Pedals Week 2026: In late 2021, I lugged my 39lbs tube amp to play a basement gig in East London in front of 50 people. Fast-forward to summer 2025, and I was playing in front of 30,000 people at Portman Road Stadium.

This time, I left my amp at home. The venue may have been 59,900% bigger, but my rig had gotten smaller – probably by about the same rate.

Why? Because I had stumbled upon a pedal I thought I’d never find: one that convinced me to ditch my tube amp.

I grew up believing in the gospel of the tubes. I couldn’t envisage my rig without one. I thought ‘tube amps just sound better’ was a fact.

Given my line of work, I was well aware of modelers and the players who used them. But I never considered making the switch.

That reluctance was exacerbated when, after being forced to use my HX Stomp as a modeler for a silent stage show, I was left feeling underwhelmed with my tone. It was an uncomfortable and sobering experience.

But between the basement gig and stadium show, I realized that something a bit more practical probably would be a good idea, especially with my gigging calendar filling up. Traveling with my amp and pedalboard became tedious.

I also began dreading soundchecks, having had some poor shows with bad mics and dodgy FOH systems. Tone anxiety and insecurity became a big issue for me, and I was losing confidence in my rig.

Convenience and consistency became my main concern. I wanted to be able to turn up to a venue and plug in knowing exactly what my tone was going to sound like.

It was around this time that I reviewed the Nano Cortex. Without mincing my words, I was staggered at how good it sounded out of the box. An all-in-one rig station with a load of digital amps, cabs and effects from a pint-sized package, it proved to be the tipping point for me, and a watershed moment for my guitar rig.

I didn’t think it would happen to me. But it gave me what I thought modelers inherently lacked: a dynamic, expressive tone that sounded and responded like a genuine tube amp. It was the same feeling I had when I played my Strat for the first time; it just felt right, like I’d found the missing piece of a puzzle.

My pre-conceived notions well and truly challenged, I took the Nano Cortex to its first rehearsal, hoping it could replicate that performance in the mix. Lo and behold, it excelled where my HX Stomp had fallen short, and, perhaps more importantly than just sounding good, it gave me a renewed feeling of confidence in my tone.

I knew that, whatever the venue, and whatever the occasion, my rig was going to sound largely exactly how I dialed it. I didn't have to worry about mic placements, stage volume, how the amp would react in the room, or anything else. I could simply focus on playing.

After trialing it at a few smaller sets, I rebuilt my pedalboard around the Nano Cortex just in time for the biggest gig of my life.

The Nano Cortex was revelatory for me because I needed something quite specific: a hybrid amp pedal I could use alongside my existing pedalboard, which I didn’t want to ditch completely. Hence my reluctance to play a floorboard a la the Quad Cortex, Tone Master Pro or Helix. The Nano Cortex landed in my lap at the right time.

Ultimately, it proved to be a stellar pedal platform that not only sounded like my real amp, but responded to my pedals like an amp as well, giving me the confidence to further experiment with my sound and setup, and arguably making me a better player.

The Nano Cortex was small, light, looked the part, and its companion app was highly effective. It fit the bill.

I’m now at the point where I can turn up to a show at the drop of a hat, bring everything I need in one bag, and confidently play with a solid and consistent sound. That, to me, is far more important than the romanticism of “pushing air” through my amp on stage.

Since first making the move to the Nano Cortex, I’ve done two headline tours, and a number of support shows at venues such as London’s Roundhouse and Eventim Apollo. I haven’t gigged with an amp in nearly three years, and I don’t think I will again. The confidence I have in my rig has never been higher.

Darkglass has branched into the world of electric guitar multi-effects pedals for the very first time with a limited-edition modeler designed in collaboration with two behemoth retailers.

Co-founded by Douglas Castro – who’d later go on to conquer the modeler market with his next venture, Neural DSP – Darkglass is the undisputed leader in the world of digital bass guitar modelers and multi-effects pedals.

Indeed, Darkglass has cemented its position with a run of acclaimed amps, pedals and plugins, and the near-perfect, bass-specific Anagram multi-effects unit.

Now, though, Darkglass has waded into electric guitar waters for the first time, partnering with Andertons and Sweetwater for the Anagram Guitar Essentials pedal.

It’s a big development from Darkglass and an interesting side-step into the world of conventional guitars. Competition in this area is already at an all-time high, thanks to the likes of Line 6, Fender, Boss, Kemper, Neural DSP and more.

But with its background in bass guitar and digital tone expertise, Darkglass could make some serious waves in the industry.

The Anagram Guitar Essentials takes on the same compact form factor as the regular Anagram, with a seven-inch central display screen offering 3D-rendered interfaces, flanked by three footswitches and six control knobs.

The pedal comes preloaded with a bunch of preamp models and effects as part of the Guitar Essentials plugin curated by Andertons and Sweetwater. Some heavy hitters are included in that list, such as Fender-style Deluxe and Twin amps, some Marshall-y models, and others inspired by Hiwatt, Matchless and Magnatone offerings.

As for effects, three pedals are part of the drop, inspired by the Klon Centaur, Marshall Blues Breaker and Ibanez Tube Screamer. In total there are 12 amps and a trio of effects to play with.

What’s even more tempting, though, is the fact the Anagram can host compatible third-party NAM profiles, should you wish.

For the uninitiated, NAM (Neural Amp Modeler) is an open-source, free-to-use modeling tech offering amp profiles that is poised to revolutionize the industry. The recently released A2 architecture, for instance, beat out Neural DSP, Line 6 and IK Multimedia in a comprehensive blind listening test.

The NAM compatibility here is a huge benefit. None of its direct competitors currently offer that function, and only a handful of mainstream practice amps and headphone amps – most notably from Blackstar – accomodate this function.

That already gives it a leg up over the likes of the Quad Cortex, Helix Stadium and TONEX.

And, like the OG Anagram, there’s some expansive routing and connectivity options, including MIDI, USB and Bluetooth.

“There was no one better than Sweetwater and Andertons to identify the pieces of gear that helped define the sound of the electric guitar,” says Managing Director of Darkglass, Marcos Barilatti.

“These are the amplifiers and pedals that generations of players built their tone around, and that continue to set the standard today.”

To put a downer on the whole thing, Darkglass is stressing its guitar-based Anagram is a one-time-only, limited-edition launch. A genuine shame, because this could take the fight to some key players in the compact modeler game. Here’s hoping for a more regular run at some point in the future.

The Guitar Essentials Anagram will be available exclusively from Sweetwater in the US ($1,299), and Andertons in the UK (£999).

Visit Darkglass for more.

Fender has launched a new update for its flagship amp modeler, the Tone Master Pro, delivering a whopping 15 new effects and a assortment of fresh amps and cabs to boot.

The update – v1.8.45 – finds Fender leveraging its exclusive EVH brand endorsement, adding a 50-watt 5150 III combo to its roster. Three different models, covering their Green (clean), Blue (crunch), and Red (high-gain) tones, are included.

The rest of the amps are all from the Fender stock, with a ’57 Champ and ‘65 Twin Custom 15 offering some vintage loveliness, while two models from 1968 – a Deluxe Reverb and a Princeton Reverb – make their Tone Master Pro debuts. For bass players, a Rumble 800 adds another tone-sculpting option.

The eight new cabs strike a balance between matching the new heads and filling the void left by the above combos. The new cabs include a 1x8 ’57 Champ, 1x10 ’65 Princeton GB, 1x10 ’68 Princeton, 1x12 ’65 Deluxe GB, 1x12 ’68 Deluxe, 1x15 Twin Custom, 1x12 EVH 5150 G12H, and 4x12 British G12H.

But the real fun can be found in the effects department. Highlights included the Rockbox 100, which is Fender’s take on the Scholz R&D Rockman X100 headphone amp; the Grunt, designed for modern metal tones a la the Fortin Grind; and the Lightyear, a take on the Greer Lightspeed overdrive.

Two EarthQuaker Devices pedals, the Plumes overdrive and Blumes bass overdrive, are represented by the Pinions and Runes. At the same time, the Integrator Boost draws inspiration from the TC Electronic Integrated Preamp. Finally, the Seventy Sixer Compressor is a much-welcome impression of the Universal Audio 1176.

But there are Fender original effects to play with, too, including a Step Tremolo, Prismatic Delay, Spectral Reverb, and a Pitch Sequencer, which could be a whole world of fun.

Aside from those new toys, Fender has introduced a few handy quality-of-life tweaks in the update. A second page of footswitch button assignments, bumping the total up to 16 available footswitches per preset, is most welcome, and players can now switch between needle-mode tuning and strobe tuning.

The looper is also said to be improved so you can Ed Sheeran your heart out.

With fierce competition in the modeler world growing, every update helps Fender keep apace with its rivals and maintain its position alongside those at the very top of the table.

See Fender for more information about the update and how to download and install it.

In related news, Fender appears to have also scored a major victory by convincing Joe Bonamassa to test-drive a Tone Master modeling amp.

TONE3000 has unveiled the next generation of its open-source, free-to-use amp modeling technology, and it could represent a watershed moment for the digital modeling market.

The Neural Amp Modeler (NAM) Architecture 2 was built in partnership between TONE3000 and NAM creator Steve Atkinson. The company says, is the “most accurate and best sounding amp modeling technology in history”, yet curiously it runs a humble “$3 chip.”

It’s generally thought that top-level modeling tech – like what we get with the Line 6 Helix Stadium , Neural DSP Quad Cortex, and Fractal AxeFx – requires a top-dollar outlay. So how can the free-to-use A2 outstrip the competition?

Well, there are three important factors. Firstly, it’s open source, meaning any hardware or software maker can support A2 in their product, with a ton of resources freely available online to help players dive into capturing their gear, or pull from a massive library of pre-made captures.

Next, there are the results of “quantitative and blind listening tests” to consider. TONE3000 says in its A2 tests saw Neural DSP, Line 6, and IK Multimedia lose out “by a wide margin.”

Quantitative testing pitted A2 models against leading modelers and the real amps, pedals, and signal chains they were born to mimic. A total of 39 tones were covered, using bass and guitar amplifiers across a range of permutations involving different pedals, cabs, and signal chains, with a cranked Mesa/Boogie Dual Rectifier and a vintage Neve 1073 mentioned here.

Blind tests were large-scale and used the MUSHRA methodology, which TONE3000 describes as “the audio industry’s gold standard for evaluating perceived sound quality.” The BBC is among its advocates.

During these tests, over 1,000 participants listened to recordings of 37 different tonal combinations of real and modeled gear. With 100 being the best possible score. A2 Full clocked in at 100. By comparison, TONEX (91) and Neural DSP V2 (94) followed behind. Line 6 Proxy ranked with 77.

You can read the full results in TONE3000's blog post.

The third trump card is the growing list of products that support NAM, which currently includes Blackstar’s Beam Mini and offerings from Darkglass and Lava Music, right down to budget modelers accommodating the captures. That can make even the cheapest units extremely powerful, especially given that its library currently boasts over 350,000 different tones.

Both versions of A2 – Full is built for pro audio and now runs on less than 30-40% less CPU, and Lite is built for multi-effects pedals – are being heralded by their creators as “a turning point for the industry.”

“A2 captures feel more satisfying to play and sound virtually indistinguishable from the analog original,” TONE3000 says. “The bloom of a tube amp pushed into breakup, the sag of a fuzz pedal under a heavy chord, the snap of a transient through an analog compressor: A2 captures it all.”

Crucially, NAM’s algorithms work by listening to real analog gear before its neural network creates a dynamic capture of that gear, including the various bits of gear it might be paired with, be that head going through a specific cab, or pushed by an overdrive pedal, and so on.

It being free also means that many players get access to gear models they could never otherwise dream of playing.

See TONE3000 for more.

From being named Eric Clapton’s favorite new guitarist to making a special appearance at Millennial pop prince Justin Bieber’s highly anticipated Coachella set, Mk.gee has, for many, redefined what it means to be a guitar hero in the 2020s.

In particular, his tone and, in turn seemingly leftfield gear choices have played a key part in that process.

Mk.gee’s baritone-strung Fender Jaguar into a Tascam 424 set-up – in full display on his 2024 debut record, Two Star & the Dream Police, and piquing the interest of tone geeks during his shows – has forced many to reconsider what makes a ‘good’ guitar tone, and inspired guitar pedal brands such as JHS Pedals to capitalize on the lo-fi trend.

Now, as The Atlantic reports in their Mk.gee gear deep dive, another essential piece of his tonal puzzle, the Roland VG-8 – an early-stage modeler released in 1995 that well predated current-day amp modeler technology – is also seeing something of a renaissance.

According to The Atlantic’s interview with Chris Bristol, the former chair and CEO of Roland U.S., the VG-8 was crafted as “a toolbox filled with essentially every existing guitar sound.”

It was famously used by experimentalists such as Joni Mitchell, David Lynch, David Bowie-era Reeves Gabrels, and even Sting.

However, its hefty $3,000 price tag meant that it held a degree of exclusivity, or, as Paul Youngblood, the former president of Roland’s U.S. BOSS division, describes it, “because of the price, it was a very elitist, expensive technological product.”

Music technology in the mid-90s “wasn’t anywhere near what it is today,” but, as Youngblood asserts, it “had a lo-fi kind of sound to it” that made – and still makes – it appealing. It also marks a “nostalgia for a time when digital was still new,” notes Steve Waksman, a rock musicologist at the University of Huddersfield, in the same interview.

And thanks to the Mk.gee school of guitarists, the VG-8 is well and truly making a comeback, and this hype is reflected in its price tag on the secondary market.

At the time of writing, the VG-8’s estimated price range on Reverb is between $807 and $1,065, with prices reaching as high as $2,999 in October 2024 – a few months after Mk.gee’s debut album release. Mere coincidence? Unlikely.

In more recent news relating to this early-stage modeler, David Lynch’s Parker Fly guitar, which sold last year at auction, also came with a Roland VG-8 – and the two oddball pieces of equipment were put through their paces by their new owners.

A new era of Kemper amp profiling is here, with the German firm's new Profiler OS 14.0 update promising “the most organic amp tones ever captured”.

The free software update is for the Profiler MK 2 Series and Profiler Player models, and aims to bolster Kemper's amp-profiling tech – one of the company's stand-out innovations – to allow players to create profiles of their amps with unprecedented accuracy.

The technology utilizes over 100,000 individual frequency points for top-tier accuracy and realism, endeavoring to “preserve every nuance of your amp’s sonic character.”

The “analog-inspired measurement” is “rooted in pure physics” rather than being an approximation of the amp it is hoping to channel, and the capturing process is also said to be faster than ever.

The update also means the profiling leverages “the longest and most intricate impulse responses ever implemented in a guitar amp profiler”.

Those new features, coupled with existing tone-sculpting options, offer a suite of benefits for modeler users. Such specs include Intuitive Tube Stage Controls for easy modification of the tube distortion characteristics, flexible routing, allowing users to send cab simulations to the PA of a venue, while running a sim-free tone into a real cabinet for better on-stage sound.

Elsewhere, the profiler's Authentic Gain Detection feature determines the true amp gain during profiling and applies it directly to the Gain control for further tuning.

Already in 2026, we’ve seen Neural DSP drop the Quad Cortex Mini, shrinking the footprint of its flagship modeler without compromising its power, and Fractal impress with the AM4, its most affordable offering yet.

Kemper, which launched its MK2 line last summer, is doing its best to keep pace with the market here, two years after unfurling its Liquid profiling feature. The update also comes amidst Neural DSP's updated V2 Capture software, and arrives ahead of Line 6's long-awaited Proxy feature, both of which offer similar gear-capturing capabilities.

The new update is available for all MK2 Kemper models and is free to download. Earlier models can handle the 2.0 Profiles, albeit at a lower resolution.

See Kemper for more.

The smaller of Line 6’s new next-gen digital amp modelers, the Helix Stadium Floor, is finally available to order – eight months after it was unveiled.

When the firm’s new range of innovative floor modelers was unveiled last summer, Line 6 called them “a new type of product.” The Helix Stadium Floor and Helix Stadium Floor XL both offered brand-new modeling algorithms, touchscreens, and a powerful Showcase feature that aimed to take the all-in-one rig concept to dizzying new heights.

The Helix Stadium Floor XL – which offers a built-in expression pedal and larger footprint – only beginning shipping at the tail end of last year. Several months later, the Helix Stadium Floor is now on its way to retailers around the world.

Attempting to "establish a new benchmark” in what modelers can do, it leverages Line 6’s new Agoura modeling tech for more dynamic touch sensitivity and amp-like feel.

The ‘Hype’ feature is also pretty interesting, tilting the tonal balance between “ultra-authentic” and “idealized” sounds. But its firepower goes beyond the typical tonal realms. Its Showcase feature bids to replace the band's laptop by becoming a central hub, triggering MIDI changes, engaging presets, running tracks, recalling Snapshots, and more, allowing players to focus on their performance.

It can also control click tracks, and automate lighting and video for live rigs, streamlining the entire gigging process. That sets it apart from its competitors, and with the amp modeler market now so densely populated – see Fractal’s lowest priced modeler, the AM4, and Neural DSP’s small but mighty Quad Cortex mini for evidence of just how competitive the market has become.

The main difference here, compared to the XL, is a smaller real estate, thanks to its lack of a built-in expression pedal. That arguably makes the Helix Stadium Floor the more natural competitor to the Neural DSP Quad Cortex and Fender Tone Master Pro.

“Helix Stadum's all-new modular platform has been specifically architected to be extensible and updateable for a long, long time,” says Line 6's Chief Product Design Architect, Eric Klein.

“In addition to featuring the best-sounding, most powerful, and most flexible processing Line 6 has ever offered, they can serve as performance workstations that aim to upend the way you approach playing – whether that’s writing and learning songs, jamming with friends, or controlling your band’s entire stage rig.”

With that in mind, Line 6 will also bring its Proxy amp, cab, and effect cloning feature to the modeler in the future, after a first update dropped in December, following the XL’s launch.

Visit Line 6 for more.

What is it?

There is no denying the influence that Fractal has had on the guitar amp modeling world. Launching its Axe-Fx rack system back in 2006, it was one of the earliest companies to market an amp modeling product towards professional guitar players. As relevant now as it was then, the Axe-Fx series is well into its third iteration with the Axe-Fx III, and Fractal’s lineup has grown to feature floorboards such as the FM9 and miniaturized versions of the technology like the FM3. Now, the US company is looking to capture a different part of the market with a more affordable take on the influential technology in the form of the compact AM4 - which coincides with the launch of European distributor G66's new UK warehouse, meaning UK-based players can now buy direct from G66 more easily.

This relative affordability does not mean that the AM4 is compromised when it comes to tone, as it’s running the same Cygnus X-3 amp modeling and Dynacabs cab emulation as the Axe-Fx III. The saving is in the available blocks in the signal chain, as each preset is limited to four. However, this is not as restrictive as it may sound.

Each block can support four different models that can be gaplessly switched between, meaning that up to 16 effects can be stored and used in a single preset. I’ll explain more about how this all works later, but for now, the key takeaway is that the AM4’s compact nature, in addition to its relative affordability and power, makes for a hardware release with the potential to, once again, have a serious impact on the modeling world.

But it is not alone. Competition from the likes of Line 6’s HX Stomp, Neural DSP’s Nano Cortex, and IK Multimedia’s ToneX also offer compact, relatively affordable, and professional solutions, meaning that Fractal will need to bring its A game if the AM4 is to meet the high value standards set by its rivals.

Specs

• Launch price: $699 | €925 | £789
• Type: Amp modeler and multi-effects
• Features: Cygnus X-3 amp modeling, DynaCabs cabinet emulation, Amp Mode, 4 effects per block
• Connectivity: MIDI, USB-C
• I/O: Two balanced ¼” TRS outputs (L and R), one ¼” instrument input, stereo TRS effects loop, ⅛” headphone output, two expression pedal inputs, ⅛” MIDI in and out, USB-C, SPDIF in and out
• Power: DC barrel jack, centre negative, 1.5A
• Dimensions: 255mm x 160mm x 59mm / 10”x 6.2”x 2.3”
• Weight: 1.63kg/3lbs 9.5oz
• Contact: US: Fractal UK and Europe: G66

Build quality

Build quality rating: ★★★★★

With its sturdy, brushed-aluminium chassis, the AM4 is ready to take on a busy gigging life. Adding to this is a nice heft to the footswitches and knobs that move with a resistance that confidently suggests longevity.

The I/O that features a ¼” input, left and right ¼” outputs, a TRS stereo effects loop (one TRS in and out), ⅛” headphone out, two ¼” expression pedal inputs, SPDIF in and out, USB-C connectivity, and then the standard 9v centre negative DC input with a 1.5A power draw.

The 6.3” screen is more than bright enough to avoid getting lost under stage lights, and the LEDs above each of the footswitches follow suit. Those LEDs also bring a little color to what is a pretty minimalist aesthetic, but one which I reckon looks pretty sleek.

As far as build quality goes, it really is flawless. Practically and aesthetically, the slanted area for the footswitches will be a welcome feature for players as the angle does help with visibility when in front of the AM4 and slightly quicker changing with your feet.

Usability

Usability rating: ★★★½

With great power comes a great many options. Trying to present these in a compact package can sometimes mean some compromises in usability, and this is indeed the case with the AM4.

Starting with some good stuff, the Page left/right and Enter buttons, plus the Select rotary encoder, make scrolling through the menus feel nice and fluid. Building on this are another four rotary encoders situated just below the screen that allow you to adjust up to four parameters at any one time.

The parameters on the screen line up well with the encoders, which is a saving grace, as the menus are quite text-heavy with some pretty hefty lists to scroll through. You’re not going to want to spend a lot of time setting up presets on the hardware, but for making small tweaks, those four well-aligned encoders work pretty well.

Thankfully, the AM4 comes with an edit app, which makes all the in-depth tweaking a lot easier. It’s fairly straightforward to use with nice, big icons and drag-and-drop functionality. I am using the app to set up presets from scratch, and then the hardware to make minor changes thereafter.

It's within the app that you will find the expert edit options, which allow almost endless tweaking.

The screen is 6.3”, but it is nice and bright, and the four blocks in the signal chain are shown clearly, making identifying which footswitch controls which effect a breeze.

It’s not a touch screen, but that smooth scrolling means I’m not actually missing one, and I find touchscreens are always a bit awkward on smaller displays anyway, particularly one with busy menus like the AM4.

Fractal’s Dynacab cabinet emulation makes effective use of the small screen, with a visual interface that isn’t the most attractive, but is very functional in allowing for the adjustment of multiple parameters for two cabs in one place.

There are four footswitch modes to move between - Preset, Scenes, Effects, and Amp Mode.

As you might expect, Preset mode allows for access to four presets. Scenes is Fractal’s way of allowing gapless switching between a number of parameters and effects – useful for changes within songs, while Effect mode is for turning on or off individual blocks within your current preset and activating the Amp blocks' Boost. Lastly, Amp mode facilitates switching between four amps loaded into the amp block – I’ll come back to this.

These modes are accessed by holding down two footswitches at once, which is a little awkward, but a standard operation on these more compact devices. A bigger problem is that the displayed signal chain does not change depending on what mode you are in. It always shows the four effects/amp you have loaded in the current preset.

This makes switching between presets, scenes, or amps in Amp mode frustrating, as you have to memorise which scene/preset/amp is assigned to each footswitch. Having said that, the colors of each switch can be changed to help here.

It’s also worth noting that the footswitch assignments in each mode do briefly appear once you have pressed the footswitch, but by that point, you’ve already made your selection, so this doesn’t help much.

The biggest difference between the AM4 and other compact modelers is in how it manages its limited number of blocks. As I touched on above, each of the four blocks can store four of a certain type of effect. Fractal organises this by numbering the blocks one to four, then labeling the four slots within each block A through D.

The block type is defined by the user. For example, I could make block one a Drive block, then I can select four drives to go into slots A, B, C, or D.

I can switch the active slot within each block via Scenes mode, or by holding the footswitch assigned to each block in Effects mode. It sounds a little convoluted, but this is a clever way of managing DSP that gives you 16 effects in one preset, four of which can be high-quality amp models. There are some flagship modelers that can’t do this without hitting a DSP ceiling.

It’s worth noting that you can have two drive blocks if you wish, but outside of this, only one of each block type is available per preset. For example, you cannot have two Amp blocks in one preset.

While the switching between scenes leaves no gap in audio, there is a small delay between pressing the footswitch and the scene actually changing. Not a deal breaker, but it is noticeable.

Doubling down on using this multi-slot block function is Amp Mode. Here, each footswitch is assigned to one of the four slots in the Amp block, allowing the user quick and gapless access to four amps within a single preset. Try this on another modeler, especially compact ones, and you will likely run out of DSP, so I can see why Fractal wanted to highlight it with a dedicated mode. If you are running the AM4 mainly to handle amp duties as part of a pedalboard, this feature will be invaluable.

Also, to this end, we have an effects loop. This is positioned within the AM4 after all four blocks, and cannot be moved. Why bother including it if it’s after the signal chain, right? Surely, you would just put your post-amp effects after the AM4 altogether?

Well, the point here is that you get to run external effects post the AM4’s signal chain while still making use of the balanced TRS outputs, eliminating the need for a DI box. This is handy and makes it the perfect pedalboard companion. Almost…

The issue is that I would always rather see balanced XLR outputs on a modeler than balanced TRS when it comes to live use. Not because there is any real difference in audio between the two (both generally output balanced, low impedance signals), but because XLRs are a little more ubiquitous. Every sound engineer will have an XLR input ready for you, and if you find yourself needing to run a long cable, XLRs are much easier to extend by just clipping two together.

I gigged the AM4 as part of testing and ran into this exact issue. I was at the opposite end of the stage to the desk, so I was asked to plug into an XLR loom, meaning I needed a D.I box or a ¼” to XLR converter. I had a Radial Stagebug DI box handy, but couldn’t help but feel that the AM4 was just a minor inconvenience away from being the perfect compact pedalboard modeler.

Sounds

Sounds rating: ★★★★☆½

The star of the show is undoubtedly Fractals Cygnus - X3 modeling. This is the same modeling that is in the Axe Fx III, which Fractal touts as industry-leading. My experience is that this is a fair claim.

The models respond to both my picking and the volume control on my Fender Telecaster incredibly well, giving me a feeling of a real connection to the sound. The Cygnus modeling generates quite a polished tone, one that reminds me of a really well-produced, studio guitar track. There is, however, a lot of high-end information within each tone, so some models require a bit of tweaking.

For example, on both the Double Verb Silverface (Fender Twin Reverb) and Slow 100 Lead (Soldano SLO 100) models that I am using for my live preset, I found myself introducing fairly hefty high-cuts of around 6.6Khz and 9.5Khz, as well as dialing out some treble in the EQ of both models.

Once this high end is dealt with, the result is a wonderful, scoopy Fender clean from the Silverface and incredibly fun, saturated gain from the Slow 100.

The highlight for me is the clarity maintained within that saturated sound. The Peavey 6160 Lead model is another example of a high-gain amp that can kick out those tones while retaining its clarity. With the Peavey, I’m rolling off some Bass on the amp's EQ to keep it tight.

The Brian May stylings of the Vox AC30-based Class A 30W Hot are also incredibly rewarding. Playing through some Queen riffs with that tight mid-forward sound is an endlessly fun experience, but again I find myself employing a high cut and being careful with the treble on the amp. But, to be fair, this is what you would expect on a real AC30, too.

There is a huge variety on offer with 247 amp models (some being different channels of the same amp) covering everything from shimmering Fender-based cleans, to mid-forward unforgiving Dumble tones, and hard-hitting Marshalls.

So yes, you will be doing a little tweaking, but it is by no means a lengthy process. If you have a little bit of experience with modeling gear, you will very quickly be landing on some fantastic amp tones.

And if you want to get even deeper, the Expert Edit options within the AM4 Edit app allow for editing almost endless parameters at the component level, serving even the most obsessive of tone hunters.

Part of that tweaking comes with the Dynacab Cabinet emulation, which is again the same as the Axe-Fx III. I would like a couple more options when it comes to mic choice, as we only have four here - Dynamic 1, Dynamic 2, Condenser, and Ribbon. The Dynamic mics offer some high-end bite, while the Condenser and Ribbon are more rounded.

As I’m being careful with the high-end, I’m finding the Ribbon and Condenser mics more useful and tend to offset the mics from the center of the speaker by using the aforementioned visual interface. There is an option for a Room send here too, but I’m not a fan of this as it quickly gets into nasally mid territory.

The amp models are not the only thing that works well here. Getting into the 77 available drives, I load up one of the AM4’s Tube Screamer models - the T808 OD - and shoot it out against my own 40th Anniversary TS808.

The T808 stacks up admirably, giving out that lovely, compressed Tube Screamer feel that I often find is lacking in other modelers. Tonally, it’s pretty bang on too. It’s a little brighter than my own Screamer, but well within the realms of the differences expected when considering the tolerances within analogue components.

Worth noting here is that the AM4 took the real TS808 as well as an actual amp. While gigging the unit, I used the real TS in front of both the Fender Twin and SLO 100 models. This results in a compressed mid-humped drive in the Twin and a rewarding boost to the front end of the SLO, leading to over-the-top saturation. In other words, the AM4 allowed the pedal to do as Tube Screamers should.

Digital emulations of fuzz pedals are another area in which modelers can often struggle, but again, the AM4 does a good job. The Face Fuzz, for example, nicely emulates it on the whole, although it doesn’t clean up as well as the real thing.

Similarly, we have equally capable models of high-gain pedals, such as the Fat Rat (Pro Co Rat) and Suhr Riot, with the former doing a gnarly, full-range distortion and the latter perfect for a tight shred tone.

We also have a full complement of delays, featuring 27 that range from the straightforward Analogue Mono to the slightly trippy reverse delay. My favourite is the Graphite Copy (MXR Carbon Copy), which makes sense as the real thing happens to be my current go-to delay pedal. It does a convincing job of the analogue delay sound, with repeats that darken as they go, staying well out of the way of the mix whilst adding some texture. No modulation switch, however, which I am missing.

The other options run the gamut from the crystal clear Digital Mono to the slightly trippy Reverse Delay. So we have a full range on offer, but I feel that the more out there sounds aren’t done as well on the AM4 when compared to other modelers. For example, it was difficult to get the reverse sound of the Reverse Delay coming through clearly.

Continuing to add some space are the reverb effects, of which we have many. The usual suspects, such as Spring, Hall, Plate, and Room, are all there, as well as some wild SFX options. Each type contains an expansive collection of iterations; for example, there are 10 different Spring and 10 different Room Reverbs.

Not only that, but we have plenty of parameters for those who like to get stuck into tweaking. Case in point is the Small Spring that boasts Time, Pre Delay, Tone, Mix, Drip, Low Cut, High Cut, Level, Ducking, Number Springs, Dwell, and Input gain controls. So, if you are fussy about your reverb sound, the AM4 will serve you well.

Testing out a collection of them, my favourite is the aforementioned Small Spring with its classic drip. It feels like it envelopes the guitar nicely without getting in the way of the dry signal. I found this to be the case with all the reverbs I tried, even the more outlandish effects like the SFX Pleiadas, with its space-aged shimmer.

No multi-effects selection would be complete without a little wobble, and there is lots to get stuck into, with blocks for Chorus, Flanger, Filter, Phaser, Rotary, and Tremolo.

A few of the highlights here are the Auto Wah and Envelope filter effects. Importantly, both allow the user to set the start and end frequency of the sweep as well as the sensitivity for the Envelope filter, which results in a wah sound that can be easily controlled so as not to lose too much high end.

Similarly, the Rotary block also allows for fussy tweaking. This block only contains one rotary effect, but within it are controls for Rate, Low Depth, High Depth, Hi Level, Drive, Mic Spacing, Mix, and Level. I often play gigs where I am required to emulate an organ sound on guitar, and the clarity, plus the amount of control I have over the tone, make this the perfect tool for that job.

Suffice to say, then, the AM4 boasts a great selection of modulation effects. The only complaint I have is that a lot of the choruses are a little on the dark side, particularly models like the Analog Stereo.

We also have a couple of easy-to-use EQ options, as well as Modern, Classic, and Stereoizer Enhancers that allow you to add some subtle eq tweaks and width to your signal. These round off what is a very polished, desk-ready guitar sound.

Verdict

Built as a way to provide Fractal's renowned amp modeling at a lower entry price, the AM4 happily lives up to the reputation of the rest of Fractal’s range.

The amp modeling is the same Cygnus X-3 technology that is in the Axe-Fx III, so this should not be a surprise. Back it up with a great selection of drives and effects, and we have ourselves a serious contender in the pedalboard-friendly compact modeler market.

I hesitate to use the word 'affordable' as it has connotations that don’t align with the professional market. But the AM4 is relatively affordable in that context. And having gigged it at a function as part of testing, I have no doubt that the AM4 is well-suited to the professional, hard-working guitarist.

The reduced price leaves budget for other pedals and switchers, making it a brilliant pedalboard companion. In fact, if it had a couple of XLR outputs instead of only ¼” outputs, it would be the perfect one.

The compromise is that it is not the easiest to use. The menus are text-heavy, and the four effects per block and Scene system is a little confusing when compared to the likes of the HX Stomp’s Snapshots and the Quad Cortex Mini’s Scenes.

Take some time to figure this out, though, and you will find yourself rewarded with some excellent tones.

Guitar World verdict: Sporting Fractal's renowned Cygnus X-3 amp modeling, the AM4 is a very capable, compact modeler at home on any professional pedalboard. The modeling is backed up with an expansive selection of highly tweakable effects, and at a relatively competitive price point to boot. The compromise is that it is not the easiest to use; however, in this case, the manual diving is well worth it.

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NAMM 2026: British amp builders Blackstar has followed in the footsteps of Fender in transitioning into the amp modeler market with a series of “advanced DSP” pedals under the ID:X Digital Floorboard banner. And it reckons they’ve got “insane versatility” while remaining affordable.

Like the Fender Tone Master Pro and its dizzying array of competitors, it looks to pack amps and effects into a travel-friendly unit, with the promise of capturing the “true behavior and musical response of tube amplifiers rather than simply recreating their sound.”

Considering just how well modelers are currently out-selling traditional tube amps – as per Reverb’s yearly sales reports – it’s no surprise to see Blackstar, backed by the likes of Phil Collen, Jared James Nichols, and Neal Schon, make the pivot. Still, it isn’t doing things by halves.

Tailored for electric guitar, acoustics, and bass, all the same, the series is powered by “a high-performance modelling platform” which seemingly focuses on quality over quantity.

Rather than offering players more amps than even Joe Bonamassa could handle, it serves up 12 electric guitar amps, three bass models, and two acoustic voices, all of which benefit from Blackstar’s famed ISF tone shaping feature, for a dialable British/American tonality.

There’s also the ability to select from EL84, EL34, and 6L6 power-valve responses “to recreate the feel of different tube architectures under the fingers.”

It could be perceived cynically that the amp count is far lower than, say, a Quad Cortex, but these modelers could also be seen as well-equipped amp-in-a-box pedals, prioritizing realism over anything else, which is an interesting move in the face of mounting competition.

Effects-wise, there are more than 35 of them, taking in overdrives, modulation, delays, and reverbs, of course. But there’s also an exclusive In The Room technology that “allows players to experience the dynamic sensation of an amp moving air” in whatever setting it's used.

CabRig speaker and microphone simulation with room options is fully controllable from the unit itself, and there's space for 99 patches to be saved and recalled at will.

Naturally, too, we’re looking at unbridled connectivity. The ID:X Floor One, the smallest base level mode, offers a compact format with USB-C audio interface capability, MIDI input, XLR outputs, a built-in tuner, streaming input, and headphone connectivity.

Moving up, the ID:X Floor Two throws an expression pedal into the mix, presiding over wah, volume, and other expressive parameters, while the top-of-the-range ID:X Floor Three bolsters that spec list with MIDI in and Thru, an effects loop for wider pedalboard integration, extended switching for patches and effects, and a larger chassis.

And while Neural DSP’s striking new iPhone-meets-modeler, the Quad Cortex mini, has left some bawking at its $1,399 asking price, Blackstar’s alternative is a little more affordable. The ID:X Floor One costs $269.99, with the ID:X Floor Two rising to $319.99, and the ID:X Floor Three capping the lot at $399.99.

All three models support deep software editing and online patch sharing via Blackstar’s free-to-download Architect software.

Check out Blackstar for more info on the new series.

NAMM 2026: Neural DSP has unveiled its most anticipated new launch since 2020, the Quad Cortex mini – a pint-sized modeler that looks to deliver the same QC playing experience in its most compact format yet.

Requests for a Quad Cortex mini – one that had the touchscreen, power and UI pulled from the larger unit – have been around ever since the flagship unit was first unveiled in 2020.

The Quad Cortex changed the game for modeling multi-effects pedals, and subsequently set in motion a gear arms race that has been contested from Fender and Line 6 to IK Multimedia, Fractal and beyond.

But in the modern age, as the demand for smaller rigs has increased, brands have been pivoting to smaller solutions for players. Neural DSP itself issued the Nano Cortex in 2024, but that was by no means a ‘Nano Quad Cortex’. It was a different proposition altogether, with no touchscreen, different processing power and its own spec sheet.

It was clear even then that Neural DSP would work to make a smaller modeler that was more faithful to the original Quad Cortex template, and now it has arrived.

Enter the Quad Cortex mini, which promises to deliver “the full sound, processing power and Neural Capture technology” of its larger sibling.

It does it through a completely new pedal layout, which weights just 3.3lbs and measures 8.9" x 4.6" x 2.5".

In basic terms, the Quad Cortex mini is more than 50% smaller than the usual QC, looks to be the iPhone of the modeler world. The entire workflow is based around the seven inch touchscreen, which is flanked by a thin border that in turn hosts four rotary footswitches positioned on each corner.

At first glance, it seems a surprising layout to go for, especially with the footswitch layout. But while many fans may have expected a more HX Stomp- or TONEX- style approach, Neural DSP is clearly valuing portability and compactness above all else.

After all, it seems telling that the company is billing the Quad Cortex mini as an “ultra-compact, rack– and desk-friendly” unit. Yes, it is also “designed for live performance”, but it looks as though this could be more at home in studio and on-the-road recording setups.

Whatever the case, it’s remarkable that Neural DSP has managed to cram the full QC processing power into such a small unit. It supports Neural Capture V1 and V2 – meaning it can be used to clone your gear – and offers the full library of over 90 amps, 100 effects, 1000 IRs and 2000 Captures.

It’s compatible with the Cortex Cloud app for preset management and Capture browsing, and can be configured for Preset, Scene, Stomp and Hybrid playing modes, just like the Quad Cortex.

There’s also a Gig View, USB-C connection for using it as a 16-channel audio interface, a boatload of ¼” and XLR stereo/mono I/Os, and a headphone output for silent practice. So, yes, there’s quite a lot there for such a small bit of kit.

“Since the introduction of Quad Cortex in 2020, our goal has been to define the standard for what an all-in-one digital rig can be,” says Douglas Castro, CEO and Co-Founder of Neural DSP. “We set out to combine machine-learning-based modeling, studio-grade audio quality, and a fast, performance-focused workflow in a single unit.

“With Quad Cortex mini, we’ve carried that same philosophy forward, preserving the processing architecture and Neural Capture technology that allow us to create ultra-accurate digital replicas of amplifiers, cabinets, drive pedals, fuzzes, and compressors, now in a more compact form without compromise.”

“Quad Cortex mini represents our belief that size shouldn’t dictate what a professional rig is capable of,” adds Francisco Cresp, Neural DSP Co-Founder and CPO.

“It carries forward the same sound quality, the same processing depth, and the same creative control that define Quad Cortex, while opening up new possibilities for how and where that level of performance can be used.”

Owing to the fact this effectively offers everything a Quad Cortex does, the QC mini is priced accordingly, at $1,399/€1,299. That’s not an insignificant sum by any means and still represents a considerable investment for the average player, with the Quad Cortex itself available from the $1,799 mark and the Nano Cortex sitting below the $1k mark at $569.

So, while the QC mini may serve as a physical middle ground between the Quad and Nano, it doesn’t quite skew that way on the price scale.

Either way, the Quad Cortex mini arrives at a telling time. With Line 6 issuing its Helix Stadium XL and paving the way for an overhauled HX Stomp equivalent – and smaller units from Fender and IK Multimedia also overdue – the QC mini helps Neural DSP beat its rivals to the punch.

It remains to be seen if it can be undercut on price, though, and we’ll have to wait to see how Line 6, Fender and IK Multimedia respond. That might take some time, though.

Head over to Neural DSP to find out more.

NAMM 2026: Boss has expanded its amp modeler lineup with the GX-1 and GX-1B – a pair of compact modeler multi-effects pedals for electric guitars and bass guitars that look to take control of the budget end of the market.

With its GX range, Boss has been going up against some of the biggest names in the amp modeler game. Its $399 GX-10, launched last year, was dubbed a potential Line 6 HX Stomp killer. The larger touchsreen-equipped GX-100 has gone toe-to-toe with offerings from Neural DSP, Line 6 and Fender.

It’s a competitive space, but over the past few years the lower-end of the price spectrum has become equally contested, with challenger brands such as Mooer, Valeton, NUX – and established budget builder Zoom – all looking to take control of the ‘best budget amp modeler’ race with affordable alternatives.

Now, Boss has sought to leverage its own expertise in the digital amps and effects space with a pair of $229 pedals that have been launched with one goal in mind: to assert Boss's presence in the market and blow the competition out the water.

The pedigree here is, unsurprisingly, impressive, and Boss has clearly gone all out in its bid to take on the brands listed above. Here, you get the firm’s established amp and effects algorithms, with its AIRD (Augmented Impulse Response Dynamics) technology promising authentic tube amp tone and touch.

It’s a tech, we should point out, that has made the GX-10 and GX-100 such well-received pedals, with Guitar World noting in past reviews that the AIRD tech does an excellent job of providing dynamic, responsive amp tones.

In practice, there are 23 amp types, 140 effect types, and the space for up to 198 presets – 99 of those come pre-baked into the unit. It’s also compatible with the Boss Tone Studio app for sound-editing tools and practice features.

What’s equally impressive is the layout. At the budget end of the modeler market, menu deep-diving and doom-scrolling through presets is to be avoided at all costs. Especially for those first entering the digital amp space, ease of use is of critical importance.

To that end, Boss has tailored the GX-1 pedal to offer fool-proof operation. There are three freely assignable footswitches, three parameter control knobs, and a row of hexagon-shaped LED lights that make it clear to players which effects are engaged.

There’s also a high-res color display screen, Bluetooth connectivity, and a built-in expression pedal, as well as the option for powering the unit through AC, USB or batteries – meaning it has the potential to be a true wireless all-in-one rig.

The GX-1 is designed for electrics, while the GX-1B is tailored for basses. Both carry the same broad spec sheet, though, save for instrument-specific amps and effects.

As for how the GX-1 stacks up against the pedals that are already controlling the beginner modeler space, its $229 price tag makes it a serious alternative to the likes of the $189 NUX MG-300MKII and $299 NUX Amp Academy Stomp.

On the flip side, it's more expensive than the $141 Valeton GP-100 – which has plenty of its own fans – and the Mooer GE-150, but the Boss connection here, along with all the tech that name brings, could prove a powerful pull for those still on the fence, or new to modelling.

Further still, in Guitar World’s early review of the GX-1, the firm’s attempts to democratize a high-end modeler experience and bring a usable floorboard to an accessible price point have comfortably paid off.

“Boss' new entry-level multi-effects delivers pro-level features on a bedroom budget,” writes GW’s Matt McCracken.

“The build quality is outstanding, and the number of features gives younger and new players plenty to grow into. The sheer number of options in terms of amps and effects models means they’ll have the best possible playing platform going forward.”

Head over to Boss to find out more.

Line 6 is rolling out firmware update 1.2 for its next-gen amp modeller, the Helix Stadium XL Floor, which brings its potentially game-changing Showcase feature to users for the first time.

The amp modeler arms race is incredibly fierce, with new drops from Kemper and Fractal Audio, alongside bumper updates for the Neural DSP Quad and Nano Cortex units, all vying for customer loyalty. But Line 6 is now playing its trump card.

That’s because the Showcase live automation engine enables the modeler to serve as the centerpiece workhorse for on-stage setups. It can, in effect, be the beating heart of your entire live rig, not just your guitar tones.

Showcase can control backing tracks, video, and lighting rigs, and change tones in sync with the music. Effects and synths can also be MIDI-controlled. Ostensibly, it's designed to replace the band laptop, while also doubling up as a modeler, which would help streamline many setups.

However, Line 6 also hopes that some players, loyal to their current amp of choice, will still see value in the Showcase feature as part of the bigger picture. It's a clever sales ploy.

Flags, which act as markers, can be dragged onto each project, and from there, you can tell the unit what you want to change at that moment. It essentially turns it into a mini DAW, and you can jump between flags, which is especially useful for jumping straight into specific sections during practice sessions.

Beyond that, the looper function can also track your playing during a certain section of a song, which can then be played back during another section later on. Finally, its Matrix Mixer can send different mixes to different outputs, which is ideal for bands using in-ear systems and backing tracks, while the front of house can get a click-free mix.

A lot has been considered. Line 6 wants this to be a live show powerhouse.

But it’s just as handy at home, too, as its eight-track player is ideal for jamming along to backing tracks. Player presets can also be baked into each project, making it quicker and easier to get practicing.

“We dubbed the update the ‘Showcase Update’ because it rolls out Phase 1 of our Showcase live performance and automation engine,” said Eric Klein, Chief Product Design Architect at Line 6.

Further still, the update also adds seven new amp channels, “numerous overall improvements”, and “a metric ton of bug fixes.” Its editing software also gets an update to accommodate Showcase.

See Line 6 for more info.

To say that amp modeling has changed the game is an understatement. Every year, brands continue to one-up each other in their efforts to make digital modeling as close as possible to traditional amps and effects – all while decreasing the physical footprint.

A company that's on every gearhead's lips as soon as you mention “amp modelers” is Neural DSP – and Rick Beato flew to Finland to talk to the man behind it all, CEO Doug Castro.

Castro had previously founded bass guitar gear firm Darkglass in 2016. Shortly after, he and Francisco Cresp – an employee at Darkglass – set out an a new venture together, after floating the idea of developing a range of plugins.

It was a timely transition. The market was changing. And Castro wanted to get ahead of the curve.

“At around the same time, I started getting really scared about digital products,” Castro admits to Beato, when looking back at how he transitioned from Darkglass to Neural DSP.

“Kemper was becoming [bigger] – this is 2014 – Fractal had been around for a few years, but it started getting traction. The Line 6 Helix came out, and was huge.

“Kemper came out, and with Kemper, you could profile things. I was like, ‘Oh, now people can profile my basic solutions.’ I was really concerned – are we gonna get disrupted?”

As Castro bluntly puts it, “It felt like we might be old news now, and I didn't want to be Nokia when the iPhone came out.

“You're successful, and then somebody comes up with better technology, better features, and then people go for that. That's when I realized that I should have an answer for this. And that's what ended up being the Quad Cortex. It began to take shape in my mind.”

That was the point when Castro really started paying attention to the landscape and took a deep dive into all things amp modelers.

“[I was] figuring out: What do people love about them... were people buying it? But also, what do people hate about them? There has to be room for improvement here.”

It took around six years for the Quad Cortex to eventually come to fruition – and when it was released in 2021, the all-in-one unit won over even the most seasoned of players, including Dave Mustaine, John Petrucci, and more.

In other words, the threat of Darkglass' competition – and the looming spectre of Line 6 and Fractal – didn't just spur Castro on to start a new plugin and modeler company; it also motivated him to be the best in the market. Years on from the Quad Cortex's launch, and it's still widely considered the industry's gold standard floorboard modeler.

And, speaking of Quad Cortex users, Neural DSP and John Mayer have just announced the launch of Archetype: John Mayer X – a plugin that replicates some of Mayer's most iconic tones.

Fender has rolled out a new firmware update for its Tone Master Pro amp modeler, adding new amps, cabs, effects, and quality of life improvements.

The modeler was launched amid an increasingly competitive market in October 2023, and has been winning over tube amp fanatics and other modeler users alike ever since. This new update, the firm says, is one of its most exciting upgrades yet.

Four new amps have been introduced, alongside six new cabs and 23 effect models. The Hiway 105 amp – based on the Hiwatt DR103 100-watt amp that powered David Gilmour’s early days in Pink Floyd – and the Petrol, inspired by the Diezel VH4 100-watt head, have both joined the party.

There's also Fender ’65 Twin Reverb Blonde, and the Fender Bassman TV for “bold, authoritative bass tones.” Cabs, meanwhile, include partners for the new heads, and the 1x12 Deluxe D120 and 2x12 British Alnico.

In terms of effects, there are three polyphonic guitar synthesizers, offering “best-in-class latency, for sonic explorations that blur the line between cutting-edge and retro.” With the Neural DSP Quad Cortex finally getting a synth engine recently, Fender has smartly returned fire.

Beyond that, there are five new EQs, including a professional five-band parametric studio-style EQ, the Namaste Drive for “amp-like overdrive with buttery smooth gain and rich harmonics,” and the XO Boost, a clean boost with bags of character.

The haul is rounded out by seven new delay effects and four convolution reverbs, “delivering inspiring acoustic space simulation.”

Furthermore, streamlined connectivity welcomes MIDI over USB support, while its block preset capacity rises to 500, and its looper now stretches out to three minutes.

“Packed with highly anticipated, user-requested additions, firmware update 1.7 supercharges your Tone Master Pro with a fresh wave of best-in-class models and powerful new features,” says Fender.

The update is free for all TMP users. Visit Fender for more info and instructions on how to roll out the update.

The amp modeler arms race has been growing fiercer by the day, with Neural DSP bolstering the Quad Cortex and Nano Cortex with some serious new firepower. Elsewhere, early industry leaders Fractal have just released their most affordable floor modeler yet, and Kemper has rung in some much-anticipated upgrades, too.

Fender’s update is timely, then, and there’s plenty to whet the appetite of electric guitar and bass players. It might just win over some new players in the process.

Neural DSP has rolled out arguably the most significant update in its recent history by treating its two flagship amp modelers to some potentially game-changing upgrades.

Two hardware platform updates have been introduced – one each for the Nano Cortex and Quad Cortex – alongside a wholesale upgrade to the Quad’s Cortex Control app.

CorOS 3.3.0 and NanOS 2.2.0 – for the Quad and Nano, respectively – are not short of headlines, but the biggest one is the arrival of Neural Capture Version 2.

Neural DSP’s Capture tech has been at the heart of the firm’s modeling ecosystem, and has been responsible for producing each and every device Capture (read: snapshot) that players have had access to up until now.

V2, then, is a big deal. Neural DSP’s existing expertise in the world of guitar audio modeling couldn't be held in higher regard, but V2 – available for both the Nano and Quad – promises to improve upon its already highly regarded and award-winning V1 platform.

As Neural DSP’s CPO Francisco Cresp puts it, “Neural Capture V2 represents a generational leap in modeling technology.”

On paper, V2 promises higher-resolution modeling, greater dynamic accuracy, enhanced realism, improved touch sensitivity, and better all-round delivery of more complex devices such as fuzz pedals, compressors, and responsive amps.

It also promises improved tracking of expressive behaviours – think dynamic cleanup, sag, bloom and transient response – and more precise control modeling that considers more nuanced parameters.

In other words, V2 just sounds a bit more ‘real’, and given the fact Neural’s V1 Captures were already considered to be among the best and most authentic-sounding digital replications of analog tones, V2 is shaping up to be a bit of a beast.

Now, ‘tube amp feel’ and ‘dynamic expression’ are common phrases used in the discussion of amp modelers, and these days it's widely believed that digital modeling tech is as advanced and as good as it’s ever going to be.

Neural DSP, though, who shook the market up when it first launched the Quad Cortex and its plugin suite, says that isn’t so. Instead, it’s doubled down on its commitment to continually push the boundaries of digital sound.

As mentioned, V2 Captures is available on both Nano and Quad Cortex models, and to demonstrate its tonal capabilities, Neural DSP has dropped 669 V2 Captures across 41 device types, including amps, fuzz pedals, overdrives and more.

That list includes a Capture of a genuine 1992 Dumble Overdrive Special, 17 cabs based on Two Rock, Ampeg, Fender and more, and a range of drive pedals.

Though these are available on Nano and Quad platforms, V2 Capture creation is currently limited to the Quad Cortex only. The expansion to the Nano Cortex is expected in the future.

CorOS 3.3.0 also offers some fixes and stability improvements, a list of which can be found on the Neural DSP website.

As for NanOS 2.2.0, V2 has been added alongside some other big tonal upgrades. For the first time, a tremolo effect has (at long last) been added, available in the first Post Effects slot. It also supports offline Cortex Cloud mode, Cloud backups, and preset rearranging via drag and drop in the app.

“We built Quad Cortex and Nano Cortex to be platforms that grow exponentially with every update, and these new releases demonstrate that philosophy in action,” said Douglas Castro, Neural DSP CEO and Co-Founder.

“CorOS 3.3.0 and NanOS 2.2.0 deliver major technology advances while refining the everyday workflows musicians depend on.”

Visit Neural DSP to find out more.

Neural DSP amp modelers seldom get a discount in the Black Friday guitar deals, and unfortunately, this year is no different thus far. If you want some extra value for money though, there is a great deal on the Nano Cortex, where if you buy one from an authorized dealer, you can bag yourself a free plugin of your choice from the entire Neural lineup.

You can grab a Nano Cortex at the following qualifying retailers, and those who buy from Sweetwater in the US will bag a free Eminence Impulse Response Sampler pack too:

• US - Sweetwater
• UK - Thomann

To claim your Neural DSP plugin, you’ll need to submit proof that your unit was purchased in the Black Friday window between November 21 and December 3 by uploading a receipt in .jpg, .png, or .pdf format. Once validated you’ll be able to hop into your Neural account and choose your free plugin. You can’t use plugins on the Nano Cortex itself, but you can use the Nano Cortex as an audio interface in order to use your plugin on your computer or laptop.

If you need more information on how to claim your free plugin, head over to the Neural DSP website for more detailed instructions.

Having been hands-on with the Nano Cortex, it’s one of the most powerful pieces of guitar gear around right now, and thanks to the popularity of Neural DSP products, it’s no surprise they don’t feel the need to discount them. The captures sound sublime, and there’s an excellent array of effects to choose from.

Plenty of guitarists I know have one of these on their ‘board, including our reviewer who gave it four and a half stars out of five in our Neural DSP Nano Cortex review. It works great if you don’t want to ditch any of your existing stompboxes, but want the convenience of amp modeling when playing live. For those who don’t want to go full modeling, it’s a great way of getting quality amp tones in a compact enclosure.

The lack of a screen takes a bit of getting used to, but honestly once you’ve used it for a little bit you soon forget that you even need a screen; it’s that intuitive to use. The tactile control of buttons and knobs will appeal to certain types of players, and you can use a companion app to make deeper settings changes when you need to.

It’s incredibly lightweight and compact, meaning it’ll fit on busy pedalboards, and I love that you can power it via USB-C or via pedalboard power supply. You can capture your favorite amp tones with it; the sounds are so good that our reviewer ditched their tube amp in favor of using one of these instead.

Shop more Black Friday deals

• Amazon: Black Friday instrument deals
• B&H Photo: Early Bird Holiday deals
• Fender store: Player II Strat lowest price ever
• Gear4Music: Early Black Friday deals are live
• Guitar Center: Up to 40% Black Friday sale
• Guitar Tricks: $899 $99 annual sub
• IK Multimedia: Up to $300 off Tonex hardware
• Musician's Friend: Early Black Friday 50% sale
• Native Instruments: Over 50% off UA bundle
• Plugin Boutique: 100s of software savings
• Positive Grid: Up to $50 Spark savings
• Reverb: Black Friday early access
• Sweetwater: Up to 80% off Black Friday sale
• Thomann: Up to 70% off Cyber Week sale
• Universal Audio: 12 Days of UAD software sale
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Fractal has moved to shake up the miniature amp modeler market with the launch of the AM4 – its most compact all-in-one rig solution to date.

Though the Neural DSP Quad Cortex, Fender Tone Master Pro, and Line 6 Helix have been the biggest players in the amp modeling industry over the past few years, there’s been a noticeable and aggressive shift towards smaller, pedalboard-friendly units in that same time.

Indeed, many companies have responded to player desires to keep rigs as small but as powerful as possible, with the Line 6 HX Stomp, Neural DSP Nano Cortex, Kemper Profiler Player, and IK Multimedia TONEX all proving to be huge hits with players.

That’s not to mention the more affordable crop of similarly sized modelers from the likes of Hotone, Mooer, Harley Benton and Donner.

The point is, portable amp modelers is where it’s at right now, and Fractal – an early innovator in the space and widely considered to be among the gold standard in the amp modeling game – has gotten in on the action.

Fractal already has a compact amp modeler on its books in the form of the FM3, but the AM4 is something entirely different, billed as an alternative for those looking for pro sound with less complexity by offering a new user interface “inspired by traditional amps and pedals”.

User experience is the biggest criteria when it comes to differentiating modelers nowadays, and the AM4 looks to have made great strides in that regard.

Calling back to the effects-only VP4, it offers four configurable footswitches, four universal parameter knobs, and a smattering of other controls to navigate menus, presets and more.

Usability aside, the AM4 is effectively the same super-powerful amp modeler as found elsewhere in Fractal’s ranks, but in a highly compact format. It’s built on the same tech as the Axe-Fx III, leveraging the company’s latest Cygnus X-2 amp modeling – as well as DynaCab speaker sims and UltraRes user cabs – for its tones.

This, Fractal says, delivers authentic tube amp tone and feel like no other. It’s a phrase that’s baked into the fabric of the amp modeling world, but with Fractal it rings especially true.

Not only that, the company stresses these are models, not captures. They aren’t single sonic snapshots of an amp – they are adjustable models that promise to respond and behave in the same way a tube amp would.

In all, you get more than 240 amp models, more than 45 classic and modern DynaCabs, and over 325 effects that run the spectrum from overdrive and reverb, to tremolo and delay and beyond. Like the amps, these are powered by Axe-Fx III algorithms.

There’s space for 104 presets, as well as a new Amp switching mode that offers seamless ‘gapless’ switching between up to four channels per amp block.

“The AM4 is a compact powerhouse,” Fractal writes. “It’s perfect on a pedalboard, sits neatly on a studio desk, fits in a backpack with room for expression pedals, or slips into an overhead bag as your grab-and-go fly rig. It’s our most compact all-in-one unit ever.

“Built on the same uncompromising technology as the Axe-Fx III, it delivers the tone, feel, and authentic controls of real tube amps – from vintage classics to modern monsters, from sparkling cleans to elusive edge-of-breakup tones, to molten leads – and everything in between.”

As for price, the AM4 is available in the US for $699. For context, the FM3 – the closest Fractal unit – is $1,099, while the arena-grade FM9 is $1,799.

In terms of the competition, the Line 6 HX Stomp is also $699, while the TONEX sits in at the $429 mark.

In other words, the AM4 is pretty competitive in its chosen corner of the market, and with Fractal’s product ecosystem now becoming more accessible than ever, it could prove to be a popular entry point for those looking to join the Fractal ranks.

Visit Fractal to find out more.

Line 6 has announced its next-gen Helix Stadium XL Floor is now officially shipping, meaning the most hotly anticipated amp modeler of recent years has finally landed.

The effects pedal and guitar amp specialist first announced its overhauled Helix Stadium lineup back in June, during an announcement that coincided with the original Helix’s 10th birthday.

It seemed, for many people at the time, a rather premature unveiling, especially since an official launch date was kept under wraps for months after the news broke. That, and a few final adjustments to the kit were still being made.

However, over the past few weeks whispers of the Helix Stadium’s official launch picked up steam. Not only did Line 6 make the Helix Stadium XL a surprise guest of honor at its public booth during Guitar Summit in September, but more and more demo videos started to flood the internet.

Now, the company has announced the Helix Stadium XL Floor (not the slightly smaller Helix Stadium, it should be noted) is shipping, and will soon be available from certified retailers worldwide.

It’s been a long time coming. You need only take a scroll through gear YouTube to appreciate the significance of this launch. Yvette Young, Rhett Shull and Ryan ‘Fluff’ Bruce – as well as some key modeler commentators such as John Cordy and Steve Sterlacci – have all posted hands-on videos with the new floorboard.

There’s good reason for the intrigue. The Helix Stadium has the potential to flip the amp modeler market on its head, with Line 6 looking to level the playing field – and go one up – against Neural DSP and Fender by introducing all-new Agoura modeling tech, improved UI, a highly requested touchscreen, and more.

The early signs are positive, too. This writer got hands on with the Helix Stadium XL Floor at Guitar Summit and spent some time getting to grips with the new unit. And, as a loyal HX Stomp advocate, I was mighty impressed with just how dynamic the Agoura amps sounded.

“Helix Stadium XL Floor is more than simply a new product; it is a new type of product,” said Eric Klein, Chief Product Design Architect.

“In addition to featuring the best-sounding, most powerful, and most flexible processing Line 6 has ever offered, it can serve as a performance workstation that can upend the way you approach tone creation and performing – whether that’s jamming with friends, creating your next opus in the studio, or during your world tour. Most of all, it’s fun to use.”

The Helix Stadium XL Floor is now shipping with a $2,199 price tag.

Visit Line 6 to find out more.

What is it?

There’s no doubt – it’s no longer necessary to have a big, powerful bass amp. Of course, might always used to be right; before the advent of Class D micro-heads and preamp-come-DI pedals, it was simply the only way to be heard.

Today, we can sling a single pedal into the front of our gig bag, plug it into front-of-house, and have a fully dialled-in sound all night, with all the volume we’d need.

Can this concept go too far the other way, though? Can a micro-sized modeling pedal be your stand-alone rig, or will it prove too compromised?

That’s the question today. IK Multimedia has brought out a bass-specific version of its TONEX One, and it’s time to see how it gets on.

And believe me, it's micro – the size of a Mooer, or a TC Electronic mini pedal. You could lose it between the sofa cushions, or swallow it in your sleep without realising. Ok, maybe not the last one but you get my point…

Specs

• Price: $199 | £179 | €199
• Type: Bass amp/effect modeling unit
• Made: Italy
• Controls: Dual-purpose on/off/channel selector footswitch, Volume, Bass, Middle, Treble (with secondary functions for Gain, Gate, Comp and Reverb), ALT button
• Features: Twenty presets with 3 active performance slots, noise gate, compressor, 5 modulation effects, 2 delay effects and 6 reverb effects, switchable Dual/Stomp modes, ToneX software compatibility, audio interface functionality
• Connectivity: Instrument in, Amplifier out, USB-C connection, 9v power input
• Bypass: Buffered
• Power: 9v DC (120mA)
• Dimensions: 48mm x 94mm x 53mm
• Weight: 160g
• Contact: IK Multimedia

Build quality

Build quality rating: ★★★★★

It's a sturdy, well-built anodised aluminium chassis, with a useful set of controls squeezed in. The largest knob is for volume, then there’s a three-band EQ section; an ‘ALT’ button enables all these controls to adopt secondary functions.

The transparent EQ knobs helpfully light up in different colours, signifying which operating mode the pedal is in. And even if your pedalboard space is at a premium, it's certainly small enough to find a place with a very reasonable 120mA power draw for your pedalboard power supply compared to amp pedal competition that can be as high as 400 or even 500mA.

Usability

Usability rating: ★★★½

There are numerous configurations for how the TONX One can be connected, either as a stand-alone unit or integrated into a larger rig. I ran it directly into an FRFR speaker, while connecting the pedal to its editing software via USB-C.

If you don’t have the TONEX software already, the One grants you access, alongside its Editor and Modeler packages. Be in no doubt, you will need it – this isn’t a pedal whose full potential can be extracted from the small array of physical controls.

It means the initial setup can be lengthy but, from there, TONEX and Editor will help you unlock the little unit’s capabilities. Here, you can audition and tweak presets in-depth, or create new sounds to be loaded into the library - custom IRs and all. Twenty preset slots are available for use on the TONEX One.

The device itself can accept three presets at a time; these are split across two modes. In ‘Dual’ mode, the pedal is permanently engaged and the footswitch toggles between two chosen sounds, like a configurable two-channel preamp. In ‘Stomp’ mode, meanwhile, the footswitch toggles your third chosen sound on/off - like a pedal.

So many functions, packed into such a small box. To operate the ToneX One is to memorise a dizzying array of button-presses, knob-turns and combinations thereof. Switching modes, or adjusting in-depth parameters on the fly, means really learning the manual, or keeping the (far more intuitive) TONEX Editor on standby. Some, perhaps understandably, will find this off-putting.

Sounds

Sounds rating: ★★★★☆

Once I’d found my way around, I grabbed my trusted Ibanez P Bass-alike and my StingRay. The presets I chose for Dual mode were modeled after a clean Gallien-Krueger and an overdriven Darkglass Vintage Ultra. For Stomp mode, I chose a SansAmp - always a favourite.

All three deliver well on their brief – the GK emulation sounding full-bodied yet crystal-clear, working perfectly for a wide spectrum of clean tones. The Darkglass is fat and aggressive - nailing the retro growl that the Finnish brand’s Vintage series pedals do so well, suited to anything from '70s rock to more modern styles.

The winning SansAmp and StingRay combination sounds as taut, defined and punchy as ever, ideal for harder-edged '80s and '90s rock and metal but also providing abundant definition for intricate slap and pop lines. These are just three of the sounds that come pre-loaded; there’s something to suit most styles or tastes, and they're well-judged and properly dialled in.

The Editor’s EQ controls are parametric for extra precision, and the gate, compression, modulation and time-based effects are all very accomplished. After learning your way around, it’s easy to create excellent, gig-ready tones - and the changes you make are saved automatically, so everything is always where you left it.

Verdict

So, could you use the TONEX One as your stand-alone bass rig after all? Well, certainly, as long as you accept that you’ll need to team it with the Editor at least some of the time to get it working for you.

It might be a wrestle to tweak the unit itself, but the app is very intuitive and the sounds are excellent. As an addition to an existing rig, a backup, or even as a primary setup, the TONEX One is a tiny box that packs a big punch.

Guitar World verdict: It really is a micro-sized pedal that you could use for a whole run of gigs and not feel remotely short-changed. Once it's all set up, the TONEX One Bass Edition is a solid, high-quality and great-sounding device that vacuum-packs incredible utility into a compact space.

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• “The most powerful amp modeler for its size, bar none”: IK Multimedia TONEX One review
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Neural DSP has announced that, at long last, it has answered players’ prayers by bringing tap tempo controls to its Nano Cortex.

The function arrives as part of a new free NanOS 2.1.0 update, which “introduces several highly requested features” to the amp modeler.

On the pedal itself, the feature is unlocked when in Tap Tempo mode, with Footswitches I and II used for setting tempos and exiting the mode. Over on its sister iOS/Android app, which helps counter the pedal's lack of screen, the tempo menu now features a tap pad. Alternatively, players can type in their preferred BPM and benefit from the ability to select between global or preset-specific tempos.

Additionally, the Nano Cortex can now receive MIDI CC messages for bypassing individual device slots, controlling the expression pedal position, tap tempo, and engaging/disengaging the tuner.

Also included are tweaks to the incoming MIDI CC feature, an “Impulse Response loader bypass for a specific output” and MIDI Thru. All these changes, Neural DSP says, are made to “enhance the usability and performance” of the diminutive but versatile pedal. As expected, the update also kills off a few bugs and performance issues.

Launched in 2024, the younger sibling to the Quad Cortex takes the flagship modeler's essence and shrinks its size and price. It utilizes the firm's Neural Capture technology, meaning it can steal the tonal soul of your favorite tube amps and pedals for a near-pocket-sized gig rig, with fewer processing cores without compromising on performance.

However, its appeal was limited by the absence of several key features. A huge free firmware update in April saw the Cortex challenging Kemper and TONEX with 47 new effects and improved control over the signal chain at the top of some in-depth tweaks.

However, the update was, frustratingly for some, bereft of a tap tempo. Three months later, this latest update helps bolster its position in a market that sees fierce competition from other smaller-sized amp modelers.

Head to Neural DSP to learn more about the update.

Meanwhile, diehard amp enthusiast John Mayer was spotted playing a Quad Cortex at Coachella, and Mooer has added fresh competition with an AI-equipped modeler that, like the Nano Cortex, can profile a player's gear.

When Line 6 first announced its all-new amp modeler, the Helix Stadium, it promised a revolution in terms of usage and tone.

Weeks later, and after a string of tone-less hands-on videos, the firm has finally given players a taste of its new Agoura modeling software, which promises to be the most dynamic ever.

Named after the California street on which Line 6’s headquarters are based, the newly engineered modeling software replaces the HX methodologies that have defined its uber-successful Helix modelers over the past decade.

During a 45-second teaser clip, Line 6 offers a snippet of its Brit Plexi amp, which is based on a classic Marshall. There’s also a brief look at its Impulse Responses, with two 4x12 Greenback30 cabs hooked up to the virtual amp for the demo, while a compressor, delay pedal, and plate reverb offer the finishing touches.

It sounds pretty damn authentic, complete with bucketloads of that much-craved tube amp warmth and dynamism, despite its digital nature.

“Agoura modeling feels more realistic under your fingers,” says Line 6. “They are more dynamic, and the tone can change dramatically depending on how hard or softly you play.

“It’s a more three-dimensional experience – one you can truly appreciate by sitting down and playing them yourself.”

Indeed, Line 6's hyperbole-laced promises of next-level, authentic tube amp replication might not be a new claim heard in an increasingly competitive market, but it is promising to do things differently here.

“Augora isn’t HX on steroids. It is an entirely new subcomponent behavioural modeling methodology,” Eric Klein, Line 6’s chief product design, said during its unveiling.

“There’s all-new tube emulation where we measure detailed parameters of the actual tubes used in these amps – voltages, currents, capacitance, and more.

“We’ve invented a new way of modelling power stages, both push-pull and single-ended, in conjunction with the power supply so we can accurately capture the interaction between the signal and power supply,” he adds.

Other additions include a more accurate and detailed model of “circuit feedback”, alongside “all-new sag, bias, ripple behaviour simulation”, as part of a comprehensive makeover.

The firm, which has been at the pinnacle of the amp modeling game and helped spark the rise of djent with the Pod, is taking its time to deliver more details about the Stadium. But this latest reveal shows just how dynamic its software can be.

Away from its tones, the Stadium could also be a game-changer for its ‘all-in-one’ gig rig solutions. It can control everything from stage lights and video to MIDI changes, helping streamline a band’s live rig and appeal to players far beyond its tonal capabilities alone.

The Line 6 Helix Stadium is expected this winter. Head to Line 6 for more.

Line 6 has ushered in a new age for digital amp modeling and multi-effects pedals by unveiling one of the biggest and most-anticipated gear drops of the past few years: the Helix Stadium collection.

Introducing an entirely new modelling technology; a hugely requested high-resolution touchscreen; proxy amp, cab, and effect cloning; Wi-Fi and Bluetooth control; and much, much more, the first entry into the new Helix era is, at long last, here.

Ever since its launch back in 2015, the Helix family has become one of the most celebrated and popular lineups of digital gear gear. Over the course of numerous hardware pedals that run the gamut of all shapes and sizes – as well as a series of free firmware updates that keep them all at the cutting edge of the industry – Line 6 has cemented the HX umbrella as one of, if not the, premier floorboard modelers of its time.

Since its arrival, though, the Helix family has been forced to face off against mounting competition, including – but certainly not limited too – the likes of the Neural DSP Quad Cortex, Boss GT-1000, and the Fender Tone Master Pro.

As such, a top-to-bottom overhaul of the 10-year-old Helix catalog, one that introduced player-requested upgrades and updated tech that could trump Line 6’s closest rivals, was always merely a matter of time.

Now, on the 10th anniversary of the original Helix, Line 6 has introduced two new products that will pave the way for the collection’s new era: the Helix Stadium XL Floor and Helix Stadium Floor.

The headlines across both ’boards are the same. For the first time – in a move that will please just about everybody – the Helix units come equipped with a high-definition touchscreen. It’s a huge update that previous Helix models lacked, and something that puts them on a level playing field with the likes of the Fender Tone Master Pro and Neural DSP Quad Cortex.

Both of those latter units were heralded for their upgraded and modern user interfaces (touchscreens at the heart of them), and while the Helix 1.0 models were still intuitive in their own way, improved screens (which literally display the amp model selected) immediately make them all the more appealing – and no doubt more usable.

But that’s not all. Line 6 is also rolling out an entirely new Agoura modeling methodology, which replaces the outgoing HX modeling for “extraordinary sound and responsiveness.”

Supposedly establishing “a new benchmark for authentic sound when modeling physical amplifiers,” the Agoura tech is also said to greatly increase the accuracy of how amps respond to your unique playing dynamics.

Digital amps sounding ‘too digital’ is, again, often a problem that prevents many skeptics and tube amp loyalists from trying out modelers, and while other companies have made such responsiveness a priority in their own products, the decision to emphasis Agoura’s ability to do so might tip the scales for many.

As an extension, the two Helix Stadium models offer a ‘Hype’ feature, which tilts between “ultra-authentic” and “idealized” sounds using one control. In other words, it can harness the genuine break-up tone of vintage tube amps, as well as the pristine, produced digital sounds of more futuristic amp rigs.

In a further bid to catch up with Neural DSP, whose Capturing tech is a huge draw for players, Line 6 also has new cloud-based processing, which it seems can be used to capture the sound of physical amps, cabs, and effects.

Along with UI, gear capturing is becoming a key factor in the digital amp arms race, with more and more firms pinning their own modelers around the ability to let players put their own equipment into the digital realm – see Mooer, for instance.

So, with vastly improved usability, new modeling tech, capturing capabilities, and the unique ability to jump between tones with what looks to be exceptional finesse, the Helix Stadiums look to be worthy successors to the flagship models.

A​​nd we haven’t yet mentioned Showcase – a new automation engine for live shows that lets players automate every aspect of a sophisticated stage setup. It goes beyond tone, too: while it can trigger MIDI changes, engage presets, and recall Snapshots, it can also play up to eight audio tracks and automate lighting for live rigs.

Other appointments worth shouting about include extensive connectivity, Wi-Fi and Bluetooth connectivity, and Focus view with contextual parameter control.

In terms of the pedals themselves, both Stadiums feature 11 knobs, 13 buttons, and 12 footswitches to deliver “one of the most ergonomic, intuitive, and inspiring user interfaces available,” while the XL Floor throws in OLED scribble strips and an expression pedal for good measure.

“Helix Stadium XL Floor and Helix Stadium Floor are in many ways a new type of product,” says Eric Klein, Chief Product Design Architect. “In addition to featuring the best-sounding, most powerful, and most flexible processing Line 6 has ever offered, they can serve as performance workstations that aim to upend the way you approach playing – whether that’s writing and learning songs, jamming with friends, or controlling your band’s entire stage rig.”

You get the picture: the Helix Stadium is, without a doubt, a serious upgrade on the original HX design, and then some. Line 6 hasn’t just moved to meet Fender and Neural DSP on the matters of tone and usability, it’s also gone above and beyond in order to cater to every demand a performing player may need.

The term ‘all-in-one rig’ is bandied about a lot, but when you assess the sheer power and functionality of the Helix Stadiums, it feels more relevant and applicable than ever.

The Line 6 Helix Stadium Floor and Helix Stadium XL Floor will be available later this year for $1,799 and $2,199, respectively.

Visit Line 6 for more.

Kemper has played what it hopes will be its trump card in the fierce battle of the amp modelers by launching the Kemper Profiler MK 2 Series – a wholesale, top-to-bottom upgrade that rings in a suite of updates.

“More power, more flexibility, and more of everything you love from the Profiler” is the aim with the new-and-improved multi-effect amp modelers, with the Profiler Head, Rack, Stage, Player, and cab-friendly powered versions all receiving an extensive overhaul.

It's one of the biggest product announcements so far this year, but what exactly does it all mean for players – and what does it mean for the rest of the digital guitar gear landscape?

For the MK 2 series itself, a greatly improved processing engine results in faster performance. It can now go from off to riff-ready in seconds – a rather dramatic change of pace. Beyond that, a “host of new features expand the boundaries of what a modern guitar or bass rig can do”.

In news that will excite shoegaze and effects-favoring enthusiasts, the Kemper can now run 20 effects blocks simultaneously. That’s a generous increase of seven, and preset changes now promise to run with zero latency.

Tone-changing additions include a second noise gate, which is joined by a new Compressor, Pure Booster, Wah Wah, Vintage Chorus, Air Chorus, and Double Tracker. The latter is likely to rival Neural DSP’s nifty Doubler feature, which makes one guitar signal sound like two.

The firm has always hung its hat on the profiling element of the Kemper. Beyond its baked-in amp models, it can tonally replicate (read: Profile) physical amps and place them within the unit. In Kemper's own words, “More than 100,000 individual frequency points meticulously analyzed for the most precise amp recreation ever achieved.” There’s also the promise of turning “a single profile into a fully dynamic, living amplifier”.

It’s not just the amps that are getting some technological TLC, though, with Profiler cab sims also getting a functional glow-up for more adjustable dynamics and “the most complex Impulse Responses in the industry”.

Elsewhere, the MK 2 units have been made with new lightweight aluminum components, which promise to make them far more transportable (something that encouraged many players, this writer included, to pivot to other units such as the Quad Cortex).

There’s also native eight-channel USB audio support for seamless multitrack recording and re-amping directly into a DAW. Its integrated looper has also been given a shot in the arm. It now offers up to two minutes of recording time.

Kempers are no stranger to the stage, with everyone from Norwegian prog heroes Leprous to Paul Gilbert, Tony Iommi, and Alex Skolnick championing the Profilers. But it’s also proven itself to be a worthy studio companion – and these updates will certainly do no harm to its reputation with producers.

Visually, the designs are still recognizable, albeit with a slightly sleeker feel. However, the screen sizes have shrunk and they are no longer in color, which is a crying shame – I, like many other Kemper users, really benefited from the color coding of different effects. Perhaps that was a necessary sacrifice for such a speedy operation.

“The new Profiler MK 2-Series makes the Profilers feel more like a complete rig than ever before,” says Kemper, Founder & CEO, Christoph Kemper. “With instant access to essential FX, full USB audio integration, and improved playability, we’re giving our users a platform that adapts and grows with them.”

The Kemper was first introduced in 2011 when competition was scarce. Now, with the rise of the Quad Cortex, the Fender Tone Master Pro, and the ToneX One – which outsold every other modeler in 2024 – to name but a few, means the Kemper has to adapt to survive. The new upgrade ushers in some choice improvements, which puts the ball firmly back in the court of Kemper's closest rivals.

Prices generally range from $1,300 to $1,800, while the Profiler Remote floor unit is affordably priced at $469.

The Mini Kemper Profile Player will receive a software update but doesn’t get a swish new unit like its stablemates. The new units are expected this summer.

Head to Kemper for more.

Valeton has unveiled the GP-5 – a compact but feature-laden pedal that looks to wrestle the crown from the hugely popular, best-selling IK Multimedia TONEX One and become the best all-in-one mini rig solution on the market.

With a Neural Amp Modeler (NAM) loader for authentic amp and pedal captures, a tuner, two onboard parameter knobs and even a display screen, it's a well-equipped piece of kit that has already made waves in the digital guitar gear world – and, what's more, it costs $79.99.

That means it is $100 cheaper than the TONEX One pedal, and, with its assortment of features, it clearly has set its sights on becoming the mini amp modeler to dislodge the current champ – which outsold the competition last year.

Budget modelers are easily sneered at, and while this writer found Harley Benton’s DNAfx paled in comparison to a Kemper – which cost a mere fraction of its challenger’s outlay – I’ve been far more impressed by what Valeton modelers like the GP-200 can do. The prospect of making much of that magic pocket-sized is therefore incredibly enticing.

Here, the GP-5's core ingredient is its NAM loader, which allows amp and pedal captures to be extracted and loaded into the pedal, similar to how the Nano Cortex operates. It can also load external Impulse Responses.

Notably, the NAM loader tech is already being supported by the likes of Two Notes and Hotone, after the Dime Head became one of the first bits of dedicated hardware to feature the loader. The tech originated as an open-source plugin and now the GP-5 continues that legacy, following in the footsteps of the ground-breaking Darkglass Anagram.

As Valeton humbly puts it, “The GP-5 tears down the boundaries of traditional multi-effects units, packing the sonic punch of a flagship processor into a palm-sized enclosure.”

It’s loaded with over 100 “high-definition modeled effects” and supports up to nine effects blocks per single chain. Each module benefits from customizable routing, and there are 50 factory presets baked in, sitting alongside a vacant slew of 50 patches ready for users to fill with their own stank face-inducing tones. Despite its diminutive sizing, the GP-5 offers a comprehensive modeler experience.

Beyond pre-loaded sounds, the NAM loader gives players access to thousands more presets, and its SnapTone module comes preloaded with 50 curated files, with a maximum storage capacity of 80 files.

Elsewhere, a color LCD screen headlines its user-friendly interface, analog and digital bypass modes are on tap, and its single footswitch has four uses. These include changing patches, activating the tuner, triggering a particular effect within the signal chain, or activating a patch.

Authentic stereo processing comes via a 1/4″ TRS unbalanced stereo output jack and it supports recording via USB. Connecting to a sister app – available on iOS, Android, Windows, and Mac – offers a different way to edit and manage presets, and grants access to 100 drum patterns for when your drummer is late to practice.

Bluetooth wireless connection also comes as standard, meaning you won’t have to rummage through drawers to find the right cable every time you want to connect to the app.

It can run off a standard 9V supply or USB 5V, which is a nice bit of flexibility, and it might just nail Valeton’s own question: “Ever imagined running an entire gig with just one pedal?”

Priced at $79.99, the all-in-one pedal is the closest thing the budget market has got to a TONEX challenger – which is a remarkable thing to say, given the TONEX One itself is already rather accessible – and with a decent reputation preceding its release, it will be interesting to see just how the competition shapes up.

Visit Valeton for more.

Neural DSP has announced NanOS 2.0.0 – a potentially game-changing firmware update for the Nano Cortex, which makes the biggest player-requested upgrades into a reality thanks to improved functionality and an expanded effects list.

Last year, Neural DSP – the mastermind behind the game-changing Quad Cortex – made a play to conquer the mini amp modeler market and take on Kemper’s Profiler Player and IK Multimedia’s TONEX by releasing the Nano Cortex.

The compact, screenless, ultra-powerful amp modeler and IR loader was only Neural DSP’s second hardware launch, and served as a major addition to the company’s portfolio. In essence, it aimed to offer Neural’s acclaimed digital guitar tones and Capturing tech to the masses in its most accessible format yet, and realized its vision for the ultimate all-in-one rig solution.

The pedal was launched to rave reviews (from this writer included), but the Nano Cortex was not without fault. Bold hardware choices aside (it didn’t have a screen, for instance), many were quick to note the limitations in its performance functions: it offered a strict fixed signal chain, and only a small handful of pre and post effects, which couldn’t be swapped out.

Now, the NanOS 2.0.0 looks to rectify this, and has made a reality a couple of highly requested player specifications that look to make the Nano Cortex an even greater threat to the TONEX, which – thanks to its miniature sibling, the TONEX One – is proving itself to be the market’s most sought-after unit.

The big update here is the signal chain, its new-found flexibility and the sheer number of effects that have been added to the mix. Before, there was only room for one reverb, one chorus, transpose, noise gate, and one delay effect.

Notably, there was also no room for overdrives, EQs, wahs, compressors or other reverb/delay/modulation formats. This has now all changed. NanOS 2.0.0 introduces a total of 47 new effects and utility tools, which can be organized into the Nano Cortex’s signal chain.

Admittedly, the signal chain is the same – only two pre effects and three post effects can be put into the chain – but the much-improved control over what actually populates the chain will be a huge draw for players.

Indeed, the lack of built-in overdrives and greater choice of flagship effects was widely seen as a glaring negative for the Nano Cortex, so this update is no doubt a game-changer for the pedal.

Specifically, Neural DSP has added a range of effects inspired by iconic and well-known stompboxes to the Nano Cortex ecosystem. Room, Hall, Modulated, Ambience and Cave reverbs are now available, as is Tape Delay, Digital Delay, Dual Delay, Circular Delay and Dual Reverse Delay.

As for modulation, there is now the MX Flanger, which is based off the MXR M117R; Dream Chorus, inspired by the TC Electronic Dreamscape; MX Vibes, inspired by the MXR UniVibe; and more.

There are also a host of new overdrives based on the Fulltone OCD, ProCo Rat, Ibanez TS808, Xotic RC Booster, Dunlop Fuzz Face and more, while eight new compressors – again, inspired by popular units by the likes of Universal Audio and SSL – can also be found.

As mentioned, these still fit into the fixed seven-slot signal chain – two of which are reserved for the amp Capture and IR – and so while orthodox effects switching may still take a while to work around, there is no doubt NanOS 2.0.0 marks a huge step up for the Nano Cortex.

And that’s not to mention the functional updates, too. There’s also an input gate and an IR Loader Global Bypass function.

“NanOS 2.0.0 isn’t just an update – it’s a product expansion so dramatic that it’s enabling the Nano Cortex to reach its full potential,” Neural DSP CEO Doug Castro tells Guitar World. “Players can now build and control their entire sound with one compact unit that is portable enough to take anywhere.

“We’ve built the tools, the effects, and the flexibility to let you play anywhere. No computer, no extra gear, no compromises.”

On paper, it’s a huge development, not just for Neural DSP and the Nano Cortex but also for the wider amp modeler market.

An update of this sort was always expected to take place, and many players would have liked this sort of functionality right from the get-go, but now such versatility has finally arrived, the Nano Cortex suddenly looks even more appealing in the face of competition from Kemper and IK Multimedia.

Not to mention that this update is free – something that’s not always a given in this corner of the gear world, especially with Kemper charging up to $179 for its own updates.

“Nano Cortex was designed to deliver professional sound in a radically compact form – and with NanOS 2.0.0, it’s now even more powerful, flexible, and inspiring to play,” adds Castro.

“This update reflects everything we believe modern gear should be: uncompromising in sound, intuitive in design, and ready for any studio, stage, or session.”

Neural DSP co-founder Francisco Cresp continues, “As a musician, you never stop evolving. Neither do we. NanOS 2.0.0 is our answer to everything players have asked for and more. This is your tone, your way, with no compromises.”

To prove just how big this update is, Neural DSP has tapped Cory Wong, Henrik Linder, and Jack Gardiner for a new performance video filmed at the Matterhorn, Zermatt – powered only by the Nano Cortex, portable speakers and a USB power bank.

Head over to Neural DSP to find out more.

Anytime you see John Mayer on stage, you're going to see a wall of guitar amps. John has insisted that his tone requires "pushing air" and that only real amps can cut it for his work with Dead & Company. Still, there's one modeler he names as worth your attention.

"I really like the UA Enigmatic pedal," Mayer reveals in a new interview with Guitar World. "I think if you’re a young guitar player, that’s money well spent."

The UA Enigmatic '82 Overdrive Special, to give it its full name, is undoubtedly a serious piece of kit. "That signature silky smooth distortion and surprisingly great clean channel make it a brilliant choice for a variety of guitarists," writes Guitar World reviewer Matt McCracken.

The pedal models the sound of the Dumble Overdrive Special, one of the world's rarest and most valuable boutique amps.

At $399, however, the Enigmatic may be out of reach of many young players. While we wouldn't question John's judgement on matters of tone, we think young players might be better with one of the more affordable modeling amps with built in speakers and a wider range of tones.

Still, if Mayer says the pedal sounds good, he should know. With Dead & Company he is using multiple Dumbles onstage: "I really like the Small Special," he explains, "and then there was an Overdrive Special and maybe a Dumble-modded Bandmaster, I believe."

Back in 2023, the Edge confirmed he had switched out his tube amps for Universal Audio’s UAFX pedals at U2’s Sphere residency.

IK Multimedia has debuted the TONEX Editor – a free update for TONEX and TONEX One users, which makes operating the firm’s best-selling amp modelers more intuitive than ever before.

As the name implies, the TONEX Editor is an all-in-one standalone software for, erm, editing your amp, cab and IR library, and that can be used for real-time edits and organizing presets.

The Editor sounds like an absolute no-brainer from IK Multimedia, but it’s something that TONEX users have been asking for for quite some time now. Before, the TONEX pedals would have to be run through the original TONEX software, which was hardly seen as a suitable replacement for a dedicated on-the-fly editor.

Now, the TONEX pedals have what is akin to IK Multimedia’s own version of Helix Edit – a similar preset management tool that makes Line 6’s modelers so usable – making the already easy-to-use units even more appealing.

In practice, the TONEX Editor lets players fine-tune and organize pedal presets in real time for live scenarios, offers complete control over all pedal preset parameters, and simplifies overall workflow for constructing tone libraries.

Furthermore, it can be used to access and browse a player’s library of Tone Models, amps, cabs, custom IRs and VIRs – as well as direct access to TONE Net – and lets you hear real-time changes to your tone when making off-the-cuff edits.

Entire libraries can be exported and imported, too – an absolute win for touring guitarists who need to draft in certain rigs for certain gigs – and it is fully compatible with existing libraries, stored settings and presets, and models that have been stored onto the physical hardware. Any can be instantly auditioned and swapped out if required.

The intuitive workflow has further been facilitated by a redesigned GUI, which makes it easier to browse the Tone Models, IRs and everything in between that you’ve stocked your library with.

“TONEX Editor is designed to streamline your workflow, offering an effortless way to customize your TONEX pedals for the stage,” IK Multimedia writes. “Customize your live rig with real-time precision.”

It’s a fairly major update for what is already widely seen as one of the best amp modeler platforms on the market. After all, it was Reverb’s best-selling pedal of 2024, and thanks to this new Editor, we wouldn’t be surprised if it takes top spot once again at the end of the year.

Head over to IK Multimedia to find out more.

What is it?

Throw a plectrum in any direction, and you'll most likely hit a new amp modeler or cab sim pedal. From affordable options such as the Boss IR-2 and TC Electronic Ampworx to the more premium offerings from Universal Audio, Strymon, and Neural DSP, guitarists aren't exactly short of top-quality digital tone options.

Now, it's easy to see why these pedals have become so popular in recent years. Not only do they allow you to leave the back-breaking valve amplifier at home in favor of a more pedalboard-friendly option, but technology has gotten so good that most players can't even tell the difference anyway. Pair this with a more consistent live tone as you hop from venue to venue along with fewer moving parts to go wrong, and it becomes painfully obvious why fewer and fewer players are turning to the tube combos of yesteryear.

When Walrus Audio introduced the MAKO Series in 2020, it was a game-changer. Their goal was to bring studio-grade effects and modeling to every guitarist's rig – and they succeeded. The pedals were praised for their impeccable build quality, stunning tones, and intuitive layout, quickly earning a place on many pedalboards. Now, five years later, it's time for the next generation.

Walrus Audio has listened to years of feedback and used it to inform a number of changes in the new versions of the D1 Delay, R1 Reverb, and M1 Modulation, as well as the top-of-the-line amp and cabinet simulator, the ACS1. These changes strive to keep what players loved about the original series while improving everything from preset navigation to the noise floor. The result is a new line of stomps worthy of the MAKO name.

Ditching toggle switches in favor of an OLED menu screen, as well as secondary push controls on the bottom three dials, the MKII version of the ACS1 looks to make choosing an amp model or cabinet a whole lot sleeker – which is great news as you now have even more models to choose from.

The pedal is now loaded with a trio of hard-rocking amp monsters, perfect for high-gain riffers. The formidable Peavey 5150, face-melting Orange Rockerverb, and the nu-metal legend that is the Mesa Boogie Dual Rectifier are all at your fingertips. That's not all; this new pedal still includes the other models from the first iteration, meaning it now offers a lot more tonal bang for your buck.

The Fullerton is a faithful recreation of the classic Fender Deluxe Reverb, while the London looks to mimic the sonic nuance of a 1962 Marshall Bluesbreaker with a harmonically rich, valve-driven breakup. Moving on to the Dartford, we get a model of the legendary 1960s Vox AC30, which showcases this amp's in-your-face jangly and cuttingly bright tone. What's more, the unit also comes with a wealth of new cabinet RIs from the folks at Tone Factor and York Audio.

Walrus has increased the pedal's headroom and even managed to lower the noise floor. Great news for recording enthusiasts looking to take full advantage of these stellar tones in a studio setting.

A big selling point of the original MAKO range was its MIDI compatibility, and I'm glad to see this feature continue over to the latest version. Despite many players crying out for MIDI-switching capabilities, many pedals still don't offer this functionality. So, if you are seeking a stompbox that'll keep up with your intricate pre-programmed setlist changes, then this might just be the pedal for you.

Like I said up top, the price range for this style of stompbox varies drastically from a couple hundred bucks to eye-watering prices that are just as much, if not more, than buying a decent amplifier. The Walrus Audio MAKO ACSI MKII definitely sits at the more premium end of the spectrum. At a little over £400, it's certainly not cheap, but then again, if it does everything it says, it would more definitely justify its high-end price tag.

Specifications

• Price: £419/$449/€499
• Type: Amp/Cab Simulator
• Controls: Volume, Gain, Room, Left Encoder, Middle Encoder, Right Encoder
• Features: Six High-End Amp Models, 12 Cabinet Sims, Independent Boost, Full Stereo Operation and MIDI Compatibility, Up To 128 Presets
• Connectivity: Left/ Right Input, Left/Right Output, Headphone Out, USB C, MIDI IN, MIDI Thru
• Bypass: True Bypass
• Power: 9V, 300 mA
• Dimensions: 125 x 67 x 50 mm
• Weight: 0.79lbs/0.36 kg
• Contact: Walrus Audio

Build quality

Okay, so if you've ever held a unit from the Oklahoma-based effects titans in your hands before, you'll be well aware of how well made they are – and the ACS1 MKII is no different. Its rugged metal chassis with anodized gold finish feels robust and reassuringly weighty, making it feel practically bomb-proof.

The central knobs feel sturdy and turn with an effortless glide, while the trio of "encoder" dials press down with a satisfying click when selecting amp models and changing cabinets. Thankfully, both the bypass and boost switches feel incredibly smooth under my feet, making the pedal a joy to use.

Despite being jam-packed full of features, this pedal is still pretty small. Coming in a little larger than a Boss pedal, the ACS1 doesn't take up all that much space on my pedalboard – and better yet, the built-in boost means you can ditch another pedal from your 'board and save even more space.

Usability

Often, with small format multi-voiced pedals, getting to grips with how to access all the tones locked away inside can be a challenge. With some units, it can feel like you need a degree in codebreaking just to get it working. There are certainly pedals in this category where I've found myself scrolling for minutes through countless menu screens just to get to one usable sound – totally killing what inspiration I had when I first picked up my guitar. Thankfully, the ACS1 doesn't follow in the footsteps of its overly complicated stablemates. There's no need to decipher the enigma code or call in a high-tech boffin; simply plug in and twist a couple of dials, and you'll have a stellar tone in seconds.

Now, a massive difference between this new version and the previous MK1 is the inclusion of an OLED screen. Having played both versions side by side, I can confidently say that the screen drastically changed how I interacted with the pedal. The screen not only gives you a better visual representation of which amp or cab you have loaded, but once you start adjusting a dial, it also displays the previous setting so you can easily return to it if you don't like the changes made – a nice touch indeed.

The encoder dials are intuitive to use, and even setting up a stereo rig was a breeze. If you want to load your own IRs or update the firmware, you simply plug the pedal into your laptop with the USB C cable provided and head to walrusaudio.io.

Sounds

To give the ACS1 the best possible shot, I need to test the pedal through a flat speaker with no coloration, as the "cab" sound will be coming from the pedal, not an actual guitar amp. So, with that in mind, I grabbed my current favorite axe, a Gibson Explorer, and Positive Grid's newly-launched 140-watt class D speaker cabinet, the Spark CAB. This FRFR speaker, which stands for full range, flat response, is designed especially for this scenario and will allow me to really hear the pedal in all its glory.

Firing up the pedal for the first time, I was greeted with the Fullerton model. As you'd expect from the name, this is a capture of a Fender amplifier, a Deluxe Reverb, to be exact. After striking one chord, it was immediately obvious that Walrus had done a valiant job of recreating this vintage classic. Bright, crisp, and with plenty of headroom, this model more than delivered those Californian tones we all know and love. As for the cab setting, I found myself favoring the second option, which, in this case, was a vintage '66 Fender Deluxe replication captured with a Royer 121 ribbon microphone.

Moving on to the next amp on the list, I'm leaving the sun-kissed beaches of Cali for the dreary streets of Old Blighty. The London model is inspired by an original 1962 Marshall Bluesbreaker, which delivers a powerful, harmonically rich, valve-driven breakup that's just perfect for your Clapton-esque licks. I was a big fan of this setting, particularly when paired with the JTM50 cabinet mic'd with a Shure SM57. Okay, it doesn't have the same level of gain as other Marshall-in-a-box type overdrives, but that may not be a bad thing. There are higher-gain options available in this pedal if you are seeking more saturation.

The lack of gain was a common complaint with the previous version of the ACS1, but Walrus did launch a firmware update to solve this problem, giving each of the three original models some extra gain – but it seems it hasn't gone far enough, as I still find myself looking for a little more.

However, to me, this model was the most responsive under my fingers. Cranking the gain on the pedal led to a fierce and spiky tone that sounded more pushed than distorted, but as I rolled down my volume, it cleaned up beautifully, allowing the natural tone warmth of the guitar to shine through. These dynamics are difficult to replicate, so full marks to Walrus Audio for managing to recreate them so authentically here.

Next is the Dartford, which is modeled after a 1960s Vox AC30. Now, I love this diamond-clad retro combo. It's by far my favorite amplifier of all time, so I was excited to see how Walrus chose to represent it. Unfortunately, this excitement didn't last long. Yes, the Dartford model has plenty of the top-end sparkle you'd expect from the British icon, but it is sorely missing the pokey mid-range that makes the amp beloved – meaning it's left sounding more Fender-esque than Vox.

Switching over to my own battle-worn AC30 and comparing the pedal to the real thing only highlighted the differences further. The real Vox sounds warm, fat with an almost honky mid-range that balances out the brittle top-end. The Dartford model, on the other hand, seems to prioritize the jangly high frequencies, leading to a model that fails to capture the true character of the legendary amp.

These are the three models that are available on the previous version of the ACS1, and when comparing the pedals side by side, they sound pretty identical. There's perhaps a little more sheen and polish to the new versions, but ultimately, they are widely the same, and a lot of my criticisms ring true on both versions. That said, the MKII does come with three new models, and this might be where the pedal really starts to shine.

The new Red model takes its inspiration from the Peavey 5150's forbiddable Red Channel. Aggressive, heavy, and with enough gain to sink a battleship, this model is designed for high-intensity riffing – and boy, is it fun to play. Does it sound exactly like a 5150? No, not really, but it definitely captures the essence of the amp. The lows are tight, the mids are focused, and the highs are sweet. What more do you need?

Okay, with a name like Citrus, there was only going to be one brand that came to mind when switching over to this model – Orange! The Rockerverb may have only hit the scene in 2004, but the tangerine dream of an amp has become somewhat of a modern classic, and I'm happy to see it make an appearance here. Characterized by its smooth mids and zesty top-end, the Citrus does a good job of representing the tonal versatility of Rockerverb. From lighter Angus-esque Aussie rock to modern alternative and even gut-punching metal, this amp model can do it all.

Last up is Tread, a take on the world-famous Mesa Boogie Dual Rectifier. A staple of 2000s rock, metal, and punk, this amp is easily identified by its scooped mids, piercing highs, and near-infinite gain. I'll be the first to admit that I'm not the biggest Dual Rectifier fan. They are a little "too much" for my tastes, but that said, the ACS1 does a good job of recreating its iconic tone. With Explorer in hand and Tread loaded with the Mesa Oversized 4x12 cab IR, I found myself just wanting to bash out classic Metallica riffs – and that is certainly not a bad thing.

It's worth noting that you can combine amps in stereo to create complex and harmonically rich tones that incorporate the best-sounding elements from each amp. The pedal also comes with a built-in boost that grants you an additional +4db of gain and plenty of volume – ideal for giving your solos a much-needed lift live, and there are also three reverbs onboard. With a Room, Hall, and Spring option, the reverb settings are somewhat limited, but there is certainly enough here for most players to get through a gig. Personally, I liked the sound of the spring reverb the best, and for the majority of my time with the pedal, I left it on this setting.

Verdict

There's a lot to like about the Walrus Audio ACS1 MKII. This feature-laden pedal offers players a wealth of tonal options, MIDI compatibility, true stereo imaging, and a bomb-proof construction. When the tones are good, they are very good, but unfortunately, not all the amp models hit the mark. That said, while the AC30 model left us a little disappointed, there was plenty more on offer to lift our spirits.

The compact amp modeler and cab sim corner of the market is quickly becoming very crowded, but I do think the new ACS1 MKII does enough to set itself apart from the competition with a unique set of features that a lot of modern players are crying out for.

Hands-on demos

Walrus Audio Effects

The Studio Rats

Also try

Tube amplifiers are widely regarded as the pinnacle of electric guitar amplification, giving the most organic and responsive sound, as well as plenty of volume. However, any tube amp player knows they aren’t without significant – for some, unforgivable – drawbacks. So, could you be better off with an amp modeler than a tube amp?

An amp modeler is a digital device that replicates the tones of an amplifier through a process called modeling. Modeling involves designing a sound digitally from scratch to mimic the tones of a physical amplifier; think of it as a skilled artist’s interpretation of an amplifier. Modeling has surged in recent years, with digital processing power becoming more affordable, making it possible to access high-quality modeling amps at bargain prices. And it’s not just the lower end of the market that has improved – high-end modelers are now the choice of a vast number of professional gigging musicians.

Modeling technology continues to improve, and with a host of benefits over tube amplifiers, is now the time to consider swapping out the tube amp for a digital modeling device? Scroll on to read the five areas where amp modelers outshine tube amps and why it might be time to introduce a modeler to your rig.

1. Portability

Tube amps are notorious for producing volumes that far exceed what you’d expect from their wattage – the Vox AC30, for example, is famed for being deafeningly loud at only 30 watts, while even 5W tube amplifiers can punch above their weight. Unfortunately, despite the seemingly small wattage, this doesn’t equal small weight. Gigging tube amps are known for being heavy, which doesn’t bode well for those who need to move an amplifier frequently.

To make matters worse, tube amplifiers aren’t great travelers – fragile glass tubes and the back of a shaky old van aren’t the best combo, and something might shake loose, rendering your amp unusable.

Conversely, even the largest amp modelers are comparatively lightweight and portable. Often designed in a format resembling a pedalboard or even a single stompbox, amp modelers are ideal for taking on the road. Even when modeling technology is incorporated into a physical amplifier – such as in the Line 6 Spider or Marshall Code series – these models tend to be much lighter than their tube counterparts and far less susceptible to damage.

A significant contributor to the weight of a tube amplifier is the speaker(s), which is often built with heavy magnets, especially in vintage models. Pedalboard amp modelers don’t have speakers at all; many use impulse response-powered speaker simulation, which reproduces the sound of real-life speakers to give you an authentic amp feel. This means you can plug directly into a PA system and sound just like an amp. And for those who want their own on-stage monitoring, consider an FRFR (Full Range, Flat Response) cabinet, which is purpose-built to work with devices such as pedalboard modelers.

2. Reliability

Tube amplifiers are many things, but reliable is not one of them. They are notoriously fragile beasts that require constant love and care to keep them running, including regular servicing and replacement of old tubes. This isn’t the end of the world if you are prepared, but tube amplifiers have a propensity for telling you they need a little bit of TLC at the worst possible times, and it isn’t always the easiest thing to repair a tube amp just before a gig.

Digital technology tends to be much more reliable, with fewer delicate parts to go wrong. If stability and reliability are at the top of your list, then modelers are the way to go, which is why they have become the pick for many touring musicians.

3. Price

Price is a tricky one because it’s very dependent on what you’re looking for. If a small tube amplifier for home use or in the recording studio is required, then that may well be cheaper than many amp modelers. The more powerful you go with a tube amplifier, the more expensive they get, so the majority of amp modelers begin to look fairly cheap in comparison.

What’s important to remember with amp modelers, too, is that, in many instances, they will have several different amp models, giving you a choice of different amp tones. Achieving this with tube amplifiers could get very expensive. If you’re looking to buy a Fender, a Marshall, a Vox, and a Mesa Boogie, you could easily end up spending thousands of dollars. With amp modelers, you will pay only one price, making it a comparative bargain.

4. Flexibility

The ability to change your sound during a set is, of course, possible with tube amplifiers, particularly those with multiple channels. However, what if you want to totally shift your sound from a crushing high gain to an ethereal, spaced-out soundscape? Simply switch preset on your amp modeler and you can achieve this in an instant.

This ability to transform your sound with a stomp of a pedal or flick of a switch is perhaps one of the biggest reasons more and more touring artists are in the process of switching to modelers. Performers can configure their sets however they want and know they will always have the right sound for the right song at the press of a button, or simpler yet, programmed through MIDI, so it’s all done for them. It’s near enough impossible for a tube amp to have that level of convenience and flexibility.

They sound great!

Modelers aren’t exactly new, they’ve been around in one form or another for over 25 years, but they haven’t always sounded particularly good – certainly not as good as the tube amplifiers they were attempting to model. They also lacked the feel and dynamism of tube amplifiers, so picking between a modeler and tube amp was a pretty easy task; tubes all the way!

Over recent years, however, modelers have continued to get better and better. The latest and greatest modelers can replicate your favorite tube amplifiers to an imperceivable level. While sound quality was once something that held modelers back, it is now a big reason to buy. And the most exciting bit is that they will only get better. The technology and processing power in modelers has leaped forward in the past 10 years, and there’s no reason to expect this to stop. 

Modeling technology will continue to improve, with new modelers hitting the market every year, pushing boundaries further. And don’t think that means you should wait to buy a modeler, because some modelers on the market right now will even improve after you buy them through software updates.

There have never been more reasons to buy a modeler over a tube amplifier and if you’re looking for proof, your favorite band is likely already implementing them into their live show. The purists will always claim there is something intangible about a tube amplifier that a modeler can never recreate, but amp modelers offer so many benefits over their tube counterparts that anything they supposedly lack is made up for tenfold. 

We’re firmly in the era of the amp modeler, and there’s never been a better time to join the modeling revolution.

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NAMM 2025: IK Multimedia has partnered with Joe Satriani for a limited-edition signature TONEX One, which comes crammed with presets designed by the electric guitar great himself.

The TONEX One has been one of the most influential pieces of new gear in recent years. Launched partway through 2024, the downsized version of the larger TONEX Pedal quickly made an impression for its top-tier tones and absurdly small footprint, and would eventually go on to become Reverb’s best-selling pedal of the year.

And, as if the TONEX One wasn’t already appealing enough to fans of amp modelers, its maker has now teamed up with Satch for a special-edition version.

Treated to a chrome colorway to match Satriani’s iconic Ibanez Chrome Boy signature, the mini pedal also comes complete with 20 presets curated by the man himself, all of which have been lifted from IK Multimedia’s Joe Satriani TONEX Signature Collection.

As per a press release, the pedal also allows players to unlock the Joe Satriani TONEX Amp Vault Collection – which, as we noted upon its release, included some rather intriguing models. Those amps were captured using the firm’s AI Machine Modeling tech at Sammy Hagar’s Red Rocker Studio.

Highlights from the list of preloaded amp tones include a model of his recent 3rd Power signature amp – which was designed for the Best of All Worlds tour to help harness the EVH sound – while the Amp Vault comprises a host of Marshall and more.

Aside from its Satch connection, this new release also operates as a regular TONEX One, meaning it grants access to all the bells and whistles you’d expect from the ultra-powerful mini modeler.

Chief among those are studio-grade EQ, delay, modulation, compressor and reverb tools, as well as the ToneNet compatibility for browsing more than 40,000 available Tone Models.

What's more, the Satch TONEX One also benefits from the recent TONEX update that IK Multimedia rolled out last year, which made the best-selling pedal even more appealing by giving it all-new pre- and post-effects.

“This limited-edition pedal includes instant access to Joe's Amp Vault Signature Collection for TONEX, featuring 28 amplifiers from his private collection,” explains IK Multimedia. “Joe handpicked each amplifier, dialed in his favorite settings and captured them using IK's Advanced AI Machine Modeling at Sammy Hagar's Red Rocker Studios.”

The Joe Satriani TONEX One is available to preorder now for $229. Those who already own the Joe Satriani Amp Vault Collection are eligible for $50 off.

To find out more, visit IK Multimedia.

NAMM 2025: Mooer is seen as something of underdog when it comes to digital amp modelers, but with the release of the new GS1000, it might not be long before the firm is being mentioned in the same breath as the IK Multimedia TONEX and Neural DSP Quad Cortex.

Over the past few years, Mooer has flexed its amp modeling muscles and Intelligent Effects expertise, launching a host of well-received stompboxes that run that gamut of digital electric guitar tones.

Through this activity, Mooer – alongside the likes of HeadRush and Donner – has developed a reputation as a key player in the budget multi-effects market, but the GS1000 could significantly reframe the firm’s fortunes as a serious contender for wider amp modeler users.

Why? Well, whereas previous Mooer modelers have focused solely on providing a host of digital amp, cab and effects models, the GS1000 elevates functionality 10-fold by introducing the MNRS 2.0 tech.

In practice, this tech looks to go up against Neural DSP Capturing, Kemper Profiling and IK Multimedia TONEX Capturing, as it gives players the power to “emulate their favorite gear with immense precision”.

In other words, this sampling tech can be used to emulate distortion pedals, preamps, amp heads and cabs, and – at least on paper – sounds like it could bring the power of top-of-the-line gear capturing, something previously reserved for high-end pedals, to the masses.

The ability to capture one’s own gear is becoming a hugely attractive proposition for amp modelers. Heck, Neural DSP made it the focus when it developed the Nano Cortex. This is especially the case for players who are switching from traditional pedalboards and wish to retain their tone in a more transportable format. On that front, the GS1000 ticks all the boxes.

Furthermore, through Mooer’s Cloud App, players can browse gear profiles created by other users, meaning they are able to “capture the essence of your favorite gear without owning the hardware”.

If you want to see and hear Mooer’s profiling tech in action, at the time of writing there are only a couple of hands-on demos. There first is a non-English-language video that demonstrates the process of profiling a drive pedal, while the second sees YouTuber John Cordy capture a Fender Deluxe Reverb combo.

Both give good insights into the (incredibly easy) process, and showcase how impressive it sounds.

MNRS 2.0 is only one feature that makes the GS1000 a genuinely exciting prospect. Other advances include an AI-driven EQ Master for intelligent tone adjustments based on musical styles, an integrated Groove Station and built-in drum machine with 54 drum kits, a 480-second looper with infinite overdubs, and built-in tuner.

All of the above and more can be navigated through the five-inch high-resolution touchscreen display – another huge selling point here because, as has been demonstrated on other modelers, usability is everything.

Then you have all the basic housekeeping bits, including over 350 factory effects models, third-party IR compatibility, four multi-purpose footswitches, MIDI functionality, Bluetooth connectivity, a stereo effects loop, a USB-C port, and dual-chain architecture for expanding signal chains.

All in all, it’s a seriously impressive bit of kit, and one that could give Mooer a seat at the table next to the more established names. The prominence and demand for at-home amp profiling solutions will continue to rise, so it’s a savvy move from Mooer to get in early.

Throw some AI EQ in there, and a £449 (approx. $550) price tag, and you’ve got all the makings of a genuine player in the market...

Visit Mooer for more.

Trends and technologies come and go. Indeed, as the resurgence of vinyl records in recent years has shown, things that were once deemed old hat can perform shocking resurrections.

With that in mind, guitarist and YouTuber Rhett Shull has delivered a hot take concerning the future of amp modelers, boldly predicting that the tube amps they're currently replacing will see a big resurgence at some point in the future.

Speaking on the Dipped In Tone podcast, Shull's sentiments came as a reaction to Reverb's best-selling gear of 2024. Specifically, he was reacting to the fact that no tube amps made it into the retailer's top 20 best-selling amps of the year.

Instead, the likes of Neural DSP, Line 6, Positive Grid and Boss all edged out traditional competition as the modeler market dominated proceedings.

“It's interesting because if you go back to 2019, it was completely flipped,” says Reverb's data analyst Cyril Nigg, setting the scene. “The top sellers at that time were the Blues Junior, Deluxe Reverb, and AC15s. It was mostly traditional amps with Boss Katanas in there.”

The top five amps in 2024, meanwhile, solely comprised modelers, with the Quad Cortex, Positive Grid's Spark, the Line 6 Helix, Universal Audio’s OX Box, and the Boss Katana making up the top spots.

“I'm not gonna lie, this does break my heart,” Shull admits when faced with that fact. “I'm a dyed-in-the-wool tube amp guy, and I'm gonna die on this hill. I don't care if all of the guitar internet hates me for this: I cannot wait for this pendulum to swing back towards tube amps, which it will. Mark my words, viewer – it will.”

While Zach Broyles of Mythos Pedals responds with a fierce shake of the head, Shull continues to make his case, saying: “Something will happen, 15 or 20 years from now. People I think will eventually go back to some kind of tube amp.”

His belief, while staunchly defended, looks even more bold as we enter 2025, with Cyril further revealing that no product in the top 20 of 2024’s best-selling amps list was tube-driven. Vox’s AC15, down the pecking order in the 22nd spot, is the first tube amp to crop up.

“I do like modelers, I'm half joking. I've used them, I've toured with them. They're great tools. They have a place,” Shull goes on. “But, come on, guys. When you're all using the same piece of gear – I know people's presets are different and you're using different captures – you kind of do all sound the same.”

It is an interesting observation to say the least, especially when one throws the “tone is in the hands” argument into the mix.

“I don't know when it [the metaphorical pendulum] will swing back,” contests Broyles. “I think it's going to get more and more niche. I think modelers are going to get better.”

The current rise of mini modelers seems to back that point up. In 2024, bitesize offerings came to the market via the Nano Cortex and the Kemper Player Profiler after IK Multimedia set the tone with the ToneX One.

That's not to mention all the big-name players, from The Edge to Jim Root, that have gradually jumped from traditional to digital amps and modelers in a bid to curate sleeker touring rigs.

Perhaps the industry needs to take a mental note of this debate and check back two decades from now. Will tube amps be a distant memory, or will they be pushing air in studios and venues worldwide as digital amps are left to reminisce on their bygone glory days with cassettes and Gibson’s robot tuners? Only time will tell.

Francisco Cresp and Doug Castro, the co-founders of Neural DSP, have finally opened up on the controversial Nano Cortex teaser videos the company launched in September, which perplexed the guitar community.

The promotional videos were written, produced, and directed by British music producer George Lever and composer and producer James Sanger, and also featured a cameo by Neural DSP artist Rabea Massaad – and can best be described as comedic in nature.

They revolve around a producer tasked with making music for a marketing campaign. He receives a briefcase with the Quad Cortex but soon realizes that what he was supposed to receive should have been much smaller in size. Lo and behold, he embarks on a journey to track down this mini unit, i.e., the Nano Cortex.

Commenting on the nature of the lengthy videos, Castro tells Guitar.com, “Companies – even big companies – reflect the traits of the people that make them.

“We take our work very seriously in terms of how good the products have to be. Our quality standards are very high. But at the same time, us as individuals, we love to have fun, and do goofy, silly things sometimes. Why would you work 60, 70 hours a week if you’re not having fun?”

He continues, “I think that we’re a pretty quirky company – if you look at our marketing before this video campaign we’re already doing some tongue-in-cheek things.”

“We wanted to take a chance and see what happened. It was a very intense project – we saw the videos a few days in advance, and we thought they were quite fun and funny. We weren’t thinking, ‘Oh, people are gonna hate this.’”

The videos did indeed receive a lot of unforeseen backlash. “We were not expecting that amount of hatred and negative comments,” Cresp admits.

“But it taught us a lot of lessons about when to take the risk, how to take the risk, and to discuss it further before, maybe plan it differently.”

On the flipside, Castro points out that the teasers did manage to do one thing: get people talking. “It was probably the most talked about release this year, right?” he asserts.

“The worst thing you can hear when you release something you’ve invested all your time and money in is silence.”

The Nano Cortex was ultimately launched on September 18 as an all-in-one, tiny-yet-powerful amp modeler, IR loader, effects processor, and Capture device that very much serves as the Quad Cortex's smaller sibling.

This year was a big one for me. Why? Well, after months of umm’ing and ah’ing – and after carrying around my cumbersome tube amp for countless gigs – I finally decided to go ampless. Long story short, I wish I did it sooner, and now I am fully committed to the digital amp modeler camp – and I think you should be, too.

With that in mind, I’m now something of a modeler obsessive, and as such I’ve been keeping an eye out for any and all killer deals surrounding digital amp replacements. Right now, Guitar Center has piled huge discounts across its entire Line 6 Helix collection, and has also taken a generous $100 of the equally impressive IK Multimedia TONEX. Sweetwater, meanwhile, is offering a free gig case and IR pack with the Neural DSP Quad Cortex.

At the start of 2024, I was committed to my Fender Blues Junior combo. However, after lugging it round on tour in early May, I began to flirt with the idea of using my Line 6 HX Stomp – originally deployed as a multi-effects pedal only – as an all-in-one rig replacement.

Not only has this actually improved my live tone – I now get consistent sounds across every venue I play – it has made gigging immensely easier and, dare I say, even more enjoyable.

The HX Stomp is now the powerhouse of my rig, delivering Line 6’s world class Helix amp and effects models right at my fingertips. I can easily flip-flop between Vox and Fender amp models – or even run both if I so desired – whenever I wish, and the continuous software updates mean the pedal just gets better with age, too.

I cannot recommend the Helix range highly enough. The HX Stomp was an absolute game-changer for me, and It’s currently been reduced from $699.99 to $599.99. You can also use it is a powerful standalone multi-effects pedal if you just want a few Helix effects.

Need more footswitches? The HX Stomp XL is currently $649.99, reduced from $749.99.

You’ll also find healthy discounts across the entire Helix range on Guitar Center. The fully fledged flagship Helix – which offers loads of switches, greater DSP and an expression pedal – is currently $150 off, while the more accessible POD Go has been slashed from $499 to $424.

The buck doesn’t stop with Line 6, though. One of its biggest competitors is IK Multimedia, whose hugely celebrated, game-changing and near-perfect TONEX pedal received rave reviews when it arrived in 2023 – and it’s currently $100 off on Guitar Center.

The recent free update finally added greater effects potential to the TONEX, meaning it is easily one of the best and most powerful amp and effects modelers out there on the market. That, and it has AI modeling tech, meaning you can capture the tones of your own gear to take anywhere and use on the fly. If I was to swap the HX Stomp for anything, that would most certainly be it.

For those wanting to fully embrace multi-effects amp modelers, the Neural DSP Quad Cortex is still a hard beast to beat. Right now, Sweetwater is offering a free gig and IR pack with every pedal.

Owing to the sheer quality of modern modeling technology, now is the best time to ditch amps for digital replacements. If you’re on the fence, I’d urge you to take the leap. I haven’t looked back since making the switch, and if I hadn’t already done so, I’d be seriously eyeing up this deals.

For more Cyber Weekend discounts, be sure to keep it locked to our Black Friday guitar deals page, where we'll be showcasing the very best deals from across the internet.

Shop more Black Friday sales

• Amazon: Guitar gear deals
• Fender store: 50% off guitars
• Guitar Center: Up to 50% off
• Musician's Friend: Up to 60% off sale
• Positive Grid: Save on Spark
• Sweetwater: Save up to 80% on gear
• Waves: Plugins just $19.99

Fender has lifted the curtain on its biggest Tone Master Pro update yet, ushering in a range of functional and tonal tweaks that make the firm’s flagship digital amp modeler multi-effects more competitive than ever.

When it hit the scene last year, the Tone Master Pro quickly became one of the stand-out models in the fiercely contested amp modeler market, and was catapulted to the front of the race alongside the likes of the Line 6 Helix and Neural DSP Quad Cortex.

In some regards – such as UI and usability – it even surpassed the established competition, but despite its impressive early advances, there were still a few gripes that held it back, and prevented it from becoming an all-round all-in-one rig for electric guitar and bass guitar players.

The new update looks to fix that, though, adding for the first time since the Tone Master Pro’s unveiling dedicated bass amp models, bass cabs, and bass effects.

Specifically, Fender has added the ’59 Bassman Custom and Fender Super Bassman amps, with that latter amp divided into Vintage and Overdrive options to harness its two distinct channels.

Not only that, the update also adds the Rampage Blueline – an unofficial model of the Ampeg SVT Blue Line – and the ’66 Flip Top – which is seemingly based on the Ampeg B-15 – to its new bass amp roster.

Joining the above are five bass cabs – 4x10 ‘59 Greenback, 4x10 Bassman Pro Neo, 8x10 Bassman Pro Neo, 8x10 Rampage Bass and 1x15 Bassman Pro Neo – and the pedal’s first Bass Overdrive.

Naturally, Fender is keen to stress the significance that this update will have on bassists, and the firm has no doubt done a fine job of (finally) catering to amp-less bassists who no longer play through physical amps.

Having said that, it’s certainly no secret that Bassman amps have also been widely adored by electric guitarists, too, so the arrival of these Bassmans seem to effectively and cleverly cater to a wider pool of players.

Speaking of guitarists, Fender has also expanded its effects pedal arsenal with both the Greenbox 10 and Mythic Drive II – two new units inspired by arguably the most famous overdrive pedals of them all: the Ibanez Tube Screamer and Klon Centaur.

A Stereo Harmonic Tremolo inspired by 1960s ‘brown panel’ amps, a Virtual Capo that allows for transpositions up or down 12 semitones, and a Glooper – a brand-new effect type that doesn’t take inspiration from any existing pedal – also make the cut.

In practice, the Glooper works by creating several simultaneous loops at different speeds, which in turn can be adjusted, pitch shifted, frozen and reversed.

All of these new bells and whistles are also joined by other performance upgrades, including a new sought-after Scenes function (which behaves similarly to Line 6 Snapshots), improved preset import/export abilities, and more.

It seems that the Tone Master Pro platform has been robustly established now, and has reached a point where the Big F might start looking for new ways to grow its amp modeler lineup.

Could these software advances be foreshadowing a downsized Tone Master modeler at some point in the future? We wouldn’t bet against it.

The free Tone Master Pro update is available now.

Visit Fender to find out more.

Line 6 has announced the latest major firmware update for its Helix family, introducing an array of new amp models, cabs, and effects that look to help give the digital modeling products an edge against fiercely growing competition.

Helix 3.80 is available to all owners of Helix Floor, Helix LT, Helix Rack, HX Effects, HX Stomp XL, and HX Stomp units. The update also applies to HX One pedals and the aforementioned plugin.

It’s been positioned as a rather notable update, too. In Line 6’s words, this “finally delivers the missing link with six of the most requested amp channels” it has ever produced, and is further augmented by four new cabs to bring “more creative tonal options to Helix”.

The new amp models – available for Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp XL, and HX Stomp models – are based on three amps, delivering two versions each.

There are models inspired by both the normal and vibrato channels of a Fender Super Reverb, two takes on the EL34-bolstered Bogner Ecstasy 101B, and – perhaps most notably – the 6L6 flavors of an EVH 5150III 100 for the first time.

The latter certainly fills a big hole for high-gain-loving guitar players, coming after Fender’s Tone Master Pro floor modeler claimed the rights for capture-propers of EVH amps.

Indeed, it’s the first time Line 6 has tried its hand at producing an actual EVH 5150 amp model, and while it’s not a totally new phenomenon – and the firm has dabbled with a Peavey 5150 model before – it seems as though increased competition in the digital amp arms race has forced Line 6’s hand.

Elsewhere, updated cab enjoyment comes via a quartet of additions, including a 4x10 US Super (Single, Dual), captured from a Fender Super Reverb.

Two cabs – a 4x12 Cartog Guv (Single, Dual) and a 4x12 Cartog C90 (Single, Dual) – have been captured from amp guru Ben Adrian's Cartographer cabinet collection, while a 4x12 SoloLead EM (Single, Dual) captured from a Soldano SLO 4x12 cabinet rounds out the batch.

As for effects, a new Teardrop Bass Q effect, based on one of the most recognizable pedals ever made in Dunlop’s 105Q bass wah, represents the Helix’s first new wah since v1.0.

Line 6, which launched the first Helix product in 2015, says the update is “in lockstep with guitarists' needs… as the entire creative tonal palette continues to expand”.

The modeling world is hotly contested these days, with the likes of Kemper, Neural DSP's Quad Cortex, and Nano Cortex, and budget offerings from Harley Benton and Mooer all giving players a huge range of choice.

The Helix 3.80 firmware update is free and available now.

Head to Line 6 to learn more.

New amps:

For Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp XL, and HX Stomp

•US Super Nrm, based on* the Fender® Super Reverb (normal channel)

•US Super Vib, based on* the Fender Super Reverb (vibrato channel)

•German Xtra Red, based on* the Bogner® Ecstasy 101B (EL34) (red channel)

•German Xtra Blue, based on* the Bogner Ecstasy 101B (EL34) (blue channel)

•EV Panama Blue, based on* the EVH 5150III 100 [6L6] (Blue channel)

•EV Panama Red, based on* the EVH 5150III 100 [6L6] (Red channel)

New cabs:

For Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp XL, and HX Stomp

•4x10 US Super (Single, Dual), captured from* the FenderSuper Reverb

•4x12 Cartog Guv (Single, Dual), captured from* Ben Adrian's Cartographer cabinet (Modified Lee Jackson 4x12 with Eminence Governor speakers)

•4x12 Cartog C90 (Single, Dual), captured from* Ben Adrian's Cartographer cabinet (Modified Lee Jackson 4x12 with Mesa C90 speakers)

•4x12 SoloLead EM (Single, Dual), captured from* the Soldano SLO 4x12 cabinet

New effects:

For Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp XL, HX Stomp, and HX One

•Wah > Teardrop Bass Q (Mono, Stereo), based on* the Dunlop® 105Q bass wah

Amp modeling software, once maligned as ‘the worst presets in your cheap multi-effects pedal’, is now a gift that keeps on giving. Far from the early days of tinny, unconvincing Marshall-style digital approximations, today’s amp sims are every bit the futuristic rig-in-a-box those early algorithms aspired to be. IK Multimedia’s Tonex is the next frontier for amp modeling, and it’s brought its digital offerings to the physical realm with two highly versatile pedals; for Black Friday, buying one will also net you 100 free high-gain amp models.

The Tonex arm of IK Multimedia builds on the reputation set by powerful modeling software AmpliTube 5, which we rated particularly highly in our review two years ago. Tonex stands apart from AmpliTube, though, despite being both a separate software application and a fun sub-app within AmpliTube’s latest version.

Tonex trucks in IK Multimedia’s new cutting-edge AI Machine Modeling™, a system predictably predicated on some clever machine-learning shenanigans. Rather than modeling the circuitry of amps and pedals, AI Machine Modeling builds an algorithm by interpreting and mapping the sound of a rig – resulting in some highly accurate patches that mimic the real deal. 

These patches are accessible via Tonex software, just as AmpliTube’s accurate analog models are; Tonex’s pedals, though, let you bring those near-indistinguishable ‘Tone Models’ with all your other pedals via the Tonex Pedal or Tonex One. The former is a full-fat amp-model workstation, allowing you to access and tweak your favorite Tone Models with consummate and professional ease. The latter is the mini-me that squeezes Tone Models into a small-board-friendly micro-pedal.

There are hundreds of Tonex’s own models to work with in the Tonex ecosystem, and 100 of them – built from four iconic high-gain amplifiers – can be found in the Metal Gems Collection. If you buy either of the Tonex pedals and register your purchase with IK’s Product Manager before December 2nd, the Metal Gems Collection is yours!

The collection comprises Tone Models based on four amps – specifically, the Peavey 5150, the Diezel Herbert, the Soldano SLO-100, and the Bogner Überschall – and with varying cab, mic, and stompbox models swapped in. These patches are peerless for their closeness to real-deal metal sounds and, at the very least, a godsend for those of you without the core strength to lug a bunch of stacks with you to every show.

Be sure to head over to our Black Friday guitar deals page to find even more six-string-related bargains.

Firmware 2.0 update (November 2025)

November 2025 saw a significant update to all compatible UAFX pedals with the headline addition of MIDI functionality.

One of the biggest criticisms of the UAFX amp pedal, especially, has been the lack of MIDI compatibility to allow effects tweaks and parameter presets with a MIDI host. That is now a feature of the Anti 1992, as well as the Woodrow '55, Dream '65 and Ruby '63, Enigmatic '82, Knuckles '92 and Lion '68. In addition, the UAFX Astra, Starlight, Golden Modulator, Del-Verb, Galaxy '74 and Max all benefit from the new MIDI compatibility with the firmware 2.0 update too. And that's not the only improvement.

UAFX 2.0 now lets players store four presets on their pedals and switch between them on the hardware. Universal Audio has also improved connectivity with its app via Bluetooth and a new hardwired USB-to-Mobile connection option. The combination is a significant enhancement for these already excellent pedals.

Maybe it’s a generalization, but I’ve noticed that many guitarists who prefer modern high-gain amps also tend to be more open-minded about using amp-modeling technology.

As a result I’ve found it a little perplexing that Universal Audio’s UAFX pedals only offered emulation of amps from the ’50s and ’60s. Fortunately, that just changed with the recent introduction of the UAFX Anti 1992 High Gain Amp pedal, which rounds out the UAFX line with its rip-roaring bona fide high-gain guitar amp tones and more.

Most guitarists know that the most famous high-gain amp to emerge in 1992 was the 5150, and that’s exactly the primary character of what the Anti pedal offers.

However, it goes further than that, thanks to its slightly wider EQ and gain range, built-in noise gate that delivers outstanding noise-free clarity and definition and TS overdrive (Tube Screamer) and TC preamp (possibly based on the rare TC Electronic Integrated Preamplifier used by Meshuggah?) overdrive/boost features.

It also includes mic/speaker emulations of five 4x12 and one 2x12 guitar cabinets, three of which being “bonus” download cabs provided to encourage registering the pedal. As a result, Anti is more than just an amp emulator as it actually provides the sounds and performance capabilities of a full rig.

Anti features the same six-knob, three-toggle, dual-footswitch configuration of UAFX’s other amp pedals. Here, the knobs consist of Pre Gain/Resonance, Presence/Gate, Output, Low/Overdrive, Mid/OD Tone, High/OD Level controls.

The Cab toggle selects UK V30, CA V30 or White 75 cabinet emulation (or 2x12 D65, 4x12 Celestion 80 or 4x12 Brown JB emulation with the bonus cabs loaded instead); the middle toggle selects Amp or Alt mode (the latter shifting the knobs to control Resonance, Gate and TS/TC overdrive settings) and offers a momentary Store function; and the Channel toggle selects Rhythm, Crunch or Lead channel settings.

The two footswitches can be set to four different modes: Live/Preset, Overdrive/Live-Preset, Gate/Live-Preset or four-cable mode.

Rear panel features consist of ¼-inch stereo input and outputs, a USB C jack, Bluetooth Pair switch and 9VDC jack for a power adapter (not included, 400mA or higher required).

I auditioned the Anti pedal in a variety of setups and applications, including inserted into the effects loop of a Friedman Pink Taco, connected direct to a DAW audio interface and connected direct to a live sound system mixer.

The sound quality remained consistent through each setup, delivering those truly iconic (the real definition, not the watered-down trendy usage) high-gain tones we’ve heard so often and loved over the last three-plus decades.

The midrange has that same distinctive definition and punch that cuts to the front of a mix, accentuating pick attack and harmonic chimes and squeals. The bass is mammoth and carnal and, just like when using the real world pedals, the TS and TC effects roll off some of the gnarly low end to keep the sound tight and focused.

The pedal connects via USB to the UA Connect app for Mac and PC, which is mainly used for downloading firmware updates. The UAFX mobile app is designed for day-to-day uses, such as storing and downloading presets, setting “hidden” parameters like selecting the footswitch modes, adjusting the noise gate’s five parameters, selecting bias mode, bright switch, high/low input routing, overdrive type selection and Post Gain and Room settings.

Currently the app provides 19 factory presets and 10 artist presets from Diamond Rowe, Jeff Loomis and Ryan Knight. Only one preset can be loaded into the pedal at a time.

Many digital emulations of high-gain amps are available in software and various hardware products, but I’ve encountered very few that deliver the authentic dynamic response and gut-rumbling punch of a real-world amp that the Anti pedal pumps out through studio or stage monitors.

The pedal makes it jaw-droppingly easy to get dialed-in, pro-quality high-gain distortion tones in the studio or live without the hassles and difficult-to-repeat variables of mic placement, unwanted noise and hum and (particularly for someone like me who lives in a 1940s house) inconsistent performance due to fluctuating voltage levels.

I’ve said it before and I’ll say it again, as much as we guitarists love big, heavy tube amps, their days are numbered when all of those great sounds and performance can be packed into a box like Anti, that fits in a gig bag pocket.

Specs

• PRICE: $399/£379
• TYPE: Amp emulator pedal
• ORIGIN: Malaysia
• FEATURES: UAFX dual-engine amp modeling, six Classic Mic/Speaker Pairings, noise-gate, boost, TS-style overdrive
• CONTROLS: Pre-gain (Resonance), Presence (Gate), Output, Low (Overdrive), Middle (OD Tone), High (OD Level), 3-way cab select switch, 3-way preset select switch, 3-way channel switch
• CABINETS: UK V30: 4x12 British cab with V30’s, CA V30: 4x12 Oversized American cab with Vee30’s
• White 75: 4x12 British cab with C75’s
• 3 Bonus Cabs For Moshpit Worthy Tone
  • 2x12 cab with D65, 4x12 cab with C80, 4x12 Brown
• CONNECTIONS: 1/4" Mono/Stereo inputs/outputs, USB-C, power input
• POWER: 9V DC,
• CONTACT: Universal Audio

Boss may have just launched itself right to the very front of the ever-fierce amp modeler multi-effects race by unveiling the GX-10.

Badged as the smaller sibling to the recently updated GX-100, the GX-10 is a hugely compact amp and effects processor, with an easy-to-use form factory, seriously competitive UI, huge connectivity options and all the tonal bells and whistles you’d expect from a Boss pedal.

Following the arrival of the Neural DSP Nano Cortex – as well as various updates that have been issued for the Kemper Profiler Player and IK Multimedia TONEX – the latter half of 2024 has witnessed the unprecedented rise of competition in the compact amp modeler/multi-effects corner of the market.

Now, Boss has involved itself in the action with a streamlined all-in-one rig of its own, which looks like it will particularly take on the Line 6 HX Stomp for the title of ‘best in class’.

At first glance, it looks as though Boss has made a serious case for itself. The GX-10 features three switches a la the HX Stomp, but also manages to offer both an onboard expression pedal and – perhaps the real kicker – has retained the touchscreen functionality of the GX-100.

In an age where usability and player experience is often the deciding factor in such battles, these features are all crucial. To that end, the GX-10, at least on paper, looks like it could be the most user-friendly form factor of the lot.

Plus, when you consider players’ reactions to Neural DSP ditching its own touchscreen for the Nano Cortex, this looks to be a really smart move from Boss – it certainly capitalizes on the demand for a conveniently sized, touchscreen-equipped all-in-one rig.

On paper, it offers 23 guitar amps, nine bass amps, and 170 different effects that are divided between overdrives, distortions, modulations, delays and reverbs. There are also bass-dedicated effects, and some Boss classic tones, including the Slow Gear, Octave, Slicer and more.

Naturally, these are all supported by Boss’ AIRD technology, with the GX-10 running on the core sound engine that powers the larger GX-100.

In practice, the GX-10 can accommodate up to two amps and 15 effects blocks in each memory (besting the HX Stomp's count of up to eight blocks in one chain) and, thanks to that touchscreen, signal chains can be easily configured and customized – in series and parallel, if needed – by a neat ‘drag and drop’ function.

Plus, a variety of control modes also promise the ability to get the most out of just three footswitches (Livesets, for example, are available here).

Connectivity-wise, there’s a send and return for integrating other effects, stereo outputs, a headphones jack for silent practice, and a USB-C port for using the GX-10 as an audio interface.

And, similar to Line 6’s HX Edit and Neural DSP’s Cortex Cloud software, the Boss Tone Studio lets GX-10 players further deep dive into preset management, effect parameters, upload third party IRs and more from both their laptops and smartphones.

Then there’s the price: the GX-10 will be available for $399. That is a very competitive price point indeed, especially when you consider the HX Stomp is $649.

Granted, we’ll have to get hands-on to be absolutely sure, but this could very well be the compact rig replacement to beat.

Visit Boss to find out more.

Audio production tools leader Universal Audio is adding another pedal to its growing UAFX guitar pedal lineup: the Knuckles '92 Dual Rec Amplifier emulator, a new stompbox that promises to deliver “the authentic raw sound of punk, alt rock, and metal, along with legendary boosts and award-winning mic/speaker modeling.”

Built on Universal Audio's “powerful dual-engine processing and world-class UAD modeling,” the new pedal is designed to emulate the classic Mesa/Boogie “Rev F” Dual Rectifier tones – with the green, orange, and red channel voicings enabling players to go from full-bodied, pristine cleans to ultra-saturated, gain-driven leads, and “bone-crushing crunch.”

For further tonal exploration, the pedal includes six classic microphone and cabinet configurations, a dynamic room simulation, and two essential effects: a Tube Screamer-style overdrive and boost for sculpting tight palm-muted chugs, and a noise gate to cut down on unwanted noise.

“The Recto is a modern-day rock and metal classic that delivers inarguably the most powerful, larger-than-life tones ever to come out of a guitar speaker,” comments UA Sr. Product Manager Tore Mogensen.

“As a long time user of the original amp, I couldn't be more excited to add Knuckles '92 Dual Rec Amplifier to the UAFX line of amp-in-a-box pedals.”

As with other pedals in this series, players can access a host of tone-shaping options via the UAFX Control app.

By using the app, you can switch between emulations of EL34 and 6L6 power tubes and solid-state or tube rectifiers, download artist presets, and save your settings for easy recall.

Additionally, the app offers access to a special 4-cable mode, allowing you to bypass your amp's preamp when the pedal is engaged and deliver the iconic Recto tone on any amp.

The Knuckles is the latest high-gain entry in the UAFX line, following the 5150-aping Anti 1992, and Plexi-inspired Lion ’68 Super Lead Amp.

Priced at $399, the UAFX Knuckles '92 Dual Rec Amplifier pedal is now available from Universal Audio partners and distributors.

For more information, visit Universal Audio.

Despite Amazon slashing prices for Big Deal Days, the best bargains for guitarists are found elsewhere. For example, take the incredibly popular Fender Tone Master Pro, which has a whopping $200 off over at Fender.com. In our glowing review, we said, “Fender might be late to the amp modeling floor party, but that slow start pays off with a unit that is quite possibly the best in its class and price point.” So, with such a sizable discount applied, we can’t help but get excited. 

Now, I’ll be the first to admit that despite advances in technology, I’d still consider myself a fairly traditional guitar player. I love Gibson guitars and a blisteringly loud Vox AC30 by my side on stage. That said, I could really do without carrying the diamond-clad combo in and out of venues! 

That’s why, over the last few months, I’ve been really considering ditching my regular rig, getting with the times and going fully digital. Now, while I have thought about the Line 6 Helix Stomp XL and Neural DSP Quad Cortex, the unit that caught my attention the most was the Fender Tone Master – even more so since it’s on sale.  

It’s a given that the Tone Master Pro would feature a wealth of stunning amp models and effects. In fact, this floor unit has the ability to reproduce anything from the shimmering cleans of a Twin Reverb to the bone-rattling sound of a cranked EVH 5150 and so much more.  

But for me, where this Fender multi-effects excels is in useability. In our review, we praised how quick and easy it was to set up, saying, “Even without a manual, we were able to access and use practically everything within a few minutes. While competitors can come close with the quality of their amp models, the Tone Master Pro is way ahead when it comes to accessibility and being just plain fun and inspirational to plug into."

Want to see what this unit can do? Well, check out the video below. 

IK Multimedia has announced a mammoth new update for its TONEX pedal, which arrives amid a wave of heightened competition that is currently circling the amp modeler market.

The race for the ultimate compact all-in-one rig solution has reached unprecedented heights over the past few weeks. First Neural DSP launched the Nano Cortex – its own answer to both the TONEX and Kemper Profiler Player, which promised “infinite” tonal potential from a tiny stompbox.

In response, Kemper went on the offensive with not one, but two paid-for upgrades to the Player, which introduced a host of features in a bid to stay abreast of the Nano Cortex and remain near the top of the pecking order.

Now, IK Multimedia has seemingly offered another answer to the Nano Cortex with an update of its own, which looks to make ground on the shortcomings of Neural DSP’s latest pedal while elevating the already hugely popular platform to new heights.

The TONEX pedal first arrived in early 2023, and changed the game with its AI machine modeling technology, which could be used to capture the sound of any amp or drive pedal. At the time, it was introduced with only a handful of effects: a reverb, noise gate and compressor.

This new update now adds eight new pre- and post-effects to the platform. Those include chorus, flanger, tremolo, phaser, rotary, a new spring reverb and two delays. Further still, two new effects blocks can be added to the chain for greater customization.

Notably, one of the biggest talking points of the Nano Cortex was its limited effects set: only five were available in total, and they couldn’t be swapped out. Not only that, the signal chain was fixed.

As such, this is a very smart maneuver from IK Multimedia, which has now arguably exceeded the Nano in terms of versatility and flexibility. At least on paper, the TONEX now makes the strongest claim for most well-rounded “all-in-one solution for the gigging musician requiring a powerful compact ampless rig”.

To make the deal even sweeter, this update is completely free for TONEX and TONEX One users. That, again, is rather telling: by comparison, Kemper’s LVL II and LVL III platforms were paid upgrades, with users having to fork out $179 and $149, respectively, to improve their Player pedal.

The firm has also announced a free update for the AmpliTube 5 X platform in conjunction with the amp modeler, now offering enhanced TONEX integration into the follow-up to its revered five-star amp and effects plugin.

Further still, IK Multimedia has expanded its TONEX Live Editor – introducing a real-time editor for making off-the-cuff changes and presets – and announced the imminent arrival of new artist, brand and IK signature TONEX collections throughout 2025.

First up is the RedSeven Hybrid100 Signature Collection, which offers 34 Tone Models of the Hybrid100 amp. These will arrive as paid-for expansion packs.

Oh, and to celebrate the pedal’s second anniversary, IK Multimedia will also be launching a limited-edition collector-grade white TONEX pedal, which comes pre-loaded with 150 Premium Tone Models.

It’s a statement of intent from IK Multimedia, whose TONEX pedal is widely seen as the closest competitor to the Nano Cortex, owing to their similar Capture / Modelling tech. Now, though, the TONEX has seemingly got one foot ahead. Your move, Neural DSP…

Head over to IK Multimedia to find out more about the new updates and launches, which will be rolled out over the next few months.

Boss has unveiled a comphrensive firmware update for its flagship touchscreen GX-100 amp modeler multi-effects pedal. It offers “a bevy of new features and enhancements” for “endless tonal possibilities” via new amps and seven fresh effects.

The touchscreen-bestowed amp modeler was hailed as Boss’ “leanest, meanest multi-effects floorboard yet” in GW's 2022 review. Two years later, it’s been given some TLC to keep it competitive in an ever-growing market that includes the Quad Cortex and Fender's Tone Master Pro.

A total of 32 Augmented Impulse Response Dynamics (AIRD) amplifiers and over 170 Boss effects lie under its hood. The three new additions to its guitar amp roster are “driven by the same innovative MDP technology” of the firm's X Series of pedals.

The trio are all high-gain amps – the X-Optima, X-Titan, and X-Ultra – which boast an “extended dynamic response that’s not possible with traditional analog designs”.

Version 2.0 also rolls out six new bass amp models, with “vintage classics and modern favorites” included. The Dark DRV models Darkglass' B7K preamp, the Silver Tube mimics a Fender Bassman, and the Solid Stack takes inspiration from a Gallien-Krueger 800RB head.

Seven more effects have been thrown into the mix, too, including the DS-1 Distortion, SD-1 Super Overdrive, and the Humanizer wah pedal.

Boss has also worked hard to provide an “enhanced experience” via expanded options for onboard speaker cabinets, streamlined workflow improvements and eight new presets that showcase the new features.

And, as an added bonus, the Boss Tone Studio app for MacOS/Windows now allows users to download Livesets and share patches with the Boss community. The new firmware follows a major update for the GX-100's sibling, the GT-1000. Now, several of those benefits have been extended to this more affordable version.

Head to Boss for more information about the update and how to download it.

Even if you’re only slightly connected to the world of electric guitar, there’s no doubt you’ll have heard about the Neural DSP Quad Cortex. Widely regarded as one of the best amp modelers around, it’s fast become a staple of touring pedalboards from artists like Jim Root of Slipknot and Dave Mustaine, through to Mike Kerr of Royal Blood (who uses four of them!) and Patrick Stump of Fall Out Boy.

It was with some excitement amongst the guitar community then that Neural began teasing something new with just a simple word – soon. Cue many impatient social media comments and lots of guesswork as to which new Archetype plugin would be released – Archetype: Lil Wayne was our favorite. Instead, we were all duped and what actually arrived was a brand new hardware unit, the pedalboard-friendly Neural DSP Nano Cortex. 

If you’re reading this then you’re likely debating which of the two units you should get, or perhaps you’re thinking about adding the Nano Cortex to your collection. So to help you along with your decision, we’re going to deep dive into both units, putting them head to head across a variety of categories to help you determine which you should go for.

Unlike other comparison articles on the web that simply list the specifications of each unit, I’ve physically put the two units side by side to compare them. I’ve spent over a week with both units as part of my recording rig in my home studio, and playing them in the rehearsal room through a PA to simulate live use, to give you the ultimate low down on what’s great, and what’s not so great about each. Let’s get to it.

Neural DSP Quad Cortex vs Nano Cortex: At a glance

Let’s start with the specifications of each unit to give you a general overview of what each brings to the table, we’ve also included links to our full reviews if you want to dive a little deeper. 

Neural DSP Quad Cortex vs Nano Cortex: Connectivity

Connectivity for the Quad Cortex is second to none, providing a huge array of options for any musician. On the input stage, you’ve got two combi XLR and 1/4-inch inputs which allow you to connect a variety of instruments to the unit. Next up there are two separate send and return loops for integrating a guitar amp into the signal chain, whether you want to just use the QC effects or use the speaker of your amp alongside Neural's amp sims.

In terms of outputs, there are stereo 1/4-inch outputs, stereo XLR outputs, a headphone output, and a capture output for grabbing your own amp and pedal sounds (you use input one as your capture input). MIDI in and thru/out connections come next, and then you’ve got two expression pedal inputs for controlling a variety of effects and parameters. Finally, there’s a USB-B for firmware updates and recording.

The Nano Cortex as you might expect features significantly less in terms of connectivity. At the input stage, there’s a mono 1/4-inch input for the guitar, with a combi XLR and 1/4-inch capture input on the side of the unit. Stereo 1/4-inch outputs feature next, with the right output acting as a capture out.

A single 1/4-inch expression and MIDI connector is next, with a 1/8-inch output for headphones. There’s a USB-C connector for using it as a guitar audio interface, updating the unit, and it can also act as a MIDI input. You can power the Nano Cortex with a 9V pedalboard power supply, so long as it can output at least 600mA, or use a USB-C that delivers 5V-1.5A or 5V-3A.

Winner - If we’re going with pure numbers, then the Quad Cortex takes the win here. It vastly outnumbers the Nano Cortex with its connection options, making it much more flexible when it comes to integrating with a variety of setups. 

Neural DSP Quad Cortex vs Nano Cortex: Build quality & design

Moving on to build quality, the blue/grey aluminum housing of the Quad Cortex feels really solid in your hands. It's pretty hefty when it comes to weight, but still easy enough to carry with one hand. It’s a little bigger than you might expect looking at a picture of it too, but it’ll still fit pretty easily in a backpack, albeit it might be a squeeze to get it in the one on the front of your gig bag.

The front panel features the show-stopping 7-inch, multi-touch display. To the left is a large master volume knob with a touch power button above, while the right features two footswitches for changing preset banks. Underneath you’ve got 10 hybrid footswitch/rotary controls. The first 8 are labeled A to H, with the final two controlling various mode features, tap tempo, and tuner amongst others. Each footswitch also features a dedicated LED.

Stylistically the Nano Cortex is very similar, with the colour and aesthetic of the unit very much giving it the appearance that it’s the smaller sibling of the QC. But that’s where the similarities end. It’s about a quarter of the size of the Quad Cortex, and much, much lighter in your hand. It’s smaller than my HX Stomp, and the obvious aim is that it will also fit on the pedalboards of guitarists.

There’s no screen here - more on which in the usability section - with the majority of the front panel being taken up by knobs for controlling the amp settings. Starting from the top left you’ve got gain, bass, mid, treble, FX amount, and level knobs. Above these are three buttons labeled exit, capture, and save. Beneath the gain knob is a bank button, and beneath the level knob is a button for selecting FX. Finally, you’ve got two rotary/footswitch knobs labeled I and II.

Winner - Both pedals aim to do something completely different from one another, so separating them in terms of design is pretty difficult. Both feel sturdy enough to put up with hitting the gigging circuit so, we’re going to call this one a draw.

Neural DSP Quad Cortex vs Nano Cortex: Usability

It takes a while to load up when you first switch it on, but actually using the Quad Cortex for the first time is an absolute breeze. The large touch screen makes it super intuitive to start moving your signal chains around, adding and removing components, while the physical switches get you moving through presets and banks quickly. Of course, there’s a lot of depth on offer but you won’t need the manual to just get started playing.

The touchscreen is a joy to use and is very responsive. Some of the on-screen items are pretty small so you might need a couple of presses if you’ve got sausage fingers, but overall I had minimal issues getting it to do what I wanted. The ingenious footswitches doubling as rotary knobs make it super easy to start changing the parameters of individual blocks if you don't like using the touchscreen, and they give you really fine control over your settings.

The depth on offer is absolutely staggering as well. From the simplest drive pedal, amp, and cab rigs to four different amplifiers each with their own effects chains the QC has the power to create pretty much any configuration you can think of. There’s no limit on what you can do with the signal chain order either, making it an amazing tool for the really creative thinkers. Making your own signal chains is really simple thanks to the drag-and-drop system and while you might need to dive into some YouTube videos for the really complex stuff, it’s incredibly simple to get up and running.

Comparatively, the lack of a screen on the Nano Cortex means it takes a little more time to work out exactly what’s going on. You can play immediately, but certain features didn’t make sense without me having to refer to the manual. Some things like assigning presets to the footswitches are also only available via the app, which means you have to include your smartphone as part of your initial workflow when setting it up.

You can put two presets on each footswitch for quick recall, giving you quick access to four different tones. Each footswitch also features a rotary control that lets you select one of five different captures on the left-hand side, or five different impulse responses on the right-hand footswitch. With five banks in total, there are plenty of ways to set your rig up if you’re covering a lot of sonic ground in your band. You’ll want to do this via the app though, as doing it via the pedal controls requires a lot of steps and I found it more effort than it was worth.

The signal chain on the Nano Cortex is much more limited, and you can’t change the order of anything. You've got two pre-effects consisting of a noise gate and pitch shifter that come before your amp and cab capture. Post is a trio of modulation, delay, and reverb. Each is controlled by the amount knob, which dictates a single parameter change whether that's the mix of the time-based post effects, or the noise reduction of the gate and semi-tone of the pitch shifter.

Initially, it feels very limited, especially compared to the vast possibilities of the Quad Cortex. That said, the NC is designed to work in conjunction with a pedalboard, so in all likelihood, you’ll be using your own effects anyway. I put my drive pedals in front of it and my time-based effects after, as that's how I like to run my effects with my regular guitar amp. It worked brilliantly for me in this format.

Winner - Each does something different, in a different way. But when it comes to pure ease of use, surprisingly it's the more complex Quad Cortex that gets the win here. The screen makes it much more intuitive to chop and change things quickly and intuitively, even if you’ve never had an amp modeler before.

Neural DSP Quad Cortex vs Nano Cortex: Sounds

When it comes to sounds let's make one thing clear, each goes about its tone creation in a slightly different way. The Quad Cortex primarily features modeled amp sounds, which give you a lot more in terms of tweakability. The Nano Cortex on the other hand features captured amp and cab tones, which are more like a snapshot of a particular amp tone with certain EQ settings baked in. You can tweak them of course, but they won’t behave in the realistic way a modeled amplifier would.

Both units sound phenomenal, there’s absolutely no question of that. The amp tones whether modeled or captured very much sound like the real deal, and the effects are stunning too. Having tested a huge variety of amp modelers over the years, the Neural DSP stuff really is up there amongst the best I’ve ever heard, and the differences between the modeling, the captures, and the real deal are minimal.

The QC gets a lot more choice, but there are plenty of Neural captures on the Nano Cortex that will cover the vast majority of styles. There’s also a huge amount of user captures on the Cortex Cloud to pull from that are available to add to both units. It’s important to note that both units are unable to capture time-based effects pedals, as the nature of these makes it impossible for the snapshot process of a capture to work as a pedal would.

Again, the difference here comes down to use case. If you want to be able to tweak your sounds in depth and have more control, then the Quad Cortex will be for you. For those who want to take the sound of their rig on the road with them and integrate their pedalboard, then the captures of the Nano Cortex will deliver that sound you know and love without having to lug a heavy tube amp around with you.

Winner - We’re going to call this one a draw. Both units do their sound creation slightly differently, but both manage to deliver fantastic quality irrespective of that. 

Neural DSP Quad Cortex vs Nano Cortex: Verdict

It’s a really tough one to call here as the Quad Cortex and Nano Cortex are both really good, but both are designed for very different uses. On the face of it, the Quad Cortex won out in two different categories, while the other two were draws, and my experience was much more fun with the QC. That said, it’s an incredibly expensive and in-depth piece of equipment that was naturally always going to dwarf the Nano Cortex in a straight numbers game.

What it really comes down to is what you want to use them for. If you need a full-featured amp modeler that can do absolutely everything, and you have a big budget, then the Quad Cortex is going to give you what you want. It’s surprisingly easy to use, has more features than you’ll know what to do with, and most importantly it sounds incredible.

On the other hand, if you’re satisfied with the sound of your current amp and can’t do without your pedalboard, but are sick and tired of carrying a heavy amplifier around with you, then you should go for the Nano Cortex. The captures are astoundingly good and the process of getting your drive pedals, amps, and cabs into it is surprisingly simple. Its small size means it’ll fit nicely on your ‘board and varying power options make it great as a travel rig.

Neural DSP has bolstered its pedal lineup by unveiling the Nano Cortex – a tiny-yet-powerful amp modeler, IR loader, effects processor and Capture device that ushers in a new era for the celebrated digital guitar gear company.

News of the Nano Cortex’s imminent arrival emerged earlier this week following some online leaks and a couple of, erm, interesting teaser videos, which hinted at the forthcoming unveiling of a new Neural DSP pedal.

This is a pretty big deal for the wider industry. After all, Neural DSP changed the amp modeler/multi-effects game back in 2020 when it first debuted the Quad Cortex.

One of the most powerful and easy-to-use amp modeler floorboards out there, the QC quickly became a staple of the digital gear scene, and regarded among the gold standard units of its kind.

However, since its arrival, Neural DSP’s competitors have been aggressively expanding their own lines. Line 6, for example, has issued the HX Stomp XL and HX One, while Fender has thrown its own hat into the ring with the Tone Master Pro.

As such, a new hardware product from Neural DSP seemed only a matter of time, especially since plugin/pedal compatibility is still a relatively new development.

To that end, Neural DSP has lifted the curtain on the Nano Cortex – a new amp modeler and effects processor that looks to be the firm’s answer to the IK Multimedia TONEX and Kemper Profiler Player, and (to a lesser extent) the Line 6 HX Stomp.

In practice, the Nano Cortex is effectively an amp modeler and IR loader, which also offers a range of built-in effects (a Boss DC-2W-inspired chorus, BBD delay, Mind Hall reverb, noise gate and transposer) and Neural’s prized Capture ability – meaning players can capture (or ‘model’) their own amps, cabs and drive pedals directly from the pedal.

On the pedal itself, there are Bass, Mid and Treble parameters for tweaking the amp Captures, as well as Gain, Level and Amount knobs – the latter of which serves as a one-size-fits all parameter to control the onboard effects.

It also has Bank and FX buttons to cycle through both the Capture banks and effects options, as well as the trademark rotary footswitches, which are in charge of moving between the Captures and five IRs, and engaging the four recallable presets.

One thing the pedal doesn’t have, though, is a touchscreen – or a screen at all, for that matter. It’s an interesting design choice, especially from a firm that made its name with premium UI and intuitive usability.

But, as the Neural DSP team explained to Guitar World in a recent interview, the lack of screen was a deliberate decision.

“It's been part of the vision for a long time – pretty much when the Quad Cortex came out,” said CEO Doug Castro of the Nano Cortex. “For this we knew it'd be very, very small, and we actually wanted it to look like a pedal, so no screens.

“The idea was to make it very approachable for people that may never use something like a Quad Cortex, because they would rather use pedals, and not something that looks more like a tablet on their pedalboard.”

To get around that, Neural DSP has issued an updated Bluetooth Cortex Cloud app. Here, the Nano Cortex also has access to a near-endless library of public amp Captures – as well as IRs – that can be uploaded to the pedal.

The app offers in-depth parameter tweaking for the effects, which are fixed in place in a pre-set signal chain that can’t be expanded or changed.

Many assumed Neural would downsize for its sophomore stompbox, and that is exactly what’s happened. The Nano Cortex is really small, measuring in at just 5.6” x 4.0” x 2.4”, and weighing just 1.36lbs, making it perhaps the most powerful all-in-one rig solution for its size.

Other notable features include its USB-C jack, which can actually be used to power the Nano Cortex (thanks to the lack of a power-hungry screen) and turn it into an audio interface.

“Nano Cortex is the distillation of our ecosystem’s core features without any compromise in sound quality or ease of use,” says Neural DSP co-founder Francisco Cresp. “Neural Capture has never been so portable, so we encourage users to go and explore new sounds in the analogue world and carry them anywhere.”

As mentioned, the Nano Cortex seemingly looks to be Neural DSP’s answer to the TONEX and Kemper Profiler Player – two compact amp modelers that also offer some onboard effects and the ability to use an off-pedal platform to dial in tones and presets.

But here, you get the added benefit of Neural’s celebrated Capture function from the comfort of a minuscule stompbox, a slightly more generous array of effects, the Cortex Cloud phone app, and a portable pedal that's very easy to power.

And, at $549, it's competitively priced given the competition. It’s more expensive than the TONEX (which has a screen, and costs $399) but comfortably more affordable than the Kemper Profiler Player ($698).

In our Nano Cortex review, this writer praised the unit for its ability to cram world-class tones and Neural's Capture function into such a tiny, easy-to-power to package, and commended its intuitive app functionality.

“There’s a reason Neural DSP is held in such high regard, and that’s because the firm is at the cutting edge of amp modeling – and as a palm-sized amp modeler and cab simulator, this is perhaps the best option out there, screen or no screen.”

The Nano Cortex is available now for $549.

Head over to Neural DSP to find out more.

When Neural DSP unveiled the Quad Cortex at NAMM 2020, the firm altered the face of the guitar world as we know it today. The ground-breaking piece of precision-engineered technology ushered in the next chapter of Neural DSP’s story, and built on the firm’s hugely popular plugin platform by unleashing an ultra-powerful, fully fledged amp modeling, cab-simulating, multi-effects processing floorboard.

It wasn’t a new concept, but the execution of the idea was something else. The Quad Cortex married consumer tech aesthetics and functionality with top-tier tones, further convincing countless players the world over to completely ditch their guitar amps and pedalboards.

To this day, the Quad Cortex is seen as the gold standard for floor-based multi-effects amp-modeling pedals. And, given the mounting competition that Neural DSP’s innovation has invited over the years, that’s no mean feat.

Line 6’s Helix line has been expanded with a number of pedals – the HX Stomp XL, HX One – which are all the recipients of regular firmware updates. Even Fender got in the game with the Tone Master Pro.

However, in late 2024, four years after the launch of the inaugural Quad Cortex, Neural DSP officially launched its successor – or, should we say, its smaller sibling. Enter the Nano Cortex – a teeny, tiny, amp modeler/cab simulator/effects processor/IR loader/Capture device that looks to deliver Quad Cortex tones in the smallest package yet.

First launched in September, the Nano Cortex was retrospectively treated to an all-encompassing, free NanOS 2.0.0 update in May 2025, which not only addressed some of the biggest drawbacks that hampered the original blueprint in the minds of many players, but also went above and beyond to vastly improve its already-rather-impressive functionality.

Indeed, whereas the Nano Cortex first arrived with a fixed signal chain and highly limited effects options, NanOS 2.0.0 introduced a total of 47 new effects and utilities – drives, modulations, wahs, EQs, and fuzz pedals among them – as well as improved control over the chain.

NanOS 2.0.0 was duly followed by NanOS 2.2.0 – one of two major firmware updates introduced to the Neural DSP ecosystem that introduced yet more user-requested updates, a highly sought-after effect and, perhaps the biggest upgrade of them all: Neural Capture V2 Player functionality.

With its Capture Version 2 tech, Neural DSP is promising higher-resolution modeling, greater dynamic accuracy and enhanced realism for touch-sensitive devices, such as fuzz pedals and tube amps.

In practice, V2 Captures are created via Cortex Cloud for higher resolution, meaning there’s improved tracking for “expressive behaviours” – sag, bloom, dynamic clean up, pick attack and more – and more precise control modeling for parameter changes.

The Nano Cortex, in my eyes, has established itself as the compact amp modeler to beat, but with a few new tricks up its sleeve, it’s somehow been made even better than before.

Specs

• 64 preset slots
• 25 Captures organied in 5 banks
• 5 IR slots
• 5 Effects slots
• MIDI / Bluetooth support
• Cortex Cloud compatibility
• Controls: Gain, Bass, Mid, Treble, Amount, Level knobs / Bank, FX buttons / Exit, Capture, Save action buttons / 2 rotary footswitches
• Connectivity: USB-C, Input, Stereo Output, Exp/MIDI, Capture In and Out
• Price: $549
• Contact: Neural DSP

Features

The Nano Cortex continues the precedent set by the Quad Cortex by arriving in a sleek matte gray chassis that wouldn’t look out of place at an Apple tech convention. It’s a very professional-looking bit of kit – sturdy, robust, and aesthetically pleasing – and a worthy companion to the Quad Cortex.

It is sized at 5.6” x 4.0” x 2.4” and weighs in at 1.36lbs, which is absolutely tiny. It's big enough to accommodate a number of parameters, function buttons and your standard I/Os, but it's plenty small enough to fit in your gig bag – or your pocket, if you have larger pockets. There is, however, a pretty notable omission: it hasn’t got a screen.

Instead, it’s just got knobs for Gain, Level, Bass, Mid and Treble, and an Amount control for controlling the five onboard effects. These all have LED rings, which show the parameters' settings for any given preset. There’s also a side-mounted boost switch, ground-lift switch, MIDI jack and a headphone output for silent practice.

In operation, 25 Captures organized into five banks of five are joined by five IR slots, as well as two pre- and three-post effects that can (thanks to the new update) be populated with a range of expansive effects.

The position in which these tools fit into the signal chain has been loosely predetermined by Neural DSP, but that’s no issue: everything makes sense in operation – your overdrive effects can only go in any of the pre-effects slots, your reverbs can only go in the last post-effects slots. You get the picture.

As mentioned, there are 47 effects and utilities which you can use to build around the sole amp capture and IR blocks. Specifically, there are eight compressors, four wahs, two filters, nine guitar overdrives and two bass overdrives. There is also now a plethora of 'verbs, delays and modulations to choose from, from Dual, Digital and Circular Delay, to Ambience, Cave and Mind Hall Reverbs. There is also Neural DSP’s famed Transpose function, an Input Gate and three EQs.

All in all – in terms of tones alone – it makes for a very generous list of effects indeed, and one that greatly expands the sonic potential and usability of such a small piece of kit.

Another big feature is the 'Capture' button, which can be used to create Neural DSP-quality Captures from the comfort of this minuscule pedal. It's a very powerful appointment from such a small pedal, and Neural's Capture process – which can digitally model any amp, cab, drive pedal, or all in one go – is mercifully easy (and hugely popular) so this is bound to be a huge selling point of the Nano.

Though NanOS 2.2.0 introduced Neural Capture V2 Player functionality here, it should be noted that the Nano Cortex is still only limited to V1 Capture creation. On the one hand, that’s not the end of the world because a) V1 Capturing is already very good and b) V1 can be carried out completely offline.

V2, by comparison, needs an internet connection, as the processing occurs in the cloud, therefore making it not as readily available. Having said that – and as will be discussed later – V2 Captures are, in most cases, a huge step up in terms of dynamism and tonal responsiveness, so I would have liked to have been able to Capture my Two Rock and Xotic Compressor with this new tech.

All’s not lost, though: Neural DSP has confirmed V2 Capture creation support will be made available for the Nano at some point in the future. Just when that will be is another question altogether.

Because of its size, the pedal has had to get creative with its on-platform operation, which at times can feel a bit clunky, contrary to the usual Neural DSP experience. Captures can be cycled through using the Bank button and the left-hand rotary footswitch.

The right rotary footswitch, meanwhile, cycles through IRs, of which there are five readily available at any given time. Overall, the Nano Cortex can store 256 Captures and 256 Impulse Responses, which can be loaded via the Cortex Cloud app (more on that in a bit).

Using the footswitches, four separate recallable presets can be made – IA and IB, and IIA and IIB. In operation, these four banks can be used to make four ‘mini-boards’, which can in turn be used to trigger a quartet of effects combos. This is exactly how I’ve been using the newly updated Nano Cortex at gigs: I think the Chorus 229T is one of the best choruses I’ve heard, so I have dropped my Boss pedal from my pedalboard and attached that effect to one of my Fender Deluxe amp Captures.

Likewise, I add the Green 808 overdrive and the Ambience reverb to two further presets for lead and atmospheric slide tones. A Klon Centaur-style overdrive would have been nice, and there is a slight lag in preset changing, but in context it works very well indeed.

The effects list got slightly bigger with NanOS 2.2.0, as well. For the first time, Neural DSP has added a tremolo effect block for the first Post Effects Slot. It has been, quite possibly, the most requested modulation effect for the Nano Cortex ever since it was released, so it’s nice to see it make its debut here.

Of course, the tremolo effect is fantastic, and while I’d have no problem with it usurping my Strymon Flint, I simply cannot afford that luxury owing to the fact all four of my live-sound presets have been taken up by various gain stages and ambient sounds.

It’s an occupational hazard of using such a small modeler – for live gigs, there’s only so much you can do on the one pedal – so I have no complaints here. It’s nice to have the option, and to know if I needed a world-class tremolo, it’s there to be used.

However, to manually navigate and activate/bypass effects manually on the pedal, the Effect button has to be pressed and held. Again, this can be rather clunky, especially when triggering effects on the fly.

The lack of a screen can be jarring at first, and certainly diminishes the usability of the Nano Cortex. The IK Multimedia TONEX – perhaps its closest competitor as a tiny all-in-one rig solution – has a screen (even if it is slightly archaic), while the Line 6 HX Stomp (albeit larger and more expensive) is also more tactile in operation.

Here, a simple strip screen telling you what Capture/IR combo you are playing through at any given moment – especially when one considers the sheer number of IRs and Captures that can be loaded into the pedal’s various banks – would have been nice.

But remember, this is meant to be ‘Nano’ in its design, and potentially the smallest pedal Neural DSP will ever put out. Not only that, but some of its other competitors – like the Kemper Profiler Player – also do away with the screen, so it may not be a genuine dealbreaker in this product category.

Given this remit, the feature set is within reason, and when you realize just how powerful this pedal is – and how good it sounds – these perceived user shortcomings are easily overlooked, especially when you remember what this is trying to be: a tiny, hugely versatile, sweet-sounding modeler that can expand, replace, and even Capture your existing rig.

That, and the Nano Cortex has a piece of partner software that makes the whole thing much easier…

App

Given its smaller dimensions, the Nano Cortex relies heavily on the free Cortex Cloud app, which has been updated to allow for Bluetooth connectivity between app and pedal. Here, you can browse Neural DSP’s huge library of public Captures – from amp models to drive pedals – which can be easily uploaded to one of the Nano’s Capture slots with a few taps of a screen.

There’s a lot there, and this is a huge plus for the Nano Cortex. You can play Captures of vintage Fenders, boutique Two Rocks, and any number of Marshalls and Vox amps that have been modeled by Neural DSP users. Neural's Capture process is widely regarded as being one of the best modeling technologies out there, and that is clear to see when playing through the endless Captures on offer: the tones are stellar.

The app can also be used to fine-tune the onboard effects and can aid with cycling through Captures, organizing presets and assembling various guitar tones.

Phone/pedal compatibility is a common thing in the gear world now – just see the Positive Grid range – and while it can be a turn-off for more traditional players, the Cortex Cloud is gratifyingly easy to get around, and vastly improves the Nano experience.

Given the Cortex Cloud is crucial to getting the most out of the Nano Cortex, we’re pleased to see this is the case. It makes the streamlined control set a lot more palatable, and not as restrictive as first thought.

Sounds

This is the most straightforward part: the sounds are truly exceptional. As a standalone pedal amp running through headphones or direct to a PA, the Nano Cortex excels, and the onboard effects – especially now the pool has been significantly broadened – are borderline impossible to fault.

I’ve already mentioned my fondness of the chorus, but the buck doesn’t stop there. Before the update, I was already highly content with the original bank of effects, and used them extensively after I made the digital switch and ditched my Fender Blue Junior in favor of the Nano Cortex.

However, my experience with using the Nano Cortex live, in rehearsal and even at home has (unsurprisingly) dramatically improved with the expanded utilities list. The Ambience reverb has a touch of BigSky energy about it that is perfect for wishy washy soundscapes, while the VCA Comp has allowed me to free up further space on my ’board by relegating my Xotic SP Compressor.

Elsewhere, the list of drives is fully comprehensive – sans a Klon Capture, of course – and covers all bases that I’d need from a pocket-sized amp modeler. I’m never usually impressed with digital fuzz effects, but Facial Fuzz – a Fuzz Face clone – equally won me over.

Now, the Nano Cortex is all I’d ever need to get me through an hour-long headline set, and while I still use it within the context of a wider rig (more on that in a sec) the pedal itself does an admirable job of jumping between a ton of top-notch tones that cover all my bases.

When paired with a traditional pedalboard, it’s also a fantastic pedal platform that responds well to analog and digital pedals alike. In front of an analog transparent overdrive, the clean amp Captures get an authentic-feeling ‘breakup bump’ that doesn’t feel like an underwhelming digital amp with some cranked fizzy gain.

And that’s where the V2 Captures come into play. With the update, the Nano Cortex has given access to all 669 of the company’s newly created V2 Captures – a list that includes, to my absolute delight, a Dumble.

I gigged one of Neural's new V2 Dumble Captures just last week, and I was struck by just how natural it felt. I was already hugely impressed with the previous capture platform – I ditched my amp for it, remember, and used it for a gig at Portman Road Stadium in the summer – but the V2 was a cut above.

For reference, I previously had an ‘always on’ drive to thicken up my tone and give it a bit more juice for pick attack and dynamics. I didn’t need it with the Dumble capture, nor any of the new ones. It felt more of an ‘immediate’ good tone, and intangibly ‘felt’ better.

My only gripe would be the time it took me to land on a Dumble capture I liked. Such is the way of the Capture format, there were a huge amount of Captures of the same amp to scroll through, ranging from full-on dirt to boutique cleans, as opposed to just one ‘model’ that can be tailored a la a normal amp. Again, it’s not a big deal for me, because the tones I do get are world class, and it’s nice having a “locked-in” tone that stays the same.

All of these top-tier tones translate well into DAWs, because the Nano Cortex also functions as a USB audio interface that can – thanks to its tiny dimensions – also be powered as a standalone unit via USB-C.

Of course, it’s a Neural DSP product, so its sonic performance was never in doubt, but to have something so small sound so good – and offer a great way to expand existing rigs – is quite something. Basically, if you liked the sounds of the Quad Cortex, you’re going to like this. Similarly, if the QC was just too big for your liking and simply did too much, the Nano might be for you.

Capture

One of the biggest selling points of the Nano Cortex is its Capture function. Like the QC, this can be used to “capture” any drive pedal, amp or cab of your choosing by simply using its integrated capture input and output to hook up your chosen piece of gear. It can all be done from the pedal itself, which is a huge benefit.

If you know Neural Capture tech, you probably already know it’s one of the best in the business, but for those who are unfamiliar, Neural’s proprietary software is seen as one of the best-performing tools out there. There are countless sound examples on the net of successful Capture experiments, and it does an uncanny job of replicating analog gear.

The fact you can do this with such a tiny stompbox is, of course, impressive, and another demonstration of Neural’s engineering nous. However, the practicality of using Capture in this context is somewhat limited, given that you can’t use overdrive/distortion/fuzz Captures alongside amp Captures.

Remember, the signal chain is fixed, as are the effects slots, so if you want to use a drive you’ve captured, you’ll run into a bit of trouble – you can't dedicate a footswitch to tap in your favorite drive pedal, for example, unless you had a separate Capture that combined the two. It's not impossible, just a bit of a long-winded workaround.

And we're still waiting for V2 Capture creation compatibility for the Nano Cortex platform, too. As mentioned, it's only available for the Quad Cortex at the time of writing, but if the stock Neural DSP V2 Capture examples – and online demo videos – are anything to go by, it will take the Nano up a whole new level.

Verdict

Guitarists have been waiting for a follow-up to the Quad Cortex for a long time, and it's inevitable that the Nano Cortex will therefore divide opinion. For some, it might not be enough to fully ‘wow’ them. It is, after all, rather pricey ($549), and is more expensive than the screen-equipped ToneX ($349) – which is also geared towards amp and cab modeling, with some effects thrown in – but, notably, is considerably cheaper than the Kemper Player ($698),

It's also not far off the HX Stomp ($649), which is more intuitive to use, but that seems to be an unfair comparison, seeing as the Stomp simply does more.

The Nano Cortex isn't perfect, but it so nearly is. A display showing what Capture/IR you’re playing through would have been very handy (and some may still ask for tap tempo functionality) but that's a sacrifice that Neural DSP has made in order to make the pedal easier to power – so, it's something of a catch-22.

However, interface issues are largely offset by the Cortex Cloud, which is as easy as it gets when it comes to controlling gear wirelessly, and the fact you can capture an amp directly from the pedal itself is mind-blowing.

The ability to swap out the pre-set effects for others of your choosing is a timely and necessary update that takes this from a very good pedal to a great one. It is shaping up to be the best compact all-in-one rig solution out there, screen or no screen, and what it perhaps lacks in physical function it more than makes up for in tones.

In all, this is a very accomplished, very small piece of kit, and for its size it is an exceptional pedal that needs to be heard – and used – to be fully appreciated. In fact, it sounds so good, and is so conveniently sized, it has actually convinced this writer to ditch his Blues Junior combo and go completely ampless for live shows. As someone who has owned an HX Stomp for two years yet been hesitant to take the leap, that’s no mean feat.

And that's where the Nano Cortex will truly find its niche. As was the case with the ToneX, the Nano Cortex is no doubt poised to become one of the more popular amp and cab replacement pedals on the market, and its huge flexibility (all things considered), sonic potential and portability is quite something. The fact it's an ace pedal platform is even better.

There’s a reason Neural DSP is held in such high regard, and that’s because the firm is at the cutting edge of amp modeling – and as a compact amp modeler/cab simulator/Capture device, this is perhaps the best option out there, screen or no screen.

• "The Quad Cortex has solidified itself as the modeler to beat": Neural DSP Quad Cortex review

Harley Benton is continuing to prove that slick and versatile modeling amps don't need to break the bank with its latest offering, the DNAfx GiT Core.

In its purest essence, this is a slimmed-down version of its self-proclaimed “fan favorite” DNAfx GiT modeler to make for an ever more accessible price tag. That was the Thomann-owned firm’s first foray into the digital amp world back in 2020, and a Pro version and headphone amp version have followed, but none that have extended their financial accessibility to this degree.

The expression pedal is the most visually apparent casualty in the package-down process, but there is an input for connecting one externally.

Underneath the hood, meanwhile, the same digital wizardry persists, namely 55 amp models, and 26 classic and modern impulse response speaker simulations. 

These own-brand IRs are said to be based on modern and classic cabinets, so there should be plenty for players to get their teeth into, but there is still room for third-party IRs if Harley Benton's stock offerings don't satisfy.

Like its big brother, advanced non-linear digital amp modeling tech helps its amp models replicate the sound and feel of tube amps, while a suite of 151 effects makes tone personalizing a breeze. 

Of those effects, in-built distortions can cover “everything from aggressive heavy metal high-gain tones to gritty blues crunches” while noise gates and compressors are vital ingredients. 

Modulations include a variety of chorus, flanger, and phaser options, with filters, equalizers, reverbs, delays, and even pitch-shifting capabilities making for a comprehensive unit.

An 80-second looper will be another fine addition for some players, as well as its 40-strong collection of drum patterns and 10 metronome rhythms. It has a chromatic LED tuner, too.

To save space, the footswitches for switching presets double up for the tuner and looper respectively, while there are three dials for Master, Mode, and Value. These are further augmented by buttons for Rhythm, Tap, Exp, Play, Save, and System.

Really, though, the bulk of tone sculpting will probably happen on computers. The modeler connects the PC and Mac via USB-C where a more intuitive, user-friendly editor and software updates can be accessed.

A 6.3mm stereo output can see its tones pumped directly into DAWS, and an OTG function (via that same USB-C slot) supports smartphone and tablet software for audio/video recording, making for easy TikToks and livestream videos.

The DNAfx GiT Core has enough memory to store 200 presets and can handle up to nine effects simultaneously, meaning the scope of options is vast. 

Unless you have teeny-tiny feet, the tap tempo button will most likely be need to be pre-baked as opposed to utilized on the fly, but for $99 the unit represents an affordable route into the modeling world for newcomers, as well as a commendable backup unit for seasoned users.

“This scaled-down version retains all the essential features that made the DNAfx GiT model a fan-favorite, packaged in a smaller form factor, and without compromising on the high-quality and range of tones,” says Harley Benton.

“The versatile connectivity options and professional audio quality meet the needs of both aspiring and experienced musicians.”

The Harley Benton DNAfx GiT Core is available now for $82 from Thomann Music.

Visit Harley Benton to learn more.

Last year, IK’s TONEX merged its AI-equipped amp and effects software modelling with a large-format hardware pedal. This enabled users to create a tone preset and take it anywhere, narrowing the margins between practice, studio and stage. Its new Tonex One is a tiny sibling to the impressive TONEX, coming in at just under half the price, and a fraction of the size, while still housing a powerful feature set.

As an amp modeller, it’s as good as units many times more expensive, but that stands to reason. The full-size TONEX is a workhorse, and this shares the same pedigree, albeit in a smaller, nano-sized form factor.

Straight out the box, the Fender-like clean model is excellent. It allows you to get your bearings with some solid lower-gain tones. It’s versatile, however – stack some drives in front and it will respond in an amp-like way to higher gain levels.

If you were looking for a headphone amp for silent practice, you could stop there. The dirty, Marshall-like voice on the other side of the A/B switch is less of a knockout, but still serviceable, particularly with a boost in front.

Whether this pedal is for you depends on two simple questions. First, how you plan on using it, and second, how much customisation you’re happy to do. Although core settings and a number of models can be accessed from the pedal directly, you’ll get the most out of it if you connect it to a computer and use IK’s software.

The software is as good as you’d expect from IK, but it is less tactile than a real amp. It’s possible to access advanced features like disabling cabs via the pedal’s setup mode, but more fiddly than via PC. Luckily, even if tweaking isn’t where you get your kicks, you can still get a lot from this pedal even if you only use it as a pedal platform.

It follows that the best use for this is as a ‘set and forget’ unit. As in, dial in a sound that works from the stock set of 20 models, or load the perfect one from IK’s software. Whether you’re planning on using it direct into a PA, as a gigging backup into a power amp, or as an audio interface, it’s hard to overstate the potential use of something so powerful and so small set up perfectly to your taste.

As far as it goes, the pedal itself is simple to use, with the key controls all on the front panel. There’s access not only to a three-band EQ, gain and volume, but also gate, comp and reverb.

All in all, there’s not much to complain about. The Tonex One isn’t far off the cost of a starter amp and boasts convenience, great sounds and a huge range of additional options if you connect it to a computer.

Of course, the user interface isn’t as good as the larger unit, but that’s the price you pay for it being literally pocket-sized.

Specs

• PRICE: $/£179
• TYPE: Amp model/amp sim
• CONTROLS: Gain, Volume, Bass, Mid, Treble, Gate, Comp, Reverb
• SOCKETS: Audio in/out, Power, USB-C
• BYPASS: A/B, Bypass Modes
• POWER: 9V DC Centre-negative
• View at Sweetwater (US)
• View at Thomann (UK/Europe)

Chris Shiflett is best known as Foo Fighters' lead guitarist, but he's also a solo artist in his own right. His latest EP, Starry Nights & Campfire Lights, notably features a country version of Thin Lizzy's Cowboy Song and an Americana rendition of Don't You Ever Leave Me by Hanoi Rocks.

However, despite the old-school feel, Shiflett actually did away with tube amps and recorded the whole EP using a Neural DSP Quad Cortex.

“I used a Quad Cortex for all the electric guitars. We recorded everything pretty quick. Truth be told, I didn’t have a lot of time and didn’t want to grab all my old amps and set them up,” he reveals in the latest edition of Total Guitar.

“So I just brought the Quad Cortex, baby. It really did the job… I think it sounds very close to vintage amps. If I hadn’t told you that, you probably wouldn’t have guessed, right?

“I know some guitar players purposefully use things like Fractals on their records because then they have the exact same tones for the live shows. That’s what I was thinking. I’ll record with this thing and then I’ve got those sounds on my little device wherever I go on tour.”

This doesn't mean that Shiflett is a total amp modeler convert, however. “Just for the record, I do want to state clearly that I prefer a real amp,” he says. “But at my advanced age, I’m a lazy motherf*cker and it’s okay to throw a Quad Cortex in.”

In a 2023 Guitarist interview, Shiflett spoke at length about the reasons behind his amp-less live rig, which he's rolled out for a few smaller shows.

“It feels like total blasphemy. But doing my solo shows, I play a lot of shitty bars with shitty PAs, and oftentimes I’m not travelling with my own sound man and it’s a real roll of the dice – sometimes it’s great and sometimes it’s fucking terrible.”

He continued, “I just found that dragging around my old combo amps – because I normally play through a Deluxe Reverb or old Princeton – they’re so susceptible to dirty power and things coloring your tone.”

Another contributing factor was sound engineer inconsistencies, which led him to consider an amp modeler-powered setup.

“I’d bought one of those [Strymon] Iridiums to fuck around with in my studio and just loved the way it sounded. Live, it just cuts out the middle man.”

For more Chris Shiflett, plus a rundown of the greatest guitar cover versions of all time, pick up issue 386 of Total Guitar at Magazines Direct.

Flow is one of the most important aspects of guitar playing. As a composer or player, it’s part of the allure of playing the instrument. Finding that rich, trance-like state where you puzzle out a musical idea or learn a scale or a riff is addictive.

Although it's rarely stated in these terms, the signal purist versus pedal junkie debate really comes down to its relationship with that sense of flow. Is any new addition to your signal chain worth the trade-off in breaking flow? Does it propel your playing and solve problems, or does it put up barriers and distract you?

Not everyone can (or should) stomach the direct approach of a straight-to-amp signal path, of course, but even when it comes to pedals, flow is the reason that stompboxes have stubbornly remained the leading form factor for guitar processing. 

The ergonomic interaction with pedals beats most other solutions. It’s why they’ve survived where rack equipment has not – and remain the preference of many players who can easily access limitless tones by menu-diving on a DAW or an app.

All of which brings me on to the TONEX One – a new pedal from IK Multimedia that effectively does a bit of both – shrinking its impressive AI-powered TONEX platform and vast preset options into a tiny nano-sized pedal enclosure. It promises to be a best of both worlds, but can that ever really be the case?

The trade-off is that now some features are only accessible via the software editor. However, there are thousands of tone models available online and 20 built-in presets on the unit itself.

Out of the box, the pedal is set up in A/B mode meaning that, in the manner of an amp, it’s always on. You can, of course, switch this to Stomp mode should you want to disengage/engage at will. 

By default, the first channel is a Fender-ish clean and the second is a Marshall-like gain stage. The gain channel offers the three-band EQ and gain/volume control on the front panel, while the alt switch allows access to additional parameters – gain, gate, comp and reverb. Here, the design of the front panel is well thought-out, with the font weight showing which parameters are active.

Of the stock A/B settings, the clean model is the better of the two. The gain channel is a touch too tame compared to its inspiration (though, as mentioned, there are 20 presets available to browse on the unit itself, so you won’t struggle for alternatives). 

I set up the Fender-style model with a slightly dirty sound to get some ideas down – and quickly nail some great blues tones. 

Using it as a base layer for drive pedals works really well, too. Adding a trusty Smallsound/Bigsound mini in front gives the second channel-style push I need and it handles it ably, reacting in a satisfyingly amp-like way. 

The usual caveats of needing to tweak EQ and levels to suit the drive pedals you're stacking into it apply here, but this might be where the pedal's true niche lies – as a pocket-sized pedal platform amp. It’s also where it best complements that state of ‘flow’ and, essentially, gets out of the way of your playing.

That said, flow is also at the heart of any gripe I have with the TONEX. 

At the point where you hit the limit of what it can do, and need to replace those presets, you're reaching for a USB cable. I don’t want to sound too dramatic, but the ritual of getting out the laptop and fussing around software makes it feel like filling in a spreadsheet at work. And database entry is not renowned for its inspirational qualities.

Arguably, though, that is a moot point: if you're buying a modeling pedal this small, then you already know that there's going to be an ergonomic trade-off. Once you reach the limits of those presets then a lot is going to come down to how you feel about cracking out the USBs.

Luckily, IK knows how to make good, ergonomic software, so the pain is minimal once you're plugged in. Moreover, if you were to use the TONEX as a pedal platform, you would only have to do this once, to find and setup the voicings that suit you. After that, it's a case of set-and-forget.

So, while it's nice to have endless options at your fingertips, the practical restriction of two A/B models isn't a massive drawback. After all, many non-modeling players will be familiar with that dilemma on a traditional tube amp. 

My testing Marshall stack certainly doesn't have the flexibility of the TONEX One – and the TONEX can bring both Fender and Marshall (and many, many, more) models to your pedalboard, and it can fit in your pocket.

There are inevitably going to be endless YouTube gear videos with 'game changer' in the title, so what's our verdict? Well, it's not a game-changer, but it is good. 

As I noted with Fender’s Tone Master Pro, we're very much in incremental improvement territory when it comes to modeling’s tonal qualities. The main distinguishing factors in 2024 are practicality and usability – and the TONEX One has an abundance of the former and enough of the latter.

Ultimately, it comes down to how you use it. It is ridiculously small, sounds as good as the larger stompboxes, and the software is solid. Is it as ergonomic as having an amp next to you with every parameter instantly accessible? No. But it's flexible and compact [and if you want more control there’s always the TONEX Pedal - Ed].

Even if you take the view that you may as well just take a laptop with you, then the TONEX doubles as a compact interface for recording. Or, used with headphones, as a quiet home or travel practice solution. 

At $179.99, it could also work well as the basis for an affordable fly rig pedalboard or quiet stage solution. Notably, given you can clone your own gear using the TONEX software, it’s also an appealing one-stop back-up option for any physical amps or drive pedals. And it has a tuner.

When it comes to that core question of flow – of whether it helps or hinders – then this is not one of those boxes that is an immediate playing enhancer, but if you have a purpose for it and put in a little time upfront, well, it can certainly solve some problems – and might just be the ultimate mini-pedal pedal platform.

• For more information on the TONEX One, head to IK Multimedia.

UPDATE 04/24/24: This article was updated to underline the fact that TONEX One comes with 20 onboard presets (available without connection via USB to the software editor) and removed mention of a lack of manual, given the full version was unavailable at the time of testing.