The competition seems to be stepping up their game...

    I think I can smell a feature request here, I will undoubtably +1, it’s a cool feature.

    New talent management advice to Laura Cox -


    “Laura want to break the internet? let’s shoot another video of you covering the Nightrain solo in the blue singlet, but this time we’ll crank up the air conditioning”.

    There’s still a lot of room for kemper to upgrade their products.


    If they could start by putting some graphic eq on amp section, cab section, and output section it would be great.

    The Kemper 2 will be as revolutionary as the 1.


    This is all I know.


    I like the fact that the kemper guys dont like gimmicks and "fancy stuff" but concentrate 100% on the really "serious stuff" musicians really need.I am still amazed about how easy and "intuitively" the kemper works.


    And I did not know how much I really needed the morphing-thing until @CK decided that it is time for this stunt..


    I am to deep "into the Kemper philosophy" than to change my mind or to give energy learning an other philosophy.And seeing and hearing from so many lads with other modelers who tell me that "their modelers are at least as good" as the Kemper but having all these huge problems of finding the right chain(FRFR/power amp etc) shows me that I am right not to care about any other "approach".I just "agree" on the way Kemper does it.And I know most other guys I know being open to digital modeling feel the same.


    Amen to that! Still, I'm curious to know when they'll come out with a Kemper 2. We're nearing 10 years now and in that regard, everyone else seems to be making more progress (even if that involves coming out with new hardware). So what will the Kemper do to differentiate itself from the competitors?


    With the Quad Cortex, I'm reading a lot of people who also own Kempers say it does a better job at the captures, as well as other people who say it doesn't match up. Haven't tried a unit, and don't feel the need to till they upgrade its features some more.


    In the case of the Axe FX, I'm quite impressed by the feature set and the models. In a mix or a live setting, I don't think anyone would be able to distinguish it from the Kemper and they seem to be constantly refining the models further and further so as to obviate the old claim that it's difficult to dial in.


    The Helix is the unit I'm least interested in, because I never found the tone to be something revolutionary, but I'm pretty sure Line 6 has a new flagship coming out in the next year or two. If they do, it's likely to be leaps and bounds over what they've previously done.

    nightlight


    I understand what you mean but I guess that today it is very hard to find the slight little differences between modern modelers without to see the whole chain someone uses.


    Years ago we could say that this modelers sounds better than the other generally but today it really comes down to personal taste and needs with the real differences of the modelers to be in connectivity,workflow,and easiness to find/create the sounds someone has in his mind.


    This is the reason I use the word philosophy..user a likes touchscreens because "we live in 2021 now" and user b loves knobs because he....loves knobs..:|


    What none of all these modelers delivers yet after "all these years" are new ways to create untypical guitar sounds with our six strings..


    And this is where I believe is the "future battle field" for guitar modelers with a lots of room for heroes and losers..


    I guess @CK has everything available to be the hero of heros again with a revolutionary Kemper2 prospect.I really hope he uses all these gathered abilities & know how.

    Ck said in an interview with Andertons that guitar players are strangely old school and don’t want anything changing and I tend to agree.

    If Gibson for example just changes the tiniest thing in a guitar, everybody cries. The most popular guitars are reissues I think and every development could be fatal.
    for example I’m really interested in testing an Evertune system but not one Shop in like 500km is offering them.

    spotter


    I dont believe that what we see now and during the last 20 years or so will the same of what we will see soon.Better said we already live the changes.


    Soon every younger musician will have fully part away from the believes of their Led Zep/Metallica dads..


    The need to produce today alone at home in your bedroom at "raging speeds" while the quality vocalist is waiting at the other end of a digital recording platform will lead to many changes which are already clearly visible.


    The future guitar player will plug in his favorite custom guitar into a tool already connected to a DAW ready to send his sounds straight across the globe.

    And he will use the mouse and his guitar to record everything from drums,bass to synth/keys before he even has recorded the first basic guitar tracks.And this with a speed which allows her/him not to "loose the vibe for the idea" she/he had in mind.


    And he will definitely not be willing to use a nasty midi converter on his very personal favorite custom guitar.



    We've discussed some of those features before on these forums! For example, in-built synths.


    Listen to this example from the Axe FX, for example:


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    Or this one, go to about 11 minutes:


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    This stuff should be easy as chips for Mr CK, having experience with the Virus synthesizers.


    Just goes to show there is so much to do than play guitar with a... guitar!

    In built synths if done properly might need more processing power than your average effect, but hey, it is impressive how they are managing all the reverb and delay quality addons, on top of the new fuzz and drive. Maybe possible, but I dont see this as a priority.


    As of kemper 2, there is just moving forward, but I am expecting also something revolutionary. How about a "kemper mic" :)

    The answer is 42

    Like 1
    Quote from Alfahdj

    In built synths if done properly might need more processing power than your average effect, but hey, it is impressive how they are managing all the reverb and delay quality addons, on top of the new fuzz and drive. Maybe possible, but I dont see this as a priority.


    As of kemper 2, there is just moving forward, but I am expecting also something revolutionary. How about a "kemper mic" :)

    I dont know..what are the "priorities";


    If good sounds and ofcourse new inspiring sounds are not "priority" anymore 8n music...what is priority;


    More amps;

    More I/Os;

    More fx;


    I mean,really;



    We can rule out the "more amps" argument with the Kemper, since it basically captures most amps. However, there are a few that can't be captured. I'd also go so far as to say that profiling, while accurate, could definitely be further improved upon, especially when it comes to high gain amps. It always seems that there's some "magic" going on in the low mid area that makes the Kemper's EQ curve virtually indistinguishable from the real amp, but when you actually play the real tube amp, you'll notice that there's more girth or oomph to the low mids that's missing from the Kemper.


    When we come down to IOs, I think I'd also like to see more signal chain possibilities as well. It would be great to have the ability to have more parallel path processing, for example, and the ability to route this signal to an independent output.


    As far as FX, I think the sky is the limit. After all, which of us could have thought up something like morphing. In that respect, I'd like the ability to automate things like morphing, for example sweeping through fixed, or even random settings in an effect, sort of like a phaser, with the ability to finetune the oscillation as a triangle or a square wave, for example.


    It just seems that the more options at our disposal, the more you could head towards an idealised tone or sound in your head. Would you use all of them? Maybe not, but it just takes one or two sounds like that to make your music stand out.

    Modern digital music gear has the same problems like all other modern high tech..


    Things have become to big.To complex.For many small companies this is the biggest problem:


    Creating a promising prototype of crazy,fancy high tech seems to be no problem anymore.Everything seems to be indeed possible.


    But then..you have to put it into mass production & the follow on support/service has to work flawlessly without to eat up all the gains...


    We start to see a lots of hubris in the world of high tech.Many monsters were created during the last few years in many ways.


    Anyway..


    I love my Kemper.It sounds great.It works.It is proven.When I bought it I never believed that software updates would work that flawlessly and that it would be that reliable with all the new stuff we got during the last years.


    A kemper2 will be as revolutionary as the kemper1 and most of all it will be as reliable and still have the same genius philosophy as the kpa1.

    Sure there's a bit of room for slight improvements but what I'd like to see from CK/Kemper/Virus--and I'd understand if there isn't as much interest in a guitar forum-- is a Kemper of synths: digital modular where you can profile each module. It's all patched digitally, like a Kemper take on VCV rack

    Quote from jtn191

    Sure there's a bit of room for slight improvements but what I'd like to see from CK/Kemper/Virus--and I'd understand if there isn't as much interest in a guitar forum-- is a Kemper of synths: digital modular where you can profile each module. It's all patched digitally, like a Kemper take on VCV rack

    I am sorry to be the bringer of bad news, but most synths have envelopes and LFO, which are time domain functions which alter the signal. If anything kemper cant do is material with time domain characteristics, thats why you cant record and have amps with rotary effects or chorus built in. You would technically do the kemper technique to profile all the parts individually excluding LFOs and maybe some filters/envelopes, but then you are simply modelling oscilators/wavetables/simple filters, and that if only the synth allows you bypass all the other things (modullar synths allow for this, not so much east coast style synths). And yes, I am a synth nerd too which happen to love guitar a bit more than sound design.

    The answer is 42

    Quote from Alfahdj

    I am sorry to be the bringer of bad news, but most synths have envelopes and LFO, which are time domain functions which alter the signal. If anything kemper cant do is material with time domain characteristics, thats why you cant record and have amps with rotary effects or chorus built in. You would technically do the kemper technique to profile all the parts individually excluding LFOs and maybe some filters/envelopes, but then you are simply modelling oscilators/wavetables/simple filters, and that if only the synth allows you bypass all the other things (modullar synths allow for this, not so much east coast style synths). And yes, I am a synth nerd too which happen to love guitar a bit more than sound design.

    LFO's and envelopes (as well as everything else a modern synth does) is done through DSP today in every synth sold to my knowledge. The difference between a synth and a guitar is only the input that is triggering the sound. In a synth, it is a key that gets what key, and the velocity. In a guitar, it is an analog signal that would first have to be analyzed for key and velocity, but there is really no reason a guitar could not be the input for the DSP algorithms which could be in either a modern synth or the Kemper.


    Now, the input using a keyboard is physically capable of producing music with a persons 10 digits that no guitar could ever input. Then again, the opposite is true of a guitar. Can't do a slide or a bend on a keyboard.... or a mute.

    Quote from OneEng1

    Can't do a slide or a bend on a keyboard...

    Slide is achieved with MIDI CC #84, value 0-127 (Portamento amount or pitch distance) and MIDI CC #5 (Portamento rate / speed).


    Pitch bend is created using the pitch wheel or stick on a controller keyboard.


    Pitch bends of individual notes within chords is now also possible thanks to MPS (MIDI Polyphonic Expression).

    I really would live to hear @CKs opinion on this issue.

    I mean..he is one if the very few persons on this planet who has serious know how in guitar modeling and synth technology.

    Quote from Monkey_Man

    Slide is achieved with MIDI CC #84, value 0-127 (Portamento amount or pitch distance) and MIDI CC #5 (Portamento rate / speed).


    Pitch bend is created using the pitch wheel or stick on a controller keyboard.


    Pitch bends of individual notes within chords is now also possible thanks to MPS (MIDI Polyphonic Expression).

    Ya know, as soon as I posted it I thought about that too.


    Let me rephrase....


    I can't create a convincing bend or slide on a keyboard. Maybe others can ;).