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| | | Forum Newbie
Group: Forum Members
Last Login: 22/01/2008 08:20:24
Posts: 6, Visits: 109 |
| Hmmm..., i think am in a fix now ...., is the flextone really worth the 100 pound difference...?? i wont mind buyin it if its worth the money ...., what does the man in the jar say??? thnx for your patience guys...!! |
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iMuso Guitar Guy
Group: Administrators
Last Login: Yesterday @ 23:04:59
Posts: 669, Visits: 1,547 |
| I actually own a Flextone, so my answer is yes! The Flextone is worth the extra money, it's so versatile that it really is an amp for life! 
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The Man in the Jar |
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Forum Newbie
Group: Forum Members
Last Login: 29/08/2008 20:52:28
Posts: 41, Visits: 696 |
| | Having owned both i would agree, there is nothing wrong with the spider, but the flextone is much more solid amp, and the tones are fantastic! i only sold it because it was much more than i needed... but if your playing on stage reguarly its a stunning amp, and will do all the way from crystal clean to saturated overdrive and everything inbetween, and has useable built in effects. |
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| | | Forum Newbie
Group: Forum Members
Last Login: 22/01/2008 08:20:24
Posts: 6, Visits: 109 |
| | thank you guys for all the invaluable help..., i think i'll go for the flextone.., and yes i'll try to post up how the flextone feels for a rock music begginer who likes IRON MAIDEN, AC/DC, KISS thanx again guys..!! |
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| | | Forum Newbie
Group: Forum Members
Last Login: 04/03/2008 20:44:56
Posts: 3, Visits: 10 |
| Don't forget when you set up your amps and gear to do a sound check before the crowd arrive. If it sound ok from the back of the hall then wait until the hall fills and do another quick sound check. It,s surprising how much extra power will be required when there are people in a hall.
longstack |
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iMuso Guitar Guy
Group: Administrators
Last Login: Yesterday @ 23:04:59
Posts: 669, Visits: 1,547 |
| | I once played a gig in a venue with an acoustic ceiling designed to deliver the best sound to everyone in the room. At the time I was with a hard rock/metal band and because of the room's efficient distribution of sound we had to turn down our amps so much that we lost most of our overdrive (me and the lead guitarist both had Roost valve amps at the time which needed to be run fairly loud to get any break-up at all). We ended up playing in a rock/jazz style, which was refreshing in its own way. (Flextones would've solved the problem, but this was in the days when digital meant fingers and herpes was someone else's vegetables - but that's another story.) Another time we found ourselves in a hall with one of those noise limiter devices at the back of the audience. These things gave you a red warning light for a couple of seconds and then cut the power! All attempts to reach the mic on the ceiling and smother it with socks failed. So we angled the speakers diagonally across the hall to bounce the sound off the walls. After a little trial and error we got the sound reflections right and left the mic in a relatively dead sound zone which allowed us to play at somewhere approaching our customary volume (the lead guitarist was known for exploding the lightbulbs in our rehearsal room). We still ran the thing into the red for most of the night but only tripped it once, on the last chord of Bye Bye Johnny (which was our final encore number). It was the tightest finish we ever had!
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The Man in the Jar |
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