Posts by cybermgk

    I'm in a similar situation as you. I play at home. Record at home. Have kids and an office job, so time is limited. Plus I live in a unit.

    I tried a ton of amp modellers. I had BIAS. But once I bought a Kemper it was over there was just now comparison. GAS for Amps is absolutely gone. I haven't looked back at all and I haven't touched my amps since I bought the Kemper.

    There are people here with much better ears than mine but for me the Kemper nailed it.

    Ditto, I also have had a LOT of Legacy Amps. I don't miss those amps at all.

    The Suhr is now my preferred guitar, my other strats, LP, Musicman and Duesenberg are sulking cos I spending so much time with it LOL. :D

    My recent MusicMan Valentine is that for me right now. But I've seen this reaction to Suhrs by many, ergo the GAS. LOL, heard the same from folks I respect about EBMMs too, ergo why I have one now.

    Calluses, other guitars sulking are a good thing, Means your playing more..

    and the Kemper will still be available once you've had your fill of blown tubes, haha!

    and biasing, and different tone based on humidity, temperature, attenuator tone suck, etc.

    But, I can understand the OP's thinking. Unlike myself, and I suspect others, who have had a bunch of different 'legacy' amps and know what we are not missing, OP hasn't had that. Until he finds that out, that he really wasn't missing anything with the Kemper, but pretty glowing tubes, headaches (particularly at home), inconsistency, for himself, he has to try. NOW, I would have counseled to keep the KPA and try a legacy amp or two, but, then that's how I roll. I held onto my last 6 or 7 legacy amps, when I first went to the KPA.

    I have always wanted to take a Suhr for a ride. They are on my list of future GAS.

    Nice guitar, fantastic looking neck. The EBMM guitar necks are so nice to play.

    Yes. The neck look drew me in, the feel of it, playing along with the tone of the pickups, in all their different configurations (Neck HB, Neck SC, Neck HB boosted, Neck SC boosted, Neck HB/Bridge SC, Neck HB/Bridge SC boosted, Neck SC/Bridge SC, Neck SC/Bridge Sc Boosted, Bridge SC, Bridge boosted), sold me.

    I actually got this Sunday, of the 4th weekend. Been to busy enjoying it and getting to know her to make this thread. With the sale, a coupon, trade-in, I got it for a shade uner $1100 (almost half street price).

    I decided to check out the Sam Ash 'Hidden Sale', basically 15% plus I could use coupons. I went primarily to look at the Gretsch Streamliner line. I have 2 Fender Deluxe Roadhouse Strats. The 15' doesn't get the play the 16' does (just love that satin neck). I've been trying to sell it locally for quite awhile, so didn't mind taking a hit on trading in. Unlike Guitar Centers, Sam Ash really take care of the guitars that are out. So, I figured if something else caught my eye, what the heck. US made PRS wasn't out of the question.

    The Streamliner's are nice guitars. I really liked the Jr center block models. I'm just not a big box guitar guy. GREAT bang for the buck. The Broad tron or Broadcaster pickups have a hint of the Gretsch tone. Sound pretty good. But, ultimately, they didn't add a lot to what I already have. It would have been adding another great bang for the buck guitar, that ultimately wouldn't get played a lot.

    Then I saw, that the Sam Ash here, sells Ernie Ball Music Man guitars now. I have a friend on another forum, a phenomonal player, whose opinion I respect a lot. He has nothing but EBMM guitars now, and swears by them. He has sold off some very nice guitars after getting his Music Man. Sam Ash had several of their Thrashy types (long horns), as well as Super Strat and Strat analogs. I'm not big on the long horn look (though I can see the appeal for some). I'd be trading in a VERY versatile Strat, so those didn't seem like a good choice

    But, they also had as their 'Guitar of the Week', an Ernie Ball Music Man Valentine in Trans Maroon. Yes, it is technically a Signature model for James Balentine of Maroon 5. Of that, I really didn't care. What struck me was the Music Man reputation, and the tonal possibilities.

    On first picking it up, you can tell it is a quality instrument. It just feels like quality. It is made from top quality parts, wood, right here in the U.S. The Neck is striking. It's a seriousally flamed, BAKED maple neck that is treated with oil and wax only, except for the head. One of THE most comfortable necks I have ever played. The 'slab' body reminds of a Telecaster, but is a wedge shape. It is thinner at the 'top side, than the bottom. It isn't as comfy as having a scarf, but it beats a Tele.

    Below is the full set of features. There are Stainless Steel Frets, Schaller Locking tuners, Compensated Nut, Individual, vintage steel saddles, string through. The bridge is one of the most solid of this type I have ever come across. Precision adjstment on height, etc. Pots are top notch push push. Even the backplate is coated Aluminum metal for better grounding along with the completely treated cavity with acrylic resin. Sculpted neck joint is very nice too. Tele like Single coil in the Bridge (but in HB sized shell), and a MM Humbucker, that splits in Neck. More on tone later. There is a separate, adjustable 'Silent Circuit' for each pup to remove single coil hum and a built-in 5-20db boost circuit.

    There is attention to detail all over this guitar. This is a phenomonally built guitar. It may cost more, but, you know you have quality in your hands. This guitar allows for as low an action with zero buzz as you can get (even too low, such that bends fret out on half tone bends). It has rock solid tuning. I was abusing the strings and it never budged. Intonation was/is spot on. It's the first guitar I have had with a compensated nut. Not sure if that has anything to do with it. But the individual bridges also have enough travel to get perfect intonation over whole fret bboard. The Valentine is easily the best setup from maker guitar I have ever had.

    How does it sound? In a word, fantastic. The Bridge pickup definitely has a Tele vibe. In Valentine's words, with working with Ernie Ball, he wanted to create a guitar that could cover their whole set, have a classic/vintage 'feel' but be modern. He tried to combine aspects of a Tele with an ES 335. The Bridge has all of that Tele vibe. The Neck as a humbucker is very glassy, VERY balenced across the frequencies, with great bottom end and high end sparkle. BUT, it can also be split by hitting the Tone knob push/push. And unlike any other guitar that does this, it doesn't lose volume or even output. This is from the Neck Pickup Compensation circuit when the the neck is split. It has an adjustable (via trim pot in cavity) boost. So, when you go coil split, single coil, no loss of output or volume, just that single coil tone. You can even set it to be boosted for lead play if you want. Middle position is extremely useable, with a bit of spank. Neck Humbucker and bridge SC work great together, and definitely does split. And then there is a 5-20db boost switcheable with the Volume push push. Trim pot in cavity adjusts the 5-20db. So with all of that, the different configurations, boost, using your knobs, this is almost the one guitar to rule them all. Can't quite get that thick, distorted, humbucker, bridge tone. But, with the boost up, and bridge, you can get pretty much P90 tone.

    These are MM unique pickups, wound in US. I have never had pickups that respond to different strings like these do. I went from the stock Slinkys to Fender Pure Nickel, and you REALLY hear the different Strings, like no other guitar does. Sure, others I can hear a difference, but it was like different pickups or guitar, with different strings. The 'Silent Circuit' works like a champ.. DEAD quiet in single coil settings. I haven't tried the trim pots, which adjusts how much the circuit quiets, to see if the tone is affected. Sounds so damn good now, and is silent, so why?

    And overall, I just think it is a stunning looking guitar. Also comes in Trans black, Satin Natural, Trans Buttermilk.

    About the ONLY complaint I have is the 1 5/8" at the nut width. But it tapers to a normal Les Paul width at last fret. And, it IS expensive

    Specifications Valentine

    Model Valentine
    Size - 13-1/4" wide, 1-3/4" thick, 38-7/16" long (33.7 cm wide, 4.5 cm thick, 97.6 cm long)
    Weight - 8 lbs, 0oz (3.63 kg) - varies slightly
    Body Wood - Ash
    Body Finish - High gloss polyester
    Body Colors - Trans Maroon, Trans Black, Trans Buttermilk, Satin Natural
    Bridge - Music Man® Modern hardtail with vintage bent steel saddles
    Pickguard - Shell
    Scale Length - 25-1/2" (64.8 cm)
    Neck Radius - 10" (25.4 cm)
    Headstock Size - 6-3/8" (16.2 cm) long
    Frets 22 - High profile, medium width, Stainless Steel
    Neck Width - 1-5/8" (41.3 mm) at nut, 2-1/4" (56.9 mm) at last fret
    Neck Wood - Select roasted maple neck
    Fingerboard - Select roasted maple neck
    Fret Markers - 1/4" Black Face dots
    Neck Finish - Gunstock oil and hand-rubbed special wax blend
    Neck Colors Standard – Natural with finished headstock
    Tuning Machines - Schaller M6-IND locking
    Truss Rod Adjustable - no component or string removal
    Neck Attachment 5 bolts - perfect alignment with no shifting; Sculpted neck joint allows smooth access to higher frets
    Electronic Shielding - Graphite acrylic resin coated body cavity and aluminum control cover
    Controls - Custom Music Man® active preamp; push/push volume for gain boost, 500kohm push/push passive tone for custom spilt pickup configurations - .022µF tone capacitor
    Switching - 3-way lever pickup selector
    Pickups - SH - Music Man® custom wound staggered pole piece single coil (bridge) and humbucker with chrome covers (neck)
    Left Handed -No

    Pics don't do the beauty of the neck wood justice, ah well
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    One day though, we will be able to control these sounds with our minds through scan helmits, and choose any sound available, manipulate them with our hands, feet and voice.
    So, enjoy this last period of vintage guitar playing.

    It gets worse... When the Baby Boomers die off, the high priced vintage market will dry up. Most of the new music will be done from loops, editors, plugin transpositions, crafted synths, etc. And when they need a "live" musician with actual "skill", robots will take those jobs. And it will only take 1 robot to do the orchestra because it will all be midi -> triggered wav files. Maybe they'll have holograms of seeming live players. And we won't be going out to see it. Just like I get my shit off Amazon now, rather than drive to an actual store, this will be wirelessly transmitted to your living room.

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    He played the device well. But, it only sort of sounded like a guitar. Sorry, try again.

    PUPs, I have liked in my LPs
    Seymour Duncan Pearly Gates
    Seymour Duncan Saturday Night Specials
    Seymour Duncan Whole Lotta Humbucker
    Seymour Duncan Custom Shop Lt Ed Joe Bonamassa Skinnerburst
    Seymour Duncan 59/JB pair, Jazz/JB pair
    Gibson BB1/BB2

    Just got this last week. Gibson '17 Les Paull Classic T Gold Top. I swapped out the stock speed knobs for reflectors, and added a poker chip.

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    I started wit Kemper, but did add an Axe FX II, not to replace it, but to use together. I also wrote a very long comparative review of the two on some other sites. If you want to see it, msg me, I'll shoot it to you..

    I'll try to summarize the main points, but at the bottom was my 'recommendations' on what to choose. Mind you, its based on the most current Firmwares from both. Oddly, Kemper has been closing the gap it had in it's effects lately with last few firmware levels. But the Axe has been trying to close the gap on amp tone and feel with it's. last firmware's. In fact, it's current one, Quantum 7 Beta 2 closed quite a bit on both tone realism and fullness and complexity of tone , as well as feel, and that extra level of complexity in harmonics I feel the Kemper has. Kemper still leads in these areas, but the gap is really getting slimmer and slimmer.

    That said, the Axe has some definite advantages too. Kemper has more, or less a single, simple signal chain. There is some flexibility. but really its stomps, amp cab, fx and in limited amounts, Granted, it is more than enough for many. The Axe, though can have any signal path you can dream up, with as many stomps, fx, up to 4 parallel paths, really to the limit of the processing power. Axe dirt pedals are a bit better as well, and there are more types and variations of a type of effects as well. Overall, Axe has better effects, with Kemper delas matching at the minimum, and it's pitch shifting actually better. And, because it is a modeler, you have control over almost any aspect of the amp, and it's controls, gain, volume, eq et al react together like the amp or pedal it models, which the Kemper doesn't quite do (and yes, doesn't have to be a detriment). At current firmwares, I've been able to get both platforms to sound pretty close to each others on the same amp.

    In reality, what I plan to do, is use the Kemper as the amp block, connect to the Axe's FX's loop, and use the Axe's superior signal path control and effects, with the Kempers superior amp tones and feel. Also playing with using the Kemper to double the Axe;s amp models.

    IF You
    Prefer a straight forward interface, and just want a very simple to use, bevy of great
    guitar amp tones and response that you won’t be able to tell from the ‘real’
    thing, enough effects to get the job done, just need enough ‘tweaks’ to make the
    presets/profiles sound and feel exactly how you want, willing to give up 100%
    accurate complete controls reaction for the best overall amp tone, AND/OR have
    conventional amps you want to capture and leave at home, then get the

    If You
    Prefer a lot of FX, complete control over the signal chain, ability to
    create a preset from the ground up, create a unique model or almost any tone,
    ability to tweak just about every aspect of the virtual amp’s/pedal’s circuits,
    want to create your own IRs, be able to tone match from songs and clips, want an
    editor, want amps that sound and feel about as real as it gets, are willing to give up
    a little bit of amp tone, and a tiny bit of feel, for completely accurate control action on a single
    preset, OR you need multiple signal paths, then get the

    If you
    Want the best of both worlds, and the ability to just have the best amp
    tones and playing, bar none, with an endless supply of the best amp tones, then
    get both like I did.

    I find the PRS's more ergonomic, but I just can't get along with their sounds. I've always found them to be very generic sounding, like a universal compromise. I like guitars that really have their own strong personality, and a good Les Paul has this. I'd prefer a Teisco or a Jolana that had a strong personality over the PRS's I've played.
    I see a bunch of people here swapping their PRS pickups, so perhaps that might be a way for me to find one that works for me. I'm still a sucker for classic designs though, so it might have to be one of their newer models with pickguards. I also hate flame-tops too. Hello Starla!

    I think that is a major part of it for me as well.

    me likes... :P
    they kinda look like some sort of FilterTron pickups.
    can it play some twangy Rockabilly?

    They're gold foils ...
    I use them a lot faves are from Mojo in the UK

    Yep Gold Foils. My first GFs. I've had Filtertrons, HAVE TV Jones Classics and Powertrons, have P90s, Tele and Strats. They aren't really like any of those. TVJ Classics come close, and my Deluxe Roadhouse strat on one of it's 5 preamp settings comes close.

    Complex and full low end, High end sparkle, but not shrill, ever.

    Unlike others in the thread, I haven't ever gotten along with a PRS, after 4 tries. I do have 5 LPs. 2 are top end Epiphones, because you can get them Light, 2 are Gibsons, but chambered models, and one is a Gibson LP Special (also light but thinner and with a belly cut).

    Tuning can be a problem because of Gibson's headstock angle and string break angle. SO easily fixed with just a little work on the nut. widen the peg side of the string groove, so the string doesn't bind, et voila.

    Ca't help with the neck profile. Either you like it or you don't. Though Epiphones have more thinner neck profiles than Gibson LPs. Same thing for upper fret access. You just have to learn to work with what it provides.

    Just added a new Supro Island Series Westbury with remake 'vintage' Gold foil pickups. Pickups are single coils, but almost no hum, not P90 tone, not strat or tele single coil tone. but something else. Sort of a fat Strat tone, but not really that either. They get dirty smooth, more like humbuckers, but with that stratish tone.Nice satin neck that is super smooth and fast, thick D profile. Immaculate finish, as much Flame as I personally like, great construction, good parts except the cheap knobs. Plays very nice, sounds great and unique.

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    You can use the "Alternative" and "Return" inputs on the rear of the KPA. These bypass the stomps/amp/effects/cab. One goes to the left output and one goes to the right (I don't recall which is which off the top of my head).

    THis, or I run through my rack mounted mixer/ai