Fishman Pro Lbx 300 Manual
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Fishman Pro-LBX-600 Footswitch Mattie, Bought the LBX - 600 Footswitch a few weeks ago, First impression is that it is a sturdy unit, made with decent metal construction and not cheap plastic. Brought to you by www.soundcompound.com, a brief video demonstrating the Fishman Loudbox 100 & Performer acoustic amplifiers.
Loudbox amplifiers deliver the tonal quality that has made Fishman the standard for great plugged-in acoustic sound. Loudbox Mini Charge The Loudbox Mini Charge is a portable, battery-powered amplifier designed to faithfully reproduce the sound of acoustic instruments and a diverse assortment of vocal or recorded accompaniments. Pristine Condition! One of the best Acoustic Amps Available!FISHMAN LOUDBOX PERFORMER PRO-LBX-300 130 Watts 130W RMS, cumulative, tri-amped power with active crossover 2 x 6.5 in. Woofer: 80W amplifier 4 in. Cone Midrange: 40W amplifier 1 in. Neodymium Soft-Dome Tweeters: 10W amplifier SPL @ 1 M.
more... Gear • Reviews • Fishman • Amps • Acoustic Amps • Sound Samples
| Download Example 1 Flat | |
| Download Example 2 With Reverb and Chorus | |
| Download Example 3 With Gain | |
| Download Example 4 Drop D with Gain | |
| All clips recorded with a Yamaha Dreadnaught with factory onboard preamp and undersaddle pickup. | |
The latest addition to thecompany’s Loudbox amplifierline (which debuted in 1993),the Loudbox Mini carries onFishman traditions of quality,sonic versatility, and practicality.Offering 60 watts of powerin a small, super-light, and ultra-affordablepackage, the combois a breeze to tote in one hand andpowerful enough to fill just aboutany smaller gig space.
Rock Solid, Feather Light
Like most of the Fishman amps I’ve played,the Mini feels stout and appears flawlesslyassembled. You get the feeling you canthrow it in the back seat, take it on the subway—even strap it to your bike rack if youneeded to—without worrying a lick aboutwhether or not it will work when you get tothe gig.
The understated little Fishman is alsodesigned as elegantly as a mid-century hi-fisystem, and its subdued brown-and-tanmotif makes the controls easy to find, reach,read, and adjust. Each channel has its ownsimple control set. The far-left Instrumentchannel has a Phase switch, plus Gain, Low,Mid, High, Reverb, and Chorus knobs. Asimpler set of Gain, Low, High, and Reverbknobs are on the Mic channel, and a Mastervolume sets the amp’s overall level.
The back panel features a D.I. out to feedthe house system or a slave amp, 1/4' and1/8' auxiliary inputs, and the power switch—all readily accessible without tilting the amp(or crawling around on hands and knees witha flashlight or lighter in the middle of a gig).
My only complaint about the design is thatyou can’t angle the Mini back any further(which might be nice for certain monitoringsituations) without placing a book or somesupport under the front of the amp. Thespeaker baffle has 10 degrees of built-in tilt,which compensates to some extent. Andgiven the Mini’s light weight, it’s no problemto elevate it with a light stool or milk crate.All things considered, the amp’s portabilityand small footprint are a fair trade forreduced tilt-back capability.
Fishman Pro Lbx 300 Manual User
Big Bass for a Little Box
To run the Loudbox Mini through its paces, Iused a Yamaha FG cutaway dreadnought witha factory-installed undersaddle pickup and preamp,a Taylor 312ce with a Taylor ExpressionSystem, and a Taylor 712 with a Dean MarkleyProMag soundhole pickup. It was easy to geta warm and natural sound out of the Ministraight away with its tone controls set fl at, theGain and Master volume about a third of theway up, and just a smidge of reverb.
Fishman Pro Lbx 300 Manual Diagram
The first real surprise came when I turnedup the bass EQ controls on the Taylor 312ceand the Yamaha. With the low end kicked upon the guitars, the Mini’s bass response andcharacter expanded drastically—becomingrich, colorful, and heavy without dominatingthe higher frequencies. Plugging in the Taylor/ProMag combo and boosting the amp’sbass control produced a similar, if slightlywoolier version of the same effect. But evenat this low volume, the amp sounded muchbigger and more powerful than its diminutivedimensions suggest.
Higher volume didn’t diminish the color orpotency of the Mini’s bass sounds. Withthe bass control dialed up to 75 percentof maximum, fingerpicking and flatpickingarpeggios in DADGAD and C–G–C–G–C–Ctuning coaxed low end that was detailedand rich in overtones and sustain. Even witha neighbor’s massive upright bass pluggedin, the Mini held up just fine, kicking outcolorful, well-defined low-end tones withoutmuddiness or a hint of breakup.