Don’t believe the hype. After the barre chord, the most important thing I learned as a guitarist was to take any and all advertisements that promise “monster tone at affordable prices” and budget friendly, triple-digit-decibel orgasm” with a grain of salt. After all, what are manufactures suppose to say? “Our product sounds cheesy and tinny, but what do you expect for $500?” I think not.
So it was with pronounced skepticism that I accepted the mission of review two Fender amplifiers: the SFX Satellite and the Acoustasonic SFX. These unites feature the company’s patent-pending Stereo Field eXpansion (SFX) technology, which projects a 300-degree stereo image around the sound source. The hype—as it had been reported to me before I tested the product—was that this wide sound dispersion creates a sort of six-string “surround sound,” and does away with many of the problems that plague other stereo guitar setups. Conventional stereo combos sound great if you have the luxury of standing directly centered between the two speakers; otherwise, much of their effect is lost. Rigs in which two amps are run in tandem, presumably on opposite sides of the stage, provide a luscious stereo spread for the audience and band members located at equal distances from the two sound sources, but the effect is greatly reduced for listeners located near one of the sources.
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