PROFILE PACK 2 – 60 Profiles

Profile Pack 2 is another wide-ranging collection of boutique and vintage amps, rounding out the M Britt Profile packages.  Seeing to recreate* more great clean sounds from sought-after boutique amps as well as some higher gain amps, and a variety of British-type EL84 amps.  It also includes some Dumble tones that compare to a real Overdrive Special along with an Overdrive Supreme and an Overtone Special.

Check out Sound Samples below to hear how the profiles sound.  These samples were recorded direct to ProTools 10 via a Propellerhead Balance interface with no eq, compression, or plug-ins of any kind and then stored in the Kemper as part of this pack.

Thanks to my kind gear buddies for help obtaining some of these sounds.  Scroll down for sound clips.

The Modern Pack is a collection of modern boutique type amps.  The profiles are "studio profiles" meaning they are the full profile with amp, cab, and mic captured. They are suitable for studio or live use.  There are plenty of high gain sounds in this pack from some of the popular L.A.-based builders' latest amps.  There are also some modern EL84 tones from simple, but toneful 2 and 3 knob circuits, custom made for today's modern country and Paisley's chicken-pickin'.  There are also some modern versions of older amps like tweed and pawnshop classics, as well as a couple more thick, creamy d-type amp sounds ranging from Ford to SRV.  There is also a couple of Britain's new smaller amps that can have surprisingly big sounds thanks to the Kemper.

The Modern Pack contains profiles made with the 3.0 firmware and must be used with firmware 3.0 or higher.  Scroll down for sound clips of the profiles.

The Heritage Amp company sprang from the Heritage Guitar Company and was based in Brentwood, TN, just around the corner from where I live.  Paul Cochrane, the designer and builder of the Tim and Timmy pedals (one of my faves if you haven't already noticed) was the amp designer and builder at Heritage amps and came up with some incredible-sounding amps.  In an effort to put all of his favorite Marshall-type flavors into one amp, he came up with the Colonial.

With switches for changing the preamp section, tone stack, rectifier section, and a knob to change the negative feedback, he could accurately capture the sounds of a '59 Bassman, JTM45, Super Bass, and Plexi.  I really don't know what took me so long to get one of these amps other than they're not on every corner.  For the money, they are hands-down the best deal on the planet if you want amazing tone.

I've never been a huge fan of a Marshall clean sound but with the US/UK switches I was able to find amazing clean sounds that bridge the gap between American and British amps.  Once you get it cranking and setting the switches to the Plexi mode it gets an amazing, creamy, bouncy, smooth overdrive.  But this thing is LOUD.  It is the loudest 50 watts I've ever heard and it's nice to be able to "tame" it by getting it into my Kemper.  I included profiles using my trusty Timmy, Archer, and Red (Col. Angus) homemade od pedal as well as a few different cabs for some tonal variety.  This amp is fast becoming one of my all-time favorites.

Colonial Pack requires 3.3 firmware and while most profiles were made using my trusty 3rd Power cabinet, the new separation algorithms make it easier to get more great sounds by switching to your favorite cabs as well.  These clips were recording into ProTools 10 using a Propellerhead Balance interface with no plug-ins or processing using my red Tom Anderson Cobra with 3 P90s.  Check out the soundclips below and as usual please excuse the sloppy playing...

When I think of my favorite overdrive tones, I always go to early 4-input Marshalls.  They can sound smooth or angry depending on how you play them.  I've gotten to play a couple of great old Plexis over the years and I own a '72 that I've profiled frequently.  I got the opportunity thanks to good friends to profile this '69 beauty.  It has been passed between friends from Nashville to L.A. and back.  It has that crispy top end that I hear on early Van Halen records.

I wanted to capture some variety, and even though I usually use my fave 3P 212 cab, I profiled this with 4 different cabs:  3P 212 CL80, Marshall 412 w/25w Greenbacks, Marshall 412 w/30w Celestions, and my Guytron closed back 212 w/Vintage 30.  I even got a few good clean sounds on top of the great overdrive tones.  There are even a couple where I just rolled the knobs up and dialed the Variac down to brown it out a little.  Hope you like 'em.

The Diaz CD100 is one of those amps you don't see every day.  The CD100 is a 100w beast based (a little) on the high powered tweed twins but with added reverb and some pull knob options for getting unique higher gain tones.  It stays bluesy no matter where it is (since Cesar Diaz was SRV's guitar tech), but can cover a great range of tones from country cleans to searing lead tones.  You can see why this is one of Warren Haynes' go-to amps.  I had a CD100 for many years on the road and eventually parted ways but I found another recently to bring those tones back to my KPA.  These profiles cover many of the amp settings along with some gain pedals in front.

Diaz Pack requires 3.0 firmware and while most amps were profiled using my trusty 3rd Power cabinet, the new separation algorithms make it easier to get more great sounds by switching to your favorite cabs as well.  These clips were recording into ProTools 10 using a Propellerhead Balance interface with no plug-ins or processing using my red Tom Anderson Cobra with 3 P90s (pictured above).  Check out the soundclips below and as usual please excuse the sloppy playing...