addition to sitting pretty well in early ’70s
classic rock scenarios. Getting the low end to
behave itself can be the biggest hurdle. When
I stuck with the Marshall-influenced models
it’s relatively easy to keep clarity intact. In fact,
cranking the preamp gain and dropping the
Ibanez’s volume control yielded some of the
best blues-rock overdrive tones in the unit,
most of which that also had a really responsive
midrange snarl. Heavier tones were harder
to reign in though, mostly because the low
end that the Mustang’s software generates for
models with copious overdrive borders on the
colossal—especially with the American ’90s
and Metal 2000 models. And even though the
patches containing these models were great
starting points, a lot have sub tones that can
overpower the signal. In thrashier applications
I had to keep the Bass down to around 10
o’clock or lower, just to keep it tight underneath the mids and treble frequencies.
The Mustang Floor can make you look and
sound like a pretty resourceful guitarist.
And it’s a great deal too. The tones often
reveal a digital edge, but the convenience,
superb effects, and rugged build merit
high marks. If you’re a fan of the Mustang
modelers—or just need a solid, portable
modeler for quick direct recording or stage
use—it’s more than worth a look.
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