No longer made, but total magic if used along with an amplifier's send/return circuit.
£150 + delivery @ £12.50 per 100 miles... Or collection would be possible..
The Leslie sound alone would be worth the price, but wait, there's more, and more, and MUCH more...
Click HERE to download the manual. and HERE for the schematic.
A review from Musician's Friend.:-
The Satellite, unlike the Acoustasonic, is not a stand-alone unit but works in conjunction with your typical amplifier. To prove that it can work wonders with even the most modest of amps, Fender sent along a very moderately priced, solid state 60-watt Fender Deluxe 112 combo to use as the Satellite’s companion amp. Having placed the Deluxe 112 on top of the Satellite (the top of which is carpeted for just this sort of application), I connected the Deluxe’s preamp output to the input of the Satellite; the Satellite’s output is then patched back into the Deluxe’s preamp-in jack. (Alternately, you can connect the Satellite using your amp’s effects loop.) Thus, the speaker in the Deluxe serves the same purpose as the built-in forward facing speaker in the Acoustasonic.
While the Deluxe provided a perfectly serviceable tone of its own, kicking in the SFX with an electric guitar produced an even more pronounced effect than with an acoustic. Go listen to Eric Johnson’s “Cliffs of Dover” with headphones, and you might get a small taste of what lies in store for you. With the clean settings, the lush reverbs and choruses have that $10,000 rack-of-gear sound, and high-gain soloing is an equal pleasure. Between the digital effects (which have to be engaged at all times for the spatial circuit to work) and the SFX, the Satellite is an extremely forgiving rig, since the wetness of the sound does wonders for covering up minor playing imperfections. If the SFX is too wet for your rhythm parts but you want a huge lead sound (or vice versa), you can connect a footswitch to the front panel mounted SFX bypass control and kick in the magic only when you feel it to be appropriate. While the DSP section of the Satellite is similar to the Acoustasonic’s, it has one additional effect—Fender’s trademarked “Vibratone,” which generates a pulsating, undulating vibrato/rotary speaker effect guaranteed to tickle your short hairs. If you have stompbox effects that you can’t do without, the SFX technology will only6 make them sound bigger and richer: Through the Satellite/Deluxe 112 setup, my old MXR gained startling new dimension and depth.
While both the Satellite and the Acoustasonic certainly excel at creating awe-inspiring stereo sounds, they do have one serious limitation: Because most club Pas aren’t stereo and certainly aren’t wired for Surround Sound, the SFX effect cannot be effective miked, rendering it somewhat inconsequential in big venues, where the sound in the front of the house is generated primarily by the PA. Yet, even in these situations, the SFX amps can provide guitarist (and particularly the guitarist who doesn’t have his own monitor mix) with an exciting on-stage sound that will not only keep him stoked but keep him audible to his band members everywhere on stage, even when the amp is at a soundman-friendly (read: “nearly inaudible”) volume.
THE END LINE
It’s good to be wrong once in awhile. For once—just this once—you can believe the hype. Fender’s SFX technology amps are the ultimate toys for players who thrive on lush, wet sounds. If Keith Richards is your main man, the heavily effected tones may drive you retching into exile. But for ear-candy fans, these units are a must-try. Whether you’re playing in your bedroom, strumming at the Latte Lounge or rocking at your local club, these sounds will take you and your audience to new, strange and extremely pleasant places. Wasn’t there a Warrant song on Cherry Pie called “Love in Stereo”? Maybe Fender could use it for their marketing campaign. Then again, maybe not.
Fender’s SFX technology amps are the ultimate toys for players who thrive on lush, wet sounds.
