Fryette Lx2 ?

N

neale dunham

Experienced
Having been a satisfied customer of the Fryette PS2 for some years now, and had it carrying the main responsibility of amplifying my Axe 3. Im thinking of maybe "Upgrading" to the LX2.

Now £1400 is not to be sniffed at when it comes to guitar PA's so I wouldn't mind some advice/reviews before I hit the button and perhaps regret it.

Does anyone have any experience or own one of these and could shed some light on whether they think its worth the money to trade in my Ps 2.

Thanks.
 
I bought one and love it. I too had a PS2 prior to that, and an ASC12, Matrix etc and for me it is the best. I find I tend to use it for rehearsals and live work as opposed to anything else for obvious reasons. the biggest negative I have is the fan which always seems to be on full speed but this is only annoying when you stop playing.
 
I've been running one for the past 5-ish months, and just put it through the paces with its first wedding gig this past weekend. Overall tone wise, I find it has a broader timbral footprint, more highs and lows compared to a Seymour Duncan PS170. The depth and presence control make this even more so if wanted/needed. I don't know how it compares to the PS2; when I tried a PS2 years back I returned it based on a brash top-end. I don't feel like that's the case with the LX2, but I'm also running different speakers and cabs compared to then (and of course different Ax firmwares).

One of my favorite parts is having two independent channels if wanted or bridged mode. I can run a 4 ohm cab and an 8 ohm at the same time, and balance out levels as needed from the Ax outputs. I may play around with that more, so an open back cab for certain tones and then the closed back for others. That seems more interesting for a live context than running stereo.

Compared to running a FRFR in live situations, I really do like being able to achieve a more traditional stage tone rather than always having IRs put me in a tighter frequency range that can easily get masked by other instruments. Coincidentally, at the wedding I worked this past weekend the event coordinator asked for all of the mains to be struck for pictures, literally leaving only amps and two monitors shared between a 10 piece band (HA!!!). When I solo'd there was more than enough juice to cut over the horns and the rhythm section as needed. That was running bridged but only at 50% total output (maybe 60% when I really cranked for one solo).

Downsides: fan, weight, and price. The fan is loud, but easily ignorable once everyone starts playing. When unracked and sitting on top of my Ax rack, the LX2 fan is almost as loud as the tower fan in my music room. It is heavy; I put it in the rack with my AX and some other auxillary gear. Because the rack is a wooden-tolexed build (pseudo head), I would guess the total weight was around 70lbs. Nope. It was pricey, but with weddings picking up, I feel pretty good about the purchase.

I might still opt to used the SD PS170 when I want to travel light and simple, but I find myself justifying bringing the LX2 in most situations.
 
Hi

This states what I hear also:-

Compared to running a FRFR in live situations, I really do like being able to achieve a more traditional stage tone rather than always having IRs put me in a tighter frequency range that can easily get masked by other instruments.

The LX2 adds

"Overall tone wise, I find it has a broader timbral footprint, more highs and lows compared to a Seymour Duncan PS170. The depth and presence control make this even more so if wanted/needed."

Ok then what speakers are you using?

Have you tried can particular guitar cab?

Can you get the Plexi Marshall / AC30 tones from the 6L6 tubes?

How do you do that?
 
purefreedomrevolution said:
Ok then what speakers are you using?

Have you tried can particular guitar cab?

Can you get the Plexi Marshall / AC30 tones from the 6L6 tubes?

How do you do that?
Click to expand...
To date: Austin Speaker Works Kt-70 and Kt-60, Celestion V-types, Celestion Alnico Cream, Eminence Swamp Thang, EV 12L, and Tone Tubby Green ceramic. I did not like the setup with the Alnico Cream, EV, nor the Tone Tubby. Cabs include a Marshall Sv2x12 (vertical closed back 2x12), Milkman 1x12 open back pine cab, and a random gutted 50’s Epiphone amp.

For reference, I’m mostly a low to mid gain player (I never gig any high gain patches) for event/cover bands. No metal, and rarely hard rock.

The 6l6s are never driven really hard to break up, so I’m treating it more as a clean power source for models (including Marshall and Vox variants) and feel that those differences are reflected well. Power amp simulations are kept on btw. I won’t claim I’m looking for 100% authenticity, but that regardless if I’m using cabs+Fryette or a FRFR monitor.

I’ve never seen the Matrix comparison video before, nor have I heard one in person, but the Fryette amp is loud. Completely covered in gigging situations, but loud enough you don’t want it in the same room recording you are recording in.

i ended up selling the sd170 btw. If I’m bringing a cab, I’m bringing the Fryette. If I need a small rig, I’ll just use an RCF monitor instead.
 
Ok I am thinking of getting the Celestion F12m 150 and placing this in a Blackstar cab HT112 open back.

This clip is what inspired me to ask about the rig you have.



What IR do you with the
1. Austin Speaker Works Kt-70 and Kt-60
2. Eminence Swamp Thang

Currently I have Seymour Duncan P700.

Finally I realised that IRs put me in a tighter frequency range that can easily get masked by other instruments and I am moving towards a open back cab for the reflective overtones to add a realistic overall sound.
 
I don't use any IR's through the path that leads to the real speakers. I split the signal chain after my delays and reverbs, use an IR for the direct signal, and put a PEQ in both of the split chains to tweak the overall sound.
 
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