hey fractal peep's,
i just wanted to drop a quick note regarding my experience with the CLR.
UPS brought a thrashed box to my door last week. i worked for UPS many years ago, and sadly, this is not a surprise.
i thought i had an issue with my LED's and emailed Tom, who called me in a couple of minutes. quick word on tom; i own the FRFR and the 112-50 reactor, and typically whenever i had an issue, it was pretty easy to get in touch with tom, who has always been helpful, friendly and quite generous. i love doing business with folks like this.
anyway, i'm not gonna do a scientific review of the CLR, cause i'm just not qualified to do so, and there's a lot of folks around here that are very qualified (i.e. scott!)
i'll just say that i've been playing the CLR since last week. mostly in my apartment studio, so at moderate (and even low) levels. my hands hurt, cause i can hardly stop myself. it's hard to explain, but it's so flat, yet somehow sounds/feels so good. my patches, which are usually set up on my tannoy monitors (which very much need replacing) and my atomic FR, translate very well, but i can easily hear where they need to be tweaked. there's so much detail coming out of the CLR.
i had my first rehearsal this weekend, and it worked beautifully. i just kept it in wedge position and it filled the room, which includes a loud drummer. every sound i tried really cut through, without cutting my face off. i use a lot of sound-designy patches, which have a lot of range and detail, including some very rude dubstep filter patches. i also used clean tones (fender/AC), bluesy tones, and some large, metal tones (herbie, diezel, 5153, and marshall), all of which were really effective at a high volume.
my drummer, who's also a professional engineer (and has been playing with me since my line 6 days) couldn't get over how wide, clean and nonabrasive the dispersion is on the cab. he's been sitting in direct aim of my atomic FR for some time, so this was a surprise to him (again, i use some obnoxious sounds). i even ran my obligatory van halen and metallica riffs for fun, and was pleasantly surprised at how big and wide everything is sounding. i never totally bonded with the FRFR. i've used it in many situations, mostly to good effect, but conversely loved the CLR right out of the box.
it's also worth mentioning that it's a bit unforgiving, in that what goes in (sounds, playing) is what's coming out.
i have my first gig (an improv gig on haight in san fran) next week, so i'm excited to have that experience.
anyway, to sum up, this thing is killin' and i'm really enjoying the experience. oh, and i love the look of the thing. awesome product!
cheers,
adam
i just wanted to drop a quick note regarding my experience with the CLR.
UPS brought a thrashed box to my door last week. i worked for UPS many years ago, and sadly, this is not a surprise.
i thought i had an issue with my LED's and emailed Tom, who called me in a couple of minutes. quick word on tom; i own the FRFR and the 112-50 reactor, and typically whenever i had an issue, it was pretty easy to get in touch with tom, who has always been helpful, friendly and quite generous. i love doing business with folks like this.
anyway, i'm not gonna do a scientific review of the CLR, cause i'm just not qualified to do so, and there's a lot of folks around here that are very qualified (i.e. scott!)
i'll just say that i've been playing the CLR since last week. mostly in my apartment studio, so at moderate (and even low) levels. my hands hurt, cause i can hardly stop myself. it's hard to explain, but it's so flat, yet somehow sounds/feels so good. my patches, which are usually set up on my tannoy monitors (which very much need replacing) and my atomic FR, translate very well, but i can easily hear where they need to be tweaked. there's so much detail coming out of the CLR.
i had my first rehearsal this weekend, and it worked beautifully. i just kept it in wedge position and it filled the room, which includes a loud drummer. every sound i tried really cut through, without cutting my face off. i use a lot of sound-designy patches, which have a lot of range and detail, including some very rude dubstep filter patches. i also used clean tones (fender/AC), bluesy tones, and some large, metal tones (herbie, diezel, 5153, and marshall), all of which were really effective at a high volume.
my drummer, who's also a professional engineer (and has been playing with me since my line 6 days) couldn't get over how wide, clean and nonabrasive the dispersion is on the cab. he's been sitting in direct aim of my atomic FR for some time, so this was a surprise to him (again, i use some obnoxious sounds). i even ran my obligatory van halen and metallica riffs for fun, and was pleasantly surprised at how big and wide everything is sounding. i never totally bonded with the FRFR. i've used it in many situations, mostly to good effect, but conversely loved the CLR right out of the box.
it's also worth mentioning that it's a bit unforgiving, in that what goes in (sounds, playing) is what's coming out.
i have my first gig (an improv gig on haight in san fran) next week, so i'm excited to have that experience.
anyway, to sum up, this thing is killin' and i'm really enjoying the experience. oh, and i love the look of the thing. awesome product!
cheers,
adam