Britt Crank N Go Friedman BE50 Deluxe Profiles...OPINIONS?

  • I am REALLY enjoying Michael Britt's BE50 Deluxe profiles from his "Crank N Go" pack! They are about as good a rock profiles as I've yet found for the Kemper...anyone else digging these?? I use them exclusively when playing live...they just sound great!


    Are there other profiles out there you think are better for rock and heavy gain rock tones? If so...I'd love to know which people are recommending.8)

  • My personal favorites as well. The ones with the Klon in front are my default for when I'm looking for a solid classic rock sound.


    Back when I first got my Kemper it was around Black Friday and I ended up buying everything he had (and since), and these are still my favorites for that kind of sound.

  • Those are indeed great. MB is an absolute master.

    I also recomment TopJimi's Marshalls (specially the mod replicating Slashs modded JCM800) for this type of sound, including 80's metal/rock

  • My favorite pack. Freed is great. The High heels was surprisingly better than I thought and reminds me of a ENGL Blackmore or SE with that throaty grind. Freed Clean 4 is a good offering too that seems a part of it.. If I only had 1 pack this would be it. Too bad I had to buy a few packs from other dealers to figure that out.

    To me the B2 B3 and HB1 & 3 are out of this world for feel & dynamics. Works great with all guitars!

  • At first the Kemper is overwhelming to say the least, all the choices. The grass is always greener-or there's something better out there was always my thought at first. I've worked to it down to about 15 amps that I really like and from there to 5 amps that cover what I need aside from any specialty songs that will surely come up. All with MB CL80 cab (what is in my monitor cab too) Main amps being his Freed which I consider the best of all. Between crank n go and his free rig pack I can get pretty much everything I need from Acoustic (simulator) to funk,blues, country, classic rock to metal. ( I have some paid packs from other vendors but I like the sounds of some of his free stuff more and it seems like his all fit together well without "aural vertigo" happening through the main sends.

    His free Dumble, Jubilee, Match, /13, Fux, 79 Mars are great. I have his 69 pack which is my 2nd favorite pack but I actually prefer 3 gain variations of the single free 79. It's darker and works great with single coils and the brighter Freed with humbuckers. I also found an ENGL(metal) and a Champ & a Car (not MB's)that I like. Those are the only three that aren't MB that I may use as of now. But again if I only had 1 pack, It would be Crank N go for crunch/rock/harder rock/metal. With my LP Custom /w/ 498T I can do a VERY convincing highway to hell era AC/DC with 50B1 & 2.

    Everything on there is great and sounds as good as all the expensive amps I've used over the years with the exception of the Vai amp. I've played through a real one before and although it's very good, it's just seems too "stock" sounding to me (Like something I could get with a POD.) I never cared for Vai's tone anyway. His playing is great but I've always thought his tone was kinda vanilla. I even liked the DSL 40. It does a great DL "Photograph" tone. I played a real one before and to me his profile sounds better than the amp in the room.

  • I'm currently using basically ONE performance for over 90% of what my band does. That performance consists entirely of MBritt Friedman BE50 rigs.


    1) BE50 Cln 4 (I use the morph to get an edgy breakup tone via morphing in the Green Scream OD)

    2) BE50 BE 5T (morph in a vol, delay, and also a gain boost via Green Scream mix)

    3) BE50 BE 5T w/ higher gain setting on amp (same morph setup as #2)

    4) Freed 50 B 6K (morph a vol boost, rev and delay boost)

    5) BE50 BE 8R (lead tone...already has vol boost). Morph a variation of the base tone for added cut.


    Amazingly, this, along with the acoustic simulator on slot 1 really covers all my needs. I've purchased packs from other "heavy hitter" profilers but, MBritt's Crank N Go really is all I need. The amazing thing about his profiles is, they sound even better at stage volume! I run my Kemper Stage main outs (stereo) into a Line 6 Powercab 212+ for my onstage personal monitor, and then run just a mono XLR out from the Powercab to FOH...easy peasy! ;-)

  • That's cool! No HBE in the mix? I know a pedal will get kinda similar results boosting gain,& everyone has their own methods. At first, I really dug the KLON add ons (K) but then I started noticing how it altered the tone away from the non boosted amp, so I went to all rigs without profiled pedals and add my own later if needed. Like I said, just different methods, I'm just not used to running a pedal all the time and demand I that the amp I use does rhythm/hvy rhythm distortion on it's own, (or I wouldn't have bought it) so I kinda use the same philosophy when building Kemper rigs.


    When you morph the screamer in, what screamer parameters are being morphed? Because to do that, you have to have the module on as you are aware. I haven't done that because I didn't want a pedal "in" all the time so I plan on mostly using:


    BE50 Cln 4, BE1, BE2 (more gain a bit fatter) HBE1 for gainier stuff & & HBE3 for lead "shredding". (Warning:,when you start cranking the HB3 with a powerhead into a cab, it can make you maniacal with joy and you may not be going anywhere for a while)


    I only am morphing mostly volume & gain boosts using the tap button because I like to be able to step on the original rig button and have everything go back to normal. That way I have one universal "boost" button that turns any rig in the performance into it's version of a lead sound, and if I say, switch on a phaser, then add a delay, then a harmonizer, I can snap right back to the starting sound with one press and no tap dancing backwards through my FX add ons!


    I have another performance with acoustic sim, /13, 79 mars, Dumbl that does a bunch and from there I'll have a third bank or more for specials for songs that have particular FX or tones. Thanks for sharing your rig I always like to see how other people set up.

  • Love the Crank N Go as well. BE50 is a fine one in that... so all you guys who love it don't forget to check out the freebie in his blog entry here which is a BE100: MBritt Blog


    That one is incredible versatile and reacts so super to tweaking of Definition and EQ. One of my very few go to profiles for all occasions, at least in Rock 8)

  • Yeah...I own an actual BE50dlx and I have found (just my personal opinion) that the HBE channel loses some balls when compared to a higher gain setting on the BE channel coupled with a boost in front of the amp). Just my personal taste I suppose...not saying that Dave's amps are at all "muddy" or "thin" but, I just prefer that sound I guess...


    Ok, so...on slot 1, I morph from BE50 Cln 4 with low gain setting (0.3) to higher amp gain (2.2) plus I morph in the Green Scream (mix=0% to mix=84% with Drive=6.0 and a bit of volume boost (2.0)). This goes from a "clean" clean to a nice slightly pushed grind! Love it.


    Typically, on the first 4 slots, I morph in a vol boost, a gain boost (via the amp gain itself, the Green Scream mix% (morph from 30% to 80% or so), or both), and perhaps a bit more pronounced delay and reverb settings. This gives each slot in my Performance the ability to take that particular tone and make it louder/more of a "lead" tone.


    Then, I use slot 5 as a dedicated "lead" slot (vol already boosted over the base sounds on the other 4 slots). I use the BE50 BE 8R profile at a high gain setting, coupled with either a Green Scream or the new Kemper Drive (I have stomps C and D set up to toggle depending on which OD I want...Kemper Drive is thicker with less of a mid-push). I then have slot 5's morph set up to boost the Clarity and the Mid and Treble amp EQ's to bring it "out front" even more. I use this when I think I'm not cutting enough on a given solo...just a feel thing.


    LOVE the results I'm getting...consistent too gig to gig!8):thumbup:

  • Love the Crank N Go as well. BE50 is a fine one in that... so all you guys who love it don't forget to check out the freebie in his blog entry here which is a BE100: MBritt Blog


    That one is incredible versatile and reacts so super to tweaking of Definition and EQ. One of my very few go to profiles for all occasions, at least in Rock 8)

    I'm not crazy about that one. Doesn't sound like the ones in the 50 pack to me.

  • Thank you for taking the time to write that out & sharing. It's very interesting to see other people's methods and sounds they use and try it for your self. Your last post had me revisit some sounds, and gave me some new ideas!


    You don't think it bothers anything leaving the boosts on in the chain all the time?

    How do you think the rigs compare with the real thing?


    Your approach is almost exactly as mine except for this. (Turning each rig into a lead sound for that tone), although as I have mentioned I use the tap button to do this as I'll punch in pedals,boosts,harmonizer etc, then want everything to to"snap back" when I hit the original button. It's just the way I have been doing it for years being a lead vocalist/lead guitarist in a 3 pc band. I usually have to come right into a vocal and can't reverse my way out of a bunch of pedals.

  • 4) Freed 50 B 6K (morph a vol boost, rev and delay boost

    I went back and played this and could not stop for about an hour for leads/hvy rhthm (Dokken Ratt Whitesnake etc) I forgot how much I initally liked all the rigs he did with the KLON. Darn it, more decisions. I understand what you wrote about the HBE channel. I've had amps where the "super gain" channels didn't sound as punchy & rich. perhaps that is why the Frid pack just has a few HBE and more BE...

  • I haven't noticed any difference with leaving the boosts on in the signal chain...if there is a difference, it's very very subtle.


    As for the Britt profiles compared to my actual BE50dlx...they are really close. I have been meaning to profile my actual amp and compare the resultsto both the "real thing" and to MBritt's profiles...of course, I don't have the mics, studio gear, experience to get to his level but, want to hear the difference...


    GREAT amp. My personal fav of all the amps I've ever owned...Kemper allows me to leave it parked in my basement and take the tones with me so as not to expose it to filthy clubs/stages and drunken, stumbling, beer-in-hand patrons! Haha.

  • That's awesome...were you using one mic or multiple? How did you mix them if more than one?

    I just quickly stuffed a Audix i5 at a slight angle into a Celestion CL80 Straight to a Steinberg pre/DAW.

    Multiple mics work good for everyone else, but I like a challenge and know that in most live situations I'm only gonna get one line/mic and it probably won't be a U87 or 421, so I like to see just how much tone I can squeeze out of one mic and focus on methods doing so.

    Kinda like the post I was reading from a member talking about beginners and the Kemper, to take a rig that sounds close to what you want, and work with it and make it what you want just like you would an amp you were stuck with.

    When I use multiple mics, It becomes like an EQ, to me adding and subtracting the two or three. I usually find that just one of them in the right place gets to the point where a bit of EQ and it's fine. Then I tear down all the other mics, the room mic etc. and just go with one. What makes me mad is I have a rudimentary program my phone for recording and it records AMAZING sounding guitar clips. Something about the way it compresses, I can play super soft and low or ferociously loud and it still sounds good. I wish I could "profile" that in my DAW!

  • I just quickly stuffed a Audix i5 at a slight angle into a Celestion CL80 Straight to a Steinberg pre/DAW.

    Multiple mics work good for everyone else, but I like a challenge and know that in most live situations I'm only gonna get one line/mic and it probably won't be a U87 or 421, so I like to see just how much tone I can squeeze out of one mic and focus on methods doing so.

    Kinda like the post I was reading from a member talking about beginners and the Kemper, to take a rig that sounds close to what you want, and work with it and make it what you want just like you would an amp you were stuck with.

    When I use multiple mics, It becomes like an EQ, to me adding and subtracting the two or three. I usually find that just one of them in the right place gets to the point where a bit of EQ and it's fine. Then I tear down all the other mics, the room mic etc. and just go with one. What makes me mad is I have a rudimentary program my phone for recording and it records AMAZING sounding guitar clips. Something about the way it compresses, I can play super soft and low or ferociously loud and it still sounds good. I wish I could "profile" that in my DAW!

    That's hysterical that you mention your phone recording... Was sharing some quick song ideas with a friend recently, was practicing through my Yamaha THR10 practice amp and simply put my phone down in front of that darn thing...maybe 2-3 inches in front...and used a "voice memo" app to record. My friend RAVED about the tone!! Hahaha...what are gonna do??

  • That's hysterical that you mention your phone recording... Was sharing some quick song ideas with a friend recently, was practicing through my Yamaha THR10 practice amp and simply put my phone down in front of that darn thing...maybe 2-3 inches in front...and used a "voice memo" app to record. My friend RAVED about the tone!! Hahaha...what are gonna do??

    I know, it kinda makes me mad. I've got Neve Pres, good mics and very good ADA converters, and my S7 in "stereo" mode can compete somewhat . Not as up front as direct Kemper tho. It must be the phone's compressor plus condenser mic that works good with mid range sources.