"Pop Punk' is a pretty generic term and I doubt has profiles and/or profile packs dedicated to it specifically. Is there a specific band you want to cop? Might have better luck searching for that. I would think the typical grindy "Marshall" rock type tone should apply to 90% of this style of music.
Just my worthless 2 cents'
Hope you find what you're looking for. 
I would have to agree 100% although I had a couple of Axe FX units, not the FM3 or FM9. It would take forever to program my Axe FX's and my patches would all need to be re-tweaked after many of the firmware updates. There were also so many variables to consider (which is a big plus for some people) and I would find myself spending WAY too much time re-adjusting my presets.
Now, I only use Michael Britt profiles with my Kemper and I'm already 90-95% of the way there tone-wise. Most of them only need minor EQ adjustments and no extra time is wasted going down various rabbit-holes like I used to with the Axe FX. The other thing is that if you do buy an FM3, I guarantee that Fractal will come out with the new and improved version in a year or two. Not so with Kemper. They got it right from the beginning.
That said, Fractal makes an amazing product and I'm sure the FM3 would sound wonderful and work perfectly for your situation. It just depends how much extra time (and money) you have on your hands.
Agree 100% on the MBritt profiles. I use them exclusively live and must say that they perform very well! I especially like his Friedman BE50 Deluxe profiles in his "Crank N Go" profile pack. I have built several performances around 5-6 of those profiles and am very satisfied with the results...sit very well in a live mix and are consistent gig-to-gig. Important!
How about "Colonel 1x10 #2 CR" by Thomann
It's pretty good actually...who knew?
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??
I micd up my 5153 and A/B'd it against his in the pack and could get very close. So close I really have no use for the real amp!
That's awesome...were you using one mic or multiple? How did you mix them if more than one?
Display MoreThank 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.
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.
Display MoreThat'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.
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!
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! 
THIS! Been thinking about this for a LONG time...back to when I owned a Helix and wanted 9V outs in it. GREAT idea!
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.
I know you mentioned you are not a fan of MBritt's profiles but, his Friedman BE-50 Deluxe profiles in his Crank N Go pack are just stellar! I use them almost exclusively for rock tones.
Has anyone tried the Friedman "Mic No Mo" for profiles?
Silly question...why have stereo just for you? I would prefer to hear what the audience hears to avoid the " I sound great don't I? Erm not what we heard..."
Just for my listening enjoyment. No other reason. It adds ambience to the overall stage sound...Can't really hear true FOH sound anyway. IEM's sound different than FOH arrays, or wedge monitors.
Good to know! Had the same question myself...
I typically run mono to FOH. But, I get a personal "stereo" monitor via using a Line6 Powercab 212+. I run stereo out from my Kemper Stage to the Powercab, then run a mono send from the Powercab to FOH. I set my stereo spread setting on the Powercab to full (200%) to get a nice "wide" stereo effect for my onstage monitoring. Works great and I can independently control my onstage volume without affecting FOH. I don't yet use IEM's but, am considering them...which may end up negating the need for a live onstage monitor like the Powercab.
I am having very good luck running my Kemper Stage into a Line 6 Powercab 212+. Lots to like with this setup!
First, it's true stereo (500 watts), and provides me with onstage stereo monitoring. It has a stereo pass-through so that I can run either mono or stereo XLR cables from the PC 212+ to FOH. The volume of the Powercab is independent of the send to FOH so, I can turn it all the way down while getting a good FOH sound, then bring up the PC+ volume to my own liking for my onstage monitoring. Very useful.
It is also very light for a 212 cab, has retractable tilt-back legs, is ported in the back, can run Line 6's many onboard "speaker simulations" (for that amp in the room sound) or traditional FRFR. It offers a "mic'd emulation" to the outs going to FOH if you are using the onboard speaker sims for your monitoring but, just passes through the original input signal if you are in FRFR mode. It is quite loud...have gigged it several times now with both my Helix and with my Kemper Stage. It always keeps up volume-wise.
It's not cheap, but, for what you get, it's a pretty darn good value! I like it alot.
Anyone else using this setup? Thoughts?
I am having very good luck running my Kemper Stage into a Line 6 Powercab 212+. Lots to like with this setup!
First, it's true stereo (500 watts), and provides me with onstage stereo monitoring. It has a stereo pass-through so that I can run either mono or stereo XLR cables from the PC 212+ to FOH. The volume of the Powercab is independent of the send to FOH so, I can turn it all the way down while getting a good FOH sound, then bring up the PC+ volume to my own liking for my onstage monitoring. Very useful.
It is also very light for a 212 cab, has retractable tilt-back legs, is ported in the back, can run Line 6's many onboard "speaker simulations" (for that amp in the room sound) or traditional FRFR. It offers a "mic'd emulation" to the outs going to FOH if you are using the onboard speaker sims for your monitoring but, just passes through the original input signal if you are in FRFR mode. It is quite loud...have gigged it several times now with both my Helix and with my Kemper Stage. It always keeps up volume-wise.
It's not cheap, but, for what you get, it's a pretty darn good value! I like it alot.
I am loving my Line 6 Powercab 212 Plus. Can use its speaker sims if I want "amp in the room" sound, or in FRFR mode if I want a FOH sound. It's true stereo, loud, tilts back for great onstage monitoring, lightweight, and has an output to FOH so, I just run my main XLR outs to the Powercab and the outs from the Powercab to the FOH. Sounds great!
Agree...ALWAYS insist on being mic'd and sent FOH. Makes a world of difference as 1) guitar cabs are very very "directional" in nature and 2) your audience will appreciate you not having to turn your amp up to 10 and blowing their faces off! Lol.
