Laney LFR-110 Assessment | Guitar World] - Guitar | Technique

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What is it?

Digital modeling is now a common sight within the rigs of many hard-working guitarists. Its ease of use, versatility, and portability mean it’s often the preferred option in place of real amplifiers. But, we still need a way to monitor ourselves, hence the rise of FRFR speakers that are designed to amplify our digitally modeled tone, whilst coloring it as little as possible.

Tone is inevitably affected by the way a cabinet is built. This is true for both FRFR speakers and the traditional guitar cabinet. The choice of materials, the specific speaker, and the construction all subtly affect how the air is moved and, therefore, how we hear our tones. This means that, despite aiming at total transparency, there are unavoidable, small differences between one FRFR speaker and the next. So it’s worth trying a few.

(Image credit: Richard Butcher)

This particular model is the latest addition to Laney’s LFR series of FRFR cabs, of which we have the 112, 212, and 412, which feature one, two, and four 12” drivers, respectively. This 110 is the most compact with a 10” driver kicking out 250W.

Launch price: $730/£399/€549

Type: FRFR guitar cabinet

Origin: China

Output: 250W RMS

Speaker: 1 x 10” main speaker, 1” compression driver

Features: Full range, flat response, two cab emulations, direct out, Bluetooth audio connectivity

IO: One combo input, ¼” Aux input, XLR out

Weight: 28.8lbs/13.1kg

Dimensions: 575x420x355mm/22.6”x16.5”x14”

Laney

Build quality

Laney LFR-110 — (Image credit: Richard Butcher)

Build quality rating: ★★★★½

I’ll get straight to the point – the LFR-110 is built like a tank. Its hefty wooden sides feel sturdy enough to withstand the rigors of a gigging life, and the corners come with metal bracings for extra protection.

Fender FR-12 is around 12.5kg. However, bear in mind that it is a 12″ speaker in the Fender, and the weight increase is likely due to the Laney being of MDF construction rather than plywood.

Those diminutive dimensions – 575x420x355mm – are a massive plus. Part of the reason many use a modeler is to reduce their on-stage footprint, making the Laney a good choice in this regard.

Laney LFR-110

(Image credit: Richard Butcher)

This sturdy feel is continued by the I/O and controls around the back of the unit, of which we have a combo XLR/1/4” input, Level, HF Trim, Bluetooth connect, ¼” Aux input, light on/off switch, Emulation selection, Ground Lift, XLR D.I out (emulated), IEC power input, and the on/off switch.

The aesthetic is pretty understated in that it is designed to look like any other guitar cabinet. But without an amp head to go atop it, its appearance is somewhat plain. That is, until you turn the light on, which in my opinion significantly ups the cool factor.

IK Multimedia Tonex Cab being one such example. The Laney LFR-110, however, is much more streamlined. There is the aforementioned Bluetooth for audio streaming and the choice of two cabinet emulations, but aside from that, it is simply a box that lends your modeler some volume.

This simplicity makes it really easy to use. The controls on the back are all self-explanatory and do exactly as expected. For example, take the High Filter trim. It’s a rotary knob that boosts high frequencies when turned clockwise and cuts when turned anti-clockwise. Easy.

Connecting a Bluetooth device is as simple as pressing the pair button on the back of the speaker, then selecting the Laney from the list of Bluetooth devices on your phone/iPad or whatever you are using. There is no app or anything here to complicate things, just control the audio from your device as normal.

All of these controls, however, are on the back of the speaker. I would much rather see them on top, as it is quite awkward to have to reach behind the cabinet every time you want to make an adjustment, especially on dark and often crowded stages.

Laney LFR-110

(Image credit: Richard Butcher)

Speaking of the stage, when it comes to making adjustments to an FRFR from one venue to the next, it’s often the low end that I am changing, not the high. Circumstances like the cabinet being close to a wall, on a temporary stage, or in a big, echo-ridden room are often unavoidable situations that can promote problematic low-end in a live environment.

So, if I were to have one EQ control on an FRFR cabinet, I would much rather it be a low cut that I can adjust for the stage, rather than the High Filter Trim present on the Laney.

Helpful for sending that audio to the engineer, however, is a D.I out on the back of the cab. If you have something like an preamp pedal as your modeler, this will be handy as the preamp/amp pedal format often has only one output. In this case, the Laney’s D.I output allows for sending your tone to the FOH whilst still controlling your own monitoring level through the FRFR.

Laney LFR-110

(Image credit: Richard Butcher)

The high-frequency trim is mirrored in the D.I out, which I see as a downside in most circumstances, as I would rather the ability to adjust the cab’s EQ for the stage, whilst leaving the sound engineer to do their thing without my changes getting in the way.

We also have two cabinet emulations on board, simulating a 1×12″ Celestion G12H loaded Laney LT112, or a 4×12″ HH loaded Laney GS412IS. In using these, you would mute the emulation on your modeler and rely on the Laney’s pre-loaded ones. These are mirrored on the D.I out when engaged too.

This will be superfluous in most cases, as there is little reason not to use the emulation on our modelers that we have likely spent hours creating. But if you are using a pre-amp pedal, this could be a good option.

Sounds

Sounds rating: ★★★★☆

The LFR-110is insanely loud. It kicks out 250W, which is less than what is noted in the specs of competitors like the Tonex Cab’s 350W. However, wattage does not necessarily translate directly to volume.

Suffice to say, the Laney is more than loud enough. With the volume at 50%, it is easily heard above even the loudest of drummers, and could happily do an average bar gig entirely on its own.

Neural DSP Quad Cortex mini that we use for Guitar World demos, the mids were clear and the high end well represented in a way that felt transparent and true to my modeled tone.

Laney LFR-110

(Image credit: Richard Butcher)

There is enough low end here, but not as much as I have heard on some other FRFR cabinets, and as a result, the Laney sounds a little bit boxy when compared to the likes of the Tonex Cab and Blackstar Artist FR I have to hand. It should be noted that both those competitors have 12” speakers rather than the Laney’s 10” one, so this is perhaps due to its more compact size.

This is not a deal breaker, but it is noticeable. There is an upside, however, as the reduced low end will sit well in a live stage mix.

Moving on to the emulations, the 2×12 is a little harsh, and the 4×12 is too muddy. Here is where that High Trim control makes sense. It mitigates the harsh high end of the 2×12 and boosts some clarity within the 4×12, making for two decent cabinet emulation options.

As an aside – I stand by my earlier statement that the HF Trim shouldn’t affect audio on the D.I out, but if you are using the cab emulation on the Laney, having the trim on the output is actually useful.

headphones, and P.A speaker’s alike, so it is difficult to assess which is the most transparent one.

But, using tones you know inside and out and comparing the FRFR being tested to a range of other FRFR devices will reveal if it is doing a good job as a flat response speaker. With the Laney LFR-110, the low end is slightly reduced, but the mids and highs are nice and clear.

The low end is slightly reduced, but the mids and highs are nice and clear

Whilst I would like a few more EQ options so I can tweak the cab for the stage without affecting what I send to front of house, the Laney’s simple nature makes it a breeze to use. Additionally, its solid build means I won’t be afraid of actually using it.

Guitar World verdict: It may not have the same EQ options as other FRFRs, but the Laney LFR-110 amplifies your digital tone in a way that will easily get you heard on stage. It’s 250 Watts kicks out an impressive amount of volume and clarity, which will make the LFR-110 a brilliant on-stage companion for many.

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Ratings scorecard
Test	Results	Score
Build quality	Rock solid build that will last, but not much in the looks department.	★★★★½
Usability	Easy to use with simple controls, but those controls are positioned a little awkwardly on the back panel.	★★★★½
Sounds	Clear mids and highs that will sit well in a live stage mix, but lacking a little in the low end.	★★★★☆
Overall	A great FRFR option that clearly amplifies your modeled tone within a space saving footprint.	★★★★½