If there's a criticism, it's that like many modelling amps, the Mustang III's friendliness makes it sound and feel closer to a great recorded guitar tone, rather than the visceral reality of a pumping valve amp's speaker. In the room, the Mustang III is no less satisfying the partially open-backed cabinet gives the sense of spread and space you expect from a Fender combo, complete with spookily authentic reverbs. The sounds available include Classic Fender tremolo-and-reverb-soaked cowboy-soundtrack cleans, bluesy neck pickup drive, brutish punky fuzz and singing delayed rock leads - the sheer breadth of sounds is to be expected that each took mere seconds to dial up (without reading the manual) and still sound perfectly credible is the bigger surprise. If you want more functions at your feet, the four- button switch will cost you £70.80, though it's included with the Mustang IV and V. By making a change in the amp's utility menus, you can also tell it to take care of effects bypass and tap tempo, or indeed simply toggle between two quick- access presets. If you're also using the aux in for your mp3 player, the sound through headphones is full-range, unlike the main speaker, which is optimised for guitar: great for a Strat, less great for an iPod.įinally, the included two- button footswitch toggles you up and down through presets in its simplest mode. Should you wish to play orrecord silently, there's a headphone jack that doubles up as a speaker-simulated recording out. If you're used to any kind of computer recording or editing - or indeed using smart phone and tablet applications - this all feels like second nature. There is a further editing option via the Fender Fuse software application load it on to your PC or Mac, connect the Mustang III via USB, and you can edit your sounds to a deeper level.Įven better, via the Fuse application you can also save and share your sounds with other Fuse users around the globe, storing virtually endless presets on your computer. Writing it is more complicated than doing it -rest assured it's easy after two minutes' fiddling. Once you've selected your desired amp and effects models, hit save, choose the preset number you wish to save to, give it a name, and hit save again. If you want to change overall bass, treble, gain and so on, just twist any knob - which makes it active - and off you go. To see exactly what's going on, hit the main data wheel once and you get a graphic representation of all your settings. So, when you call up a preset, the knobs won't move, but the settings will. Unlike some modelling amps, the individual effects parameters (drive level and tone, chorus depth, tremolo speed and so on) are adjustable too - just hit the data wheel repeatedly to move through the various options.īack to the main pots, one important thing to remember is that the main control knobs aren't necessarily showing your actual settings. The delays and reverbs deserve special mention in that there's a wide selection of both, ranging from vintage-inspired tones, through to ultra-modern ambience. Together they comprise a wide ranging - if not comprehensive - selection of phasers, flangers, overdrive, fuzz, tremolo, wah, compressor, filters, Vibratone (rotary speaker), plus ring modulation and pitch shifting. It's the same process for stomp, modulation, delay and reverb effects. Push the data wheel twice and you get to see the complete signal path of amps and effects. To select one, just press and hold the 'amp' button and twist the data wheel to run through each in turn. You have 12 amplifier models at your disposal Fullerton classics include the '65 Twin Reverb, '59 Bassman and '57 Champ, plus you have models that fall into classic Marshall and Vox territory (British 1960s, 1970s and 1980s) and more modern high-gain sounds (American 1990s and Metal 2000), for example. The digital signal processing is all new, according to Fender. On power up you're greeted by up to 100 presets that draw on a wide variety of amplifier and effects models.
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