DovJ

The Virus is dead. Long live the Virus!! What other synth gives you the Virus’s sound-shaping power, with incredible multitimbrality (is that really a word?) and a full complement of independent effects per timbre? I love my TI2 Desktop, my only synth (I do have two stage keyboards and a sampler, though).

Whether a Master Keyboard Zone is on or off doesn’t affect the connection between the keyboard and the 3 voices. I know there is a way to use the CP4 as a master keyboard controller only, but for the life of me I can’t remember how or find it one of the 3 manuals for the unit. When the Yamaha Synths forum comes back online, I’m sure you’ll find posts by the infamous “Bad Mister” explaining how this works.

BTW, a MIDI pedal won’t reproduce Morph. It would make it possible to quickly switch Rigs, but it would not smoothly transition between them. Yes, it is a single, mono XLR. The Art DI looks like a nice piece of kit! I own a Mackie stereo DI and a Walrus Audio Canvas Stereo. I have not done any sound comparisons, but I would assume the Mackie sounds similar to the Art (very similar price point). I mention the Canvas because it uniquely is both a DI and a Line Isolator. When in LI mode, it outputs balanced line-level signal. This is useful when going into a mixer or audio interface featuring line inputs; the difference in level is very significant. Why bring down your modeler’s output to mic level, only to raise it back up with a mic preamp? It’s likely this will produce a lower noise floor.

I have never owned an Iridium, so take this with a grain of salt. I did own a Mobius for a time, and absolutely loved the sound, build quality and extensive MIDI control. I believe you will find the Player is at a similar level of build to Strymon gear and is similarly equipped from a MIDI perspective. The Player would play well in a pedal board in place of your Iridium, especially if you’re using MIDI to control the Iridium and other pedals. With a MIDI pedal controller, you can make up for many of the limitations of the current Player OS, including the missing Morph and combo foot switches. Also, as your Iridium has unbalanced outputs, the Player’s unbalanced stereo outputs should not be a problem at all. Also, you may find that some of the Player’s effects augment the physical pedals you have.

After a few days playing with this unit, my reactions: - Great build quality. Feels “pro” where a Tonex doesn’t for example. - Sounds fantastic - Onboard controls and indicators are pretty intuitive - Control via mobile app and Mac/PC works well - Understandable that existing Kemper owners are frustrated that 3/4 of Kemper’s effects are missing, along with the Morph function for transitioning instantly between two “Rigs” at the push of a foot switch or gradually with the swing of an expression pedal - Waiting to see if Kemper enables the two missing combined switch controls. With only 3 foot switches, use of the app or a MIDI pedal seems a requirement for anyone trying to simulate a loaded pedalboard. Just like my Virus TI2 exhibits Cristoph Kemper’s inventiveness and deep understanding of what musicians need, this unit is built for players. I achieved good guitar tones in short order, and that without using any included Rigs or amp Profiles. I am pleased, but await the inevitable software updates.

Judging by the scuttlebutt in many forums, this is one heck of a controversial product. That said, demand is clearly much greater than Kemper expected. People are excited. I’m so interested that I ordered the KPP and a Mission Engineering expression pedal for wah and volume. It will likely replace my Tonex and running through the effects of my Virus TI2.

@D. Gauss I also had this issue. An entire octave suffered from faulty velocity sensing. The authorized repair center in my country (Israel) replaced a “voice card” and contact strip. The CP4 now responds correctly.

@Benny Vilner have you checked at Kley Zemer? They claim to have the P125A. I’ve bought from the Jerusalem branch (Yamaha YC61 for myself and a classical guitar for my son) and also had my Yamaha CP4 serviced by them. I am completely satisfied.

This is not at all exciting to me. When a great brand is absorbed by a mediocre one, you end up with “bean-counters” determining and often limiting how much influence the real music people have over the product. I own a Headrush MX5 guitar modeler-pedal. It does the job, after lots of tweaking. If that sounds like a lukewarm non-endorsement, you heard it right. I’m pining for a Quad Cortex! Owners of Headrush products complain about the non-responsive Headrush product support people. Plus, the release of a new generation of Headrush (the “Prime”) with not a word of support for the MX5 or about bringing the new capabilities, mediocre though they seem to be, to the still-new MX5, doesn’t inspire lots of confidence in the longevity of products. Contrast that with Yamaha’s purchase of Córdoba, owners of my beloved Guild guitars brand. I’m confident that Yamaha will develop Guild wonderfully, based on my experiences with my CP4 and YC61 keyboards, and by the passion other guitarists have for the Line6 products. Yamaha is clearly run by people who understand and actually care about musical instruments. When I needed my Sweetwater-purchased CP4 serviced here in Israel, it was no problem at all. The parts and expertise were readily available, despite that the CP4 was discontinued several years ago.

I love my CP4, and would never consider replacing it with the CP88. The CP4 fingers-sound generation connection is the closest I’ve ever felt to an acoustic piano. There’s something about the “SCM” modeled AP’s and EP’s that works for me, whether I’m playing Bach, Debussy or rock. I also have a YC61, so I understand the differences between these two generations of Yamaha stage keyboard. The YC61 interface makes sense to me for organ, sampler and synth sounds. I don’t need that immediacy for my weighted 88 key. The sounds I use are dialed in on my CP4, and I select them and play. Playing the YC sounds through the CP4 action doesn’t change the perception that the CP4 is a way better “piano.” The CP4 interface allows for fairly deep editing of all kinds of parameters that make perfect sense in an electric and acoustic piano. I’ve set them and that’s it. As the AP’s and EP’s are modeled rather than purely sampled, there is very direct editing of parameters such as the Rhodes pickup position and the key-off sound. This isn’t possible in a board that relies on Yamaha’s AWM2 sampled sounds. The YC61 has great sounds, but as a classically-trained pianist, I find the keys-sound connection of the CP4 is on a completely different level. Even my PHD-degreed piano teacher, who is fundamentally against using anything other than a real acoustic piano, tells me that my playing through the CP4 sounds like a professionally-recorded artist sitting at a 9’ grand. Why would I change that?

Still loving my CP4, 5 years after purchasing it. I also have a YC61, so I have a good feel for the enhanced UI that the newest CP’s and YC’s offer. Somehow, the CP4 gives me more finger-instrument connection for my classical playing. The new boards have many advantages, but don’t replace the CP4 for me as a graded, weighted, piano-feel board.

Seconding this. The downward force of your heal really keeps this in place on my tile floor and has for 4 years. Shame it’s no longer available.

While we’re all focusing on CTTE, Tales and the like, how about “South Side of the Sky?” Hearing/seeing this incredible cover reminded me what an amazing piece of story-telling this song is: If you like this cover, listen to the others on the channel NelyTotevaSarah. These are incredible musicians who display a rare passion for some of the gems of 70’s prog.

@Tom Williamsthat’s good stuff! It has a kind of US midwestern/Rush-ish AOR prog sound.

Does prog exist today? Listen to the latest Styx album, Crash of the Crown, or the Neal Morse Band’s recent releases. They’re genuine “prog” of the American midwestern sort, again IMHO.