Randalljax
Axe-Master
Ya thats huge , spec wise they are pretty close except for the 10 inch vs 8 inch woofer and the out put power
Ya thats huge , spec wise they are pretty close except for the 10 inch vs 8 inch woofer and the out put power
You said it in your post wel. I get the toppy, breathy high end part from the CLR, and the rest the MF10 fills out beautifully.
That’s a tipo for sure.The mf10 are way lighter than the clr‘s neo
Do they sound better is the question than the MF10?And why spend so much money when you just can have meyer sound mjf-208 or 210/212 and fulfill all your dreams.
That's what they say, and btw are very expensive. My attestation could be strictly connected to Dynacord AXM 12A.
(Just kidding, but read on...)
EXCELLENT to hear mate. I have a big gig this saturday and am looking forward to flapping my own pants with one of my MF10’s!Holy necro-thread! I've now done a few gigs with a Red Sound/G66 MF.10 FRFR stereo pair sitting under my Axe FX III. Both on amp stands, so kicked back to an angle where I get to hear plenty of what they are doing. I'm using both speakers on my side of the stage, only a few feet apart, as I feel I deserve a nice stereo image more than the audience does.
First was a medium size club gig (150 person venue, rowdy), where I was so pressed for time in the soundcheck that instead of putting any lead guitar through the PA I just cranked the MF.10s. Pretty glorious in fairness, and seemed to fill the room without cranking things up to anywhere near the limit. Nothing like a 4x12 cab, as it was loud out front, and really quite bit louder where I was. Bottom end akin to a 4x12, felt very full.
Second was a much bigger room. 280 person wedding, but a big room, would have comfortably housed 800 standing punters. MF.10 pair got cranked a bit further, and also put through the PA. As it turns out they really cannot "project" into the room like a closed back 4x12. Bass player's 4 x 10 was too loud in the room, but he couldn't hear himself on stage. I'm starting to see projection as an issue rather than a benefit.
I had a much better problem than the bass player, in that up to 8 feet in front of the MF.10s I was playing miles too loud in a spit 'n' sawdust club with a guitar whistling into feedback at will, but I could step to the front of the stage and get into the balanced zone the audience was hearing. Monitors for me, FOH PA for them. This is going to take some getting used to as a perennial 4x12 1/2 stack user. I always used to move towards the amp for things to get quieter and vice versa, and guessed I was splitting some eardrums among some of the audience with the 4x12 on a raised stage.
My "big" (1x15") FRFR rig of recent years confined itself to stage to an extent, but the MF.10s really do feel like they produce impressive SPLs that remain largely on the stage, or just in front of it. And the 1x15" FRFR used to blow up mid cones when pushed, despite sounding amazing...
Third gig was about 70 people at a wedding (again) in a room that should have had about 300 standing punters in it. I got the chance in sound check to trim FOH PA EQ to match the MF.10s, but I did so on the PA while setting EQ for everything else. I'll maybe set that flat at the PA and do it all through the Axe FX next time. (Think it was around -6 dB from 5 kHz, but can double check if anyone's interested).
Mistake made at this one was not to maximise stage sound, and give the audience as much as they needed. So the MF.10s got turned down so I could hear bass and drums properly, and the drummer stopped hitting them as hard as he usually does. While the audience clearly had a great time, we all felt like we were working at it harder than the previous couple of gigs. I guess the lesson is that if you can let the drummer loose, then everyone around him can relax!
TLDR is mostly that a stereo pair of Red Sound/G66 MF.10 can be ample backline for those that are used to using "stacks", 1/2 stacks or Fender Twin Reverbs live. They are plenty loud enough on stage, but as rooms get bigger, they do need more sound reinforcement from the PA than traditional amp solutions for live use. Almost hate to say it, but I think all of this makes them a more practical solution for gigs than anything else I've used so far, and I'll very happily use just one of them for the next small gig I do. They can fill a 50-100 person room very adequately on their own.
Well done @Marco Fanton! Seriously, a ball knocked all the way out of the park. Also, huge thanks to @ZenRigs Man for advice and guidance here, and more importantly, taking on UK distribution. Trouser legs suitably shaken!
Liam
yeah, that's resounding testimony if ever I heard it!Holy necro-thread! I've now done a few gigs with a Red Sound/G66 MF.10 FRFR stereo pair sitting under my Axe FX III. Both on amp stands, so kicked back to an angle where I get to hear plenty of what they are doing. I'm using both speakers on my side of the stage, only a few feet apart, as I feel I deserve a nice stereo image more than the audience does.
First was a medium size club gig (150 person venue, rowdy), where I was so pressed for time in the soundcheck that instead of putting any lead guitar through the PA I just cranked the MF.10s. Pretty glorious in fairness, and seemed to fill the room without cranking things up to anywhere near the limit. Nothing like a 4x12 cab, as it was loud out front, and really quite bit louder where I was. Bottom end akin to a 4x12, felt very full.
Second was a much bigger room. 280 person wedding, but a big room, would have comfortably housed 800 standing punters. MF.10 pair got cranked a bit further, and also put through the PA. As it turns out they really cannot "project" into the room like a closed back 4x12. Bass player's 4 x 10 was too loud in the room, but he couldn't hear himself on stage. I'm starting to see projection as an issue rather than a benefit.
I had a much better problem than the bass player, in that up to 8 feet in front of the MF.10s I was playing miles too loud in a spit 'n' sawdust club with a guitar whistling into feedback at will, but I could step to the front of the stage and get into the balanced zone the audience was hearing. Monitors for me, FOH PA for them. This is going to take some getting used to as a perennial 4x12 1/2 stack user. I always used to move towards the amp for things to get quieter and vice versa, and guessed I was splitting some eardrums among some of the audience with the 4x12 on a raised stage.
My "big" (1x15") FRFR rig of recent years confined itself to stage to an extent, but the MF.10s really do feel like they produce impressive SPLs that remain largely on the stage, or just in front of it. And the 1x15" FRFR used to blow up mid cones when pushed, despite sounding amazing...
Third gig was about 70 people at a wedding (again) in a room that should have had about 300 standing punters in it. I got the chance in sound check to trim FOH PA EQ to match the MF.10s, but I did so on the PA while setting EQ for everything else. I'll maybe set that flat at the PA and do it all through the Axe FX next time. (Think it was around -6 dB from 5 kHz, but can double check if anyone's interested).
Mistake made at this one was not to maximise stage sound, and give the audience as much as they needed. So the MF.10s got turned down so I could hear bass and drums properly, and the drummer stopped hitting them as hard as he usually does. While the audience clearly had a great time, we all felt like we were working at it harder than the previous couple of gigs. I guess the lesson is that if you can let the drummer loose, then everyone around him can relax!
TLDR is mostly that a stereo pair of Red Sound/G66 MF.10 can be ample backline for those that are used to using "stacks", 1/2 stacks or Fender Twin Reverbs live. They are plenty loud enough on stage, but as rooms get bigger, they do need more sound reinforcement from the PA than traditional amp solutions for live use. Almost hate to say it, but I think all of this makes them a more practical solution for gigs than anything else I've used so far, and I'll very happily use just one of them for the next small gig I do. They can fill a 50-100 person room very adequately on their own.
Well done @Marco Fanton! Seriously, a ball knocked all the way out of the park. Also, huge thanks to @ZenRigs Man for advice and guidance here, and more importantly, taking on UK distribution. Trouser legs suitably shaken!
Liam
thanks - I posted the preset a while back - if you search my posts you should be able to find it if you want to give it a spin. I think it's the Superverb with Tyler Grund's JBL E130 IR. Those MF10s are pretty sweet - I'd love to try 4 (two stereo pairs). Only things I'd change on them is the protruding knobs, and would be nice if you could just double the signal from one channel to the other if you're running mono, rather than having to run a separate XLR to each channel.
I have the same concerns with the volume knob......... two in front and two in back would be really cool.
You didn't say but if your studio monitors are not positioned correctly or your studio hasn't been treated they can affect the sound of anything played in there or through them.
