Posts by dgburns

    Hi Fellow Kemper friends,

    new profiles in the rig exchange. This time around, I concentrated on

    -one sm57, vintech x73i mic pre and keeping it simple.

    -profiled the amp using the two notes captor 8 with no cab using the amp settings as a liquid profile.

    -no boost for profiling, any boost was applied in kemper after.

    -amp on bold / diode rectification and line voltage was about 115 volts or so ( so just under the spec 117 volts )

    In the course of doing all this, I came to the conclusion my greenback 4x12's have a real mid push, and I'm trying to find ways to move past that. I tried loading in some cabs from Lass Lammert's bogner amp ( love Lass's work for the kemper), and felt after some tweaks I could get the settings into lower tuning 7-8 strg territory. But as these patches are presented, it's strictly 6 string Les Paul normal rock n roll territory.

    I am not uploading anything here that is not 100 % from my own profiling efforts. But feel free to swap out cabs and tweak as you want to.

    The shortform is

    DRec = Dual Rectifier

    liq = liquid

    bst = boost

    scp = scoop

    The scoop is either a bit of eq applied to the preset or a combo of eq applied to the preset and a speaker ir that was captured with a mid cut.

    So, I don't know how I feel about these just yet, they could be useable, or maybe just ok.



    I’m just posting to say I downloaded the rigs, and will do a thorough walk through the sounds. I really like what I hear, and I have always had a soft spot for those Slash / enhanced diode / enhanced pre saturation those amps had. I never owned one, so these profiles sound like the closest I’ve heard to that special kind of Marshall!

    Here's what I did with this one. Thanks David 8)

    old Marshall liquid Marshall old plexi Marshall 1960a x 2 David G Burns 4.60 / 5.00 2024-01-02

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    Not sure what kind of sorcery is going on here, but I would like to know how you got that feedback type effect ? Wonderful tune btw, and nice playing !

    Oh oh, we started something….. It might go over like a lead balloon

    Disappointed you didn't go into Rock n roll by Led Zeppelin !

    VERY Nice profiles though :D

    I admit I was Ramblin’ on, but stopped when I suddenly saw a Black Dog. It made me feel Dazed and Confused, so decided to take a Stairway to Heaven, somehow ended up in Kashmir instead. Well I guess we all have Good Times, Bad Times, especially when you catch a glimpse of Moby Dick while travelling on The Ocean.

    The ones named JTM50 liquid 1 thru 6 are NEW LIQUID profiles and are all BONAFIDE liquid profiles - new from a few days ago.

    I tried new mic settings, so 4 x sm57 mic’s in fredman ( 55 degrees position ). This time I added a royer 122 on one cab, and one Audio-tech 4033a on the other cab. The fredman sm57’s on top right, and the royer/4033 on bottom left per cab. A total 6 mic’s on two cabs.

    Power was running at around 105 volts, through a bucking transformer- called the ‘tone preserver’, this is an old JTM50 spec’d to run around 115 volts and the amp has a rectifier power tube so I try to keep the voltage down.

    I DID throw up one bonus profile called ‘old marshall liquid’, this is a profile that was made prior, but I applied the actual amp settings to it, so it is about as close to a liquid profile as I could get. It’s NOT a bonafide liquid profile. It’s also a different amp.

    The older JMP50 and JTM50 profiles you refer to made with the Captor 8 were from another older profiling session - before liquid was available. If the notes say a captor 8 was the cab, then there was no actual speaker, just the captor 8. I would have used the analog guitar speaker simulator on the captor 8. I liked the way the captor allowed the booster pedals to come through. I can really hear the difference between the boss, mxr and ibanez overdrives, more than when I profiled with speaker/microphones.

    Finally, the hotter newer liquid JTM50 profiles I cheated a bit. I ran a MXR clean boost in front of the amp, and this is why the gainier profiles have more gain. Technically the gain settings are probably not correct, but hey it sounded good to me, so I ran with it. A JTM 50 does not usually have this much gain, but the combination of lower voltage to amp, plus the mxr clean boost in front got me more gain, and I liked it, so went with it.

    My fav is the ‘neck solo’ patch. Suggest try it with wah fx engaged, I should have left it turned on, but decided at the last moment to turn it off. It’s an auto wah but very subtle. To me very woody played up the neck with neck pickup.

    Sorry for the book

    Then there's the "Old Marshall" by someone I dont remember

    I looked at this post because the title was intriguing- with well over 19k patches in the rig exchange, it’s an embarrassment of riches, something for everyone.

    It’s also a bit much to take in, but over time you’ll find stuff you like. You can build up your own collection. If you want to explore more, you can reverse-engineer from patches that appeal to you. The Kemper is a great platform for exploring and finding your unique tones.

    It’s funny that Hoki remembers the patch, but not the profiler who made it, come to think of it, maybe that’s just the way it should be….( I had a good chuckle at that )

    “Distorted” is what’s chosen. I’ve done 2 profiles of the amp with no problem, as soon as I turn up the gain it stops. I think the message reads “Input stage clipping” or something to that effect. Even used my original profile as the starting point. I will try again over the weekend.

    When you write ‘gain’, is this in reference to the tone or to the input volume? It sounds like you are hitting the Kemper with too much volume going in based on the profiling error message you are getting. You then need to turn down the input until the Kemper can complete a profiling sequence- you can lower the input from the Kemper itself. If you are looking to bump up the volume of the resulting profile, there are some ways to do that. Keep in mind that users can turn up or down the patch, so I would put forward that it’s not really something I’d be concerned over. If the ‘more gain’ is in reference to the tone, a not so well known secret is to profile with less gain, then turn up the gain knob post profiling while editing the sound to get more distortion.

    In my case I run the Kemper output with the minus 12 pad engaged, so some patches sound softer, some louder - but I try not to clip the Kemper outputs. The louder patches in the Kemper come out to about -20 dbfs when the -12 pad is engaged on the output page, per my daw audio interface.

    In the end it’s really the tone that matters and we can turn up or down the patch from a number of places inside the Kemper.

    An input meter during profiling would be nice though.

    I’m confused, the thread title say ‘Anti Definition’, so thought maybe you didn’t like the definition control, but then you mention you like to adjust it?? I may be misunderstanding.

    I’m going to rant a bit here. I have noticed the definition knob set to 10 on many free profiles. It’s not the cure all panacea for what ails a profile. It can help move a profile from vintage ( loose ) to modern ( tighter ). What it won’t do is transform a profile meant for a certain genre, to a sound suitable for a different genre. I have noticed the definition setting MAY get moved progressively higher when you keep ‘refining’ a profile. All of us should revisit all the settings, including definition when we profile, to make sure it is not set to 100%, especially when the sound is meant to be more period correct.

    The effect of 100% definition can sound like there is a wah filter, and this can be really annoying. Alot of the times, I audition sounds, and the first thing I do is look at that definition knob setting. If a sound is close to what I want, but is a little fluffy, I’ll cut the lows going into the amp section. This is the key, the secret sauce. Too much bass going into the amp can cause flabbiness.. You can alternatively use the treble booster pedal into a low flabby sounding profile.

    Watch the video with Mr Kemper about liquid profiling, he talks about this very subject of bass and definition.

    I love these profiles! Thank you so much! For anyone interested in finding a good Randy Rhoads Tribute tone, I have a few but one of my favorites is profile I found on RE from LasseLammert it's the RandallRG1503+TS with a Mesa Stiletto cab. Below is a demo of myself playing Crazy Train, the live version from Tribute. I do have to note that the recording does not do the profile justice, it actually sounds much better than is presented in the demo. Any feedback would be greatly appreciated as I'm always trying to tweak things in search of the ultimate Randy Rhoads Tribute tone. BTW, I'm using a Music Man EVH guitar in the demo, thus no toggle switch for the on/off toggle effect Randy used.

    Crazy Train Live Tribute Demo

    I am a big fan of Lass Lammert. I connected with his profiles early on in my Kemper journey.

    About Randy Rhoads, it appears he did not take delivery of the famous white marshall in time for the recording of Blizzard, the first album with Ozzy. The record was done with a rented stock 100 w JMP, so go figure.

    For the Tribute album, I have heard unsubstantiated claims the sound on the record is not entirely true to his live sound. There are people who claim the guitar was re-amped, but I can’t confirm this one way or another. I think I heard that he was experimenting with load boxes a la EVH, but this is all conjecture. I’ve heard a few video clips of his playing, and seems the Tribute sound is a little darker and fuller, not so midrange-y as the studio albums. Ozzy re-recorded all his vocals, or doubled them, so Tribute is not a 100% live only album, FYI.

    waraba and BayouTexan

    I’m grateful that both of you took the time to record and also share your compositions with all of us here. I’ve learned a couple things listening to both your tracks.

    It’s eerily amazing you both played differently and I could still tell it was THAT amp. This is a first for me because I’ve never heard anyone play MY setup and gear. It was like you guys just borrowed my guitars and just started playing in my studio. It’s also clear that the fingers are still an important part of the sound, and Kemper lets this happen. You both don’t sound the same at all.

    As you know, there are alot of factors that make up a sound. I can hear the other things that are also influencing the profiles apart from the amp itself ( my cabs, my mics, my preamps etc ). It amazes me how a few profiles can be used in such different ways. Kemper really let’s us manipulate the sound. The fact that we can share amps across continents and have access to so many, so easily in RE is such a revelation.

    waraba -It’s nice to see you push the single track/ double tracking to make sounds really contrast from each other. Your solo sounds are very focused, I can really hear that direct sm57 right on the cone edge sound. It makes the sound have a bit more grit, especially those crucial upper mids.

    BayouTexan -The solo sound reminds me of a tone I employed alot gigging in the late 80’s. I used to have a complex rack but at the heart of it was an ADA MP-1. Your solo sounds very much like what I would choose on certain tunes. Really takes me back.

    thnx guys

    I just finished a track using the Wht Marshall for a solo and I have to say I got a screaming pro tone with it. One of the best sounds I ever heard. And I am not doing it justice. I'll post it later if I feel brave enough.

    Holy Smokes! Would love to hear, please post, by all means. I’m totally curious to hear it in action.

    Funny. I just stumbled upon this thread the day before yesterday:…e-on-any-modeler.2434493/

    Looking forward to see how yours stack up :)

    This model amp re-issue may be unique to Randy Rhoads ( ? ) in that the innards were inspected by a Marshall engineer. They opened up his old white amp and took measurements and based the re-issue model on those specs.. It is beefed up and outputs way more than 100 watts, some say closer to 150 or so ( but I would need confirmation on all that ) . It also has that cascade mod so you can get a bit more gain going into channel one, V1 tube is cascaded. Actually, I'm told Randy ended up not liking this sound and went into channel 2 only. This profile is not an attempt to get his sound, it's just an attempt to capture a slightly unique marshall reminiscent of that mid-late seventies period, but really turned up and pushed. The similarities will be there as it's likely he did something similar, and the eq settings may have gotten close to his. I think it's just what that amp responds to best, IMHO. Going through more than one cab has become crucial to me.

    From personal experience it IS a bit grainy when the volume is lower and you're trying to boost it. But it also has a clarity that might be from the extra headroom, when playing the real amp, you have to be precise because it is less forgiving and really upfront in the upper mids, it doesn't compress so easily ? I think this aspect is not picked up in the profiles, however the profile with the internal Kemper boost gets closer, and we've all been told that it's better to profile the amp without overdrives in front - I think I can see why, but I'm still stubbornly trying to profile with booster in front!

    Finally, I notice a slight aggressive upper midrange bark/bite that I don't hear in my other marshalls, especially the 1979 that has a master volume. This is where some might like this amp, and some might take a pass. Profiled with a Lespaul, but I found the Strat responded well too.

    Happy New Year

    It's a New Year, that must mean it's time for a new stab at the old Randy Rhoads re-issue White Marshall 100 watt head ( it's freakish loud ). I also don't think I ever did it justice in the past, so here we go again. This time I'm trying 2 x Marshall 4x12 cabs each with the Fredman mic technique. That's 4 x SM 57's with the 55 degree angles as shown in pic.

    Profiled with and without an Ibanez TS 808 tube screamer. I used the channel 1 in, which means the volume 1 & 2 were cascaded, with volume 1 at near 10 and channel 2 at 8 or so. I mean this thing was dimed. Voltage set to 112 volts using bucking transformer. I gave in and put the Boss Waza tube expander between the head and cabinets cause the volume was nuts.

    Maybe these work for you ? Maybe they don't....Patches are in the RE.

    -Wht Marshall // the starting point

    -Wht Marshall boost // non boost profile with kemper boost pedal internally added

    -Wht Marshall Overdrive neutral // profiled with ts808

    -Wht Marshall Overdrive most // patch just tweaked up to give more juice


    Hi PPL,

    Correct me if I'm wrong, but this may be a first for Kemper profiles ? I ended up profiling three Marshall amps at once.

    -3 Amp Angry Robot - play some single notes on the A string and up. I was thinking Deep Purple - Perfect Strangers kinda riff

    -3 Amp Angrier Monster - play some palm mutes on the low E string, kinda like having the bass player finally play the same thing as you.

    -3 Amp Hotrod - Just three Marshalls all boosted and playing together.

    -3 Amp Chords - Just a nice full sound for chording stuff.

    -Ghost Ethereal - just play a slow lead and hear the ghosts come out to play

    trick or treat ?

    You can find them on the exchange too,



    ( --edit-- I have my master output set to - 9 db FYI )