Designed as a full range, full response audio monitor, this compact 12” coaxial solution offers a transparent sound with a punch that belies its small size and its weight of only 12.9kg. The CFR12 is the perfect accompaniment for the lightweight amplifiers in the Matrix range.
The aim was to develop a system that makes full use of both the amp and cabinet modelling capabilities of new digital modelling pre-amps such as the Axe-Fx II. In a perfect world you should be able to develop a tone in your studio or rehearsal room and know that you will have exactly the same sound on-stage. This means you need a monitor that is completely transparent but also compact and easy to carry. In the case of larger gigs, when an additional send is used to feed the front of house system, you then know the audience is hearing the same out in the crowd as you are hearing on the stage.
Any traditional guitar cabinet will always have a huge effect on your sound, which is great if you have a vintage 4x12 cab and want that particular vintage 4x12 sound and feeling. But with a high-end modelling device capable of virtually limitless tone options it seems a shame to force this character on all your sounds. Let's face it, you probably wouldn't send an original Fender Twin though a Marshall cab, because it would make it sound different. This is why Matrix have developed the CFR12 – it is a transparent solution that just lets the modeller do all the tonal work.
Guitar speakers have a limited frequency response, which is what gives them their own special character. But if you don't always want this particular character you will need to use a full range system. This is normally done by using one speaker cone to produce the low frequencies and a separate tweeter loaded on a horn to fill in the top end sparkle.
For guitarists however, there is a big disadvantage to using this approach; the sound comes from two separate places, which causes phasing issues as you move around the stage. The guitarist’s ear is always a different distance to each source of sound. This is where the use of a coaxial driver comes in – because the high and low frequency drivers are located on the same axis, the sound you hear as you move around remains the same.
The CFR12 has a 12″ coaxial driver with a dispersion pattern of 80 degrees. This means that pretty much wherever you are on the stage, you still get the same sweet spot of sound – and your band mates will finally be able to hear you at your best...
The wedge shape was chosen to allow the speaker to be used on the floor, pointing up at your ears. This is great for keeping noise levels down on stage when you want a monitor in front of you, but it can also sit on its end and be used in the back-line like a traditional amp.