Admittedly this is an academic discussion. However, I can't say I'd be as skilled as a guy like Britt. He's been at it for a long time. It'd take some serious woodshedding and practice. Doesn't seem one could just dive right in and be proficient right off the bat. But ya gotta start somewhere.
I'd want to try a several different mics and mic positions to see whether I could create something maybe off the beaten path. For instance, one thing about the profiles I hear - that are admittedly very good in other respects - is that they sound a bit dry, even played back in a room. I wonder if that's all about very close miking, which tends to make recordings dry sounding.
Sp my first question would be, Is close miking the only way the profiles can be done? Or is there flexibility in the choice of distance from speaker to mic?
I'd want to try placing mics further back by an inch at a time, etc., to pick up a little more of the room. It might help capture the 'juice' I miss when I hear a Kemper. It'd be interesting (maybe even fun) to see if I could get close to the tone of my amps. With any luck I could do something unique. Who knows.
If I played out, I'd have to use one. No choice. Because my days of heavy lifting are over now per the doc.
One day in Studio Craptastic
"Hi hon."
"What's that thing sitting on your desk? Yet
another piece of music gear?"
"Oh, you mean that? The green thing that looks like a toaster?"
"Yes." [insert special fx of steam starting to escape from her ears]
"It's a medical device." 
