First Impressions of the Atomic Amps CLR

I've got to post this - gigged last night, full on rock/country band. Loud.


The CLR is a freaking beast. Unbelievably happy with how it worked.


The stage was crammed so this is an inelegant stage setup... but we made it work.


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Something I didn't get a picture of - the stripper pole about 10 feet in front of the stage led to some *interesting* participation from the crowd. :eeks :aok
 
I'm considering these just wondering if you've been able to compare the active with the passive versions with a GT1000FX?
 
GuitarDojo said:
You should run the mix in input 2 , save ya a montior.
Working on this with band.....
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Yes it would; but that vocal monitor in the picture is Sean's (keyboard) whom was right next to me in the corner. I don't want Sean's vocal monitor mix in my face (much as I like the guy!). LOL. We ended up turning it aimed at him more before we went on.

maschoff said:
I'm considering these just wondering if you've been able to compare the active with the passive versions with a GT1000FX?
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No, I am sorry but I have not.
 
Scott, quick question regarding using the CLR during rehearsal. Do you still plug into the rehearsal's PA system, or just use the CLR? We use an hourly studio for rehearsal and been using the room's PA as my monitors. Since they're facing the band and not "FOH", I'm wondering if just for rehearsal I should bring my FRFR wedge (until I get a CLR)?

Thanks!

PJ
 
When we hear a sound clip it would help,.. for now love the RCF's and the past experience with Atomic products was not on the radar with NX sonic quality.
 
cragginshred said:
When we hear a sound clip it would help,.. for now love the RCF's and the past experience with Atomic products was not on the radar with NX sonic quality.
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I had a pair of the tube Atomics and can fully attest that the CLR are *nothing* like them. You would need to try them yourself.

TT
 
pjrake said:
Scott, quick question regarding using the CLR during rehearsal. Do you still plug into the rehearsal's PA system, or just use the CLR? We use an hourly studio for rehearsal and been using the room's PA as my monitors. Since they're facing the band and not "FOH", I'm wondering if just for rehearsal I should bring my FRFR wedge (until I get a CLR)?

Thanks!

PJ
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I do not plug into the rehearsal PA - we rehearse in a fairly small room. There's no reason to plug into the PA in that environment.

If you rehearse using the provided PA and are happy with that - then there is no reason to change. Being happy is the goal.
 
I hate this thread. Once again I feel like I'm being lead by the Pied Piper over my personal financial cliff ;-) Previously I went with the RCFs (have 2 NX10s) which I love based partly on Scott's experience. As I read the description of the Atomic, I feel the pull. I tell myself they're heavier, but still about like a Fender DR I think. I put my name on the list. A few things are doing it. I like the idea of wider dispersion. The RCFs are awesome as monitors, but in situations where I need them to carry a small room, they're super directional (as designed) and I need 2 of them to do it which is a pain in a small place. Having a couple of inputs makes using them as monitors for both guitar and other things easier. I like Scott's noting that he was able to play quieter while still hearing well. That's a beautiful thing. I like to be loud, but not everybody around me thinks that should be the case as often as I do.

Also, all the reviews talk about their clarity. I love the RCFs, but there is just a little bit of what some have called sheen. I forget about it once I've played for a bit because they're so much better than what I've used before, but it sounds like the CLR is clearer and more accurate which is what I'm after.
 
Well On the March 2nd I Pulled the Trigger and got on the CLR waitlist. I looked at different options but Scott, finally pushed me over the edge, Thanks Scott. I do currently have other options as well a QSC K10, a MatrixGT1000FX with a 2x12 Line6 cab, and now the CLR. I love having options for different situations, and I think the CLR will work great in a lot of different Scenarios that I have coming up in a few months. These are exciting times.
 
I've gigged the CLR hard now; I have a very good feeling for what it can do based on real life first hand experience. It's been a stellar performer. I feel like this has capped off the rig; not just in a 'wow' way; but in a deeply satisfying manner. Completely happy.

You do need a cover/gig bag for this speaker. Running it now for a few months with no cover has scraped the paint up - in and out of the car, on the cart, bumping into the walls, other gear bumping into it... you need a cover. I have one on order from Studio Slips; I am eagerly awaiting its arrival in the next week or so (about a 2-3 week lead time). I've owned other Studio Slips bags, they are the epitome of quality and craftsmanship. **TIP: the black on the speaker matches a Sharpie black marker to perfection. It's an ideal 'touch up'.

The CLR is wickedly good at what it does. It lives up to the "L" in the name - linear. Remarkably so. This is a seriously crazy value for the money; if this was $2000-$2500 it would be more in line with the performance.

The only negatives I can come up with are very minor. It is under 50lbs, but just under 50lbs. You have a 12 layer plywood cab and serious speakers. That means some heft. Perhaps at some point a Neo version to drop some weight for those with more delicate backs. In its defense though, the handle on the CLR is very comfortable and robust - and the weight is distributed evenly. It's not hard to carry it.

I've done well over a half dozen serious 4 set nights. With the volume we play at... this thing has come through massively. I was initially worried because I perceived the RCF was louder; but that worry was quickly replaced with a wonderful realization that excessive volume was no longer necessary at all. In practice and application, I needed less volume with the CLR on the output to do a fully blown gig and LOVE how it feels and reacts. That's remarkable. I can hear it clear as a bell - no woofy bass, no ear-shredding top end sizzle, clarity in the mids - on stage at a noticeably lower volume but still feel the very satisfying physical impact of it.

My bandmates have all - to a person (including my singer) - pointed out how much easier that they can hear me on stage. My initial worries about the wider dispersion being a negative actually turned out to be a resounding positive. Huge benefit - we are a tighter band.

It is rare that you can find something that is so satisfying a performer for the money. I am *so* calmly satisfied and so just honestly impressed with it because of what it does and how it does it on the stage where it is impossible to hide... it's very calming.

Another 'tell' from me is that I am more apt now to use it at home over my studio monitors. I prefer it because it just is so honest. There is NO hype to this box. None. Zero. I am supremely confident that what I put into it is what I get out of it. Zero color. No need to workaround or deal with any sort of issues at high or low volumes.

I've never been a 'use two for stereo' guy; but I am most likely going to get another by year's end for sure at this point. Just to have it. Maybe I won't gig two (stages where I play a lot are just not big enough) but damn, it is good.
 
Out of curiosity, Scott, you've said you owned the previous Atomic Reactor series (I currently own the last generation of the active cab from that line) so I'm wondering if you're able to draw a comparison between the two. Reading all the praise about the CLR isn't good for my GAS, but if they're a serious step up I might save up for one after my summer holidays...
 
swervedriver said:
Out of curiosity, Scott, you've said you owned the previous Atomic Reactor series (I currently own the last generation of the active cab from that line) so I'm wondering if you're able to draw a comparison between the two. Reading all the praise about the CLR isn't good for my GAS, but if they're a serious step up I might save up for one after my summer holidays...
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I owned both the 18-watt and 60-watt versions of the Reactor.

The CLR is absolutely a different product in every way.

The Reactors were designed to work with the modeling products of their time - Vox, Line 6, Digitech. They were meant to 'make up' the difference between what the development of the products of that time were capable of doing and having workable tones on stage.

With the advent of the Axe-FX, the HD line from Line 6, Avid's 11-Rack and KPA... today's level of modeling signal processors is head and shoulders different from the X3 and Vox level of development.

The CLR in terms of head room and accuracy are very far from the Reactor stuff. There's no way to compare them.

All 100% IMHO.
 
Scott Peterson said:
I owned both the 18-watt and 60-watt versions of the Reactor.

The CLR is absolutely a different product in every way.

The Reactors were designed to work with the modeling products of their time - Vox, Line 6, Digitech. They were meant to 'make up' the difference between what the development of the products of that time were capable of doing and having workable tones on stage.

With the advent of the Axe-FX, the HD line from Line 6, Avid's 11-Rack and KPA... today's level of modeling signal processors is head and shoulders different from the X3 and Vox level of development.

The CLR in terms of head room and accuracy are very far from the Reactor stuff. There's no way to compare them.

All 100% IMHO.
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Thanks for the explanation! Guess I'd better start saving up again... :)
 
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