Ultra had a high relative cost increase for what it was. Kemper mk ii has no price increase. Not saying it wasn't worth it, I bought it over the Standard knowing full well what it was and wasn't.
Compared to the Mk1, Mk2 is of course excellent value as it’s the same price and you get more. A nice sloping front, alternative paint, some cut down effects and a quicker boot time. You also get the promise that better sounds will come in Summer and, at this stage, that might be next Summer. So yes, compared to what they offered before it’s great value but only if you:-
(A) Don’t already have a Mk1 as I did - at that point I’d argue the Mk2 is not good value. That was the point I tried to make in my post
(B) You don’t compare it to the rest of the market which has fundamentally changed from the time when the Mk1 release - at that point, the high end was a two horse race between Kemper and Fractal. Kemper owned Europe high end market - I’d argue this is not because it’s significantly better than the fractal of the day (both great products) but because it was available from retailers with returns policies and was cheaper than the dealer only alternative that is off putting to some.
The sound.... Digital sound is like a little bit of plastic sound. Nobody has say in the first pod era: it sound digital ? Now modelers are not Pods, but they still have a little bit of a plastic sound.
Digital sound is not a literal word.
I have Kemper Mk1, Stadium XL and a couple of actual amps. In the past I’ve owned lots of digital gear going back to Zoom 505 days.
I think your ‘captures are good, modelling is not’ statement is maybe not in date vs flagship units from Fractal and Line 6. Your mentioning of liquid profiles is interesting - you do realise that these are simply digital models that work with a profile? There are a limited number of them and so there will be compromises with some amps - if you look at the Grammatico in Helix and Stadium, you’ll see a large number of things that hugely change the character of the amp. The different directions you can go in that thing go way beyond any of the liquid tonestacks.
So if modelling is a good thing for you with liquid tonestacks (and actually all the modelled distortions, overdrive and fuzz within the Kemper) can you see that modelling *everything* might not be such a bad thing? Especially because the companies that do modelling spend all their research time *on modelling*. Kemper’s thing is profiling - their time right now is on mk2 profiles. How much time do they spend getting the modelling stuff 100% right? Maybe better to model everything so it all matches up accurately and plays nice?
It also might interest you to Google ‘how does Kemper profiling work’ - you’ll find lots out there saying that there are basically 7 digital models inside Kemper to approximate all the amps in the world. When you profile, it chooses the closest, adds filters and does an IR of the speaker cab. I don’t know if this is true or not and, honestly, if the results are great it doesn’t matter how they do it - I am just trying to show that the ‘modelling is inferior to captures’ idea is flawed until *every knob and button can be captured*. If the 7 models thing is actually true, isn’t the Kemper simply an modeller that doesn’t allow you to choose the model?
Until they make it possible for every knob and button to be captured and work ‘as the original’ within a profile environment, you are still (with liquid or other systems anyone comes up with) adding a model onto a profile. If the reason for the mk2 delay is that they’ve found a way to do this for every amp on the planet then The mk2 people will understandably be super happy and I will be glad for them. Even if it ends up being the best sounding unit right now, it’s still years behind on the interface and quality of life things I’m enjoying with my Stadium which, despite only being a modelled right now, is outdoing the Kemper.