Fluxtone Model 3 Amplifier Bellingham WA

The Need to Tame the Volume of guitar amps without actually having to turn them down has led to the development of attenuation devices that are placed between the amp and speaker. Attenuators definitely work, but any time a signal is fed into a resistive circuit some change in tone is inevitable—especially when a serious reduction in volume is called for.

Musicians Center
(360) 734-7792
2377 Erie Ter
Bellingham, WA
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments

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Rawlings Music Co Inc
(360) 647-9435
3030 Northwest Ave
Bellingham, WA
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Acoustic Piano, Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

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Mojo Music
(360) 671-0614
2626 Meridian St
Bellingham, WA
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Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments, Print Music

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Dsw Drums
(360) 738-3786
1009 N Forest St 1/2
Bellingham, WA
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Drums & Percussion

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Manna Music
(800) 201-8090
703 W Holly St
Bellingham, WA
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Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music, DJ Equipment

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Pacific Rim Strings
(360) 734-6362
1609 Emerald Lake Way
Bellingham, WA
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Guitars & Fretted Instruments

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Brad Reynolds Pianos
(360) 671-3187
1129 Lenora Ct
Bellingham, WA
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Acoustic Piano

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Music Shoppe
(360) 647-9160
2401 Meridian St
Bellingham, WA
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Band & Orchestral, Print Music

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Harris Ave Music
(360) 676-8742
1138 N State St
Bellingham, WA
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Band & Orchestral, Guitars & Fretted Instruments, Print Music

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Musician'S Center
(360) 756-1350
204 W Holly St
Bellingham, WA

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Fluxtone Model 3 Amplifier

gp0610_gear0579THE NEED TO TAME THE VOLUME OF guitar amps without actually having to turn them down has led to the development of attenuation devices that are placed between the amp and speaker. Attenuators definitely work, but any time a signal is fed into a resistive circuit some change in tone is inevitable—especially when a serious reduction in volume is called for.

This conundrum has led Fluxtone to develop a means of controlling volume at the speaker itself. The way the Fluxtone system works is by its patent-pending VMT or “variable magnetic technology,” which literally reduces the speaker’s ability to be loud. The system can provide up to a 25dB of reduction in volume without significantly affecting the tone. In a Fluxtone speaker, the standard fixed magnet is replaced by a variable electro-magnet that’s connected to a separate 110-volt powered VMT unit. You simply connect the speaker output of any amp (up to 50 watts) to the input jack on the VMT unit (which can be mounted inside any open-back or vented closed-back cabinet) and use the VMT’s level control to set the volume.

We tested Fluxtone’s Model 3 speaker— its version of a 12" Celestion Vintage— loaded in the company’s Tweed Deluxe Style cabinet ($1,350 retail/street price N/A as tested; speaker and VMT unit only, $750 retail). The Model 3 uses the same type of cone, spider, and voice coil as a standard Vintage 30, and the only physical difference is the Fluxtone’s cylindrical electro-magnet, which is a little longer than the stock speaker’s ceramic magnet. Fluxtone offers other types of popular speakers in 10" and 12" sizes (in 8Ω and 16Ω)—including 100-watt models—and has other styles of cabinets to choose from as well.

gp0610_gear0581Paired with a 50-watt Tonic Tornado amp, the Fluxtone Model 3 impressed us with its ability to maintain a consistent and balanced sound at all levels of attenuation. This test unit was a “high efficiency” version, which doesn’t reduce the volume quite as much as the standard model, and actually allows for a little more volume than you’d get from a stock Celestion Vintage 30. While you’d probably want the high-efficiency model for live playing (where you don’t need to attenuate down to “bedroom” levels), even in our studio environment the Model 3 was able the lower the Tonic’s full-bore roar to a volume we could talk over.

More importantly, there was no loss of girth or complexity, even at the fully attenuated setting. The dynamic response also felt very consistent ...

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