Posts by Garrincha

I can think of another reason:

They could have clocked the DSP higher than in the MKI (basically overclocking that thing). They allegedly did that when going from the Virus TI to the TI2. When doing so they might need the newer CPU to keep up with the highher clock of the DSP.

But then:

It is not unknown that the CPU does some addidtional audio calculations. I think Waldorf did something like that in their earlier designs (I think Q and Micro Q). It is possible that MKII-profiling employs the CPU for some tasks.

Anyway: I would really like to hear about all that from CK himself, because at the moment we are all only speculating. That ist fun but won't get us anywhere.

Quote from BayouTexan

If the chassis is the same,

That might be true for the Rack. But the MKII-Toaster has a diferrent housing and different size (and weight).

An upgrade would throw any electronic certification under the bus. They certainly won't do that.

Quote from sailor

You can open up your Player to see the Mk2 chip. It's the same as the Mk1.

I have an original toaster and the new MKII. I have opened up the new one, but to get to see the DSP and the microcontroller, I would have to completely disect the whole thing. I didn't do that and I haven't seen anybody on the Net who had. There is a video where one guy openes up the rack and shows what he thinks is the DSP. It's only the microcontroller though, only he didn't know.

Quote from smfelton

If I’m not mistaken (which I could well be) the NXP Symphony is a family of DSP’s and they’re not all EOL.

The Mk1 could be the dual core version and the Mk2 might be quad core, without the chip part number all anyone can do is guess IMHO.

I was going to say exactely that

If the history of the Virus is anything to go by, they might have used a different chip from the same family. It's all based on the (formerly) Motorola 563xx, but there are a lot of variants in that family.

They might also use the same chip but clock it differently (overclock) which they have done when going from the TI to the TI2. But other than that, the Virus used a different 563xx variant in every iteration.

Then there is the microcontroller which most certainly is a different chip than in the original profiler. So we are talking about two chips of interest and both could be different from the original hardware. The microcontroller most likely is, since GUI and I/O-Operations seem to be much faster on my new MKII than on my original Profiler.

Quote from pippopluto

They will certainly not, there's no mention of that in the specs. Which makes sense, the project(s) has been touched the least possible hw-wise

Well, it's not mentioned in the specs of the Stage either and that one has it regardless.

Quote from aconfusi

Saw this question was asked before, didn’t see an answer (might’ve missed it)

Will the new MK 2 Rack and Toaster have true impedance?

I just took delivery of a Toaster MKII. Sadly there is no true impedance in the Fuzz parameters. Maybe a bug and the hardware is there but the software doesn't see it, that much I don't know.

But that fabled soft button "true impedance" is currently not there.

There seems to be a real oversight on the MKII Head:

It doesn't seem to have the true impedance feature which the player and the stage have.

That is one thing I really can't understand.

I just took delivery of a non-powered head to replace my old Head from 2012. And while I really like the new look and the fact that the Kemper kann now bei Slave in an SPDIF-setup (my old hardware couldn't), I would have expected them to add the true impedance feature to the Head as well with the new hardware.

Yes!!!

That's what I've been waiting for so many years.

I gave up on a decent Kemper Tremolo years ago and bought a Source Audio Vertigo. I think I can sell that pedal now.

I loaded up a nice 62 Brownface Deluxe profile (since I used to own one) and dialed in the new trems and it sounds marvellous! Exactely like my old Deluxe did. I compared it to the Vertigo - which is one of the best tram pedals out there - and it was spot in. If anything the Kemper trem sounds a bit better to me. But generally they are both right on the money. I don't need the Vertigo anymore.

The hamonic tremolo is one of the best ever - if you have a vintage Vibrolux, you know

Ich habe mir gerade mal die Live-Version angeschaut und es ist wirklich viel einfacher als gedacht:

Das Arpeggio startet nicht auf der E-Saite, sondern mit C auf der A-Saite. F auf der D-Saite, die G-Saite offen und der Zeigefinger liegt dann von Anfang an auf dem C der H-Saite. Das greift sich ganz leicht auch ohne Spinnenfinger.

Das F auf der hohen E-Saite greift zumindest in dem Video von 2003 Stephan Zobeley NICHT, Jakob Hansonis allerdings bei einer späteren Strophe dann schon. Kann man beides machen und wenn du so kurzfristig den Song drauschaffen sollst, wird jeder Verständnis haben, wenn du die Variante von Zobeley spielst, die ist wirklich einfach.

Quote from Yoda Guitar

Gitarre: Es wird angenommen, dass Jakob Hansonis an der Studioaufnahme beteiligt war und eine Fender Telecaster verwendet haben könnte, da sie für klare, durchsetzungsfähige Töne bekannt ist und gut in das rockig-poppige Klangbild des Songs passt. Der "twangy" Klang der Telecaster passt gut zum rauen, urbanen Ton des Liedes.

...wenn es noch eines Beweises bedurft hätte, dass ChatGBT taub ist und keinen blassen Schimmer hat, dann wäre das hier perfekt.

Die Arpeggios in Bochum sind sehr typisch Strat Stegpickup, typischer geht es schon gar nicht mehr. Mit einer Tele hat das wirkich gar nichts zu tun. Mrotzek und Hansonis haben das damals auch live mit einer Strat (Hansonis) und irgendeiner Superstrat SSH (Mrotzek) gespielt, Marke wahrscheinlich Charvel, aber das weiß ich nicht mehr, da müsste ich in alten Interviews kramen. Hansonis spielt bis heute bei Herbert und in dem Stück live seine alte rote Strat.

Die Studioaufnahme der Arpeggios klingt auch sehr nach "direkt ins Pult" gespielt (was man damals auch sehr gerne für cleane Sachen gemacht hat), dazu müsstest du einfach nur Amp/Stack/Cab ausschalten, dann ist der Kemper eine DI-Box und macht genau das gleiche. Dazu Delay und Reverb und fertig. Live dürften beide das mit einem größeren Fender (Deluxe oder Twin) gespielt haben. Einen Compressor ganz am Anfang der Kette brauchst du für die cleanen Sachen auch, in den 80er hat man clean fast nie ohne Comp gespielt und das hört man bei dem Stück auch ganz gut.

Im Refrain spielen beide mit einem eher crunchigen Sound, da wird man wahrscheinlich besagte Fender mit einem Overdrive angeblasen haben. TS-9 oder DS-1 wären in der Zeit eigentlich das Mittel der Wahl auf deutschen Bühnen gewesen, beides hat der Kemper an Bord. Such dir ein gutes Profil eines Blackface Fenders und schalte in einen Slot einen Tubescreamer und dann solltest du schon ziemlich nah am Ziel landen.

I think you forgot the main factor:

Your actual guitar!

Do you play the same guitar with the same PUs than the guys doing the demos of the profiles?

Heck, when I play a nice Marshall profile with my Les Paul and then swith over to my strat, I'm not going to sound like myself five minutes ago And yes, that is really night and day then. The Kemper is still an amp after all, you need a guitar to make a sound

breu

What happened to the *68 Superbass? That's one I've really been looking forward to. Did you shelve that one?

Quote from Finally

Note how much of the low end is missing. A great example of a tone that sounds great in the mix but would probably sound a bit too trebly by itself.

He probably sounded like that in the studio while tracking. Cutting bass or boosting the upper mids or even treble is usually done at mix-time when the mixing engineer has the complete picture of the track and knows, where he has to cut or boost.

Having said that, one thing every engineer does routinely is low-shelving at around 100Hz to make room for the bass and the kickdrum. You also often dip at 500Hz, to dial out the mud a bit.

Quote from Wheresthedug

I kew he used the Rivera moded Deluxe on the first two albums but I thought he had moved to the Marshalls by Toto IV.

I remember reading in an interview around the release of IV, that he used modded Marshalls, as most LA guys did back then. His were done by Rivera just like his Deluxe. After that he went to Boogie and a Mark III IIRC. The Les Paul parts in Rosanna sure sound very much like a Marshall to me. His crunch sound with the Deluxe from the first two albums was very different IMHO.

Another interesting thing at least to me was, that the Strat parts were actually done with a Valley Arts (the Robot guitar). For many years that sound was a prime example of an archetypical vintage Strat sound for me and in the end it was an 80s "Supers Strat" ;). Interesting is the use of delay and I also think I hear a bit of Chorus there. If so then it was the Dytronics Tri-Chorus which he was a vivid user then.

Quote from DutchGuitarDude1

Finally a harmonic trem in the kemper

Yesss!

The current trem FX is the only thing in the Kemper that was not on the same level than the rest.

When I bought my Kemper in 2012 I came from a beautiful brownface '62 Deluxe. While I could get the sound of that amp pretty effortless with the Kemper, I could never nail the tremolo. It ist not a harmonic trem though, I think that was only in the top of the line brownface Fenders. The Deluxe "only" had the tube-bias-varying trem, but even that just wasn't doable with the Kempers FX.

I already gave up hoping and bought a Source Audio Vertigo. But now it seems I can sell that one and use the Kempers FX for trem either. While the Vertigo sounds phantastic, it is a PITA to sync it via MIDI. Never could be bothered to do that, but now the Kemper will do.

For what I've herad in that Youtube-video above they seem to have nailed the sound. Sure, I will have to check that out myself for a final judgement, but it sounds pretty "expensive" aleady and not as cheese as the old incarnation. I'm really excited about that!

My understanding from an interview with ckemper is, you take the bright channel and use the bright cap intensity to adjust until it fits.

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.

Quote from Kellerblues

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.

Quote from benifin

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.