper to look up that second delay but as soon as I do I will post my settings for you to try out.

    In the previous ‘Book’ of a post I didn’t mention that you might want to experiment with the Ionosphere Reverb “Pad” pre set. Mix about 20% and use the morph pedal to blend in the shimmery aspects on the outro. Sounds cool but not exactly what Edge does.





    As I understand it, there are actually two delays on Streets. The first and most prominent in the mix is the dotted eighth delay (only one clean repeat no more). Set that to follow tempo at 126 bpm. The second is lower in the mix and adds the feel of 16ths being played on a hi hat. It’s hard to describe but definitely makes a difference to the authenticity of the sound. This is a shorter delay. I will check my profiler for the settings later and post again. Can’t remember off the top of my head.

    I’ve also found the way you mute the g string on the two notes F# and G makes a difference. If you let the G ring out while you complete the cycle of notes, it tends to dominate the frequency range, muddying the whole pattern and diminishes the effect of the staccato rhythm so essential to the chime of the notes. It’s a delicate balance and you have to use your left hand fingers to get it right not a palm mute. Using Blue Herdim picks turned around so that you scratch the strings with the dotted Edge (do you see what I did there….RIP Steve Wright…) will give the right kind of pick attack. Increasing the pick setting in the Amp module to elevate the impact of the pick by a couple of points helps.

    Edge does use modulated delays but be subtle on this song, too much modulation just creates mud.

    Low Pass between 80- 100 and keep the high pass under control too eg, somewhere between 5000-5500hz. This gives a more natural speaker response. I also use morph to use Panorama setting move the guitar from centre for the opening and close of the song to somewhere left of centre during the verses and chorus to give more width and get out of the way of vocals a bit. Not hard panned left obviously.

    Apparently Edge’s tone is all from his amps (mostly old AC30s including a 1964 Copper Top Boost in an 70’s cabinet with at least one Silver Bell/Bulldog speaker and a Alnico blue celestion) and various Fender Blues juniors with blue celestions which he uses to add his shimmer. There are no fx loops, no post amp fx’s as such, everything on that enormous rack of his goes to the inputs on the amps. Other than what is slapped on at the desk to manage the live mix, his entire sound is what comes out of those amps.

    That’s what I’ve read and what Dallas (his guitar tech since The Joshua Tree tour 1987) has suggested is the case.



    Apologies for the book!

    I expect you are all on Edge by now! 🙂


    I have had this problem exactly as you describe it on my unpowered Toaster.

    It seems to be indiscriminate about when it decides to work and when not. Like you said, sometimes it just doesn’t overdub despite flickering the overdub word on the screen. Very annoying.

    I am pretty sure that whenever I connect my Kemper to Rig Manager, that is when the gremlins have a small celebration and party on through the motherboard.

    I’ll check to see if it is working on the most recent firmware.

    If you find a good reliable solution please post it.

    Good luck.