Atomic CLR = Sonic bliss !!! In depth review

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Hugomack said:
Not in any way trying to dampen the huge groundswell of enthusiasm here following these excellent and thorough reviews (I hope the neighbours have recovered) - and I am on Tom's list, but has there ever been a cab that works equally well as a bass guitar backline amp/cab, all-round live monitor, guitar backline amp/cab, PA FOH amp/cab and studio reference monitor? (Not to mention being very much less expensive than some of the top end pro alternatives with which it's been compared?)

These are each very specific beasts, with large price tags for the pro versions to which they've been so favourably compared. Are we witnessing the birth of something incredibly new for the whole world of high grade amplified music?
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Well, I'll certainly let you know how these cabinets fare with respect to bass guitar as single cabs for small club/pub use, as well as 2 cabinets at larger venues. Im not a 5 stringer,but do a lot of drop tune stuff....everything from acoustic based, blues, R&B, and metal. If the CLRs are as advertised, we're talking serious game changer. Can't wait to try them!
 
I'm thinking of using a set of these (maybe four) in coffee shops/small venues with a set of subs as a P.A. setup. Since the active CLR's have a switch on them for use with subs does anyone have a suggestion which subs would match up nicely with the CLR's?

Tom: Does Atomic have any plans of making a sub that will be designed to work perfectly with the CLR's?

Excellent review Rocket Brother! That tipped the scales for me!
 
jimfist said:
Well, I'll certainly let you know how these cabinets fare with respect to bass guitar as single cabs for small club/pub use, as well as 2 cabinets at larger venues. Im not a 5 stringer,but do a lot of drop tune stuff....everything from acoustic based, blues, R&B, and metal. If the CLRs are as advertised, we're talking serious game changer. Can't wait to try them!
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Thanks Jimfist. Being in YouRup, it looks like I'm going to be waiting a lot longer than most - but when did you put yourself on to the list?
 
Thanks for the in-depth review! Good to have all of that info in there, different scenarios, etc.

I have asked a lot of users this and wanted to get your opinion. Obviously a lot of folks want to have two (or even four) CLRs so they can run a stereo setup. There are going to be a lot of people that will only be able to afford one. Does sitting in front of one wedge take away from the excitement of playing thru a CLR and do you really have to hook up two to really get the whole picture so to speak? I know that hearing speakers in stereo, whether it be guitar cabs, P.A. speakers, etc. allows you to take in the full sound of a particular preset with the delay, reverb, etc.

Also, and not sure if you mentioned this in the review, but were you able to just play thru standard presets or did they require tweaking? I know most units SHOULD require tweaking on the AxeFx-II since every unit is different but just curious. I also wonder if some standard presets sounded better than others (heavier tones versus cleaner, etc.)

Thanks again for writing that up. I know that had to take awhile to throw everything together. Definitely appreciated by us forumites though!! :)
 
Thank you so much for this in depth review.
I appreciated all the detail and sharing your professional experience.
Your writing style is easy for me to read and I felt you stayed on topic.

I've been considering CLR's in the same configurations you detailed so well. Personal wedge AXEII & mini PA.
My partner and I do meditation workshops for 50-200 persons. Keeping life simple for me could include (3) CLR's which would cover my sound re-enforcement needs at a nice price and easily portable.

Considering thinning the herd.
Now, I've got to work through deciding
all (3) active wedges
or
(1) active wedge and (2) active cabs.

Hrm....
Thoughts?
 
Darn... I was actually considering downscaling my monitors from my current 12" 400Ws to smaller, lighter, less loud an coaxial 10s. In our P&W band situation I have need of space saving, no need for loudness and less weight is always a bonus.

But now...
 
Thanks for the great review. Very impressive. I have two questions:

With the powered wedge can you disable the internal amp so you can power with an external amp?

Do the chicks dig 'em?? :)
 
romanianreaper said:
I have asked a lot of users this and wanted to get your opinion. Obviously a lot of folks want to have two (or even four) CLRs so they can run a stereo setup. There are going to be a lot of people that will only be able to afford one. Does sitting in front of one wedge take away from the excitement of playing thru a CLR and do you really have to hook up two to really get the whole picture so to speak? I know that hearing speakers in stereo, whether it be guitar cabs, P.A. speakers, etc. allows you to take in the full sound of a particular preset with the delay, reverb, etc.
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I purchased 2 wedges intending to leave one at church and to have the other at home to design my presets because we rehearse on Thurs and play on Sunday and I wanted to limit what I bring back and forth to my pedal board with my MFC, my Axe II in a 4 space rack and my guitar. Since I had 2 I did audition these in stereo and was blown away with how big the sound stage became and how amazing many of the effects were with presets that were designed to be heard in this stereo format. It is the difference between listening to something designed to be in stereo that you have been hearing in mono and then suddenly hearing it in stereo. You can't help but be impressed however the greatest impact is most appreciated with presets designed to be heard in stereo. Presets designed to work in mono are bigger as well but mostly because of moving more air and actually sound equally clear and pleasing with one CLR. I repeat, one CLR is really a great experience!!!

Personally I need to optimize my presets for my live setting where I can't take advantage of the stereo imaging and so I am programming and performing with one CLR and very very pleased! If I was not gigging I would run both CLRs at home in stereo and build my presets accordingly for my own enjoyment. And of course if our band was running a stereo platform I would program and monitor in stereo.
 
randolfo said:
Thanks for the great review. Very impressive. I have two questions:

With the powered wedge can you disable the internal amp so you can power with an external amp?

Do the chicks dig 'em?? :)
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I don't bye this advertising. But, if I'm wrong, the CLR are what every pro-studio (and bass-guitarist) are using from now-on. Man, they are saving money on gear....

This board are in sereios trouble being honest.......
 
Hugomack said:
Not in any way trying to dampen the huge groundswell of enthusiasm here following these excellent and thorough reviews (I hope the neighbours have recovered) - and I am on Tom's list, but has there ever been a cab that works equally well as a bass guitar backline amp/cab, all-round live monitor, guitar backline amp/cab, PA FOH amp/cab and studio reference monitor? (Not to mention being very much less expensive than some of the top end pro alternatives with which it's been compared?)

These are each very specific beasts, with large price tags for the pro versions to which they've been so favourably compared. Are we witnessing the birth of something incredibly new for the whole world of high grade amplified music?
Click to expand...

Thanks Hugomack, the neighbours are fine - all high volume playing has been in a rehearsal space or on stage :)

What you are describing is one of the things that knocked me out as well. I kept expecting to find a pitfall in at least one or two applications - but not only did I not find pitfalls, the CLRs continued to impress the hell out of me in every application and scenario that I put them through, that is something that I've never experienced before, and I've been lucky enough to have been provided with stage monitoring options costing 3-4K a piece on many occasions.

I think the absolute strength of the active CLRs is that it truly is a perfectly balanced and tuned reference monitor that will accurately reproduce the signal you feed them. It is the old saying of shit in = shit out.
As long as the signal you feed the CLRs is dialed in correctly you'll be golden.
That it is capable of going from a whisper to a roar and prized in the prosumer pricerange is just unbelievable and mindblowing.

So in shot - yes I do believe that we are witnessing something that will rock not just the boat, but indeed the world of pro audio.
 
pdup said:
I don't bye this advertising. But, if I'm wrong, the CLR are what every pro-studio (and bass-guitarist) are using from now-on. Man, they are saving money on gear....

This board are in sereios trouble being honest.......
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When is a review a review or simply a form of advertising? Good question.


In this particular case the reviewer is honest up front about the fact that he had the gear given to him as a loaner to review. I think upfront disclosure is a great thing because it provides a level of perspective for the reader.
 
yek said:
The word Excellent doesn't do justice. Your review is thorough, elaborate, balanced, professional. Perfect! Thank you.

Curious about the IRs you're using. Can you give any insight?
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Thanks Yek - you're too kind, coming from you that means a lot.

Since I updated to the most recent firmware I've trashed all my old presets, so at the moment I'm only using those described in the review and a few others (Concorde, Dirty Shirley, Morgan, Tweed Deluxe & Swart AST).
These presets are all made specifically for the bands I'm gigging with the rest of the summer.
In these projects I'm not going for an amp in the room though, more a miked cab sound.

I'm still using a few of the OwnHammer V2 Beta cabs, until Kevin churns out the V2 of the cabs I'm waiting for, but apart from that I'm using stock MIX cabs from the Axe.
I'm using a few of the cabs that correspond specifically to some of the amps (tweed deluxe mix, AST mix, Morgan mix and so on) but otherwise I'm a big fan of Greenback cabs, the Dumble cabs and the Santiago cabs. Sometimes I mix the cabs and sometimes I mix in the G12-65 FF (JM) to give it a bit extra dimension.
On the Friedman preset there a V30 Mix cab mixed in as well.
I do have a few IRs that a friend made for me and him, where he captured my one of my old tweed fender cabs, my Carr Rambler cab and his old Basketweave Greenback cab with a mix of close and far field micing, very neutral mics and preamps - these IRs gets a spot on perfect amp and cab in the room sound.
He is thinking about whether or not to make more and sell these IR's, if he doesn't go in that direction I'll share them on Axechange.

I'm quite busy at the moment, but when we get past the summer, I intend to get the producers packs from Fractal and see what Kevin at OwnHammer has out, and start experimenting with those.

When I'm micing a real amp and cab in the studio I always make sure to get the classic SM57 & R121 mix down as that always works for me. If possible I also get a AEA R84, and maybe a few other choices on my cab.

Hope this answers your questions
 
James Cullen said:
Wonderful review. Your credentials for writing such a review are more credible than mine. But it's amazing how your review validates my observations. I got some flack from trolls but I hope this lays that to rest. They are everything you claim them to be in my experience. Although you are a pro musician I have a similar background in guitar and studio. They are easy to dial in accurate sound and reveal inner details in the music like my ATC 100as.

My next experiment is going to get some pole mounts and compare them during a mixing session in my studio to the ATCs. You never know they might be up for sale!

Where I am really loving them is the way you can dial the sound so accurately at live band volumes.

The other day I was dialling in a new lead sound using Plexi 100 for my new Jackson PC1 which I bought off eBay for £800!! Bargain! It was a little edgy and harsh compared with my Tom Anderson which is warmer. I backed off the treble, reduced the Dynamic treble response upped the bass a little. Viola you could instantly hear the improvement and I had a wonderful fat lead tone. Great guitar with sustainers you can get some wonderful tones. The CLR excel in this capacity and it just makes it all more enjoyable.

Will update once u have the CLR set up for a comparison with the ATC in a mixing project.

Again. Excellent review thanks for taking such trouble and it pleased me greatly that my views as an enthusiastic amateur have been confirmed. Two data points concurring exactly.

James
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Thanks James,

I found your review of the CLRs great and very informative - what really spoke volumes to me is the way you compare the CLRs to the ATCs.

I was truly amazed when the CLR in both my engineer friend and my opinion beat the Adam S3X-V's in the studio, but when you say that the CLRs are comparing very favorable with the ATCs I'm beyond floored.

I'm very much looking forward to hearing your opinion once you've A/B'ed the CLR and your ATC's in a mixing situation.
 
HwyStar said:
I'm thinking of using a set of these (maybe four) in coffee shops/small venues with a set of subs as a P.A. setup. Since the active CLR's have a switch on them for use with subs does anyone have a suggestion which subs would match up nicely with the CLR's?

Tom: Does Atomic have any plans of making a sub that will be designed to work perfectly with the CLR's?

Excellent review Rocket Brother! That tipped the scales for me!
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Thanks man - you're going to love them.

I didn't feel that the CLRs needed subs neither when I used them as a mini PA nor when we used them in the studio.
Still might be even better with subs in those scenarios ?
 
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