rickboot
Fractal Fanatic
https://www.thomannmusic.com/laney_lfr_112_frfr_active_cab.htm?ref=prod_rel_231632_1Sure would like to see exactly where you are seeing them @ that price. Reverb has them @ almost double that as well as others.
https://www.thomannmusic.com/laney_lfr_112_frfr_active_cab.htm?ref=prod_rel_231632_1Sure would like to see exactly where you are seeing them @ that price. Reverb has them @ almost double that as well as others.
Really glad you like and have had a great experience with Tom. I found his service less than desirable. He was hard to get ahold of and I was not confident of the longevity of his product.I have two CLRs, they're fantastic speakers. They're exceptionally clear and flat, and sound just as good at night time ultra quiet volumes as they do at live volume, just like any great monitor should.
Once I called Atomic to ask a question or two and ended up speaking with Tom King at length about speakers in general, guitar tone, etc. The guy was super nice and personable, and I had a great time talking shop with him.
Absolutely zero complaints from me. Really top notch company.
I am in the USA. Thomann will ship to the US.
I bought them on Reverb.com
I just looked up my purchases. They were $449, $472 w tax each, free shipping, as seen in my screenshot below. Bought them (new) in October, 2019Sure would like to see exactly where you are seeing them @ that price. Reverb has them @ almost double that as well as others.
Side story here. I used my CLR with my Fractal at one show, at the Guthrie Green here in Tulsa, OK (outdoor gig). I usually used an Orange Thunderverb half stack, and we'd played this venue before multiple times, and never had an issue. Anyways, I show up with my band to load out and set up on the stage, and I set up everything and tell the sound guy that he can either run direct to FOH from the AxeFX or from the CLR, thinking this would be a sound guys dream to have full control over my levels in the PA without worrying about stage volume. BUT! This guy INSISTS he must mic the CLR to get "The cab tone". I argued with him for about 10 minutes about this,, explaining that it'd be like putting a mic on any other wedge monitor and that it's FRFR, and he never budged, so I finally caved and just gave up hope for my tone that day. He mic'd my CLR with an SM57 and I've never had a more horrendous tone. DEFINITELY not the CLR's fault, but it turned me off of ever using the Axe FX live again for a LOOONG time.
That's a classic symptom of dialing in your tones at home with no backing tracks. At the gig, you'll always sound scooped and sterile, because you dialed it in that way. That's what sounded good soloed at home.I had a CLR for a VERY short time. When I was just playing in my house alone it was awesome. But once I used it in a full band setting, it was AWFUL. I don't know why, every review I read about it said it was really good, but it always seemed to make my presets sound very VERY scooped in the mids. To be fair, this was only a month or so after I got my Axe FX, so my presets were NOT great, but it always sounded so sterile and scooped to me, which made me feel self conscious about my tone, and made the one show I used it at a disaster.
Yes. And dial in your sounds at gig volume. Not mean what you think is loud at home, but at actual gig volume.That's a classic symptom of dialing in your tones at home with no backing tracks. At the gig, you'll always sound scooped and sterile, because you dialed it in that way. That's what sounded good soloed at home.
The answer: more mids!