Hello, and welcome to Guitar World’s weekly gear round-up, your one-stop-shop for keeping up to date with what’s been happening in the big wide world of guitar gear over the past seven days.

From new electric guitars to amp modeler updates, the guitar industry is never short of fresh releases, and it can sometimes be hard to stay in the loop with every new launch.

To make things a little easier, we’ve put together an essential must-read guide that will cover the major releases, the boutique drops, and everything in between.

How will history look upon this week in gear? Who could possibly say. This has not been one of those off-calendar NAMM weeks in which everything from everyone drops all at once – but it might well be remembered as the week in which one of the most anticipated metal guitars in recent memory has been released.

And as ever, please remember to vote for your favorite new release in the poll below...

Jackson Pro Series Wes Borland King V

Wes Borland’s first-ever signature guitar with Jackson presents me with something of a conundrum.

Nu-metal, aesthetically, is very much a leave it or leave it proposition for me, and yet this King V, stripped down to a single-pickup platform, just one Seymour Duncan SH-8 Invader at the bridge position, finished in black with white bevels, and with its uniquely reversed and upside down headstock design, is screaming ‘buy me now”.

There is nothing overly Limp Bizkit about Borland's King V. It's just a super-cool metal guitar. It won’t leave your tap water tasting of hot dogs. It won’t make your Hershey’s bar taste of starfish. The signature details are writ large only in its design, in that Borland, an iconoclast in stagewear, tones and – clearly – electric guitars, has spec’d this up to be like a left-handed King V he grabbed from the Custom Shop and liked so much he just converted it to a right-hander.

Hence, the “upside-down” Jackson logo. Too cool. And there's more...

You also have the recessed Floyd 1500 Series vibrato, and all mod cons that come with the Indonesian-made Pro Series Jackson, i.e. the Luminlay side-dot markers, the 12” to 16” compound radius fingerboard – we’ve got ebony here – and locking strap pins etc.

And the King V remains a redoubtable option for all things high-gain, death metal, black metal, thrash metal, doom, and clearly also nu-metal. That neck-through build – a speedy, graphite-reinforced maple neck sandwiched by poplar wings – is always superlative. And that Invader at the bridge is one gnarly pickup.

$1,299? Not bad, but a look at the Jackson website suggests all stock has sold out already. But you gotta have faith – more stock will be on the way.

DOD x Morley Wah-ocTo-Fuzz

Two giants of US stompbox manufacturing, one whacked-out pedal, the Wah-ocTo-Fuzz is hard to say out loud, easy to fall in love with, given that it packs fuzz, octave and wah into one housing.

The circuits under the hood, and therefore the sounds, are all classic designs, so the sounds will be familiar to us. Only DOD/Morley is allowing us to stack them, combine them, use them individually, in a pedal that does a lot of work for the real estate it will take up on your pedalboard.

The octave down effect is delivered by the DOD FX35 Octoplus circuit from the mid ‘80s, while Morley’s Power Wah and Power Fuzz circuits do the rest. At first blush, those controls look a bit cramped on there but we’ll see how that transpires when we get ahold of one.

One thing we can be sure of is that, once you dial it in, this could be a particularly useful pedal, for Jimi Hendrix-style freakouts, for any musical purpose you can think of that requires a trinity of classic effects sounds. It's the wah pedal that is also a fuzz pedal and then it's an octave pedal, too. WTF, indeed.

Korn Indigo Sludge Preamp + Fuzz

So you were one of the lucky ones who bagged yourself Wes Borland King V, why not make this week an All in the Family type deal and place an order for a Korn pedal that replicated the band’s formative guitar tones of their first two albums?

The Indigo Ranch Sludge Preamp + Fuzz combines one high-gain preamp with a fuzz section, and there’s a switchable octave pedal too. Just grab yourself an Ibanez seven-string guitar and you’re good to go. These are built to James ‘Munky’ Shaffer’s exacting specifications, and are being sold exclusively via the Korn website, priced $249. They’re only making 500 of ‘em, and they ship in November.

Harley Benton ST Modern Plus HSS and ST Modern HH

Harley Benton’s timing is immaculate. Just when everyone and their dog is talking about the fashionable S-style, the German budget gear brand has gone and expanded its ST range with some seriously hot-rodded models at typically ridiculous prices.

The return of the ST Modern HH is great news for any young player or beginner looking for a cheap, shreddable runaround. For $185, you’ll get some pure humbucker beef. There’s a no-fuss hardtail. The metallic finishes are awesome (Root Beer Metallic FTW), and they come with roasted maple necks as standard. Sculpted heels let you access the dusty end of the fingerboard, and said ‘board is very a la mode, with a 12” to 16” compound radius offering a platform for technically adroit playing.

The ST Modern Plus range sees the Dark Purple Sparkle model given a right-handed makeover. It’s a little more upscale, and yet still offers change from 500 bucks. For your dough you get one cool finish, quality hardware, a roasted flame maple neck and Harley Benton’s VR-Nitro pickups.

Futone 50 / 60 switch

This week has been a good week for the modding community with Futone Guitars debuting the 50/60 switch, which is for all intents and purposes a time machine. Well, kind of. It’s a pro-quality mod that lets you switch between vintage ‘50s style wiring and the more modern ‘60s style wiring we see today.

And finally, it gives players the chance to A/B them on the one guitar, on the fly, without reaching for a soldering iron. Both wiring systems sound the same when your volume and tone knobs are on 10. But once you roll back the volume and tone controls the differences come to light. In short, ‘50s style wiring keeps your highs even as you back off the volume, and the tone and volume are interactive.

There’s a little treble roll-off as you turn down the volume on the ‘60s wiring. That said, with latter, you can adjust your tone pot and it won’t affect your guitar’s output.

“Go from warmer interactive vintage taper to tighter modern articulation…in seconds,” says Futone. Find out more at Futone Guitars.

Seymour DuncanRyan “Fluff” Bruce FLF Model Humbucker

Ryan ‘Fluff’ Bruce’s latest signature pickup will be familiar to anyone who has taken his custom Ernie Ball Music Man StingRay, and of particular interest to anyone who likes the idea of combining a Seymour Duncan JB humbucker and a Black Winter in one insane pickup.

That is what this is. Designed around an Alnico IV bar magnet, it pairs one coil of the JB with one of the Black Winter, and gives it the blackout finish with matte black bobbins and black nickel studs/screws. Tasting notes? Oh go on. “A throaty midrange and percussive bite nail aggressive drop-tuned rhythms, while a smooth, buttery top end keeps leads expressive and musical.”

Lovely. Serve at room temperature. Pair with high-gain. Find out more at Seymour Duncan.

IK Multimedia Royal 45 Legends

Has IK Multimedia just unveiled the ultimate classic rock guitar plugin? It’s quite possible. The latest in its superlative Tonex series collects the tones from a trio of “museum-grade” ‘60s Marshall amps, two of which belong to Capitol Records, and the third from “one of Europe’s most respected vintage Marshall collections”.

So, yes, for that JTM45 vibe that you can keep safely on your computer – your own digital ace in the whole for recording – it does not get much better than this.

As ever, IK Multimedia applied its proprietary Tonex V2 AI Machine Modeling tech to the job of capturing these amps, using super high-end studio gear, and of course these are collected with a range of vintage cabinet and speaker simulations.

For all your Eric Clapton rock and blues guitar tone needs, for those “dad rock but make digital” moments, head over to IK Multimedia.

Blackstar's Tone3000 capture pack

One of the things that most excited us about the Blackstar Beam Mini was the prospect of accessing all those user-created Neural Amp Models (NAM), free from the Tone 3000 online community. Blackstar is the first amp company to partner with the platform, offering hundreds of thousands of amp captures natively on the Beam Mini, and so maybe it makes perfect sense that it has created some NAM amp captures itself and is offering the collection for free via Tone 3000.

There are 14 tones in all, including some of the backline stars from the Blackstar catalog; the St. James 100, the Series One 100 MKII, the TV-10 AH and the Artisan 100. And we are very pleased to see the HT-Dual Overdrive pedal is in the collection too.

“These aren't third-party interpretations. They're the real thing, captured by the people who designed and built the hardware. From the boutique warmth of the Artisan handwired series to the high-gain muscle of the Series One, every capture is a direct line to the sound in your head.

“These are some of the most prestigious valve amplifiers we’ve ever made and many players may never have the opportunity to plug into them,” says Alex Gee, Blackstar’s head of products. “Working with Tone 3000, we’ve captured each one faithfully and put them in the hands of anyone who wants to try them.”

And you can get these now via Tone 3000.

We’ve all come to terms with the concept of mini amps that punch well above their weight, but Blackstar’s BEAM Mini – first debuted at NAMM – has officially launched and looks set to seriously up the ante, offering a mini amp/modeler with Tone3000 NAM capture support and AI stem separation.

What does all the jargon mean? Well, NAM stands for Neural Amp Model, which essentially means users will have access to a library of over 200,000 amp/rig captures available from Tone3000’s massive open source library.

This is in addition to Blackstar’s own “component-level” modeling tech, which incorporates six models of core Blackstar amps, plus the firm’s Ampton line, which includes benchmark digital models of amps like the Vox AC30, Marshall JCM800, Fender 1969 Twin Reverb, Mesa/Boogie Dual Recitifier and Peavey 5150.

All of which means that when it comes to the BEAM Mini’s tonal range, the options are pretty much endless.

Meanwhile, Moises AI stem separation enables players to isolate or remove instruments from tracks on playback (similar to JBL’s BandBox), so you can isolate guitars to learn parts and then play along to the track with the original parts removed.

A significant caveat is that this is not available at launch, but will be coming in an August software update.

Then you’ve got the other mini amp staples: Bluetooth streaming, battery power (up to 18 hours), app support, 35 studio grade effects, headphone output, audio interface capabilities, user patch library (in addition to the NAM capabilities), IR CabRig speaker/mic emulation and IP66 weatherproofing. You can even record vocals via the headset mic hook-up.

Despite the app editing capabilities, there’s still a surprising amount of control available on the unit itself, with Patch, Gain, EQ, FX and Volume buttons, plus the oversized SpeedDial (perhaps inspired by the hefty wheel on the Positive Grid Spark GO), which is multifunctional.

The diminutive cabinet itself is also worth mentioning, featuring two 60mm full-range drivers, two passive bass radiators and Blackstar’s Super Wide Stereo tech to “create an immersive, room-filling tone you won’t believe is coming from something this small.”

This all obviously sounds like marketing hyperbole, but is genuinely impressive in action. Everyone from the GW team who got their hands and ears on one of these at NAMM and Guitar Summit was seriously impressed by its sonic capabilities.

All in all, it’s the first time we’ve seen a tiny mini amp from a trusted amp builder that combines this level of cutting-edge tech into such an impressive-sounding unit. Indeed, the early word from our reviewer Pete Emery is that “it's easily the best mini-amp on the market right now”.

Positive Grid has long stolen a march on the more traditional builders, but if the BEAM delivers on its promises it looks like the Spark GO is about to get some serious competition.

At $229, it’s priced right between Positive Grid’s Spark Mini and GO platforms, too.

UPDATE 05/06/26: You can now read our full Blackstar BEAM Mini review.

For more information, head to Blackstar.

Doug Aldrich has spent most of his life standing in front of loud valve amplifiers. From learning how to coax tone out of vintage Marshalls to filling theatres and arenas with Whitesnake, Dio and The Dead Daisies, his sound has always been about feel and authority.

But taking vintage guitar amps on the road comes with some compromises: ageing components, inconsistent behaviour night to night, and the constant worry that something irreplaceable might fail mid-show or even get stolen.

The Blackstar DA100 Ruby grew out of that reality. Rather than cloning his vintage Marshalls, Aldrich wanted an amp that captured the response and punch of his favourite amps while meeting modern demands – volume control, reliability, modern switching capabilities and, of course, world-class tone and feel.

Built around the DNA of Blackstar’s HT Stage 100, the DA100 Ruby evolved through months of hands-on tweaking, in-person R&D sessions and real-world testing. The result is a three-channel, dual-voiced 100-watt head, designed not just to reflect Aldrich’s signature tone but to function as a practical working amp.

We sat down with Doug to talk through the full journey, from his long-standing relationship with Blackstar, to the technical decisions behind the amp and cabinet, and how his approach to tone has evolved throughout his career.

How did this collaboration with Blackstar come about?

I’ve known those guys since the beginning when Blackstar was formed. A couple of them came from Marshall and back then I was playing Marshalls full-time and starting to build a relationship with Jim Marshall himself. Blackstar first reached out to me years ago, but the timing was bad because I was fully in with Marshall at that point.

Over the years I kept running into Blackstar amps in stores or I’d hear some of my buddies playing them. Every time I plugged in, I thought, ‘Man, these amps are killer.’

Later, when The Dead Daisies were looking for someone to work with that was genuinely excited about the band, Blackstar stepped up. They loaned us some amps for a tour and I loved them. After that, they asked me if I was interested in collaborating on something.

Had you ever seriously considered doing a signature amp before this?

I had thought about it. I was always looking for something that could replace my vintage amps on the road. Those old Marshalls sound incredible, and I still have them, but parts fail, capacitors go, transformers get tired… all the stuff that comes with old gear. I talked to a few different companies about doing something. I messed around with some ideas with Marshall.

I spoke to Engl, and had conversations with John Suhr about doing a Custom Audio amp, but it never really took off. With Blackstar, it felt different right away. They wanted to come to me, hear what I liked and actually work through it together.

From a design standpoint, where did you start with your amp?

The starting point was the Blackstar HT Stage 100. I was already a big fan of that amp. It has a great tone and touch response that I really like, so I didn’t want to reinvent the wheel. The idea was basically, ‘You like this amp, so let’s start here and tweak it.’

That’s really what the DA100 Ruby is. It’s not a radical departure; it’s kind of a refined version of something that already worked. People think of me as a hard-rock or metal player, but I love a lot of different styles, so flexibility was a huge part of the design. I didn’t want a one-trick metal amp.

What were the first things you wanted to adapt and in what way?

Mostly subtle stuff. We talked a lot about the midrange and just nudging certain frequencies slightly down so it wasn’t overly forward. We also talked about gain structure. I wanted plenty of gain, but I didn’t want it to feel buzzy or overly compressed. Everybody knows me for heavier sounds, but I also play a lot of straight-up rock. I wanted the amp to cover that ground without sounding too heavy.

What was the R&D process like?

One of the coolest R&D sessions was around NAMM 2023. A few of the Blackstar engineers from England were in town to work on some stuff with Jared James Nichols, so we met up at a studio in LA that Jared was working out of.

[Blackstar design engineer] Paul Stevens had this prototype where the main circuit board was pulled out and wired, so we could tweak things in real-time. He’d ask what I thought, I’d listen and suggest changes, and then he’d swap components or adjust things with a screwdriver. That kind of hands-on experience was really cool.

How long did the full development process take?

About eight months from the first serious conversations to the final version. After the session, they went back to the UK, refined everything and sent prototypes over. I didn’t want to ask for a completely different chassis or layout. Blackstar already had a solid blueprint with the HT100, so we worked with that to get the sound and feel right.

Blackstar has a facility here in the LA area so it was easy to get in there and test things. But they also sent a prototype from England. The cool part was that the prototype was basically exactly where we’d left off from our initial session.

So there were basically two prototype test sessions before I said, ‘This is it, let’s go for it.’ From there, it was like, ‘How do we make this work with the electronic parts and keep it in line with how Blackstar actually manufactures amps?’ They had a good outline to start with, so we just tweaked it.

Did you bring your own cabs along to test the prototypes?

Blackstar asked me what cabinets and speakers I liked. I told them Celestion Greenbacks and Vintage 30s. When we toured, they let us borrow some cabs and they sounded great.

They thought I would like the UK Vintage 30s better, so they brought 4x12 cabs loaded with those speakers for me to test the amps. There are different versions of the Vintage 30, but I think the UK-made version sounds the best.

Was there a feature you were adamant about adding beyond the tonal changes?

“A footswitchable effects loop was a big one for me. I didn’t want to run a long cable from a delay pedal on the floor and then back to the amp, just to get to the effects loop. I wanted that stuff back by the amps, and I liked the idea of being able to switch the loop off and on from a pedalboard.

In the beginning, we focused on the tonal aspect and got that right. Then they went back, worked out the loop switching and built the first proper prototype that combined the tonal tweaks with a switchable effects loop, along with a five-button footswitch.

I also wanted to make sure the amp’s distorted sound wasn’t too buzzy. I play more hard-rock than metal these days, and I wanted a really pure note coming off the guitar. You can always add aggression with a pedal, but the core tone has to be right.

Volume management is a big issue with high-wattage valve amps. Did that influence the amp design at all?

Yeah, the volume issue was a big deal. In rehearsals, when the amp was loud, it sounded incredible. On tour, the FOH soundman is always on me to turn down. But it’s a tube amp and you have to wind it up a bit to hit that sweet spot where it doesn’t sound fizzy.

So I told the Blackstar guys that I wanted to make sure the amp stays full and articulate, even at lower volumes. It also has a switch that lets you go from 100 watts down to 10, which really helps sometimes.

There’s something about the tone of running four EL34s in a 100-watt head that you just don’t get with lower-wattage amps. They sound very different. 100 watts just sounds bigger and feels better to me, so I usually stick with that.

Tell us about the matching 4x12 cabinet.

We experimented with different speakers and landed on the UK-made Celestion Vintage 30s that we tried initially, but the cabinet itself is different from Blackstar’s standard HT cab. They had to redesign it to get it tuned right with the amp and the Vintage 30s.

They used thicker wood for the baffle, which makes it heavier but more solid. The thinner baffle from the HT cab was moving a bit too much from vibration. The heavier construction on the DA412B cab sounds much tighter and way more focused. It sounds insane!

How do you typically run the amp live?

It’s a three-channel amp with two modes per channel, so there’s a lot of flexibility. I tend to live on the Crunch channel and use my guitar volume constantly.

For heavier parts I’ll hit a boost or switch to the lead channel. The transitions – switching between channels – are really smooth, which is something I’ve struggled with on other channel-switching amps. No problems at all with this one.

So you’re still using pedals for gain?

Definitely. You don’t really need pedals for gain because there’s plenty there, but the amp responds really well to boosts and overdrives. A Tube Screamer-style mid boost works great.

Lately, I’ve also been experimenting with fuzzes and different overdrives. The key thing is that the amp has great low-end and clarity, so using various pedals is more about adding different colours and textures.

How has your tone changed or evolved throughout your career?

Early on I was all about maximum gain and aggression. Over a period of time I realised you don’t want to always be on 10. Dynamics are now a big part of my sound: I want something that responds to my hands first and then gives me the option to go over the top when I need it. This amp is extremely versatile and really reflects where I am now as a player.

Looking back at everything you’ve played over the years, where does the DA100 Ruby stand?

It feels like the amps I grew up with but with features that fit today’s world of touring, recording and volume limits. It inspires me every time I plug in and it works night after night without any drama. That’s the ultimate goal. It’s a killer amp!

• “A new benchmark for heavy guitar sounds at a relatively accessible price point”: Blackstar DA100 Ruby review
• This article first appeared in Guitarist. Subscribe and save.

What is it?

Since Blackstar’s inception in 2007, its guitar amplifiers have become synonymous not only with relative affordability but also the wide range of progressive features to be found onboard, such as impulse response outputs and USB computer control.

But back in the summer of 2024 Blackstar launched the simplistic 1x12 TV-10 A combo amp that “with its 6L6 power valve and boutique aesthetics, promise[d] authentic American tones and vintage styling”.

Following later that year, the EL34 TV-10 B did the same trick but with a British flavour. Now, for 2026, Blackstar has added a head version in both flavours, with matching cabinets.

This pair of amp heads is so basic in its controls, it’s impossible to imagine greater simplicity. In full disclosure, your humble reviewer was not entirely convinced, merely from the specifications, that these amplifiers would be cause for huge excitement. However, from the moment the packing was unsealed, all expectations were thoroughly exceeded. Let’s take a closer look.

First off, sat atop their colour-coordinated cabs, these handsomely finished outfits look stunning. The beautifully detailed and constructed blonde-covered TV-10 AH head and TV-112 A cab setup has more than a whiff of vintage Fender to its aesthetic, while the UK-oriented TV-10 BH and 112 cab, in its subtle deep blue, has a regal air all its own.

These diminutive setups, while compact, are stylishly designed and appointed, right down to the soft and comfortable leather-style handle.

Construction quality appears top-notch, too, with some thoughtful yet invisible inclusions, such as solid-backed screw cups for the backplate that prevent the vinyl being cut over time. The valves used are from the reputable TAD (Tube Amp Doctor) brand, produced in China.

Under the hood, both amps employ single power valves: a 6L6 for the TV A and EL34 for the TV B, both operating in Class A configuration. This method is known to provide a more touch-sensitive chiming quality, imbued with plenty of high-frequency harmonic magic – with a trade-off by way of a reduction in clean headroom. This style of circuit design is often employed by boutique amp builders whose customers are prepared to forgo high headroom in favour of a sweeter overall tone.

The minimal control panel features just four knobs – Master, Reverb, Tone and Gain – with a push-button for the Drive feature.

The only extra accoutrements are the post-power amp, cab-emulated jack output, for isolated PA and recording uses, and the included one-button Drive footswitch, while its pre-set speaker outputs provide for 16- and eight-ohm cabinet impedances.

Specs

Blackstar TV-10AH

• PRICE: $749 | £499 | €699
• ORIGIN: China
• TYPE: All-valve compact head
• VALVES: 1x EEC83 1x 6L6
• OUTPUT: 10W
• DIMENSIONS: 404 (w) x 203 (d) x 230mm (h)
• WEIGHT (kg/lb): 9/20
• CABINET: MDF
• CHANNELS: 1 with Boost
• CONTROLS: Master, Reverb, Tone, Gain, Boost switch
• FOOTSWITCH: 1-button included
• ADDITIONAL FEATURES: Effects loop, speaker-emulated output
• OPTIONS: Matching TV-112 A cab with Celestion A-Type speaker (£379)
• RANGE OPTIONS: TV-10 A combo (£579)

Blackstar TV-10BH

• PRICE: $749 | £499 | €699
• ORIGIN: China
• TYPE: All-valve compact head
• VALVES: 1x EEC83 1x EL34
• OUTPUT: 10W
• DIMENSIONS: 404 (w) x 203 (d) x 230 (h)
• WEIGHT (kg/lb): 9/20
• CABINET: MDF
• CHANNELS: 1 with Boost
• CONTROLS: Master, Reverb, Tone, Gain, Boost switch
• FOOTSWITCH: 1-button included
• ADDITIONAL FEATURES: Effects loop, speaker-emulated output
• OPTIONS: Matching TV-112 B cab with Celestion V-Type speaker (£379)
• RANGE OPTIONS: TV-10 B combo ($799/£579)
• CONTACT: Blackstar Amplification

Usability and sounds

Kicking off with the TV A mini-stack, our Fender Telecaster immediately sprang out with an instantly recognisable American twang, chiming sympathetically to the touch and softening any potentially icy sounds produced by the Tele’s famously brusque bridge pickup.

The high-end sparkle promised by the Class A circuitry is a joy to hear, bringing harmonic excitement without sharp, ear-poking transients. Dialling in the onboard digital reverb, an entirely believable spring-styled medium length halo bathes the notes via a single control for depth.

Incidentally, the timing of this review coincided with this writer’s production of a country album for UK artist Russel Kitchin. With a roomful of classic Fender amps, from the historic to the contemporary to choose from, perhaps surprisingly, it was this Blackstar TV A setup that was the most-used Fender-styled sound of them all.

Eager to see what other tricks the TV A is capable of, we pull out a humbucker-equipped Stratocaster. As we push into break-up, the smoothness available is a wonderful surprise.

Fender amplifiers are not known for their inherently pleasing overdrive; however, this proves an incredibly inspiring playing experience. With the boost engaged, there’s more than enough gain for solo sustain and heavy riffage.

The matching 1x12 Celestion Type-A equipped speaker cabinet plays its part in the sound by way of its slightly softer midrange, possibly due to the cab’s MDF construction.

It’s an effective choice to lessen any pokey harshness, though possibly at the expense of producing strong, beaming mids. That said, funk and country players will likely be delighted by the subtle accommodation for their peakier transients.

Over to the TV B rig and, with a Les Paul in hand, we find the amp has similar chiming overtones yet a more filled-in midrange, bringing a gutsier heft to chords and sinuous single notes. The range of the gain control begins fully clean with the sustaining midrange of very British derivation, rapidly moving through to the onset of classic crunch.

These semi-distorted tones are delivered with a silver lining of euphonic Class A high-end, adding life where comparable non-Class A amps can sound somewhat dry and unresponsive.

The higher end of the gain range brings the kind of levels we might expect from a 70s-era master volume British amp head: it’s full-bodied with a tight feel under the pick. Pushing the Boost button delivers a slab of extra gain that’ll have those 80s and 90s riffs leaping from your strings.

To check the performance of the series effect loop, with a simple digital delay plumbed in, a healthy dose of solo gratification can be achieved via a subtle 600ms repeat, which is rendered cleanly with minimal noise.

The emulated output is perhaps the only feature that left us slightly underwhelmed since it sounds somewhat less than lifelike. Nevertheless, a more usable sound can be achieved by processing externally using a further cab-IR profile.

Verdict

Verdict: ★★★★½

Both amps dazzle equally in their own distinct ways. Blackstar has captured the very essence of the most recognisable UK and US amplifier styles and distilled them into these budget-friendly studio, rehearsal and small-gig companions. Taking up almost no space in a studio, this pair alone could cover the lion’s share of guitar sounds that are commonly called for.

Worth mentioning is that a slight hum, not dissimilar to mains hum, was audible upon plugging in our guitar, irrespective of settings or guitar volume. It wasn’t loud enough to present an issue at reasonable volumes, but it was noticeable at quiet volumes.

The cabinets and speakers sound smooth and almost like they’ve already been broken in. That smoothness might lack enough bite for darker-sounding guitars, but trying different speakers can coax a wide range of tonalities from each of these amplifiers, depending on your needs.

If you’re looking for a tighter sound, a closed-back design may be needed for the low-end punch. But it’s the beautiful, classic valve tones produced that make the TV range so appealing.

Guitar World verdict: These are not merely budget approximations of classic sounds but fully inspiring tone machines packed with sparkling harmonics and juicy valve overtones and compression. Whether your appetite is whetted by Blackstar’s American cousin or its British compatriot, the chances are every studio would do well to grab the pair and be secure in the knowledge that you’re covered for pretty much every tonal eventuality.

Hands-on videos

Blackstar Amplification

Noisegate

• Best Blackstar amps: Everything from practice amps to studio quality gear

What is it?

The world is not short of FRFR guitar cabinets, which, on the surface, is a little odd when we consider that they all claim to transparently amplify your amp modeler of choice. But, alas, it is not that simple. Being physical things, their construction inevitably has an effect on how they 'push air', making each of them sound a little bit different.

New for 2026 is Blackstar's contribution to the market - the Blackstar Artist FR Standard and FR Special. Both are exactly the same, differing only in wattage, with the Standard sporting 50 watts and the Special boasting 100.

I currently have the Special in for review, and it is an interesting bit of kit as there are a number of things that differentiate it from its competitors, like the Fender Tonemaster FR-12 and Laney LFR-112.

The first is the price. At $469, it’s cheaper than many other commonly used FRFR cabinets. Fender's offering, for example, comes in at $749 at the time of writing. The second is that the Blackstar Artist uses a whizzer cone to handle the higher frequencies instead of the usual compression driver that brands like IK Multimedia, Laney, and Fender use in their FRFRs.

When it comes to full-range devices, whizzer cones are generally considered to be the more budget-oriented option. But Blackstar states that the cab is designed specifically for the guitar, so perhaps this choice may be a sensible one that reflects the use case? Guitar tones live mostly in the mid-range after all. We will see when we dig into the sounds.

Similar to the Tone Master FR-12, Blackstar also keeps things simple and somewhat amp-like. Just one combo input, a direct out, and the familiar Bass, Mid, Treble controls, as well as a Presence control. These extra active EQ shaping options are certainly potentially useful when it comes to shaping your sound to a venue space and band mix.

Specs

• Launch price: $469/£339/€369
• Type: Powered FRFR speaker cabinet
• Origin: China
• Output: 100 watts RMS
• Speaker: 12" with whizzer cone
• Controls: Bass, Mid, Treble, Presence, Volume
• Connectivity: 1 x combo XLR in, 1 x balanced XLR out
• Weight: 29.7lbs/13.5kg
• Dimensions: 525 x 447 x 245 mm/20.6" x 17.5" x 9.6"
• Contact: Blackstar

Build quality

Build quality rating: ★★★★☆½

Blackstar isn’t new to building guitar cabinets, so we are right to expect that experience to result in a robust and gig-worthy bit of gear. And indeed it does.

The MDF sides feel solid, as do the controls on the top panel, all turning with a reassuring resistance. It is finished with the same highly textured tolex as is on many of Blackstar's amps, which is a nice touch, although it is slightly marred by difficult-to-remove residue left by the Blackstar sticker.

At 13.5kg, it’s not the lightest FRFR cab on the market, perhaps due to the MDF construction rather than plywood, but it isn’t far off the norm. For example, the likes of the Tonex Cab and the aforementioned Fender are 12.7kg and 13.1kg,

For shifting that weight, there is a rubber carrying handle which, while sturdy enough, is a bit too thin to have a premium feel.

It’s always handy to have the ability to tilt these cabs back and direct the sound towards our ears. I have often found in other FRFR cabs that the pull-out legs that facilitate this scrape against the sides of their chassis, creating a concern that they will eventually mark the tolex after repeated use. And the textured tolex here is a nice example I'd hate to have seen damaged.

Blackstar cannily gets around this by recessing a single, sturdy metal leg into the back panel. Most FRFRs have two legs for this purpose, so you would be forgiven for envisioning Reliant Robin (a British three-wheeled car notorious for ending up on its side) levels of stability. Happily, there's no need to worry as the cab is completely stable when the leg is extended, and the leg also sports a considerate rubber tip to avoid damaging floors.

The solid black aesthetic means it’s low-key in looks, and I do appreciate the class that the brushed aluminium of the control panel lends to the speaker. I also like the fact that it is styled to look like one of Blackstar's actual amps, meaning it will appear at home on any stage.

Usability

Usability rating: ★★★★★

Simplicity is underrated. There is nothing fancy here, just an EQ section, which means that all I have to do to get up and running is plug in my modeler, in this case, a Line 6 Helix Floor.

There’s a handy LED on the top panel just below the power switch that tells me if the input signal is clipping, making the Blackstar Artist FR Special pretty much foolproof. The EQ controls are also situated on that top panel, just like they would be in a real amp. In other words, nice and easy to get to.

They also feature a nice notch in the centre position, helpfully removing any doubt when I am looking to set them flat.

Placed around the back is the aforementioned combo input, the IEC input, and an XLR direct out. The XLR out is a balanced output designed to send your modeler’s tone straight to a mixing desk, without being affected by Blackstar’s controls.

This is perfect if you are using a modeler, such as an amp pedal that often has just the one output. The separate DI out on the FRFR allows you to control your on-stage levels and tone, without ruining your sound engineer's day by changing what you are sending them mid-gig.

Another engineer-conscious touch is the ground lift that will help to get rid of any problematic ground hum.

Sounds

Sounds rating: ★★★★½

The tricky thing about assessing FRFR cabinets is defining what the transparent version of the modeling tone is. Whether you are listening through studio monitors, headphones, another FRFR cab, or a PA speaker, each device will slightly affect your tone.

So, how do we decide what is transparent? Well, for this review I use a tone we know inside and out, then compare it to my experiences with a host of other FRFR units. I’m using a Dumble tone on my Line 6 Helix Floor that I have done countless gigs with, a Tonex Cab, and a set of studio monitors for reference, as well as experience with the Laney LFR series, Line 6 Powercab CL, Fender Tone Master FRFR guitar cabs, and a host of P.A speakers.

The initial impression of the Blackstar is that it is a wonderfully full sound. The bass response is clear, without being muddy, and the mids are present without being boxy.

The high end will punch through nicely on stage, but it doesn’t quite have the smooth feel of something like the (more expensive) Tonex Cab, and it's a little more boxy compared to the (again, more expensive) Fender FR-12. The latter is also physically larger as a cabinet.

It’s important to note that I’m speaking relatively, as these are small differences that are most noticeable in a direct A/B test like I am doing here.

For tweaking that on-stage sound, the EQ provides more than enough to suit any stage, so we have plenty here to play with as we take the unit from venue to venue. The Bass, Mid, and Treble do exactly as you expect, with the Presence control editing the ‘airy’ high end.

Each of these controls does enough that we can dial ourselves out of a good tone, but I would rather too much than not have enough to tweak for a stage.

Side note, Blackstar's manual defines exactly what the EQ does, which is something I wish more brands would do. Not that it makes any difference to what we hear, but information like this is only going to benefit the user by helping them recognise what it is they are hearing.

If you are interested, the Bass control is +/- 6 dB at 80Hz, Mid is +/- 9 dB at 850Hz, Treble is +/- 11 dB at 12 kHz, and the Presence works as a low-pass filter, completely open when the control is set to full.

While wattage rating is not a clear indication of loudness, especially with FRFRs, the Blackstar FR Artist Special's 100 watts is unsuprisingly not as loud as the 700W Tonex Cab or the 250W Laney LFR-110, but it's more than enough to go toe-to-toe with a drummer and get yourself heard on stage, therefore fulfilling its remit as a great monitoring tool.

Verdict

The Blackstar Artist FR series may not have the IR and Bluetooth capabilities of some other FRFR cabinets, but this helps keep the price down and makes it ideal for the player who is looking for a complication-free way to lend their modeler some on-stage volume.

This simplicity makes the Blackstar Artist FR Special a breeze to use, and while I may find it a little brittle in the high end, this only becomes clearest in A/B testing with more expensive units rather than a real problem. What the cabinet offers is a great-sounding, cost-effective way of accurately amplifying your modeled tone, which is all that many guitar players need from their FRFR cabinet.

Guitar World verdict: The main purpose of an FRFR cabinet is to amplify your digitally modeled sound as transparently as possible, and the Blackstar Artist FR Special does this in an easy-to-use, cost-effective, and well-built manner. There are no extraneous bells and whistles with this unit; instead, it simply provides exactly what most players are going to need.

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Blackstar Amplification

Noisegate

• “Amp and cab models that surpass some expensive units from bigger brands”: Blackstar ID:X Floor Three review

What is it?

You can’t unlock your phone, laptop, or tablet without coming across another multi-effects pedal these days. They’re the hot new product, combining amp modeler, effects pedal, and audio interface into one handy unit. With nearly every major manufacturer offering something in the space, it’s getting increasingly difficult for guitarists to choose the right one for their needs, and that isn’t about to change with the launch of the Blackstar ID:X Floor Three.

Looking very similar to their, in my opinion, underrated Amped series of pedals, these new hardware units do away with the power amp section of the aforementioned pedal and focus on becoming the centrepoint of your rig. As modelling becomes indiscernible from the real deal, the ID:X Floor series seems like the natural evolution from the ID:X amps and Amped pedals, giving guitarists everything they need in a single unit.

Today I’m reviewing the full-fat version of the series, but there’s also the Floor Two, which features three footswitches and an expression pedal, and the Floor One, which has no expression pedal and three footswitches. All of the versions feature the same sounds, but as you go up the range, you add flexibility with additional controls.

Floor Three focuses on giving you a decidedly more guitar amp style workflow, so there’s just a tiny screen offset to the right for visual cues when changing the settings of individual effects or amp models. 7 knobs deliver control over your amp tones, following a very similar path to that of the Blackstar ID:X 50 practice amp. You can select your voice with the left-most knob, before tweaking the overall tone with gain, volume, bass, middle, treble, and Blackstar’s patented ‘ISF’ control, which changes the tonality from an American to a British amp sound.

There are eight footswitches across the front of the unit, with the bottom row handling channel switching, preset banking, tap tempo, and the tuner. The upper row offers additional control for switching the pre-fx, modulation, delay, and reverb sounds. The lower footswitches are slimline and soft click, whereas the higher row is more like what you’d find on a traditional stompbox. To the right of the screen is a master volume along with additional controls for setting the tube response and further voicing options. Finally, there’s a decent-sized expression pedal, which is about two-thirds the size of my UK size 9 foot.

On the back panel, there are plenty of connectivity options, and it can be run with a pedalboard power supply-friendly 9V, 500mA power supply. A single input is joined by an effects loop, amp or FRFR cab, headphone out, and stereo XLR outputs for connecting to a PA system. MIDI in and thru allow for connectivity with additional hardware devices or integration into more complex rigs, while a 1/8-inch input offers a line in for audio devices. Blackstar’s Architect software offers a way to dive deeper into amp modeling using your laptop or PC.

Specs

• Launch price: $399.99/£279/€299
• Type: Amp modeler and multi-effects pedal
• Controls: Voice, gain, volume, bass, middle, treble, ISF, manual, shift, save, pre-fx, mod, delay, reverb, master, response, voice, 8 footswitches
• Features: Expression pedal, tap tempo, tuner
• Connectivity: Input, send, return, output, headphones, XLR (L/mono), XLR R, MIDI in, MIDI thru, line in, USB-C
• Bypass: DSP
• Power: 9V, 500mA
• Dimensions: 6.8 x 39.7 x 19.5cm
• Weight: 2.88kg
• Contact: Blackstar

Build quality

Build quality rating: ★★★★½

The ID:X Floor Three feels surprisingly heavy as I pull it out of the box, so much so that I nearly drop it on my kitchen counter. It’s just shy of a kilo heavier than the Quad Cortex, and that’s noticeable from the moment you unwrap it. The heftiness implies a certain durability, though, which means it’s without a doubt well built enough for live performance.

The entire chassis is metal, alongside all metal footswitches, which lend it that weight. The expression pedal is plastic, but feels pretty solid with a relatively easy travel out of the box. It does have a hex key adjustment, which allows you to make it a bit more solid-feeling if you’ve got a particularly heavy foot.

The knobs are all robustly applied, feeling very similar to those on the Amped pedals, which I’ve reviewed previously. Here, there’s a nice feel of resistance to the travel, which allows for finer adjustment. Ten buttons perform various functions like saving and letting you change effects, select the tube response of the particular amp model you’ve engaged, and an additional voicing switch for reconfiguring the overall tonal quality of the amplifier, or setting it for a bass guitar or acoustic.

Overall, I have zero qualms with its ability to withstand punishment, but for players seeking a lightweight travel companion, you’ll definitely feel that weight with this thing in your backpack.

Usability

Usability rating: ★★★★☆

With the lack of a gigantic touchscreen and plentiful knobs and footswitches, it feels right to just get stuck into turning knobs and pressing stuff rather than hooking it up to a smartphone or plugging it into a PC or laptop. I switch the unit on and begin trialling the presets, but one issue that becomes apparent immediately is that it’s quite difficult for me to bank up or down using the footswitches.

I am the owner of a pair of UK size 9 feet, but the spacing between the two closest footswitches is such that it’s a bit of a gamble trying to go for it. Sometimes I successfully change banks, other times I just change to either channel 2 or 3, depending on how accurate I am. It’s also made harder because there’s not much travel with the footswitches closest to you, which carry a low-profile design similar to that you’ll find on other Blackstar gear, as well as the recent Boss GX pedals and some of their more advanced loopers.

From a design standpoint, having shallower switches nearer to you with the more traditionally sized ones further away makes a lot of sense, but in use, the lack of height makes it difficult to gauge what’s actually going on. The actual click of the footswitches is tactile enough that you know you’ve pressed them, but due to the spacing, and particularly with socks or bare feet, it’s basically impossible to hit both reliably, even when awkwardly turning my foot sideways to try and get a larger contact patch.

It’s a different story with the switches further away, which bypass or engage the effects on that particular preset. Here, I’m pretty reliably able to switch them on and off at will, which is made easier by the fact that you only need to do one at a time. Having these additional switches certainly makes it a lot more flexible than the Floor One and Floor Two models, giving you greater opportunities to tweak your sounds without having to bank up or down to a fresh selection of presets.

The channel selection can be customized for more subtle changes, like clean, crunch, and drive tones from the same amp, or you can go for completely different tones if you like, say a Fender-type clean, Marshall-inspired crunch, then a high-gain lead preset. The switching is close to seamless, but there is an ever-so-slight gap when you press through the banks and channels. With a well-timed strike, I’m able to get it feeling pretty good, but it’s noticeable enough that you’ll need to be mindful of this if using the channel selection while playing live. It’s also noticeable when engaging the individual effects footswitches, so these need to be well timed to feel seamless.

The ID:X Floor Three stands up well when it comes to diving into a preset and changing it. The surfeit of knobs and switches means minimal menu diving when it comes to the amp tones, and every time you make a change to the knobs, the screen displays not only where you’re moving it, but the original position it held on the preset. This is super handy if you’re moving through a lot of presets and only want to make incremental changes, as the knobs will always be in different positions depending on what you’ve got selected.

The effects can be adjusted in two ways: either by engaging with the dedicated footswitches or by pressing the appropriate button in the effects section next to the screen. Dual rotary encoders allow for changing of parameters, and pressing the encoders can access additional screens. It’s a very different feel to the immediacy of the amp tone controls, but I find it very intuitive to start jumping in and messing around. Everything is clearly labelled, and I certainly don’t need to bring out the manual to work out what I’m doing.

It’s a similar story with the CabRig portion, which also has a dedicated button that unlocks a menu to change settings. Here, I can adjust mic types, room size, and change the type of cabinet the preset is using. Finally, there’s a button for control over the expression pedal, which lets you use it as a volume pedal, a wah pedal, or to control the parameter of a selected effect, like swelling up the mix of a reverb or changing the delay time.

Sounds

Sounds rating: ★★★★½

For me, Blackstar has been doing an awesome job when it comes to making great-feeling and sounding amp models. I really loved the tones on the Blackstar Beam Solo I reviewed recently, and it’s no different here. With some other amp modelers, I feel a constant need to tweak, but setting up with my baritone guitar and my favourite pair of Sennheiser HD 490 studio headphones, the ID:X Floor Three just makes me want to keep playing.

Starting with, as is customary these days on pretty much every amp simulator, a classic Fender clean tone, the sound and response are just so amp-like that I don’t feel like I want to change anything. Cycling through the presets, it’s immediately obvious that serious work has gone into crafting usable tones, and whereas with so many other modelers in the price range I want to immediately reach for the settings knobs, here it’s so tastefully done that it encourages me to play more and tweak less.

Switching to my Gretsch semi-hollow guitar to get a different viewpoint on the modelling, I begin laying into Grounds for Divorce by Elbow, which I’m learning for a covers gig. The response is there to picking dynamics, and it feels super natural. Its mimicry of an amp’s ability to respond immediately to how hard or soft I attack my strings is fantastic, and while the phrase ‘it cleans up nicely’ is so overused these days, it’s absolutely the case here.

The cabinet response is often overlooked when it comes to floor modelers and multi-effects pedals, and I’ve had success making an average amp sim sound a lot better with third-party impulse responses. It’s a credit to Blackstar then that for once, I don’t feel the need to switch out the already existing CabRig emulations to get something that feels and sounds more realistic to my ear.

The feel of an amp in a room is very present when played through my headphones and studio monitors, and although I didn’t have the chance to try it through an FRFR speaker, I don’t doubt that it would do the job there, too.

Verdict

The Blackstar ID:X Floor Three does a lot of things really well. I love the immediacy of control that doesn’t require endless pressing of touch screens or a smartphone app to make changes. It’s super intuitive to use, focusing on putting good sound within easy reach and ensuring that you can change whatever you want quickly and easily. I never felt I had to reach for the manual, nor did I want/need to load up the companion app to change settings. With every control accessible on the front panel, it works great as an all-in-one practice, performing, or recording unit.

It is, however, very heavy for a multi-effects pedal, and the footswitch design on the front row makes bank switching really difficult when you’re not playing in shoes, or if you have smaller feet. There are a few gawky flaws, like the tuner being a bit unresponsive at times, the modulation sounds giving a big jump up in volume versus the other effects, but all of these could most likely be solved with a software update. If, like the big boys of the modelling do these days, Blackstar continues to update this unit; it could have something very good on its hands indeed.

Guitar World verdict: Some of the usability could be an issue for players wanting to use the Floor Three as a live rig, but I can foresee that many will be swayed by the excellent quality of tones on offer, with amp and cab models that surpass some expensive units from bigger brands. While it’s lacking a little in terms of features and number of sounds versus something like the Boss GX series, the quality shines through, and fewer options mean more time playing.

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The Studio Rats

Blackstar is looking to take control of the desktop amp market with the potentially game-changing Beam Mini – the world’s first amplifier that natively supports Neural Amp Modeling (NAM).

This is achieved through direct integration with Tone3000, which boasts the world's largest community of user-generated guitar tones. The platform is built on open-source NAM tech, which is injected right into the veins of the Beam Mini.

Essentially, NAM uses AI to capture and emulate the tone of tube amps and beyond, turning tangible gear into digital recreations, meaning many of the tones available via Tone3000 are captured from high-end amps and sought-after sounds. What's more, these are completely free.

That makes this tiny little desktop amp far more powerful than its pint-sized form suggests. Compatible with electric and acoustic guitars and bass, it promises “high-quality tone, portability and intuitive control” abound.

At its core are two 60mm full-range drivers and two passive bass radiators, which combine with Blackstar's Super Wide Stereo and Infinite Shape Feature (ISF) features, with onboard controls for Patch, Gain, EQ, FX, and Volume.

It is free of convoluted menus, with quick-fire tweaks done via its SpeedDial feature, which puts one dialable knob atop the amp, with buttons for the aforementioned controls determining what that dial tweaks. The FX button can control multiple effects on the fly.

Hook up to the partner Beam app (iOS and Android) for deeper tone shaping. The amp offers access to over 35 tock effects, cabs, and cab and mic simulations – including six Blackstar designs and six Ampton recreations of iconic amplifiers – as well as a tuner, metronome, and “pro-level tone tools.”

The realism of the amps is further bolstered by Blackstar’s impulse response feature, CabRig. Use it “to recreate the immediacy and feel of a real amplifier in the room.”

But it's the NAM integration that is especially intriguing here, with a VIP pass to Tone3000's dizzyingly massive collection of tones adding a much greater scope to this tiny powerhouse. And whatever tones you get from the amp should respond like a tube amp.

Each model has been “meticulously voiced” by Blackstar’s UK-based engineering team to ensure its “authentic tone and responsiveness” walks the walk.

There are artist-generated patches to pick from, too, with Blackstar artist Jared James Nichols one of the big selling points here. And to ensure it can withstand the outdoors just as well as studios and bedrooms, it offers an IP66 dust-tight and weatherproof design, and over 18 hours of playtime on a single charge.

“Designed as a complete, compact desktop solution for practice, songwriting, recording, or casual play, the Beam Mini is intended to deliver uncompromising tone wherever inspiration strikes,” says Blackstar.

It arrives with an asking price of $229.99.

Visit Blackstar for more info.

Blackstar has been on fine form this year already. It has ventured into the amp modeler floorboard world with the affordable ID:X Floor series, and released two high-quality FRFR speakers to accompany them.

NAMM 2026: British amp firm Blackstar has unveiled new Artist FR Standard and Artist FR Special cabs that aim to give amp modeler users a realistic, tube amp-like response.

The Headrush has held the FRFR speaker throne for a little while now. So, could Blackstar's one-two give it some stiff competition?

The two full-range, flat response (FRFR) cabinets are designed for neutral-sounding amplification, allowing the cab sims and impulse responses of a player’s digital rig to provide the tonal clarity, with the FRFRs adding volume and a responsivity akin to a traditional setup.

Blackstar’s mission statement here is twofold: modeler users value compact form factors, and the brand also aims to make the often unfamiliar world of FRFR speakers easy to understand and approachable, regardless of previous experience.

The dynamic duo is built on Blackstar’s history of cab building and power amp tech, and are intended to be paired with its new ID:X floor units, and other similar competing units like the Quad Cortex and Tone Master Pro.

They feature a custom-designed flat-response 1x12 speaker, built to thrive with digital tone platforms, for articulate responses. There’s also a whizzer cone that supports high frequencies, maintaining definition even when a rig throws that kitchen sink at its output channel.

Opposed to traditional cabinets, which these are essentially standing in for, there are a few onboard controls for getting things just right. There's a Volume, three-band EQ, and Presence dial on both models. The only difference between the two is what’s under the grille.

The Artist FR Standard is the more compact of the two, delivering 50 watts of power, while the Artist FR Special has greater headroom and “stage authority,” and twice the power. Weighing 10.72kg and 13.5kg and measuring 461 x 387 x 230mm and 525 x 447 x 245mm respectively, they marry the streamlined portability and pulling power of modelers.

With this being Blackstar, prices are pretty affordable. The Artist FR Standard comes in at $399, and the Artist FR Special costs $469. That means if players were to go full Blackstar, they could pair either with the more premium ID:X Floor Three (at $399 apiece) for a versatile modern rig with tube amp responsivity for comfortably under $1K.

But of course, for people already converted to the amp modeler sphere, these new FRFRs could be valid companions for existing products, helping bridge the gap between traditional and more futuristic rigs.

“With the Artist FR series, Blackstar has created FRFR cabinets that are still compact, practical, and financially realistic while still delivering the familiar feel, responsiveness, and physical reassurance guitarists expect from an amplifier,” it says.

“These new models bring professional full-range performance into formats that look, behave, and inspire like real guitar gear, making them a natural partner for the latest generation of modeler-based rigs.”

See Blackstar for more.

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.

What is it?

It’s pretty safe to say that as guitarists, we’re absolutely spoiled for choice nowadays when it comes to headphone amps for guitar. What started as a niche genre has resulted in nearly every major manufacturer offering one of their own, and the latest entrant into the fray comes in the form of the Blackstar Beam Solo.

Like most guitar headphone amps, the Beam Solo is compact and black, with a large dial for controlling parameters and buttons along the side to change certain functions. It has a companion app that gives you more in-depth control via your smartphone, Bluetooth connectivity to let you jam along to your favorite tracks, and an online community to share your best tones, and try out other people's.

So far, so standard. Unlike the obvious rivals in the Fender Mustang Micro Plus and the Boss Katana Go, there’s no screen on the Beam Solo. Instead, a dynamic ‘light beam’ display gives you visual cues as to what you’re adjusting on the unit itself.

Another thing it does differently is the addition of a headset mic input via the headphone jack, with a built-in preamp and reverb to let you record vocals alongside your guitar. How many musicians are actually using headset mics these days I'm not sure, but it's an interesting proposition for singer-songwriters.

With such stiff competition, there’s no doubt in my mind that it’s going to be a difficult task for the Beam to outpace the more established brands in the space, so let's see what it's made of...

Specs

• Launch price: $129.99 | £119 | €139
• Type: Headphone amplifier
• Origin: China
• Channels: 5 presets
• Controls: Patch, gain, EQ, FX, volume, rotary control
• Connectivity: 1 x 1/4" (instrument), 1 x 1/8", 1 x USB-C
• Weight: 0.45kg (0.99lbs)
• Dimensions: 67 x 37.2 x 20.5mm
• Contact: Blackstar

Build quality

Build quality rating: ★★★½

Having tested both the Mustang Micro Plus and the Boss Katana Go, the Beam Solo feels a little cheap and plasticky in comparison. It’s a bit bulkier than the aforementioned units but despite this, feels more lightweight in my hands.

The overall feel of the chassis is fairly solid despite the light weight, and like the Mustang Micro and Katana Go there are rubber feet on the back side which help it grip when on a desktop or sitting flush against the guitar body. The lack of heft does mean there’s basically no impact at all when you plug it into a guitar, and I certainly can’t feel a difference in weight when plugging it in.

Like the Mustang Micro Plus, the Beam has a large rotary knob on the front face, which looks a lot like a speaker cone. It does feel quite flimsy under my thumb though, and whenever I press down on it with a bit of force, it affects the travel of the knob, getting caught at certain points. The lack of robustness here does make me wonder how long it’ll last under heavy-handed use.

The five buttons on the side feel pretty solid, but not quite as tactile as the ones I’ve tried on other units. They click nicely and don’t need too much force to get them in, making it easy enough to manipulate them when plugged into my guitar. On the opposite side, the 'on/off' switch feels similarly decent quality, and there’s a dedicated button for connecting to your phone via Bluetooth.

The input jack is on a swivel that gives you 270 degrees of rotation, which should mean no issues fitting it into the vast majority of guitar types. I tried it on a Strat, Tele, Jazzmaster, and a semi-hollow guitar without issue, so unless you have a particularly niche output jack, you shouldn’t have any problems here.

Usability

Usability rating: ★★★★½

Plugging the Beam Solo into a Jazzmaster copy I’m also reviewing, I set about playing with the buttons on the side of the unit. Below the button names there is a long strip of light that illuminates the text depending on which button you've engaged.

This 'light beam' system reacts differently depending on which button you’ve engaged, with the volume setting giving you a light that gradually fills from left to right to indicate the volume level. The gain works similarly to the volume, while the patch setting lights up increments of the bar to indicate which of the five hardware presets is engaged.

When using the FX button you can set a tap tempo by pushing the button to your desired rhythm, and when used in conjunction with the large encoder set the mix level for the effect on that particular patch.

It’s really intuitive and clearly laid out, and I don’t need the manual to work out what’s what. I really like that the LED also acts as a basic tuner when you hold down the volume button, as it’s one of my pet hates having to access an app on my phone to tune my guitar. It doesn’t tell you the note so you’ll need your string to be in the ballpark, but I found it responded well for quick tune-ups when needed.

Installing the Beam app on my Pixel 9 via the Play Store, the connection process is incredibly simple, and amongst the easiest out of any Bluetooth-equipped guitar device I’ve tried. However, I have a problem in that it won’t stay connected to the device and times out after a few minutes. After some back and forth with Blackstar, I’m advised it’s because I have had a pre-release version of the hardware previously, so it shouldn’t be an issue for anyone buying a new unit.

The app itself is very slickly presented, with the amp models represented with some nice high-resolution graphics. The app allows you to save five presets to the hardware, much like you get with the Positive Grid smart amps. There’s a record function that requires you to connect to the unit via USB-C, a community section to download user-generated presets, and your typical menu options.

The bottom portion of the app contains your signal chain, with sections for pre-fx, amp, post-fx, cabrig, and music streaming. You can interact with the actual controls displayed on screen by sliding your finger or tapping to engage footswitches, which gives a nice tactile feel when tweaking settings. It’s super smooth too, and I never find any issues with lag or very fine control.

Under the music streaming option there's a bunch of backing tracks to jam along to, Blackstar Lessons, and drum loops that make great practice tools. It only covers rock and blues at the moment, but I sincerely hope that Blackstar continues to expand this section as I have great fun jamming along with the 'Spacey Dystopian Ballad'.

Sounds

Sounds rating: ★★★★★

Getting stuck into the sounds with my studio headphones I begin with the five presets that come loaded onto the hardware as standard. You get clean, edge of breakup, crunch, high gain, and a lead tone to start with, so all the typical sounds are accounted for. There are eleven guitar amps, one acoustic pre, three bass amps, and thirty-six effects in total, with a mixture of Blackstar’s own products and some classic amps and stompboxes.

The sounds are phenomenal too. Armed with my trusty Telecaster I start with the Super Clean setting, which uses the St James 6L6 clean channel. As you’d expect it’s reminiscent of the classic American amps from the 60s, giving you pristine clean tones perfect for arpeggiated chords and hypnotic drones with open strings.

Next up is the Artisan 30 model, which gives me some delightful edge of breakup tones. It clean up nicely with the volume knob, and you can pick harder to get gain like you would with a real amp. A lot of modelers struggle with these types of sounds, but here it's very convincing.

The HT Club 50 is the model for the super crunch preset, which even with the single coils is a little too gain-y for my definition of crunch. Removing the Yellow Drive from the front does the job though, and I’m straight into Marshall-inspired tones perfect for double stops and power chords.

The High Gain Stack delivers the heavy stuff, and does a really impressive job again. There’s none of the fizz that affects a lot of high-gain models on other units I’ve tried, and plenty of low-end chunk when I switch to my baritone guitar for some proper downtuned riffing.

There are plenty of different non-Blackstar amp types too, with most of the typical bases covered from Fender-inspired cleans, Vox chime, Marshall crunch, right through to the high-gain tones of the 5150. Each delivers those unique tonal qualities of their respective amps, which means plenty of choice no matter what type of tone you’re going for.

The effects are similarly great quality too, especially the reverbs. There are only three algorithms but they cover plenty of ground with hall, plate, and spring modes. You can additionally add a room sound to the overall tone via the Cabrig section, which lets you select the size of the room, how much of it you hear, and the width of the space.

Verdict

There are a lot of guitar headphone amps out there at the moment, with nearly every major manufacturer offering one. That means it’s difficult to stand out, especially as this jam-packed product type has some incredibly high-quality competition. The Blackstar Beam Solo does a lot well though, and certainly holds its own against the more established brands out there.

The big negative for me is the build quality of the unit. It just feels a bit cheap, especially that jog wheel, which I can’t see standing up to much abuse over time. Compared to the Fender and Boss units I’ve also tested, the Beam Solo lags behind a little bit here. On the other hand, it does the most important job, the sound, incredibly well. It’s one of the best-sounding headphone amps for guitar I’ve had my hands on, and that’s big praise considering the competition.

Guitar World verdict: While others did it first, the Blackstar Beam Solo can certainly hang with the big boys thanks to its fantastic quality of amps and effects modeling. It delivers an inspiring sound that’s sure to have you reaching for it time and time again, but is slightly let down by a less-than-stellar build quality versus the competition.

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Hands-on videos

The Lonely Rocker

Noisegate

The Studio Rats

Aside from owning an authentic Klon Centaur, Jared James Nichols has a few other vintage gear picks up his sleeve.

However, despite having access to an impressive array highly sought-after tube amps, the blues rock ace admits he still has a penchant for Blackstars, which he's been repping for years now.

“It’s crazy how good that stuff is," he raves in a new interview with Guitarist. “I sometimes get the impression people scoff at me, like, ‘Oh Jared, you still using those Blackstars?’

“And the answer is ‘yes’ because I love the company and they’ve been so supportive, but more importantly, there’s never been a point where I’ve wanted to play anything else.

“At home, sure, I have a 1968 Plexi and Leslie West’s old Sunn amp, which Joe Bonamassa gave me, but there’s never been a time where I was playing through my Blackstars and wished it was a Deluxe.”

It's not the only piece of elusive vintage gear that Nichols has received as a gift from Bonamassa. Recently, Nichols revealed that JoBo had also gifted him his Klon Centaur – which he had to take extra care to protect while on the road.

As for his amps, Nichols’ relationship with Blackstar has expanded into signature model territory, with the brand introducing a new signature JJN guitar amp head and matching plugin just last year.

“Blackstar amps define my tone. It really is the sound in my head. It’s simple; Blackstar inspires me to play at my best,” he said at the time of the launch, which explains why he's stayed loyal to the company after all these years: the Blackstar sound is his sound.

The two had previously collaborated on various products, including the limited-edition JJN-20R MkII amp back in 2020 and the JJN 3 practice amp two years later.

For more from Nichols, plus new interviews with Wolfgang Van Halen and Kiki Wong, pick up issue 531 of Guitarist from Magazines Direct.

What is it?

British amp company Blackstar was founded in 2007 by ex-Marshall engineers with the aim of updating traditional circuits with fresh, innovative technologies.

Designed in the UK and manufactured in China, Blackstar’s amps come to market at surprisingly low price points, and the brand has been warmly embraced by bedroom players, rehearsal rooms and touring professionals alike.

Indeed, gathering a roster of varied luminaries – spanning Phil Collen to Gaz Coombes, Neil Schon to Bob Mould – requires wide-ranging, first-class tones alongside ruggedly reliable construction.

Former Whitesnake gunslinger Doug Aldrich began using Blackstar’s HT Stage 100 head with his band The Dead Daisies in 2023 and as the relationship between player and brand grew, conversations regarding a signature model culminated in what we have here: the Ruby.

Based around his HT 100, some personalised tweaks were incorporated into the tone and the cosmetics, resulting in this crimson-clad, high-gain beast.

Coupled with its matching Celestion Vintage 30-equipped 4x12 cabinet, this stout and powerful-looking half-stack cuts a classy-yet-authoritative dash. The Vintage 30’s ability to present a wider range of frequencies than the classic Greenback option made this a more suitable match for the Ruby’s clean-to-dirty tonal palette.

Specs

• PRICE: $1,799/£1,249
• ORIGIN: China
• TYPE: 3-channel valve head
• VALVES: 2x ECC83, 4x EL34
• OUTPUT: 100/10W
• DIMENSIONS: 591(w) x 225 (d) x 245mm (h)
• WEIGHT (kg/lb): 17.5/38.5
• CHANNELS: 3
• CONTROLS: Clean Channel – Bass, Treble, Volume, Voice; OD 1 & OD 2 – Volume, Gain, Voice; OD EQ – Bass, Mid, Treble, ISF; Master section – Reverb, Resonance, Presence, Volume, Wattage Selector (100/10W)
• FOOTSWITCH: 5-way included
• ADDITIONAL FEATURES: Boost and effects loop (foot-switchable). Programmable via USB-C and Architect software
• OPTIONS: The matching DA412B (£1,199) 4x12 (as pictured) with MDF/birch-ply construction in matching Ruby Tolex is loaded with Celestion Vintage 30s
• CONTACT: Blackstar Amplification

Usability and sounds

The three-channel architecture of Clean, OD 1 and OD2 belies the wealth of options the Ruby has to offer. Let’s begin naturally with the Clean channel, which is based on a Fender black-panel circuit, known for high headroom, sparkle and full bottom-end.

The Ruby certainly achieves the clarity and springy articulacy, especially with a hearty measure of the onboard digital reverb. With its highly touch-sensitive and delicate tones (rare qualities in an ostensibly high-gain oriented amp), there’s plenty to enjoy. The Clean channel’s bass and treble controls offer some fairly powerful tone-sculpting, too, taking us from glassy 80s brightness to jazzy warmth.

The digitally derived reverb has two rear-panel-switchable flavours, Light and Dark, allowing for either the longer, brighter, more Fender-like character or a shorter, darker, less obtrusive variant more suitable for overdriven tones. The reverb can be further tailored independently for both the Clean and OD channels using the rear-panel USB-C connection to the free Architect software editor.

Engaging the Voice switch transports us into chime-y, full-bodied Vox territory, bypassing the negative feedback circuit and relocating the position of the tone controls to a post-valve position. With the noticeably increased gain and lower mids enabled by this Voice switch, it’s quite possible to achieve AC/DC levels of classic rock crunch with this channel alone.

OD 1 progresses our gain journey into some chunksome, Marshall-like crunch and sizzle. Simultaneously rich yet articulate, it shines when presented with ’buckers or single coils. The bottom-end is somewhat richer and fuller than that of a traditional Marshall-style circuit without flub or congestion. Quite a feat!

The bass response can be further enhanced by way of the master section’s Resonance control. This channel has a slightly rounder, more traditional overdrive profile when compared with OD 2, but deploying this channel’s Voice switch unleashes an extra level of modified-Marshall style overdrive.

We arrive in the final realm in gain with the OD 2 channel where harmonically rich slabs of chunky tone can sustain infinitely, though not at the expense of string separation. Single notes soar while pick harmonics leap out at the slightest invitation. Background noise is noticeably quieter than similar high-gain circuits.

All channels can be kicked up via the footswitch by 4dB, providing a solo boost function without changing the inherent tone. Speaking of the footswitch, a five-button black-metal type comes as standard, allowing control of the channels as well as the boost and loop functions.

Both overdrives share an EQ section comprising bass, middle, treble and Blackstar’s ISF (Infinite Shape Feature) control that provides fine-tuning of the midrange response – the effectiveness of this control is heightened with lower midrange settings in the EQ section.

The ISF control can take the tone from a UK 70s classic rock midrange character in its clockwise settings to a more carved-out, Sunset Strip 80s tone in the anti-clockwise settings. Clockwise settings also add some solid midrange to single-coil pickups.

Some impressive design and engineering can be found in the implementation of the software-tweakable parameters, again accessed via the rear-panel USB-C port and the free Architect software. By placing the amp in standby mode, it’s possible to run silently while the IR outputs remain activated and can be edited in real-time using the application.

Two virtual speaker channels can be assigned cabinets from a large range of profiles ranging 1x12 open-back vintage speakers to a large retinue of 4x12s. Mics can be selected on or off axis and blended to perfection.

A feature new to us is the effects loop fade-out, where delay tails can be tailored to fade out after switching off the loop, adding production-level finesse to changes.

Three onboard IR profile options can be stored and selected via the three-position IR switch and outputted via the rear panel’s choice of XLR or jack. The amp even has built-in speaker protection to defend the transformers should a momentary aberration leave you running the amp without the speaker connected.

It would be remiss not to mention that the wattage can be switched from the full 100 watts down to a much more manageable 10 watts. Even at the 10-watt setting the amp has enough volume and depth for many home, rehearsal and studio scenarios.

Verdict

Verdict: ★★★★½

The sheer wealth of features present in this amp, from the channel variations to the advanced programmability, is astounding but equally impressive is the way they’ve been implemented in such an intuitive and guitarist-friendly manner.

Guitar World verdict: We’re impressed to find the law of ‘more knobs equals less tone’ has been redrawn, and all three channels sound alive with responsiveness and fluidity. It’s an amp that represents a new benchmark for heavy guitar sounds at a relatively accessible price point. Another hit for Blackstar.

Hands-on videos

Guitar World

Cameron Cooper

American Musical Supply

• “A Katana killer? The jury’s still out, but one thing’s for sure – this is a great addition to the ID range”: Blackstar ID:X 50 review
• This article first appeared in Guitarist. Subscribe and save.

What is it?

There are precious few mobile-friendly USB audio interfaces out there that work on both Android and iOS, so when I came across the Blackstar Polar Go, I was intrigued to see what it could do for guitarists looking to quickly and easily create videos for social media. It’s interesting then that the Polar Go’s marketing campaign seems more aimed towards content creators versus guitarists, particularly as the Polar 2 and 4 interfaces were heavily geared towards guitar players.

The idea with the Polar Go is that it can help you quickly and easily create content anywhere you go, just by simply plugging it into your phone or laptop. There’s a companion app that allows you to control the interface's inputs and outputs, and it features a camera mode that lets you record video with your phone camera while capturing your guitar or vocal through the interface.

On paper, it seems like an absolute winner, as creating content with your phone and a traditional audio interface has always been a time-consuming process. Videoing and recording with separate devices has typically been the go-to, but this results in the fiddly editing process of syncing with your video, so the idea of having it all in one app will be very appealing to content creators everywhere.

Specs

• Price: $129.99 | £79 | €89
• Simultaneous I/O: 4 x 4
• A/D Resolution: 24-bit/96kHz
• Built In DSP/FX: Reverb, compression, EQ
• Number of Preamps: 1
• Phantom Power: Yes
• Analog Inputs: 1 x XLR-1/4" combo
• Analog Outputs: 1 x 1/8"
• MIDI: No
• Headphones: 1 x 1/8"
• Power Supply: USB-C or internal rechargeable battery (up to 6 hours)
• Contact: Blackstar

Build quality

Build quality rating: ★★★★½

The Polar Go is a teeny-tiny interface, no bigger than your average bar of soap. Into this diminutive package it squeezes in a single combi input with a Rean connector, 1/8-inch headphone output, and, intriguingly, two stereo microphones built into the front face of the unit. There are two USB-C connections, one for connecting to a phone or computer and the other for dedicated power.

Like all of the Polar family of interfaces, it’s an extremely good-looking bit of kit, the classy monochrome of its construction accentuated by the backlit symbols that glow gently when you plug it in. The smooth edges of its frame make it look a lot classier than some of the blocky and bulky gear you typically find in the audio sphere.

Despite much prodding and pulling, I can find nothing loose or willing to succumb to pressure across the whole unit, leaving me in no doubt that it will withstand the rigors of being chucked in a backpack and taken on the go. The knobs have a satisfying resistance when I turn them, and the two buttons for powering it on and engaging phantom power click nicely without feeling flimsy.

It’s incredibly lightweight too, weighing no more than my TV remote and less than my Pixel smartphone with its rather bulky protective case. There’s a lot of music gear that claims to be pocket-sized but the Polar Go really can be chucked into your jeans or trackie bottoms and taken anywhere and everywhere.

Usability

Usability rating: ★★★★☆

My first test of the Polar Go’s capabilities is to plug it straight into my Pixel 9 smartphone running Android. In the combi input I plug my Telecaster guitar directly in, and a pair of Sony MDR-M1 headphones go into the headphone out for monitoring. I load up my camera app and am greeted with a pop-up that tells me the phone has detected an external microphone. So far, so good.

Hopping into the settings to switch to the external mic, I prop my phone on my desk, upside down to account for the USB input, to try filming some noodling on the guitar. I’m immediately greeted by a glitchy and distorted sound, which is definitely not the direct sound of my guitar, and something I’ve encountered attempting to use other audio interfaces and guitar amp headphones via a smartphone.

Wondering if it’s because I haven't downloaded the official Polar Go companion app, I head to the Play Store to grab it, and the process of getting it downloaded, installed, and recognizing the interface is absolutely rapid, taking no more than five minutes of my time. Unfortunately, I get the same issue, unwanted distortion with every input I make, whether it’s through the direct input or the onboard stereo mics.

After a little back and forth with Blackstar and a few different iterations of the software, I finally got a beta version that allows me to get a sound free of unwanted noises, and I can continue with my testing. Blackstar themselves state that this is an issue with phones that support up to 96kHz playback, whereby the unit defaults to the higher sample rate. The fix returns the sample rate down to 48kHz, which hopefully should mean no further issues for Android users.

The app features three main tabs, the first of which is called home, and gives you control over the inputs. You can choose to mute the direct input or the mic input, adjust the input and output levels, and delve deeper into the tone by adjusting the sensitivity, silence, body, clarity, and space. The sensitivity control acts as a compressor, while body and clarity are EQ adjustments. Space adjusts the amount of reverb you hear.

There are presets on the direct input for vocal mic and bass guitar, while the stereo mics have acoustic guitar, vocals, and wide vocals presets. You can also save your settings and the Polar Go will remember them next time you power it up. I’m a little surprised to find there’s nothing for electric guitars here, though, especially considering the Polar’s heritage as a guitar audio interface.

The camera tab takes over your phone's camera and allows you to film without having to exit the app. There’s a setting here for removing the built-in reverb, but everything else is as you’d expect from your typical smartphone. Finally, there’s a settings section that lets you adjust the reverb types and EQs, record multi-track, direct monitor, USB loopback, a switch for built-in mics or headset mic, and a power saving mode that auto switches the interface off should you unplug the USB.

I find everything super easy to use, and the touch dials respond really quickly to my inputs. The app has zero lag, making switching between the tabs and scrolling around super smooth. The additional side scroll function, like what you get when editing photos on an Android phone, makes fine movements possible, so you can quickly and accurately set your levels.

Sounds

Sounds rating: ★★★★½

My first test involves plugging a Gretsch semi-hollow guitar into the direct input to see how that sounds. It’s as expected, a clear and crisp but a little lifeless and as there’s no preset for guitar, it doesn’t really make much sense to use it this way. So, I grab my IK Multimedia Tonex One, and use that before the direct input to generate some proper guitar tones.

Loading up the camera portion of the app to film myself playing some Mars Volta-inspired freakout licks, when I watch back it sounds fantastic. There is a little compression that comes when I strum a full chord hard despite having the sensitivity control at the minimum, but for the most part it sounds exactly as the pedal does. The body and clarity controls allow me to tweak the sound to get it how I want, and with that I’m quickly and efficiently able to record myself playing, all without having to edit audio and video together in post.

Switching to a Lowden small-body acoustic guitar and utilising the onboard microphones, I find them to be astonishingly sensitive for something so small. They catch the sound of the rain outside, my partner coughing across the other side of the house, and every little touch on my desk, even the sound of me dragging my finger across the touchpad of my laptop. It’s like having a condenser microphone with the gain whacked up, I can hear every tiny detail of what’s around me.

They're really incredible sounding, picking up the ambient space with rich detail. I can see them getting good use for a wide variety of content creation tasks, whether you're interviewing someone for a podcast or creating a promo video for your band performing an unplugged version of your next hit song.

Strumming some moody chords in DADGAD, I play with the space setting on ‘Cave’ mode, which applies some galactic-sounding reverb to my guitar tones, pinging off the squeak of the strings as I move around the fingerboard. There’s also Hall, Room, Plate, and Vocal reverbs to play with, so there’s plenty of choice if you want something a little less gargantuan.

Verdict

For singer-songwriters and acoustic instrument players, the Polar Go is a great tool whether you’re recording videos for Instagram or just want to quickly put down song ideas. The dual onboard microphones deliver recordings of fantastic quality, augmented by a luscious-sounding set of onboard reverbs. It’s not just musicians it will appeal to either, as podcasters, vloggers, and other content creators are sure to find plenty to love here.

Electric guitarists will probably feel a little underserved though, due to the surprising omission of any onboard amp simulation or even just a preset for DI electric guitar. Paired with an amp modeler however, the Polar Go quickly becomes an excellent tool for creating recordings on the go, as well as guitar videos for social media.

Guitar World verdict: It’s about time Android users got a compact audio interface that works with their devices, having been massively underserved while the iPhone hoarded the vast majority of previous offerings. Regardless of your OS allegiance, the Blackstar Polar Go represents one of the best ways to quickly and easily record your music alongside your smartphone, whilst simultaneously being a powerful tool for curating your online profile via video.

Also try

Hands-on videos

Absolute Music

Chug Nerd

Hello, and welcome to Guitar World’s sparkly new gear round-up, your one-stop-shop for keeping up to date with what’s been happening in the big wide world of guitar gear over the past seven days.

From new electric guitars to amp modeler updates, the guitar industry is never short of fresh releases, and it can sometimes be hard to stay abreast of every new launch that may be of interest to you.

To make things a little easier, we’ve put together an essential must-read guide that will cover the major releases, the boutique drops, and everything in between.

An affordable take on the Gretsch White Falcon? A new take on Charvel's classic So-Cal Superstrat? A urn that fits the cremated remains of your loved ones into your acoustic?! That, and more, can be found below...

Gretsch Synchromatic Falcon + Nashville

An early contender for guitar release of the year? Admirers of the classic Gretsch White Falcon – who may previously have been priced out of a move for the iconic design – will certainly agree.

As Gretsch itself explains, the new Synchromatic series looks to make the dreams of those particular guitar fans come true, with two Falcon and Nashville models that look to make "next-level Gretsch style and sound more accessible than ever before".

Custom Shop White Falcons can weigh in at as much as $12,000. The Synchromatic Falcon, by comparison, is $1,469. This is a pretty big deal indeed...

For more: Gretsch

PRS S2 Mira 594

An unsung model from the annals of PRS history but one widely loved by fans of the Maryland brand's deep cuts, the Mira – a distinct Santana-flavored double-cut first launched in 2007 – is officially back.

It returns as part of the S2 collection with a new name – the S2 Mira 594, specifically – and early signs all point to this being yet another winner from Paul Reed Smith and his merry band of guitar makers.

Guitar World issued it a glowing five-star verdict in its day-one review. It looks great, sounds killer and, apparently, plays like a dream, too. We suspected nothing less.

For more: PRS

Jackson Pro Origins 1985 San Dimas

Jackson has also been in a rather reflective mood lately, and this week channeled that energy into the retro-inspired Pro Origins 1985 San Dimas series – a new collection of electrics that pay homage to "that golden era of guitar innovations".

The headline here is those J90 and J50 pickups, which have been directly engineered from original Jackson humbuckers that, as the firm states, helped shaped the sound of 1980s guitar music. One for those looking for something that merges old-school Jackson style with modern specs.

For more: Jackson

Charvel Pro-Mod Plus So-Cal Series

Speaking of throwback electrics, Charvel has also leant heavily on nostalgia with its Pro-Mod Plus So-Cal Style 1 model – which looks to bring the classic Superstrat into the modern era.

This is achieved through some Seymour Duncan pickups, player-friendly appointments such as compound radius fretboards and Floyd Rose tremolos, and super-comfy neck profiles.

They look the part and, judging by the demo video, they also sound the part. As a Strat player myself, my eyebrows have been raised...

For more: Charvel

Gibson Murphy Lab acoustics

The Gibson Murphy Lab is widely seen as the finest big-brand institution of artificially aged acoustic and electric guitars out there, so it's no shock that the firm's latest crop of vintage-inspired acoustics are borderline works of art.

Sure, the 1942 J-45 and 1957 SJ-200 are nice, but we've seen those before. What we're really intrigued by is that 1929 Nick Lucas Special Reissue parolor. That Argentine Grey finish is giving us hot flushes. 'Nuff said.

For more: Gibson

Kiesel Kyber Headless

You might remember the Kiesel Kyber – a guitar that launched earlier this year and took the fight to the likes of Strandberg and Abasi Concepts with a design that promised headless comfort from a guitar with a headstock.

Now, Kiesel has thrown caution to the wind and decided to cut out the middle man by making the Kyser completely headless.

It follows roughly the same specs apart from the fact it (obviously) doesn't have a traditional headstock. It does, however, have what Kiesel is calling a 'headpiece', which means it will fit nicely in your wall hangers with no issue. Very convenient...

For more: Kiesel

Solar Marzi Montazeri signature guitar

A week on from launching its first headless guitar, Solar has now experimented with another gnarly guitar design with its new Marzi Montazeri signature model. Montazeri – the renowned metal player formerly of Superjoint fame – has been nicknamed "The High Priest of Distortion", according to Solar, so his signature is spec'd appropriately.

It has a none-more-metal E-type body, a Sustainiac Stealth Pro humbucker, and a Floyd Rose 1000 tremolo.

For more: Solar Gutars

KapSoul

Every once in a while, a press release lands in the inbox and nothing can prepare you for what lies inside. This week, we heard about the KapSoul – an urn that you mount inside the soundhole of an acoustic, so that the cremated remains of your loved ones can be with you every time you play guitar.

It's certainly a novel idea, but we won't judge. For some, it's poignant and meaningful. For others, slightly morbid. We don't even want to think what would happen if your KapSoul-equipped guitar gets knocked over...

For more: KapSoul

Yamaha Revstar

Full disclosure, I absolutely love the Yamaha Revstar, and before I pulled the trigger on my Telecaster, I was seriously considering making a move for a Revstar. Chris Buck makes them sing. Matteo Mancuso has taken over the guitar world with one. They sound great, they play effortlessly, they look incredibly cool... there's so much to like.

Well, there's even more to like now, because Yamaha has introduced some new colors for two of its Revstar variants. That Sonic Blue model made me audibly groan. Back into the Revstar rabbit hole I go. Time to start saving...

For more: Yamaha

Vola OZ ROA Luminous

Since it was first established in 2015, Vola has cemented itself as a force to be reckoned with in the progressive and metal guitar market, producing a range of contemporary electrics and well-received signature guitars for a diverse range of artists.

The brand has truly been going from strength to strength, and now it has welcomed back the return of one of its most eye-catching designs: the OZ ROA Luminous.

In the light, it looks pretty darn great, but if you turn the lights off, it looks even better. that wasn't a cheap jibe, either – the OZ ROA has a glow-in-the-dark treatment thaat "truly comes to life in the shadows".

For more: Vola

Blackstar St. James 112 cab

Blackstar's St. James range just got that bit larger with the arrival of the 112 cab, which joins a lineup previously comprising a pair of 2x12s and a sole 4x12. For many players, 1x12 is the perfect cab configuration for home playing and small gigs, so this launch is very welcome indeed.

It's a St. James product, so it is incredibly light at just 28lbs – that's the whole USP of the range – and comes fitted with an exclusive G12Z Zephyr High Power speaker to help with the weight and tone. The lightest 1x12 ever? Quite possibly.

For more: Blackstar

Mooer GE150 Plus and GE150 Max

With every passing week, there seems to be a new multi-effects. This week, it's Mooer's turn. The GE150 Plus and GE150 Max both build on the brand's standard GE150, adding expanded interfaces and tone-tweaking controls for a more thorough playing experience.

The GE150 Plus has three footswitches, while the Max version has eight. These are paired with improved memory for a greater number of presets, and 55 preamp models that utilize Mooer's "intelligent nonlinear sample technology".

Mooer has previously shown its pedigree in the multi-effects world, so we imagine these two new units are more of the same. Not only that, prices start from less than $200, so they're very competitively priced, too...

For more: Mooer

Blackstar has made a play to take over the headphone amp market with the Beam Solo – a new device that looks to take on Fender’s Mustang Micro Plus and the Boss Katana:Go.

Over the past three years or so, gear firms have been piling resources into the headphone amp market, leading to a handy range of silent-practice solutions for guitarists and bassists.

The key players in this corner of the market are the aforementioned Mustang Micro Plus and Katana:Go (back after its strange discontinuation and relaunch earlier this year), both of which promise tube amp-style tones in a package geared towards noise-conscious playing companions.

Now, Blackstar has entered the headphone amp arms race with a new gadget it claims to be “the most immersive, intuitive headphone amp on the market today”.

The headline here is that, though the Beam Solo looks like your humble headphone amp, it behaves slightly differently, with an intuitive ‘Beam’ light display on the edge, which lets you quickly refine tones on the unit itself.

It’s a nice visual aid to the Beam Solo, which clearly has sought to double down on a screenless-yet-intuitive UI in a bid to wrestle interest from the arguably more simplistic Fender and Boss designs.

At the core of the amp itself is the SpeedDial – an ever-scrolling, multi-function parameter wheel that is responsible for gain, EQ and volume tweaks. It also works with ‘XpressFX’, which Blackstar says can be leveraged for instantaneous, multi-layer effects adjustments.

Speaking of the app, Blackstar’s Beam partner software offers more than 35 amps, cabs, mic sims, effects and “pro-level tone tools”, as well as a built-in tuner and metronome.

Those tonal assets come from Blackstar’s “Ampton” collection – which fuses “authentic valve character with advanced digital algorithms” – and are bolstered by the immersive “In The Room” tech, which hopes to make the headphone experience “feel alive – like a real amp, in a real space”.

From that Beam app, players can also upload, download, explore and share presets, with some of the firm’s biggest players – Jared James Nichols and Doug Aldrich included – present on the platform.

For singer-guitarists, there’s a headset mic input with built-in preamps and reverbs for solo set rehearsals, for example, with Bluetooth compatibility allowing for streaming music to jam along to.

The question that guitarists will be concerned with is just how well the Beam Solo stacks up against the competition. Well, variety, community, versatility and tone-tweaking options certainly look to be on its side. That Beam Light display looks very neat, too.

It’s also competitively priced. The Blackstar Beam Solo weighs in at $129. For perspective, the Fender Mustang Micro Plus is $135, while the Boss Katana:Go is $139.

You can pre-order right now from Sweetwater (US) and Gear4Music (UK/Europe).

Head over to Blackstar for more.

Blackstar has unveiled its answer to the Boss Katana and Positive Grid Spark with the ID:X – a new series of modeling amps that the firm believes will usher in a new generation of guitar amps.

Though relatively diverse, the modeling amp sphere is largely seen to be controlled by two major players, because while the Fender Mustang and Line 6 Catalyst are serious contenders in the market, it is the Katana and Spark ranges that consistently get drawn into the conversation for best modeling amp out there.

Blackstar, who has launched its own efforts to make a dent in the market in the past, is now determined to tip the scales in its favor, launching a next generation ID amp that, in the firm’s own words, will go “head-to-head with the current market leader”.

Now, it doesn’t specify which market leader it’s eyeing up, but as mentioned, the Katana seems like a safe bet. As such, the ID:X will inevitably be held up against Boss’ flagship guitar amp – and, since it’s been launched in 50 and 100 watt formats, there are plenty of comparisons to make.

At a glance, the ID:X offers six amp ‘Voices’ – the same as the Katana – and provides a generous control panel that offers a three-band EQ (where Bass and Treble double as Resonance and Presence parameters) as well as Gain and Master output knobs.

There’s also Blackstar’s prized Infinite Shape Feature (ISF) control, which lets players fan between ‘British’ and ‘American’ amp sounds, and a section for onboard effects – Modulation, Delay, Reverb and Pre-FX among them.

What’s also neat is that the ID:X lets players cycle between a number of onboard effects and tweak them ad hoc thanks to additional effect control parameters, while a Response section moves the amp between EL34, EL84 and 6L6 tube response tones.

Other appointments include a Power mode for reduced wattage (like the Katana) and buttons for recalling selected presets. These patches – 99 of them can be created and stored – can be kept track of thanks to the discreet OLED display screen atop the panel.

To make it a true Blackstar amp, though, the ID:X is fitted with some firm-only features, such as its IR-based CabRig function for speaker and mic simulation, and – perhaps the real kicker – newly developed In The Room tech.

In essence, In The Room is designed to perform exactly as you’d expect, and creates “the experience of standing next to an amp while you play, rather than the most studio focussed tones of traditionally captured IRs”. Those various tube amp response modes play into the In The Room function.

A bevy of connectivity options – USB-C, headphone out, line out, MIDI and XLR jacks for the 100W ID:X – also make the cut.

And, like the Katana range, this could be just the start for a potentially burgeoning ID:X range. Could we see other combos, heads and cabs enter the family at some point? We wouldn’t bet against it.

“ID:X goes head-to-head with the current market leader delivering a streamlined user experience with unmatched sound quality and versatility,” Blackstar says. “Designed for players who want the sound and response of a pro rig without the weight or complexity, ID:X represents a bold step forward in modern amp design.

“Combining hands-on control with studio-quality tone and next-level flexibility, it’s the all-in-one solution today’s guitarists have been waiting for.

The ID:X 50 and ID:X 100 are available now for $349.99 and $449.99, respectively.

Head over to Blackstar for more info.

What is it?

It’s official: guitar wireless systems have gone mainstream. With major players like Fender and Positive Grid joining Boss and Line 6 in the cable-free arena, there has never been more choice on the market. And with the Airwire i58, UK amp firm Blackstar has entered the fray.

With a look not dissimilar to a credit card with a jack on top, the Airwire i58 means business. Like Fender’s Telepath, it operates on the 5.8GHz frequency, which dodges Wi-Fi interference, but it’s also packing what Blackstar calls a “smart anti-interference algorithm”.

This means that when interference is detected, the Airwire will switch frequency band to prevent dropouts. It’s relatively rare to encounter interference with the 5.8GHz frequency, but it’s reassuring to hear that Blackstar has pulled out all the stops nonetheless.

The Airwire has four selectable channels (accessed via the Pair button), which means you can easily mix and match transmitters and receivers, and avoid interference from other Airwire units.

For that reason, Blackstar is touting the device as ideal for bands, allowing your fellow guitarists and bassists to cut the cord without interfering with your own signal.

Unusually, there’s no active/passive switch to tailor the Airwire’s output to active pickup-equipped designs, but there is a Cable Tone button, which promises a natural top-end roll-off closer to what a cable would provide, versus the zero-treble loss of the regular wireless signal. Holding the Power button for three seconds turns each unit on or off.

All the other key stats compete favorably with the competition: there’s transmission up to 100 feet, and a tiny <6ms latency.

The 20Hz-20kHz frequency response covers the entire guitar frequency range, while the stated nine-hour battery life from 2.5 hours of USB-C charging beats out the Fender Telepath by one hour. The receiver unit will turn off automatically after 10 minutes if no signal is detected in order to preserve battery life.

Usability and performance

With their diminutive chassis, recessed fold-up jacks and stealth-black finish, the Airwire units themselves are among the most discreet on the market. They’re noticeably more compact than Fender’s Telepath and fit easily into most pedalboard setups, although they don’t offer any rubber grips on their underbelly to prevent them sliding around when you lay them down on a table.

They do, however, come with a nice felt bag to prevent damage when you inevitably chuck them in the front pocket of your gigbag.

The jack hinge is sturdy yet flexible and fits into front-loaded Strat jack sockets no problem, and the light-up Blackstar logo is a nice touch.

My testing took place at home, in a rehearsal studio and a club-sized venue, and the Airwire passed the most important wireless system tests with flying colors: near-instantaneous pairing, zero dropouts, superb audio quality and low latency. The only time I started to experience any lag was when I continued to play guitar while I ventured down two flights of stairs, and by that stage you can barely hear what’s coming out of the amp anyway.

Although I didn’t have multiple Airwire systems to hand, the channel switching is seamless and bodes well if multiple members of your band are going wireless. I didn’t experience any interference from Wi-Fi or Bluetooth signals during my testing.

One of the Airwire’s USPs is the Cable Tone button, which in practice, engages a very slight softening of the highs – perhaps not quite as much as a 20-foot cable, but it’ll certainly get you in the ballpark of the treble loss you’d experience, rather than the brightness associated with wireless systems. Subtle but effective.

The Cable Tone switch is located on the receiver unit rather than the transmitter, so it’s not something you’ll be changing on a regular basis.

On that note, the transmitter and receiver are indistinguishable apart from the Cable Tone button and its associated LED, which I did find hard to tell apart in a gig scenario on a dark stage. The onboard buttons are also rather small and feel identical to the touch, meaning I did find myself initially mixing up Power and Pair when the unit was plugged into my Jazzmaster.

Another slight annoyance is that the charging lights are on the bottom of the unit (assuming the jack socket is the top), so you’ll have to flip the transmitter and receiver over to see whether they’re finished juicing up.

But the battery life itself is remarkable – I was astonished to find it was still showing 75%+ remaining after a few at-home practice sessions and a two-hour band rehearsal. When you’re under 75%, you’ll get a yellow rather than white LED; under 30% gives you red, and less than 10% is the danger zone, giving you a blinking red light.

The lack of an active/passive switch to accommodate higher-output pickup guitars might be a deal-breaker for players used to having such a feature. Personally, I tend to keep wireless systems set to passive regardless of whether I’m running passive or active pickups, but is a surprising omission nonetheless.

Verdict

Guitar World Verdict: Compact wireless systems have gotten so good that it’s getting increasingly difficult to choose between them. Blackstar’s Airwire wins out on battery life, stealthy aesthetics and its well-judged Cable Tone feature, while its performance is comfortably on a par with similar offerings from Fender and Xvive.

The lack of an active/passive switch may deter players seeking a lower output, but for anyone else, this is an exceptional wireless system.

Specs

• Launch price: $169/£149
• Type: Guitar wireless system
• Controls: Power, Pair, Cable Tone (receiver only)
• Connectivity: 1/4" mono jack, USB-C 5V port
• Range: 100 feet
• Battery life: 9 hours from a 2.5-hour charge
• Contact: Blackstar Amps

Hands-on videos

Blackstar

Leigh Fuge

Dave Barlow

• “My tone was brighter compared to using a cable – but to my surprise, I actually preferred it”: Fender Telepath Wireless System review

What is it?

Bringing big tones in an itty bitty package, the Blackstar Fly 3 has been a go-to mini practice amp for over ten years now. Back in 2014, it proved that mini amps didn’t have to sound like bees hosting a rave in a Pringles tube, setting a new standard for just how good tiny amps could be.

That was a long time ago though, and the landscape has changed massively since then. The arrival of Positive Grid’s smart amps, the explosion of popularity in headphone amps for guitar, and offerings from Boss, Orange, and Fender in the desktop guitar amp genre have made practicing a completely different frontier from what it was ten years ago. So, does the Fly 3 still have what it takes? Let's find out...

The Fly 3 is a simple affair, giving you a single 3-inch speaker to deliver its sounds. You get four knobs to tweak your tones, with separate levels for gain and volume, as well as an ‘ISF’ EQ knob, and a time control for the built in delay. It has two channels for clean and overdriven tones, and a tiny knob that sets the mix of delay signal.

In terms of connectivity, it’s again pretty simple, with a single 1/4-inch input for your guitar, plus an auxiliary 1/8-inch input for your phone or another line in, and a 1/8-inch output for the emulated out or headphones. There’s also an extension speaker socket for pairing it up with a matching cab sold separately, which looks similar to the ethernet port you’d find on a router.

Specs

• Launch price: $79/£69/€75
• Type: Combo
• Origin: China
• Output: 3W
• Speaker: 3”
• Channels: 2
• Controls: Gain, Volume, EQ, Delay, Delay Level
• Connectivity: 1/4-inch input, 1/8-inch line input, 1/8-inch line out/headphones
• Footswitch: N/A
• Weight: 1.98lbs/0.8kg
• Dimensions: 170 x 126 x 102mm
• Contact: Blackstar

Build quality

Build quality rating: ★★★★☆

The Fly 3 comes in four colors, so I opted for the most fun-looking one in my opinion, Surf Green. It’s certainly a striking looking chassis and found many admirers amongst my friends and colleagues. It’s also available in Vintage White, Royal Blue, and if you’re a fan of things more muted, good old classic Black.

Sans batteries it’s very lightweight versus my Spark Mini, and much more sprightly versus the positively heavyweight Katana Mini X. Despite its carry-friendly heft, it doesn’t feel flimsy in the slightest, with the hard plastic exterior feeling well up to being chucked in a backpack and taken on the go.

I really love the classic chickenhead type knobs which add a nice sense of dexterity when you’re moving the controls as well as looking great. The small delay level knob could potentially be a bit fiddly for some, but I didn’t find any major issues with it. The front grille is made out of a lightweight metal, and feels as though it will do a good job of protecting the small speaker within.

Usability

Usability rating: ★★★★☆

As far as actually using the Fly 3, it’s one of the simplest amplifiers I’ve ever encountered. There’s no app or modeling trickery here, just plug in, turn up your volume and gain, and off you go. EQ is handled by the single ISF knob, which is great for beginners or those who like simplicity, but might be off putting for others with more experience or who prefer tweaking their own EQs.

Having separate gain and volume knobs gives you a lot of control over your tones, allowing you to get nicely distorted sounds at lower levels which is great for practice. Channel switching is handled by a button press, and you’ve got separate controls for the delay level and time control.

It can be powered by 6 AA batteries or a 6.5V DC power supply, neither of which are annoyingly not included in the package. This meant that when I got my amp, I had to take an extra trip to the shop as none of my myriad power supplies were compatible with it, and I only had four AA batteries in the house.

Sounds

Sounds rating: ★★★★☆

Plugging in a Gretsch semi hollow guitar into it to begin my testing, I started on the clean channel with the volume and gain at the halfway point, and the ISF knob set at its lowest point to emulate the sound of an American amp.

It’s very a pristine clean at these settings when picking softly, but when I started to dig in there’s some breakup that occurs. It’s not the most pleasant sounding with that scooped American tone, but if you dial the ISF knob to the midway point you start to get a lot more girth which helps fills out the sound some.

It sounds great with clean-picked chords, and once you start adding in some of the tape delay emulation, that really helps negate some of the harshness of the breakup. Here, it sounded superb with bluesy double stops and pentatonic licks for some Rockabilly tones, and once I cranked the tape delay time and level, it went straight into ambient territory.

Dialling up the gain gets you into classic rock territory, and here the breakup sounded much more invigorating, pairing nicely with power chords and lead licks. Adding in some more of the tape delay really helps elevate the sound again, making it more lively and inspiring to play along with versus the purely dry signal.

Switching to channel two delivered a lot more gain, plenty to get some metalcore riffs going. Again, it’s a little harsh sounding on certain settings, but playing with the ISF knob can get you a really full sound that will handle modern metal with ease. I was soon playing staccato breakdowns and 0-8-5 metal riffs a la Trivium and Killswitch Engage. While it won’t trouble the dirt channel of my Orange tube amp for harmonic richness, for practicing at home I’d have no qualms using it for heavier stuff.

Dialing in that tape delay yielded some excellent results with shred leads, helping tame that slight harshness in the high end and allowing extended bends to soar and legato to sound well-defined. The tape delay is really versatile too thanks to the two knob controls, so you can let it wash over your sound or just add a touch of slapback to bring it to the forefront.

I pretty much always found myself leaning towards the mid point on the ISF knob in all my testing, finding the far left position to thin and the far right position too muddy. In that middle section between 10 and 2 o'clock, it felt just right to me, giving you the fullness in the mids but with plenty of bite in the treble.

Final verdict

It’s really quite hard to beat the Blackstar Fly 3 when it comes to value for money. Coming in well below the $/£100 point, it absolutely delivers on its premise of teeny tiny practice amp on a budget, giving you plenty of options when it comes to sounds. Running the gamut from pristine clean to modern metal, it’s an incredibly capable amp for jamming alongside at home.

It does get a little harsh on mid-gain tones when you don’t have the delay engaged, but all it takes is a little tweaking of the knobs to help iron this out. It’s also not an overtly bassy amp as you’d expect with the size, but it can definitely fill a room with sound if you want to crank it a bit when everyone’s out of the house.

Guitar World verdict: Overall, it’s hard to fault the Fly 3 as a home practice solution on the cheap. It can give you pristine cleans, crunchy classic rock, slapback slathered blues licks, and even modern metal, thanks to its twin-channel design. It won’t trouble your regular amp when it comes to tone, but for sitting at your desk or in your living room and jamming out your favorite licks or new song ideas, it’s a brilliant companion.

Also try

Hands-on videos

NAMM 2025: Last summer, Dead Daisies guitarist Doug Aldrich – in tandem with his bandmates – teamed up with Blackstar to create a decidedly more metal version of the company's Fly 3 practice amp, complete with skull-shaped control knobs.

As it turns out, though, Aldrich has also been working with the company on a much bigger project, which has been revealed to be the DA100 signature amplifier.

A 100-watt head, the DA100 packs some serious heat – with a trio of ECC83 and 4 EL34 valves – but also boasts the sort of practical applications that typically feature on the wishlists of 21st century players.

The DA100's most notable appointment is its unique OD Voice.

Developed by Aldrich in collaboration with the Blackstar team, the OD Voice “delivers a vintage, hot-rodded Plexi-style punch” when engaged. The carefully-designed midrange, meanwhile, aims to produce “a chest-thumping experience when striking a power chord.”

Master Volume, Presence, and Resonance controls, and a built-in digital reverb with a Dark/Light switch, also come aboard, with a pair of overdrive channels and a clean channel – which all have two voices apiece – also making the cut.

The amp's effects loop is footswitchable, with a level switch for pedalboard integration, and an included five-way foot controller. Blackstar’s Architect software, meanwhile, can be integrated, allowing users to adjust effect tails when the effects loop is disengaged.

Those not looking to flatten eardrums will also be happy to discover the power reduction switch up front, which brings the amp down to 10 watts, while those looking for home recording-friendly features will likely dig the USB-C output.

The amp is rounded out with a distinct Ruby look – a tribute to Aldrich's daughter – complete with color-matched knobs.

In tandem with the announcement of the DA100 came that of a companion Aldrich signature DA412B cabinet, which comes loaded with the guitarist's preferred Celestion Vintage 30 speakers.

The DA100, Aldrich said in a statement, “brings all the sounds in my head to life.”

“From the very first playthrough, I was blown away – this amp delivers everything, from lush, warm cleans to the most aggressive, ripping leads I’ve ever felt or heard. And though I’ve found my go-to settings, the tonal possibilities are endless – seriously, this amp goes places I never imagined.”

Of his collaboration with Blackstar, Aldrich said, “I’ve been lucky to build great relationships with many amp companies and received several offers to create a signature amp. Yet, I never fully committed. I just wasn’t 100 percent sure – until now.”

The Blackstar DA100 rings up at $1,499, while the DA412B comes in at $1,399.

For more info, visit Blackstar.

What is it?

From hand-wired vintage-style showpieces to modern high-gain amp juggernauts, Blackstar is the kind of company that can do it all and do it well.

But perhaps the one thing it should be applauded for more than anything else is bringing boutique tube amp sounds to just about any kind of guitar player out there – marrying tone, durability and affordability better than arguably any other guitar amp brand to emerge over the last two decades.

Specs

Launch price: $649 / £599 / €719
Type: Tube combo
Origin: China
Output: 10 Watts RMS
Speaker: 1x 12" Celestion Seventy 80
Channels: One
Controls: Gain, Tone, Reverb, Master, Boost
Connectivity: Emulated/headphone out, series effects loop with level switch, three speaker outs
Footswitch: Included (boost)
Weight: 32.4lbs / 14.7kg
Dimensions (WxHxD): 473 x 421 x 251 mm
Contact: Blackstar Amplification

Build quality

Build quality rating: ★★★★☆

This latest combo amp is the British-voiced sibling of the TV-10 A, and naturally uses an EL34 power tube in place of the 6L6 found on the other model, though beyond that, the specs are pretty much the same.

As for first impressions, it definitely seems like Blackstar has been upping its game – not that there was anything particularly wrong with the look of its earlier small combo amps – but there’s definitely more of a classy aesthetic to its latest innovations.

This combo comes in an olive finish with gold piping, plus a salt and pepper grill cloth, which means it’s incredibly inviting to play.

Usability

Usability rating: ★★★★★

Right off the bat, that sense of sophistication spills over into how it sounds, with our Custom Shop Masterbuilt Stratocaster going straight in and all controls set to noon.

With only four dials, it’s very user-friendly, covering almost everything you could possibly want for practising, rehearsing and smaller gigs.

In fact, it’s deceptively full and loud for a 10-watt combo, thanks to the combination of the clever circuitry and the Celestion Seventy 80 1x12 speaker.

It comes as little surprise that the digital reverb emulates a classic spring tank very nicely indeed, and at the back you’ll also find a series effects loop if you want to use your own ambiance.

There’s a foot-switchable boost to give you that all-important lift for solos to cut through, though players who depend on a fully customizable second channel will need something more feature-rich.

Sounds

Sounds rating: ★★★★☆

With the gain set low, you’re in vintage JTM45 territory, and what you hear is very musical and warm – ideal for a woody blues that allows the instrument in your hands to shine.

It’s a sound that will inspire almost every kind of player, with a perfect balance of dynamic range and natural compression to help the notes ring.

Turn it up a bit more and you’ll recognize a familiar Plexi crunch that will suit all your favourite Cream and Led Zeppelin classics with no need for extra pedals, especially if you’re using a humbucker-equipped guitar like my own 1969 Gibson Les Paul Custom.

Beyond that, the TV-10 B can deliver a harder rock sound that goes a little further than the early Marshalls that inspired it, though still avoids anything too modern-leaning.

There is only one Tone dial, and of course in an ideal world you’d have a three-band EQ, but it’s worth remembering this is an amp with old-school roots – that very notion of simplicity is quite possibly the key selling point. The TV-10 B also functions well as a pedal platform amp.

We stacked an Ibanez TS808HW Tube Screamer with a Boss Blues Driver and a Ceriatone Centura with minimal noise or fuzz.

Higher gain players will be the ones most affected by the lack of three-band EQ, meaning they’ll probably need a bass control on their pedal of choice in order to tighten things up, and modulations like the MXR Phase 90, Pedal Pawn Gypsy Vibe and Dawner Prince Starla Tremolo can really intensify the sparkle and shimmer when engaged, tapping into more esoteric and ethereal musical realms.

Verdict

Clearly there’s a lot to like here, though the emulated/headphone output for recording or running direct through a PA is a bit hit-and-miss – it may come in handy for some users but doesn’t seem to carry the same kind of sonic weight as hearing the amp traditionally. It feels like more of an afterthought than an integral feature.

Perhaps that’s because this nostalgic combo isn’t necessarily trying to be cutting edge, it’s more of a plug-in-and-play kind of design that specializes in vintage romance, which it brings in abundance. Could this be the most impressive tube amp under $700? For simpler needs, we definitely think it’s up there.

Guitar World verdict: The TV-10 B is both loud and proud while also being compact and classy. The direct out could be better, but what it truly excels at is simplicity – breathtaking sounds with just four knobs. For many of us, that’s all you can ask for.

Also try

Hands-on videos

Blackstar

Sweetwater

Andertons

• Blackstar ID:Core V4 Stereo 10, Stereo 20 and Stereo 40 review

UK amp maker Blackstar has announced a recall of its recently launched Debut 100R combos, citing safety concerns over the potential exposure of electrical components.

The firm’s recall notice says that the issues have been found on Debut 100R 112 and 212 units with the date codes 2403 to 2411. The issues reportedly result from incorrect joinery, which has left “larger than intended gaps” on the cabinets, potentially exposing the electronic componentry inside.

As all players should know, touching any such internal circuitry could result in electric shock, so Blackstar is directing any owners to its Product Recall page, in order to help them track down and assess the units.

The full statement from the manufacturer reads as follows:

“Nothing is more important to Blackstar than the safety of our customers.

During routine quality checks, we have identified a problem with Debut 100R 112 and 212 Combos with date codes from 2403 to 2411

Due to cabinet production errors, a larger than intended gap between wooden parts of the cabinet can cause some electronic components to be accessible or partially exposed. As a result, in some circumstances a user could come into contact with safety critical internal chassis components. This poses a risk of serious electric shock.

“Given the circumstances and our commitment to absolute safety, Blackstar has therefore decided to recall these affected products to resolve the issue. No other Blackstar products or Debut 100R date codes are affected.

Blackstar asks all customers with a Debut 100R 112 or 212 Combo to visit the following link to determine whether their product is affected: https://blackstaramps.com/product-recall/

We wish to thank you for your cooperation and to apologise for any inconvenience caused.

If you have any questions or concerns, or need any support regarding the details of this Product Safety Recall, please contact our team in the UK via https://blackstaramps.com/contact-us/”

Blackstar is naturally keen to get the information out there to all affected parties, so if you know of any players with a Debut 100R, or are able to help spread awareness of the recall, please do so…

For more information, head to Blackstar.

Since being founded 17 years ago in the English town of Northampton, Blackstar has gone on to become one of the most fiercely innovative amplification companies in the music trade.

The company manufactures a whole range of products that cater for just about every need, from the kind of practice units touring musicians use in backstage dressing rooms to high-performance metal machines. You’ll find their logo in living rooms, bedrooms and stages of every kind, and with good reason.

In recent years, the firm has launched the St. James series, which made headlines for being the lightest tube amps ever made, and the 100-watt Amped floor units, which are engineered to replace conventional heads and combos.

These latest developments coincide with the introduction of high-definition IRs in its CabRig software and the plugin versions of the St. James amps in 6L6 and EL34 variants. It’s exactly this kind of thinking that’s placed them at the cutting edge of modern guitar amp design, rewarding modern guitarists with innovation that’s as affordable as it is reliable.

To get an idea of where the company is in 2024 (and what’s coming next), we checked in with Chief Engineer Paul Stevens – who has worked for Peavey, Buddha and Trace Elliot – and Head of Products Alex Gee, the man in charge of all things digital.

Let’s start with the St. James. It has the jaw-dropping tones and wide-ranging connectivity people have grown to expect from Blackstar, but it ditches the traditional transformer for a switched-mode power supply, also featuring a brand new lightweight speaker from Celestion.

Paul Stevens: “Our managing director called me into his office for a discussion about what we could do to shake things up. I said, ‘Tube amps are great but heavy; why don’t we look at lightweight versions?’ His first question was, ‘How?’ I suggested developing a new kind of supply based on switched-mode principles.

“We weren’t the first to do that, but we’ve probably been the first to do it successfully. Tube amp users tend to be resistant to change, but everywhere else in the world we’re seeing these supplies being used for all sorts of things, from phones to televisions. Those products are made in higher quantities; they can afford to develop.

“It wasn’t easy. We had to go through many revisions to get it right – thousands of hours of testing in different temperatures. We then developed lighter-weight speakers with Celestion and also looked at lighter woods, taking weight out where we could.”

It’s interesting how a company that started with the vintage-leaning Artisan models now seems to be focusing on modern needs.

Stevens: “The Artisans will always be there, but we don’t sell big numbers. Modern players are used to connectivity, so that’s the direction we’re going in. People are used to having USB outputs and Bluetooth connectivity.

“It’s not sacrilege. I remember being at Peavey 15 years ago, and we were talking about putting a USB output on something. Some people were like, ‘No way!’ – but now it’s normal. Blackstar is going into all sorts of areas. Earlier on, half of us would be on digital, and everyone else would be amps, but now we’re all working together, combining the technology into everything.

“The DSP gear uses the amps as a reference. The tube amps are incorporating more digital technology, not within the main signal path, but for things like reverb and CabRig. That’s where we’re going – taking amps to where they should be in the 21st century.”

The St. James plugin range is a first for Blackstar. A sign of things to come, perhaps?

Alex Gee: “You could say that. Because we understand why circuitry makes such a difference, we came at the plugins with a unique perspective. It doesn’t matter how we get the sound, as long as we get the sound. The tone is the important thing. Some products have been built in the digital domain first, so we can rapidly prototype the physical.

“We’ve actually been working with plugins for many years. Our digital products like the ID Series and Silverlines were developed in plugin format first and then translated into amps. Although the St. James plugins are our first commercial ones, we’ve been using them internally for a long time.”

There’s some great footage of Jared James Nichols, a dyed-in-the-wool blues purist, being blown away by the quality of the plugin. That was a clever way of promoting it.

Gee: “Jared can make anything sound good. He also knows when to move on. It was stressful going into that first reaction, but he genuinely loved it. Feel is so important to the player. Our St. James plugin reacts like a cranked amp. That’s the barrier we’re trying to remove; you can have the convenience of a plug-in and keep the great sounds you’re used to.”

CabRig and Amped have also been very well-received by guitar players around the world. Why do you think that is?

Gee: “We wanted our CabRig technology to be in all of our products. You have it in our smallest ID:Core, which isn’t much over $100, offering ridiculous value for money. It’s all about creativity, feeling like you’re in a professional studio even if you’re playing over a backing track or writing.

“The Amped series took a while to develop. There are other floor amps, but they’re more niche. Ours is a direct replacement. It can hit 100 watts, which is more than anyone needs, but the headroom was important to us.

Stevens: “We put the same level of attention into everything. It can be infuriating, because we’ll go round in circles. We’ll listen in different rooms, with different guitars and different players, to get there. It doesn’t matter if it’s an expensive tube amp or a beginner’s solid-state, we put the same amount of attention into everything.”

Who do you see as your biggest competition for the digital end of the market?

Gee: “That’s an interesting question. Neural DSP, Fender and Line 6 are doing brilliant stuff. They’re all good in different ways. We just try to make great products and innovate in different ways to our competitors. I wouldn’t say there’s one that makes us go, ‘Oh, we have to beat those guys!’ It’s not in our nature to think like that.”

What’s coming up next for Blackstar?

Stevens: “When we finished the St. James, it became immediately obvious that the other ranges needed updating. So that’s what I’ve been doing over the past year. We don’t want to become tired or obsolete. I’m also working on things to take the St. James even further. Expect expansion!”

Gee: “We’re not going to stop with the Amped series. It was a surprise from Blackstar, and there will be plenty more. The same goes for plugins. That will be an area worth watching because there’s a lot of exciting stuff going on there.

“You can’t beat a valve amp live, but the convenience of digital plugins can’t be ignored. As a valve amp company, we don’t want to ignore that. We’d rather be a product-driven company. We will carry on leading the way on all fronts. We’re not stopping!”

• For more on the brand's current lineup, head over to Blackstar Amplification.

Blackstar has added to its Debut series of small-but-powerful combo amps with the Debut 30E.

When the Debut combos first arrived on the scene in 2020, they were considered some of the “best-looking beginner amps” on the market, offering low wattage and low price tags for those looking for a practice amp on a budget.

Since the launch, the range has grown considerably. The Debut 50R took the amp world by storm last year. Representing Blackstar's “most powerful entry-level amp”, it proved to be a viable partner for practices and small gigs, as well as a great pedal platform to boot.

The series has been crafted by the same R&D team behind Blackstar’s high-end valve amps, and they promise the dynamic response of valve amps, offering players “access to an infinite palette of tonal subtleties”.

The Debut 30E is the first 30-watt option in the series, adding more power to the template of the 10E and 15E models and adding footswitching options. Players, though, will need a two-button Blackstar footswitch – which is sold separately – to utilize those capabilities.

Like its siblings, it’s an all-analog solid-state amp, with “true Blackstar tones” delivered via Clean and Overdrive channels. The firm's patented ISF feature, which lets players dial in a custom blend between British and American amp tones, is a welcome addition, as is a built-in tape echo.

The same connectivity features found across the series are also present here. That includes a series effects loop, a speaker-emulated line out for silent practices and recording sessions, and stereo playback when playing through headphones.

Atop the amp are dials for Gain, Volume, and a three-band EQ, while the delay's dial adjusts the time of its tail.

Beneath its housing – choose from a cream covering with oxblood fret, or black and ‘biscuit’ basketweave – players will find a 1x10 custom-designed speaker. Blackstar says this can be used away from guitar playing, making it also a handy speaker for streaming music.

“The Debut 30E delivers the ultimate playing experience for any guitarist wanting an easy-to-use amp that delivers great tone,” Blackstar says. “Whatever your ability, these amps raise the benchmark for tone, features, and desirability.”

The release follows Blackstar’s launch of its Polar audio interface series, the first of its kind to be made “by guitarists, for guitarists”, and its pedalboard companion, the Debut 100R, said to be “virtually indistinguishable from valve amps”.

The Blackstar Debut 30E costs $209.99 and is available today.

Head to Blackstar to learn more.

Blackstar certainly knows a bit about guitar amplification and then some, so when the brand releases an audio interface that it says is “designed by guitarists for guitarists”, it’s time to take notice. 

The new Polar 2 is a solidly compact, bus-powered USB guitar audio interface with two identical inputs, each one equipped with a combo socket for a standard guitar cable or XLR mic cable. For monitoring, you have a standard pair of outputs to connect to your speaker system, plus a front-panel headphones jack with its own volume knob.

Blackstar tells us that it identified three specific areas in audio interface design that needed to be addressed, with ease of use being one of them. The other two are more guitar-specific: the feel and response when playing a guitar directly through an interface, and the setting of input gain levels to best suit a guitar’s wide dynamic range so signal peaks don’t lead to digital clipping. 

While these aspects are tackled by starting with a high-headroom FET input stage, the special sauce is a switchable Enhance facility that brings in a circuit that’s designed to mimic the input stage of tube amplifiers. 

It’s a subtle effect, but we preferred the playing dynamics with this feature on and the ‘lift’ it gave to the sound. What’s more, having the Enhance switch engaged also prevents digital overloads, letting you easily set an optimum level on the input gain knob to get a strong signal going into your DAW without any worry of ruined takes.

If you’re plugging in microphones, rather than guitar – perhaps taking advantage of the switchable phantom power and using a condenser mic to record acoustic guitar or vocals – then the mic preamps deliver a clean and detailed sound to which you can add some airy top-end by engaging the Enhance switch, which, in this instance, brings in a high-shelf EQ.

The simplicity of the unit’s layout makes it dead easy to use and that ease extends to the included Polar Control software, a virtual mixer that lets you set up your preferred monitor mixes. 

On top of that, you get loads of bundled software for computer recording, including Blackstar’s full St James Plugin Suite for amp/cab sim and effect needs.

Specs

• PRICE: £179
• ORIGIN: China
• TYPE: USB audio interface
• FEATURES: 2x inputs, phantom power, headphone and standard monitor outputs, included Polar Control app, free software (Ableton Live Lite, ReLab LX480 Essentials Reverb, Melodyne Essential), USB cable and USB/jack power cable included
• CONTROLS: 2x Enhance (On/Off) switch, 2x Line/Instrument switch, Gain 1, Gain 2, Monitor, Headphones Volume
• CONNECTIONS: Combo inputs (1 & 2), standard (1/L, 2/R), standard stereo headphone output, USB-C
• POWER: USB bus power or 5V adaptor 1000mA
• DIMENSIONS: 114 (d) x 170 (w) x 60mm (h)
• CONTACT: Blackstar Amplification

There will always be a time and a place for big, powerful 100-watt tube amps, but for a vast majority of guitarists today a smaller amp is much more practical for everyday recording, practice and performance applications (in other words pretty much always unless you’re playing at the Megadome Super Stadium, and even then most can do just fine by mic'ing a smaller amp through the PA).

For many years now, the Blackstar HT Series has offered guitarists a compelling variety of small guitar amps of various sizes that are packed with cool features and a plethora of useful tones.

Blackstar’s new HT Series MK III amps bring IR-based CabRig speaker simulation to the party to further expand the usefulness of these amps in the recording studio or when running an output to a venue’s mixing console.

As before with the MK II versions, the MK III HT Series consists of a 1-watt head (HT-1RH) and combo (HT-1R), a 5-watt head (HT-5RH) and combo (HT-5R) and a 20-watt head (HT-20RH) and combo (HT-20R). Each combo has a single speaker – an 8-inch speaker for the HT-1R or a 12-inch speaker for the HT-5RH and HT-20H. Blackstar also offers matching 1x12 and 2x12 extension cabinets.

For this review, we looked at the HT-1RH MK III head, HT-5R MK III combo and HT-20RH MK III head.

The 1-watt, 5-watt and 20-watt models each have different tube complements, which gives each version its own distinctive tonal range and character, although there is an overlapping “Blackstar” personality throughout.

The HT-1 amps have single ECC83 (12AX7) preamp and ECC82 (12AU7) power amp tubes; the HT-5 amps feature an ECC83 preamp and 12BH7 power amp tube; and the HT-20 amps provide a pair of ECC82 preamp and dual EL84 power amp tubes.

The lower gain of the ECC82 preamp tubes in the HT-20 may seem unusual considering that the 12AX7 has become almost ubiquitous for this application, but they actually provide more than ample grit and grind that will keep hard rockers more than satisfied.

The tiny HT-1RH head is best suited for recording applications, but it’s actually quite impressively loud when paired with a 1x12 or 4x12 cabinet.

This micro-size amp is packed with features, including individual clean and overdrive channels, each with two selectable voices that change the tonal character, position of the tone stack, gain and power amp damping characteristics at the flick of a switch.

There’s also built-in reverb with adjustable level, a three-position CabRig preset select switch, 1/8-inch line in and line out/headphone jacks, USB-C audio out and a footswitch jack for the included controller, for switching channels and voices.

The HT-5R and HT-20RH share virtually identical controls and jacks, with the exception of a master volume control included on the HT-20RH.

Front panel controls consist of reverb level, EQ for the overdrive channel (ISF, treble, middle, bass), overdrive volume, overdrive voice switch, overdrive gain, OD select switch, clean tone, clean voice switch and clean volume, plus a low/high power switch that selects 0.5- or 5-watt output power on the HT-5R or 2- or 20-watt output on the HT-20R.

Rear panel jacks include USB-C audio out, ¼-inch footswitch (channel and voice switching), ¼-inch effects loop send and return, +4/-10dBv effects loop level switch, 1/8-inch line in, CabRig 1-3 toggle switch, ¼-inch line out/headphones, XLR balanced CabRig out and two 2x16-/1x8-ohm and one 1x16-ohm speaker outputs.

All three models provide an excellent range of tones from sparkling clean to raunchy hard rock overdrive. The HT-1R’s cleans aren’t quite as refined as those of its bigger brothers, partially because it delivers surprisingly beefy bass, which players who love more punky and aggressive tones may actually prefer.

The HT-1R’s distortion is also more over-the-top, but the EQ section is more limited. The HT-5R provides textures from jazzy clean to bluesy crunch on its clean channel, while the overdrive channel provides a wide range of classic rock wallop.

Its volume output is somewhat “polite,” but that’s perfectly fine for players who want to rock out without having the cops show up. The HT-20R is loud enough for small gigs (or bigger gigs with the CabRig connected to a mixer) and it provides a wider range in overall bass and treble, clean headroom and saturation.

Specs

HT-1R Combo

• PRICE: $449 / £399
• TYPE: Tube amp combo
• POWER: 1W
• CONTROLS: Gain, Volume, ISF/EW, Reverb, Overdrive select switch, 3-way CabRig switch
• CONNECTIONS: 1x8" headphones out, 1x8" line in, USB output, footswitch input, 1x speaker output (4-16 ohms)
• SPEAKER: 1x8" Blackstar speaker

HT-5R Combo

• PRICE: $679 / £599
• TYPE: Tube amp combo
• POWER: 5W (switchable to 0.5W)
• CHANNELS: 2
• CONTROLS: Volume, Tone, Gain, Volume, OD Q (Bass, Middle Treble, ISF), Reverb,2x Voice switches, 3-way CabRig selector
• CONNECTIONS: 1x8" headphones out, 1x8" line in, USB output, footswitch input, 2x 8 Ohm and 1x 16 Ohm, Balanced XLR out, effects loop with +4dB/-10dB switch,
• SPEAKER: 1x12" Blackstar speaker

HT-20RH

• PRICE: $/£749
• TYPE: Tube amp head
• POWER: 20W (switchable to 2W)
• CHANNELS: 2
• CONTROLS: Volume, Tone, Gain, Volume, OD Q (Bass, Middle Treble, ISF), Reverb, 2x Voice switches, 3-way CabRig selector
• CONNECTIONS: 1x8" headphones out, 1x8" line in, USB output, footswitch input, 2x 8 Ohm and 1x 16 Ohm speaker outputs, balanced XLR out, effects loop with +4dB/-10dB switch
• CONTACT: Blackstar Amplification

Blackstar has unveiled the latest iteration of its audio interface for guitarists, the Polar 4, which expands on the recently announced Polar 2 with new MIDI connectivity and up to four instrument inputs.

The Polar 2 was only unveiled in early July, but caused a stir among players with its promises to address what Blackstar outlined as the three key weaknesses of the audio interface market for guitarists, namely: ease of use, setting guitar input levels and poor feel/response.

As such, the channels featured independent gain controls and ‘Enhance’ switches, with the latter intended to emulate the feel of playing through a real amp when recording into a DAW.

In addition, the use of FET instrument inputs means the Polar interfaces should offer high headroom with a low noise floor and the manufacturer also promised that, with the Enhance circuit engaged, players would not have to worry about digital clipping, thanks to its amp-like response.

Now, a month on, the firm has added the Polar 4 to the line-up, “elevating its feature set for professional recording and production situations”.

In practise, this means does all of the above, but gives you an additional two instrument inputs and outputs, plus MIDI connectivity and two headphone outputs (opening up your monitoring options).

As with the Polar 2, all four instrument channels have independent gain controls, with combined jack/XLR inputs, instrument/line switches and the enhance circuit available on all channels. There’s also a phantom power switch.

Then there’s that distinctive chunky monitor dial, surrounded by LED input and output indicators, while on the rear there are now an additional two outputs, alongside the MIDI I/O.

The recording quality remains the same across the two units, with 24-bit/192 kHz A/D conversion.

So what does that extra connectivity cost you? The Polar 4 comes in at a street price of $379.99, which means it’s getting on for nearly double that of the Polar 2 ($199.99).

For comparison, the Polar 2 matched the price of the industry-leading Focusrite Scarlett 2i2, but the Polar 4 comes in a little higher than its rival, the MIDI-capable Scarlett 4i4 ($279.99). However, it offers more physical controls and four XLR/line inputs with mic pres (as opposed to two, with two line inputs on the 4i4).

For more information on the Polar 4, head to Blackstar.

Building on the success of the Debut 50R, its most powerful entry-level amp, Blackstar has announced its bigger brother, the Debut 100R.

First unveiled at NAMM 2023, the solid-state 50R impressed with its meager $250 price tag, with Guitarist calling it “a dead cert in the race to become this year’s best-selling small combo.”

Available as 1x12 and 2x12 combos, its larger successor uses a discrete MOSFET preamp to produce tube-like tones and pack “plenty of power for gigging,” taking the combo beyond the remit of bedroom jamming – although its power reduction down to 5W does make it a viable bedroom companion.

The MOSFET preamp is voltage-regulated like a tube, rather than current-regulated like a transistor, and Blackstar says that its implementation of the preamp has led to a “design that is virtually indistinguishable from valve references”.

Built with pedalboard aficionados in mind, the Debut 100R focuses on “tone and simplicity rather than unwanted ‘bells and whistles’,” so the amp and its paired pedals can focus on what they each do best.

The amp offers two footswitchable channels, a Clean and Overdrive respectively, with the prior offering a Bright Switch. The amp is compatible with any two-button Blackstar footswitch, but does not come with one.

Blackstar’s signature ISF (Infinite Shape Feature), for dialing in your preferred blend of British or American tonal flavors, also stars, alongside a custom-voiced digital Reverb with Hall and Plate settings, and an effects loop.

There's also a line in for playing along to music, plus a speaker-emulated line out for silent practice with headphones or recording.

“Our design philosophy has always been to deliver the ultimate playing experience for guitarists – no matter their ability or budget,” says Blackstar.

“With the Debut 100R, players can enjoy simplicity, power and tone in an authentic analog design; it is the perfect choice for anyone seeking a reliable, plug-in and play amp. All tone, no fuss.”

The amps are available in two vintage-styled colorway options: Cream covering with oxblood fret or black with a 'biscuit' basketweave.

The announcement follows the release of Blackstar's Polar 2 audio interface, which the company says solves the biggest issues guitarists have with their pre-existing interfaces, and the next generation of its best-selling ID:Core practice amps.

The new Blackstar Debut 100R combo amps are affordable, too – they're available now at $349/£299 for the 1x12, while the 2x12 is a little more at $429/£349.

Head to Blackstar Amps for more information.

Blackstar has announced the arrival of a new 1x12” combo, the TV-10A, which aims to capture classic Fender tweed-style tube tones and package them with modern features, like digital reverb and a handy cabinet-emulated line out.

The firm promises the Class A amp “pays homage to classic American amplifiers”. In keeping with the traditional Fender-style amp build, the circuit features a 12AX7 preamp and 6L6 tube power section, creating “a dynamic playing experience that effortlessly transitions between glassy clean tones and crunchy overdrives”.

It’s covered in a cream Tolex covering and basketweave speaker grille, giving it a thoroughly vintage vibe. Look a little closer, though, and you’ll see the TV-10A is not a simple tube amp recreation, but makes some considerable breaks from tradition.

So, where in an old-school Fender, you might find a Jensen speaker, here the British firm has deployed a 12” Celestion speaker. There’s also a choice of amp voices – which can be selected via footswitch, or by engaging the Drive mini-switch on the control panel – giving you the option of a hotter-voiced crunch tone.

In addition, there’s a custom-voiced digital reverb, which Blackstar promises has “faithfully captured the tone of the best valve amplifier reverb tanks.”

This being 2024, though, players are expecting a little more from their amps, and the TV-10A has clearly been designed with flexibility in mind.

As such, you get a built-in effects loop with a choice of +4dBV/-10dBV settings and a speaker-emulated line out. There’s also a headphone output for quiet practice, should you need the option.

All in all, it looks like a convincing combination of classic vibe and traditional tones, with the kind of handy connectivity that means you could find a number of applications for it.

The result is a unit that is clearly making a pitch to be your go-to small gig, rehearsal and recording amp – a role increasingly occupied by digital/modeling units – and an interesting addition to a market that is, predominantly, moving away from mass-market tube amps.

Whether or not players are willing to pick up a Blackstar over the likes of a build with a Fender logo, for that US-style voice remains to be seen, but it’s priced to compete – coming in at £599 (approx. $770).

For more information, head to Blackstar.

Blackstar and The Dead Daisies have released a tiny signature edition of the popular Fly 3 practice amp, and it comes complete with something we never thought we needed: skull-shaped control knobs.

The Blackstar Fly 3 is a small amp but it promises plenty of bark, offering three watts of power, two channels, a tape delay and Blackstar's American/English Infinite Shape Feature (ISF) dial. It also features Bluetooth connectivity – a feature now extended to its beloved ID:Core practice amp – for cable-free jamming.

This Dead Daisies iteration was designed alongside the supergroup, which features David Lowry, Doug Aldrich, and one-time Mötley Crüe vocalist, John Corabi, in their ranks.

In terms of usability, the signature model carries all the same features as the original, with the band championing it as their “go-to warm-up amp… whether on the road, backstage or writing at home.”

Visually, though, the band has overseen some stark changes. Its black, soft-touch casing has been given a lick of loud red paint, with its control knobs molded into the shape of skulls to match The Dead Daises logo that comes emblazoned across its front.

“Once David [Lowy], Doug [Aldrich] and Michael [Devin] chose to use Blackstar amps for their live rigs, it was an obvious next step to make a Fly 3 The Dead Daisies version,” says Blackstar. “This stunning amp is perfect for jamming anywhere or listening to The Dead Daisies while on the move.”

The amp is battery-powered for mobility, and is compatible with Blackstar’s Fly 103 extension cabinet to double the Fly 3’s wattage output and benefit from a stereo sound.

Its two channels are split between Clean and Overdrive, with its skull dials tweaking Gain, Volume, EQ, and the Time of the delay.

The ISF feature, found across many of Blackstar’s amps, allows players to find their preferred sweet spot between American and British tone characters, and there’s also the option to play music through a cabled connection, if Bluetooth doesn’t have the necessary bite.

Finally, there’s an emulated line out for silent practice and recording.

The Fly 3 The Dead Daisies edition is available now for $109.99.

Head to Blackstar for more information.

Blackstar has added a new Bluetooth-bolstered 10-watt amplifier to its ID:Core V4 series. 

The Britsh amp builders revised its popular amp series at the start of the year, with this the second 10-watt amp to join the family. 

The fourth-generation amps have received some new features, with updated connectivity and improved amp voices two standouts. The series also sees Blackstar leaning further into the notion that, primarily, these amps are for guitarists at the start of their playing journey, with Bluetooth capabilities the headline here. 

That allows players to connect their phone to the amp via Bluetooth so they can effortlessly jam along to their favorite songs, or simply use the amp’s inbuilt wide stereo speakers – made up of two three-inch, five-watt speakers – for listening to music.

Like the rest of the range, it serves up six amp voices: Warm, Bright, Crunch, Super Crunch, and two Overdrive channels. These sit alongside 12 built-in effects: delay, reverb, phaser, chorus/flanger, envelope filter, and tremolo, with six slots available for saving patches. 

These presets can be edited and shared via Blackstar’s Architect app, which is available on Windows and Mac, but noticeably not phone devices. However, the app does allow a deeper dive into the tone and effects parameters than the amp itself. 

Extra tone-shaping comes via an in-built tap tempo feature, available for all but the reverb and envelope filter effects. 

Other features include power bank compatibility for plug-free jamming, Blackstar’s ISF feature for dialing a more British or American flavor to the amp, and the ability to drop the amp down to one-watt for low-volume, neighbor-friendly playing. 

There’s also a handy four-channel USB-C audio feature for low latency recording and re-amping. 

In fact, the only feature not extended to this 10-watt model is footswitch capability, a perk reserved for the 20- and 40-watt versions. 

“These super compact, versatile, lightweight practice amps are perfect for those just starting out or for those more experienced players looking for a high-quality practice and home studio recording amp,” says Blackstar.

No arguments here – we dubbed the original batch, “Ideal first amps, loaded with features for hours of fun and inspiration” in our review of the range.

The ID:Core V4 Bluetooth costs $199 – $40 more than the non-Bluetooth-equipped model.

Head to Blackstar for more information.

Blackstar has just unveiled the latest incarnation of its HT tube amps, the Blackstar MK III Series.

The HT range is one of the most established tube amp lines out there. It’s particularly well-known for providing classic tube tones in compact models. So what makes the MK III different from its predecessors?

HT stands for high tension, which refers to the high-voltage internal circuits needed to push tubes to their full tonal potential. With the new MK III series, Blackstar promises to honor this name and deliver “a new level of sound quality, features, and performance” that gets “big valve amp tones onto recordings and for home practice in a small, portable format.”

One of the most enticing additions is Blackstar's patented CabRig DSP technology, which gives players access to 100s of different cabinets, mics, mic placements, and room settings.

Moreover, these settings can be saved and stored into three presets, which can be recalled directly from the amp.

And if you need more customization, the amps come equipped with an all-new digital reverb with adjustable parameters, as well as Blackstar's Infinite Shape Feature (ISF). The ISF is a single knob that can take your tone from a more American-sound amp (think Mesa/Boogie) to a more classic British amp (Marshall-adjacent), and anywhere in between.

There are also two distinct voices on each channel (all footswitchable), with clear changes in the gain, EQ voicing, and tone stack position in the circuit that “recreate authentic reference tones without compromise.”

The clean channel allows you to choose between an American Clean and a British Clean. Switching to the overdrive channel gives you the option to flick between Classic Overdrive and Modern Overdrive. 

Aesthetically, the models come in a “striking” new look with premium boutique amp stylings including premium tolex and fret, updated LED colors, mini-toggle switches, and a metal plate logo.

Models in the range include the HT-1R MK III combo, HT-1RH MK III head, HT-5R MK III combo, HT-5RH MK III head, HT-20R MK III combo, HT-20RH MK III head, HT-212VOC MK III cabinet, and the HT-112OC MK III cabinet. The cheapest, the HT-112OC MK III 1x12 cab, is priced just shy of $420. 

The HT Venue MKIII series is available now. See Blackstar Amps for more details. 

Chaucer’s famous quote ‘time and tide wait for no man’ could easily be expanded to include technology in today’s fast-moving and constantly changing world. 

In the relatively small but significant market of guitar amplification, digital signal processing has made it possible to condense hardware analogue effects and amplifier voices into software, which can either be used in a computer as a standalone plug-in or loaded into a convenient digital amplifier platform. 

Digital signal processors continue to get faster and more powerful, while becoming increasingly affordable, making it possible to buy an all-in-one programmable amp for a fraction of what it might have cost four decades ago.

At the top end of the market, this translates into vast multi-core DSPs producing guitar tones that can go straight onto multi-platinum album tracks, providing professional artists with night-after-night reliability and consistency for touring, when you need to precisely reproduce specific tones and effects. Meanwhile, at the equally important entry level, users benefit from greatly improved tones and features that would have been out of reach just a few years ago.

It can’t be easy for manufacturers to keep up with the ever-changing digital market, but one amp builder who has always stayed ahead of the curve is Blackstar, with a relentless R&D program that seems to result in more yearly product debuts than most of the competition. 

As if to underline that point, the Northampton-based company has just released the fourth version of its ID:Core programmable combo range, with small but significant tweaks that help to keep the ID:Core amps current in an increasingly competitive market. Time, then, to take a fresh look at the new ID:Core V4 Stereo 10, 20 and 40 combo amps and ask if improvements in digital guitar tone make these new amps more relevant for experienced pro and semi-pro players.

At first glance, all three combos look very similar to their V3 equivalents, with smart vinyl-covered particle board cabinets and a check-patterned grille cloth. As the name points out, each amp is stereo and uses a pair of special-design loudspeakers: three-inch for the Stereo 10, five-inch for the Stereo 20, and 6.5-inch for the Stereo 40.

The control panel has a new brushed black aluminium finish that adds a touch of class. The mini USB 2.0 B socket has been updated to the current USB 3.0 C style, and there’s a new power reduction button that drops the amp’s full rated output to just one watt. 

Otherwise, the front-panel controls are pretty much identical. A single input jack feeds the six-way amp voice selector, offering a choice of Clean Warm, Clean Bright, Crunch, Super Crunch, OD1 and OD2, followed by rotary controls for Gain, Volume and EQ, which uses Blackstar’s patented ISF control to blend UK and USA EQ circuits to taste.

Effects are handled by three button switches for delay, modulation and reverb, with a choice of four effects in each type governed by a split segment rotary selector that modifies one parameter, while a separate level control modifies another. A tap tempo button can be used to set delay times on the fly. There’s an integral tuner, accessed by holding down the reverb button switch for a second. 

Other connectivity includes sockets for line in and streaming using a TRRS jack and headphones/CabRig out with four‑channel direct recording using USB. The two larger amps get a footswitch jack, in line with their increased performance capability.

Power for all three of these amps comes via a 16-volt DC mains adaptor, which plugs into the rear of the cabinet, also home to a useful recessed handgrip for carrying. There’s also an optional battery pack that gives around nine hours of unplugged playtime.

In use and sounds

The ID:Core’s sounds have benefitted from software and hardware upgrades, improving the sound of the amp voices and effects, and in the Stereo 40 increasing the volume level a little as well. 

The six voices cover the entire spectrum from pristine cleans to OTT metal lead, and thanks to the deceptively simple ISF EQ control, they need minimal time to dial in. We used a couple of vintage and modern Strats alongside a PAF-equipped Les Paul, and for each guitar the experience is very much plug in and play, with instant gratification from the ID:Core’s effects. 

The widescreen stereo effect seems more noticeable than before, with delays, modulations and reverbs combining to give the illusion that you’re playing through a much larger rig.

The Clean Warm sound is ideal for jazz, while the Clean Bright voice has a more contemporary vibe and can be pushed into a mild overdrive with the gain level turned right up. 

This one sounds great with single coils and a dash of chorus and reverb. The two crunch sounds are ideal for chord riffing and blues-rock soloing – we had great fun using the higher gain Super Crunch voice with our Gibson Les Paul. 

Meanwhile, the traditional Blackstar OD1 and OD2 lead sounds will cover any need, from 80s master volume-type overdrive to modern metal chug-chug detuned riffing, although the small speakers mean bass response is somewhat limited.

The slightly increased power of the Stereo 40 makes it more useful as a band practice tool, as well as making it suitable for smaller, quieter live performances.

You can hook the amp up to a console from the headphones lead and make full use of the CabRig Lite speaker emulation, although this disconnects the amp’s internal speakers, so you’d need some kind of external monitoring.

Saving and storing patches is very easy: just press and hold the Manual button switch for two seconds. You can save one patch in each of the ID:Core’s six voice switch settings, the only limitation being that the amp voice has to match the voice switch location, so you can’t store a Super Crunch-based patch in the Clean Warm slot, for example.

However, with Blackstar’s Architect software hooked up via USB, you can save and recall any number of patches, as well as control the amp in real-time.

Watch our demo video:

Verdict

On the face of it, the new improved ID:Core V4 amps aren’t much different from the V3 versions, although the sounds are incrementally better, while the important change to USB-C keeps them compatible with modern mobile devices. The one-watt output power switch is useful for neighbour‑friendly late-night entertainment, and the slight increase in output from the V40 adds to its versatility.

In a studio setting, the excellent CabRig Lite speaker-emulated output provides instantly great ready-to-record tones into your computer or console, making plug-ins unnecessary and saving your processing power for other things, with the ability to control all the effects and amp voices in real-time using the free Architect app.

For pro and semi-pro players, this makes the ID:Core a powerful writing and recording tool, with the clever Randomiser feature producing unexpected amp and effects combinations when inspiration is needed.

The most inspiring feature of all, though, has to be the price – the Stereo 10 combo retails for just under $159/£140, making it incredible value for money. The ID:Core V4 combos are obviously ideal first amps, loaded with features for hours of fun and inspiration, while the sound quality means they’re suited to players at all levels. Definitely worth checking out! 

Specs

Blackstar Stereo 10 combo

• PRICE: $159/£139
• ORIGIN: China
• TYPE: Programmable digital guitar amp
• OUTPUT: 2x 5W RMS stereo
• LOUDSPEAKERS: 2x 3” Blackstar special design
• DIMENSIONS: 340(w) x 185 (d) x 265mm (h)
• WEIGHT (kg/lb): 3.7/8
• CABINET: Particle board
• CHANNELS: 6x programmable voices
• CONTROLS: Voice select, gain, volume, EQ. Effect select, effect level. Button switches for manual mode/patch store, 1W/full power output, effects type select, tap tempo
• FOOTSWITCH: None
• ADDITIONAL FEATURES: Switchable output power from 10W to approx. 1W. CabRig Lite speaker emulation, live streaming, stereo headphones out, deep editing of amp and CabRig settings via free Architect app, integral tuner, 4-channel USB recording

Blackstar Stereo 20 combo

• PRICE: $199/£179
• ORIGIN: China
• TYPE: Programmable digital guitar amp
• OUTPUT: 2x 10W RMS stereo
• LOUDSPEAKERS: 2x 5” Blackstar special design
• DIMENSIONS: 375 (w) x 185 (d) x 292mm (h)
• WEIGHT (kg/lb): 5.2/11.5
• CABINET: Particle board
• CHANNELS: 6x programmable voices
• CONTROLS: Voice select, gain, volume, EQ. Effect select, effect level. Button switches for manual mode/patch store, 1W/full power output, effects type select, tap tempo
• FOOTSWITCH: Optional FS11 footswitch can be used to toggle effects and voices, or scroll up and down through patches
• ADDITIONAL FEATURES: See Stereo 10 combo

Blackstar Stereo 40 combo

• PRICE: $259/£215
• ORIGIN: China
• TYPE: Programmable digital guitar amp
• OUTPUT: 2x 20W RMS stereo
• LOUDSPEAKERS: 2x 6.5” Blackstar special design
• DIMENSIONS: 434 (w) x 185 (d) x 336mm (h)
• WEIGHT (kg/lb): 6.2/13.6
• CABINET: Particle board
• CHANNELS: 6x programmable voices.
• CONTROLS: Voice select, gain, volume, EQ. Effect select, effect level. Button switches for manual mode/patch store, 1W/full power output, effects type select, tap tempo
• FOOTSWITCH: Optional FS11 footswitch can be used to toggle effects and voices, or scroll up and down through patches
• ADDITIONAL FEATURES: See Stereo 10 combo
• OPTIONS: See Stereo 20 combo
• CONTACT: Blackstar Amplification

NAMM 2024: Blackstar’s much-loved ID:Core practice amp range has always been ahead of the curve when it comes to tonal flexibility.

Now the newly-announced V4 line takes things further, vying to be come your go-to mobile and streaming workhorse, with an upgraded USB-C connection for seamless recording, plus new power reduction tech – enabling great tones at more ‘sociable’ volumes.

Guitar World’s intrepid video host Paul Riario headed to amp-makers’ NAMM booth for a guided tour and demo of the V4’s new features – courtesy of Blackstar’s Global Product Trainer Steve Marks. 

First up, the classic ID:Core features are all still here: you get a host of studio quality stereo effects; Blackstar’s game-changing ISF EQ control (which emulates the component values and, therefore, the core sounds of different US and UK amps), plus six voice patches.

However, this time around Blackstar is leaning further into the home recording capabilities, upgrading the onboard audio interface with a USB-C connection, enabling four-chanel audio and low-latency recording/re-amping.

“Something people often forget about is that you can live stream with ID:Core,” explains Marks. 

“You can take a [1/8"] TRRS cable straight into your smart device and record content without any extra mics or things like that – and it will just be the audio from the amp syncing with the visual of the video. You can even use your voice memo app to email your band new ideas, riffs etc.”

Marks’ demo of the feature in the clip above shows just how seamless the process is when integrated with your typical smartphone. 

Meanwhile, the Cab-Rig Lite simulator and emulated headphone output ensure you lose none of the detail the way out. And, if you want to fine-tune it, the included Architect software offers a choice of nine cab-sims and three mics, alongside a wealth of amp patches.

“So if you’re stepping into that world of impulse response-style technology and home recording, then this is going to be an awesome option,” adds Marks.

Elsewhere, the new power reduction features will also benefit players who want the flexibility of playing at home without losing the driven qualities of their louder tones – enabling you to reduce output power to just 1-watt. 

Finally, if the idea of a truly mobile practice amp appeals, you can even power the ID:Core via the optional Blackstar PB:1 rechargeable power pack.

“This is an optional extra,” notes Marks. “But it gives you up to 10 hours battery life, so you can take it down to the beach, listen to your tunes and play your guitar mobile.”

Check out the full clip with Paul and Steve above to hear it in action.

Prices for the ID:Core V4 series amps start at $159.99 for the Stereo 10. To find out more about the ID:Core V4 range, head to Blackstar.

To keep up to speed with all new gear releases, visit our NAMM 2024 news guide and NAMM 2024 live blog.

If you’re looking for your first transition from solid state or modeling, or perhaps you’ve just started playing some live shows, then you’re going to want to check out the best tube amps under $1,000. This sort of money can get you a lot, so if you’re serious about leveling up your rig, then read on.

A great sub-$1k tube amp can cater for literally any type of music that you make with a guitar. From super clean, sparkly sounds to crushing distortion, tube amps around this price point deliver quality tones, regardless of your musical preference. Go for any of the picks in this guide and you’re going to get something that’s reliable, functions well and sounds amazing.

We’ve put together what we reckon to be the best tube amps under $1,000 right now, catering for different needs and musical tastes. From studio pedal platforms to powerful live rigs, we’ve aimed to choose a variety of models and have included some buying advice to help you along your way.

Best tube amps under $1,000: Quick list

Want to cut to the chase and find out what the best tube amps under $1,000 are for your needs? Below, you’ll find a round-up of our top choices. You can then jump to our longer list and a more detailed review of every pick.

The best tube amps under $1,000

Below you'll find full and detailed write-ups for each of the best tube amps under $1,000 we rate.

Best low-wattage tube amp

Faithful to the original ’68 Vibro Champs, albeit with a few modern upgrades, these amps are among the best options if you’re looking for a low wattage all-tube amp under $1,000.

The clean sound on this amp is superb. It’s everything you’d expect from a classic style Fender amp; thick and bassy with that rich and detailed top end sparkle. It’s been fitted with a 10” speaker, so you get more low end than the originals – for a small amp, it sounds huge. Fender has also added a nice hall reverb to it which pairs beautifully with the tube-driven tremolo. You can push this thing into natural breakup, and you’ll be rewarded with an amazing overdriven tone. With it being 5W, it’s a lot easier to do this than it is with, say, a 50W tube amp, though that’s still not really a practical option if you want to do it at home!

For recording and practice, this is easily one of the best tube amps under $1,000. You’d even get away with some small gigs too, though of course, the more you crank it towards its limit, the more it’s going to break up.

Best multi-purpose amp

The Blackstar HT-20MKii is sort of a Swiss Army Knife of amps in that it’s good for a multitude of purposes. Whether you want bright clean sounds for country picking, warm cleans with a hint of breakup, mild crunch, or metal-style saturation, you’ve got it all, and with a bunch of modern features too.

There are are two separate channels, each with a voicing switch, so you’ve got different tonal options straight away. Then you’ve got a three-band EQ alongside Blackstar’s now famous ISF control which gives you a more British or American style tone, or a nice blend of the two. This amp will work well at the studio or at a live show. You can even use it for home practice as you’ve got the ability to lower the power to 2W to make the volume more manageable.

You can plug headphones in, or run to a front of house PA system with a speaker emulated output, and you can even run a USB cable from the amp to a computer for easy, quiet direct recording.

Best for crunch

The Orange Tiny Terror was the amp that helped launch the lunchbox amp craze, and for good reason. It’s a staple of studios all around the world, dishing out some amazing clean, crunch and distorted tones, with a super easy to use front panel. The Dual Terror packages all of this up, with an additional Fat Channel, so it’s essentially a Tiny Terror and more.

You can get some great clean tones from it – chimey, but with some nice, warm bottom end to it too. Where the Dual Terror excels though is in the midrange overdrive territory. Notes ring out with clarity, it’s really punchy in the midrange, and again, there’s plenty of low end too. When pushed, particularly on the Fat Channel, you’ll get some amazing metal tones from it as well.

It’s really easy to dial in, with just three knobs per channel, and you’ve got the option of running it at 7, 15 or 30W, making it just as ideal for home practice as it is for playing live.

Best for volume

It doesn’t get more iconic than an all-tube, black and gold Marshall. This thing is a 20W, two-channel beast fitted with a 12” Celestion speaker. You can pump out some real volume with this amp when you need to, though there’s also a low power option for when you’re playing at home.

The amp covers everything from crystal clear, glassy clean tones, through classic rock crunch all the way to high gain tones. It’s versatile and flexible, plus it’s easy to dial in. You’ve got plenty of scope for crafting your perfect tone with the three-band EQ, tone shift button and presence control, so it really will suit any guitar and player.

On the rear of the amp, you’ve got some nice player-centric features – there’s an input for running an external music player so you can play along to tracks all through this one amp, an emulated output, and an effects loop.

Best portable amp

It’s hard to ignore the Blues Junior when looking at the best tube amps under $1,000. It’s been a hit ever since it was released but this mark IV version has made some really cool upgrades.

It’s got a lovely, smooth voicing. It’s nice and clear in the top end without being harsh, and it’s got that classic Fender bottom end to it. This is a 15W tube amp, and there’s a good amount of headroom, so if you’re after a clean amp then this will do the job. However, if you want to really push the volume, you can get some lovely overdriven sounds from it. This is made super manageable with the master volume knob though, so it doesn’t have get too loud.

There’s also a footswitchable Fat switch which gives you a nice boost, particularly in the midrange and is perfect for solos.

Read the full Fender Blues Junior IV review

Best for rock

From The Beatles to Radiohead, to My Chemical Romance and beyond, everyone loves a Vox AC. They’re well known for their prominence in the 1960s and the British Invasion, but these amps can do a lot.

If jangly, chimey clean sounds are your thing, then the Vox AC15 is perfect. However, its driven tones are sometimes underrated – push the volume on the Top Boost channel and you’ll instantly get the perfect rock tone, with any guitar.

Plus you can manage the overall volume with the Master knob. Whilst it might be half the power of its older brother, the AC30, this is still a loud amp – you’ll likely find that it’s perfectly gig-able in most scenarios. It’s also nice having access to the on-board tremolo, as well as reverb.

Best for shredders

This is a super high-spec tube amp that does so much more than just the classic Van Halen sound – though it can, of course, nail that! It’s a 40W combo with a 12” speaker, so you’ve got plenty of power for most gigging scenarios. There’s then a power switch on the back to knock you down to around 10W, making it more practice friendly.

Boasting two channels, each with two voicing options, you’ve got everything from sparkly cleans to super saturated distortion. The first channel can cover mildly overdriven territory really nicely too. Honestly, there’s not much this amp can’t do. Each channel has its own master volume, plus there’s then a boost that can help make sure your solos are heard. If you’re using this for playing hard rock and metal, then you might also want to take advantage of the on-board noise gate.

It’s got reverb on board, a three-band master EQ, plus you can run an XLR out of it to go direct to a PA system. This output has speaker emulation, and even gives you the option of muting the power amp so you can record with it at home, without making any noise.

Read the full EVH 5150 40W combo review

Best for pedals

So this is a reissue of the Sovtek MIG-50 which was essentially a copy of a ’59 Bassman, but there’s also a bit of Plexi character in there. It runs clean beautifully, and, at 50W, you’ve got a good amount of headroom. If you’re looking for a tube amp to use as a pedal platform, then this is one to consider.

If you push the volume, then it will gradually break up giving you full, luscious, organic breakup. It’s worth noting however, that there is no attenuation on this amp, so you’ll need the ability to run an amp loud if you want that natural breakup. Like the originals, it’s got a normal and a bright channel so you can go for whichever one suits your guitar’s pickups better, and that’s about it. It’s loud, it’s simple and it sounds amazing!

Best for metal

Metal players rejoice. Here’s a portable, low wattage tube head that can deliver crushing, saturated tones as well as bright, chimey cleans, for well under $1,000. With the option of running it at either 7W or 15W, it’s got manageable volume, whilst still being very gig-able.

It’s got two footswitchable channels, each with its own EQ so you can dial in separate tones for rhythm and lead. The clean channel also has a pull boost which works nicely for pushing the amp into slightly crunchy rhythm territory. It’s got five gain stages before the master volume, so you’ve got loads of distortion on offer. We love that the bottom end stays nice and tight though, even when down-tuned.

Obviously, if you’re a Tremonti or Alter Bridge fan, then you’re going to love this amp. However, it does a lot more than just that type of music, catering for pretty much any style of rock or metal.

Read the full PRS MT-15 head review

Best tube amps under $1,000: Buying advice

Power & attenuation considerations

Power or wattage is something you should consider when shopping for any guitar amp. If you know you’re gigging and you might not always be able to stick a mic in front of your amp, then you’ll want something that can throw out a good amount of volume. How much you’ll need will depend on the size of the venue you’re in of course, but generally you’ll probably want something that’s 15W or over if you’re competing with a drummer.

Conversely, at home you’ll get more out of an amp with a lower wattage. A lot of tube amps sound better when they’re turned up a bit, so having a 50W amp dialled in at just below 1 on the volume isn’t going to sound as good as it should. Studios are also a nice place for lower wattage tube amps, as you can drive them as much as you want and the volume is still more manageable.

A lot of modern tube amps now have built-in attenuation. This means you can reduce the overall output of the amp so that you can get the best of both worlds. When you’re playing live or rehearsing, you can run it at a higher wattage so you’ve got more volume and headroom, and when you’re practicing or recording, you can knock it down.

How we choose the products for this guide

Here at Guitar World, we are experts in our field, with many years of playing and product testing between us. We live and breathe everything guitar related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our guides.

When choosing what we believe to be the best tube amps under $1,000 available right now, we combine our hands-on experience, user reviews and testimonies and engage in lengthy discussions with our editorial colleagues to reach a consensus about the top products in any given category.

First and foremost, we are guitarists, and we want other players to find the right product for them. So we take into careful consideration everything from budget to feature set, ease of use and durability to come up with a list of what we can safely say are the best tube amps under $1,000 on the market right now.

Read more about our rating system, how we choose the gear we feature, and exactly how we test each product.

Over the past few months we’ve seen some truly revolutionary products from Blackstar, including the ultra-lightweight, all-valve St. James range and the Amped 1 and 2 compact pedalboard amplifiers. 

The Northampton-based guitar amp builder’s constantly evolving product catalogue caters for all guitarists, from beginner to touring professional, and while recent releases have focused on more experienced players, Blackstar pays just as much attention to players at the beginning of their journeys with the superb Debut 10 and Debut 15 amplifiers.

For those ready to move up from a home practice amp to their first gig-worthy amp that won’t break the bank, there’s an exciting new addition to the range that we’re taking a look at here: the Debut 50R 1x12 combo. Like all Blackstar products, the new amp benefits from smart, modern styling that wouldn’t look out of place in any stage or studio environment.

Two different colours extend the Debut 50’s appeal, with a choice of black vinyl and basket-weave grille, or this very cool cream and oxblood version, which has plenty of lounge‑friendly vintage appeal. 

The Debut 50’s custom-design 12-inch loudspeaker sits on a ported baffle, which helps project bass and low midrange, while the electronics sit inside a steel tray chassis, which also forms the top and rear control panels. Neatly laid out circuit boards and minimal wiring give off an impression of solid reliability, typical of all Blackstar products we’ve seen, and this amp benefits from a universal mains input, so it can’t be accidentally plugged into the wrong voltage.

There are two footswitchable channels for clean and overdrive, with a single volume control for the Clean channel aided by a push-button Bright switch. The Overdrive channel controls include gain, volume and a shared three-band EQ enhanced by Blackstar’s patented ISF (Infinite Shape Feature), which continuously varies the tone network between classic USA and classic British for a wide variety of subtle tone effects. 

The preamp uses discrete MOSFET (metal oxide semiconducting field effect) transistors arranged in a similar way to classic valve amp designs, for authentic valve-like distortion sounds, while the Class D power amplifier adds the benefit of easy portability. 

This carries over to the loudspeaker, which borrows technology from Blackstar’s exclusive Celestion Zephyr design for light weight yet plenty of power handling.

Reverb comes courtesy of another custom Blackstar design, with a choice of Hall or Plate models, and there’s an output level button, which lowers the Debut’s output power from 50 watts down to a more manageable five watts for home use. 

Other rear-panel features include a series effects loop, a speaker-emulated line out for recording, which also doubles as a headphones socket, and a line-in for backing tracks. There’s also a slot for a Kensington security lock, which makes the Debut 50R ideal for public areas such as unmanaged rehearsal studios. Overall, this combo is typical Blackstar: good-looking, compact and easy to carry.

Feel & Sounds

Based on Blackstar’s HT-20 MkII, the Clean channel has plenty of headroom, making it an ideal partner for pedals. The Bright switch subtly lifts high frequencies, adding sparkle to single coils and a little extra snap to warm humbuckers. With the ISF control, you can change this channel’s tonal centre to approximate classic American and British cleans for added authenticity when you’re emulating a particular sound. 

Add a Strat and some delay and you can go from Hank Marvin to The Edge, while humbuckers can be coaxed into a jazz-approved growly warmth at moderate volume, as well as getting that classic butter-sweet funk rhythm tone from the neck and bridge together.

The Overdrive channel is based on the award-winning St James 6L6 amp and is equally rewarding to play, with dynamic Tweed-influenced blues and classic rock tones that respond naturally to how hard you hit the strings. All these sounds live in the first quarter of the Gain knob’s travel, from which you can deduce there’s tons of drive and distortion available to handle any genre up to modern metal.

Careful preamp design that mimics valve circuit behaviour and the powerful ISF-enhanced EQ make it easy to dial in practically any overdrive tone you want, while the reverb sweetens the decay for stadium-like sounds at bedroom volume levels. There’s a choice of Hall or Plate models and it’s just down to personal taste which you prefer: the Hall is slightly warmer and darker, while the Plate has more high-frequency emphasis.

Another less obvious benefit is the headphones/line out socket, which is stereo and speaker-emulated, so you not only hear a great sound for practice but you can plug into a console and record it as well. Prod the output level switch and the Debut 50R’s full 50 watts of Class D power is unleashed, with plenty of volume from the custom 12-inch loudspeaker to handle most smaller gigs without using the line out.

Watch our demo video:

Verdict

In the real world where most of us live, it’s not always practical – or possible – to justify spending huge sums of money on high-end guitar amplification, but that shouldn’t mean losing out on great tone and the enjoyment of playing guitar. With its new Debut 50R, Blackstar has elevated the humble practice amp into a seriously good and very giggable combo.

We love its plug-in-and-go simplicity; with no presets to tweak or patches to save, what you see is essentially what you get and it only takes a few seconds to dial in. Add the reliability and consistency of the solid-state format, plus the sub-10kg payload and you should already be interested. 

Specs

• PRICE: $249/£209
• ORIGIN: China
• TYPE: Analogue solid-state preamp/Class D power amp
• OUTPUT: 50W RMS into 4ohms, switchable to 5W
• DIMENSIONS: 460mm (w) x 205mm (d) x 375mm (h)
• WEIGHT (kg/lb): 8.9/19.5
• CABINET: Particle board
• LOUDSPEAKER: 1x12 Blackstar custom design
• CHANNELS: 2, with footswitchable overdrive and reverb
• CONTROLS: Clean volume, clean channel bright switch, gain, volume, bass, middle, treble, ISF (Infinite Shape Feature), reverb level. Overdrive select switch, reverb plate/hall switch, power output switch
• FOOTSWITCH: FS-8 footswitch (not supplied) toggles clean/overdrive channels and reverb
• ADDITIONAL FEATURES: Stereo headphones/line out, line in, series effects loop, Kensington security lock slot
• OPTIONS: The FS-8 footswitch is $/£49.99
• CONTACT: Blackstar Amplification

If you want to practice your guitar playing at home but space is an issue, then you need one of the best mini amps for guitar in your life. These teeny tiny towers of tone can produce a surprisingly large sound, and thanks to the wonders of modern modeling tech, one that's scarily accurate versus a much larger amplifier.

Mini amps in the present day are far more advanced than the bee-in-a-can type tones players used to experience a couple of decades ago. Nearly all of the options here are capable of producing a variety of different amp and effects sounds, and there are clever and useful practice features like loopers, rhythms to jam along with, built-in tuners, and even the ability to play along with your favorite tunes thanks to AI stem separation.

If you want to get straight to the best option overall, then I highly recommend the Blackstar Beam Mini, which delivers some of the finest tones I've ever heard from a mini guitar amp. If you don't like messing with apps or software, the Boss Katana Mini X is an excellent choice, and for those on a budget, check out the old but still gold Blackstar Fly 3.

If you’re brand new to the brilliant world of amplifiers, scroll down to my how to choose section, where I lay out three important factors to consider when purchasing your first mini amp. There’s also a glossary section that clears up frequently mentioned jargon, along with a set of FAQ that answer common questions you might have.

Best overall

Overview

Despite being the new kid on the block in the world of mini amps, the Blackstar Beam Mini has quickly cemented itself as the small guitar amp to beat right now. Delivering excellent modeling, plenty of volume, and a fantastic low end response, the Beam Mini could be all the mini amp you ever need.

Build quality

It's not the lightest amp here, but the thick rubberized sides and solid controls provide a good sense of durability. The 'Light Beam' interface adds a contemporary feel to it with the mesh panel being a nod towards more traditional amplifier design. Interestingly, it features a side mounted jack input, bucking the trend of most of the amps here which have this on the top.

Usability

While that side mounted jack prevents it from toppling over like I've found with some other mini amps, it does also get in the way a bit at times, particularly if placed on a busy desktop. The 'Light Beam' interface makes it much more usable without the app though, adding extra functionality you'd often find on amps with a screen.

As with most mini amps, the app unlocks the full functionality, connecting via Bluetooth. It allows you to browse the library of NAM amp models, and deeper editing tools for customizing your tone. The app also features a handy YouTube video player for backing tracks and lessons, and you can use the USB-C out for direct recording on your laptop or PC.

Sound

Despite being absolutely tiny, the Beam Mini is capable of delivering serious amounts of volume. It doesn't 'fart out' either like some of the other mini amps, handling the low end superbly well. It means whether using it as a guitar amp or Bluetooth speaker it can handle anything you throw at it.

The amp models are superb, and while it has less than some of the others here, the CabRig 'In The Room' tech means they sound astoundingly lifelike. The built-in effects add some superb ways to sculpt your tone, and the inclusion of Neural Amp Modeling (NAM) captures opens up a huge world of potential for this powerful mini guitar amplifier.

Best tactile

Overview

The newer, beefed-up version of the Katana Mini has everything you love about the original and a whole lot more. You’ve got a range of quality tones, from super clean to high gain. Whatever tone you’re after, you can get.

Build quality

Shedding the toy-like plastic covering from the previous iteration, the Katana Mini X feels like a proper guitar amp with a wood and tolex-type construction. It's also shifted from the AA batteries of the previous model to an internal, rechargeable battery, but there's still no way to use it with a power supply, although you can play while charging it via USB.

Usability

Moving all the controls to the front panel is a genius move for us, and makes it one of the best mini amps if you like a tactile experience when practicing your guitar. The rotary controls allow you to quickly access your amp and effects models without resorting to using an app, but it doesn't feature USB recording, which is a negative compared to some of the others here.

Sounds

Boasting a slightly bigger speaker and an increased power rating of 10W, this Katana is considerably louder than its younger sibling; in fact, it’s one of the loudest mini amps I've tested. Not only is it loud, the sound quality is also excellent – it doesn’t suffer from any sort of boxiness that you might get with smaller amps.

The Katana X also has a comprehensive effects section, allowing you to dial in different modulations, delay, reverb, and more. It’s got a tuner built-in, and it doubles as a really good Bluetooth speaker.

Best budget

Overview

The Blackstar Fly 3 has been around for a while, but it’s still one of the best mini amps in the game. Combining ultimate portability with an incredibly loud sound, this battery-powered beast delivers fantastic tone on the go.

Build quality

The build of the Fly 3 is a little plasticky compared to some of the others here. It feels solid enough, but it doesn't deliver that real amplifier experience that I felt with some of the other options here. It's very lightweight, though, and available in a few different colors nowadays, which is a nice touch.

Usability

This mini amp is about as simple as it gets, with no companion app and just a few physical controls on the top. For many players, that will be freeing, allowing you to focus on sound, but some will want a little more. This is a cheap mini amp, however, so asking for modeling and USB recording at this price would be asking a bit too much, considering the price.

Sounds

It’s got clean and overdrive channels, a built-in digital delay, and Blackstar’s patented ISF feature for tone sculpting. There’s a lot of play in the gain control on both settings, allowing you to dial in a great sound whether you’re a single-coil or humbucker kind of player.

The built-in delay is really usable, and whilst the delay time isn’t as long as what you might get on a bespoke pedal, it adds an excellent sense of space to your tone that’s perfect for practice. It’s also available for bass and acoustic guitar, so it has got every type of guitar player covered.

Watch our video demo:

Best compact

Overview

If you’re looking for a mini amp that you can take on the road with you, the Positive Grid Spark Go is my top choice. Small enough to fit in a decent-sized pocket, yet loud enough to fill a room, it’s a great option if you value portability.

Build quality

The Spark Go is quite literally pocket-sized – provided you're not wearing skinny jeans. It's not hyperbole either, being one of the smallest mini amps I've ever encountered. It has a small selection of controls on the top, but feels pretty solid thanks to a tolex-style rubber casing, and the classic gold grille you find on most PG amps.

Usability

Due to the lack of physical controls, the Spark Go relies very heavily on its companion app to access most of the features. It's the usual slick Spark app experience, though, and it gives you all the same amps and effects as the larger models have. There is an option to save hardware presets once you've dialed in your favorite sounds, so once set up you lean less heavily on the app.

Sounds

The sound selection with all of PG's smart amps is huge, making it adept at a variety of styles, whether you want drop-tuned chugging or blues-musing. Amp models range from Fender-inspired cleans right through to the saturation of the Soldano SLO, and you might be surprised at just how great they sound through that tiny speaker.

We did notice it getting overwhelmed when using a baritone with high-output pickups, and the input placement is a little awkward if you’re using a heavy cable, as sometimes it will pull the amp over. These are small issues, though, far outweighed by the sheer choice of tones and excellent smart tools to help you practice.

Best for metal

Overview

I've had one of these amps sitting on my desk for the last few years, and it really does live up to the hype. The Positive Grid Spark Mini is the perfect practice or writing companion, simple enough to dive into quickly, yet with enough depth to keep you coming back for more.

Build quality

The Spark Mini definitely blurs the line between modern mini and practice amps, being larger than most of the other options here. It's still small enough to fit on a desktop, though, and includes a handy carry handle so you can take it wherever you do. The build quality is fantastic overall, and it definitely feels like a proper amp rather than a plastic toy.

Usability

The companion Spark App is truly useful, providing a way to sculpt exacting guitar tones or just download user-made presets. It also features a tuner and metronome, as well as some incredible practice tools like Smart Jam, which gives you a full band to play with that responds to your playing dynamics.

Sounds

The sounds are outstanding quality, and whether clean or high gain, this amp delivers such an incredibly vibrant and clear tone you’ll forget it’s coming from a tiny cabinet. Thanks to the passive radiator located on the underside, this thing is stupendously loud. Seriously, though – turn it up over halfway with a humbucker-equipped guitar and watch the complaints come in from partners and family members.

Watch our video demo:

Best for bass

Overview

There’s not a huge amount of choice for bassists when it comes to mini amps, and that’s largely to do with the nature of the bass guitar. To get a great bass sound, you generally need a large speaker, so whatever trickery the Blackstar Fly 3 Bass uses is very impressive indeed.

Build quality

Like the Fly 3 we featured earlier in the guide, it's a very plasticky build, which helps keep the cost down. It's solid, but it doesn't feel as robust as some of the others here. It's lightweight, though, so you can definitely chuck it in a backpack and take it on the go with you.

Usability

As there's no companion app or software, the Fly 3 Bass is super easy to use. Just plug in, twist some knobs, and away you go. There's definitely a contingent of players who prefer this way of working, so if you'd rather do away with your smartphone, this is a great option.

Sounds

The Fly 3 Bass sounds really full considering the small size, delivering a nice, clean bass tone with an added overdrive channel for changing things up. You can get the gain knob to about halfway before it starts to break up, giving you some extra volume if you want to keep it clean but loud.

The depth and sub controls offer EQ tweaking and extra low end, respectively, although we did find the speaker getting a bit flappy with the sub control cranked. It doesn’t offer a huge amount of sounds, but for practicing at home using your bass without using a headphone amp, it's undoubtedly the best option out there.

Also consider...

How to choose a mini amp

Why have I written an article discussing the best mini amps for guitar? A good question, especially if you’re a new player looking for the best bang for your buck and don’t quite know who to trust. Well, not only have I been playing guitar for more than 20 years, but for the last decade, I’ve worked in a busy high-street guitar store, helping guitarists select the best mini amp for their needs. These are the three steps I use to help players find the right option.

1. Number of channels/Amp voices

First things first, how many channels or amp voices would you like? Mini amps used to be very basic, typically offering just one clean channel, or perhaps two, with the second adding overdrive. However, modern mini amps can include multiple amp voices across those channels, emulating the sounds of different amplifier types.

The more amp voices and channels you have, the more enjoyable and effective your practice sessions can be, particularly if you’re learning songs that rely on specific tones. If that sounds useful to you, make sure the amp you’re buying offers multiple channels or amp models to switch between.

2. Effects

Once you’ve considered the amp voices and channels, take a look at the built-in effects. Like amp voices, having plenty of effects on hand is a great way to learn, practice, and sound like your heroes. Some mini amps, like the Boss Katana-Mini X, have built-in effects that are accessible directly from the control panel, while the Positive Grid Spark Mini offers plenty of effects that are controlled through an app. Either way, decide whether you want more options or fewer, depending on your goals.

3. Output

The amplifier’s power output is the third thing you should consider. An amplifier’s output is measured in watts, and this is a quick and effective way to understand how loud your amp will be. Although this is very important for bigger amps, smaller amps are generally much quieter, so it will likely have less of an impact here. Mini amps typically range from around 1 watt up to 10 watts, so if you’re looking to make some noise, a 10W amp will suit you better. On the other hand, if you want to keep things quiet for late-night practice, a lower wattage will do the job.

FAQs

Glossary

• Amp modeling: This is a digital process that recreates the tones of classic amps by using digital signal processing.
• Amp voice: The specific tonal character or model setting on an amp that replicates the sound of a particular amplifier type or style.
• Cabinet: This is the part of the amplifier that houses the speaker. An amp’s cabinet is typically made from wood or plastic.
• Channel: This is a signal chain on an amplifier that has its own volume control.
• Combo amp: This is a type of amplifier that houses the speaker and amplifier in one single unit.
• EQ: The section on an amplifier that allows you to boost or cut particular frequencies such as bass, middle, or treble.
• Gain: The gain control affects the amount of guitar signal that is being amplified.
• IR (impulse response): A digital capture of how a specific speaker cabinet and microphone setup sounds in a given space. Used in modern amps and modelers to accurately reproduce the tone and feel of real-world gear.
• Power output: Measured in watts, the power output will tell you how powerful an amplifier is. Although there are other factors involved, it's a good indication of how loud that amp will be.
• Preamp: This is the section of your amplifier that boosts the weak guitar signal into a line-level signal that can be further used by the rest of the amp.
• Speaker size: Each amplifier will come with a different speaker size, measured in inches. Mini amps typically have 1- to 3-inch speakers. Bigger speakers can handle louder volumes and offer more bass response.

How we test

When testing mini amps we'll largely take a similar approach to that of regular sized guitar amps when it comes to sound, feature set, and build quality. Of course, one of the must-haves for a mini amp is small size, so all of our usual tests will be done with the caveat of their smaller size.

Our first check is to look over the features and specs of the mini amp. We'll look at how many speakers it has and their size, whether or not the amp has modeling features or just a single channel, as well as any other additional effects or features like tuners and Bluetooth connectivity. Understanding the feature set of the amp helps us determine where it sits in the pantheon of mini amps, and determine its most useful use case too.

Next we'll look at the build quality of the mini amp. We expect the quality to be just as good as any other amplifier, rugged enough to survive being moved from room to room or taken in a bag on the road, as well has upholding a certain level of general quality in terms of the finish. We'll examine each component of the amp in detail, making sure connections are solid and that any knobs and buttons are robust.

A mini amp will obviously never be able to compete with a regular sized amp when it comes to sound quality, but they are designated for practice rather than performance. Typically we'll start our sound testing by setting every EQ to the middle position, but if we're testing an amp with modeling capabilties then we'll scroll through the presets to see how they sound. We're looking for great quality sound, albeit within the limitations of smaller speaker. We'll test the amp with various different pickup types, examine how it responds at different gain and volume settings, before adding in any other features like effects.

Read more about our rating system, how we choose the gear we feature, and exactly how we test each product.

Why trust us?

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Guitar World's inaugural print issue hit the shelves in July 1980, and ever since, it has been captivating players and enthusiasts with engaging lessons, insightful interviews with the biggest guitar heroes, and priceless buying advice for newbie players.

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Right after picking up your first electric guitar, the next essential piece of the puzzle is a beginner-friendly guitar amp. And while I vividly remember my own first amp, complete with ear-splitting tones and barely usable built-in effects, I also remember how exciting it felt to finally plug in and make some noise. That’s why I’ve put together this guide to the best beginner guitar amps – to help you skip the guesswork and avoid the common mistakes many of us made early on.

Beginner amps have come a long way since I was a wide-eyed beginner; the overall quality, range of features and choice of options have never been better. To compile this guide, I’ve called upon my two decades of guitar playing experience, alongside the 10 years I spent working in a busy high street guitar store helping beginners choose their first amplifier.

I’ve hand-picked what I think are the best beginner amps currently on the market. I’ve personally played each of these models countless times, and I’ve included detailed reviews covering everything from build quality to features and tones. To give you an even better sense of what these amps can do, the Guitar World team have recorded handy demo videos, showcasing tones, amp voices and built-in effects.

Currently, my favorite of the bunch is the ever-popular Boss Katana 50 Gen 3. Perhaps the best-selling guitar amp in the world, it’s a dream start for any beginner guitarist. With a wide selection of amp voices, a generous spread of built-in Boss effects, and an incredibly easy-to-use control panel, it’s the perfect introduction for new guitarists. If you need to keep things quiet, the Positive Grid Neo Core headphone amplifier sounds simply superb. A tonne of amp tones and effects provide an immersive practice experience, ideal for beginners.

Since you’ll likely not know what to look out for, my helpful How To Choose section takes you through each consideration you should make before taking the plunge on an amplifier. The Glossary will also clear up any amplification jargon that may leave you scratching your head. Otherwise, let’s get into it.

Best overall

What is it? Since releasing the original Katana in 2016, this amplifier quickly became the most requested, and my most suggested, during my day job working in a guitar store. Now on its third generation, the Boss Katana 50 goes from strength to strength, offering beginners the ultimate amplifier to explore tones, effects, and volume.

Build quality: The Katana 50 blends two important features: sturdy and reliable build quality, yet relatively lightweight. The MDF cabinet does a great job of keeping the amp portable, and it only weighs around 11kg. Having unboxed plenty of Katanas in my time, I can safely say the weight has never been an issue. That doesn’t detract from its durability, either. In my experience, it’s rare for a Katana 50 to develop a physical fault. Everything from the reassuring handle to the tactile control knobs add to the amp’s sense of quality.

Key features: As for features, the Katana is loaded. There are six amp voices on offer, each with a variation, meaning you can go from classic rock to power violence with the turn of a knob. This is ideal for beginners, who often bounce between genres while learning.

Although there are up to 60 effects on tap via the Boss Tone Studio app, the amp itself carries 15 onboard, offering learners the chance to experiment with different sounds. Each time I have demoed the effects section to a beginner, their eyes light up at the chance to sound like their heroes. There’s also a power control, so you can play quietly at 0.5 watts for late-night jams, or crank it to the full 50 watts when jamming with friends.

Performance: While the Katana 50 Gen 3 sounds feature-packed on paper, it never feels overwhelming in practice. That’s thanks to the intuitive control panel, with amp voices on the left through to the power control on the right, and LED indicators highlighting what is active, everything is easy to understand.

I’ve sat many a fresh-faced beginner in front of a Katana, and after a quick demo, 95% of them pick it up right away. Sure, the Boss Tone Studio app may be a touch overwhelming to start with, but it is a great addition to explore once you get more confident with the hardware.

Final verdict: Overall, the Boss Katana 50 Gen 3 is the best amplifier for beginners right now, thanks to the breadth of tones and effects on offer. It encourages learners to keep playing by helping them sound like their favorite artists, while an intuitive layout and solid build means you’ll have an amp that will grow with you for years.

Watch our demo video:

Best compact

What is it? Positive Grid’s line of Spark amplifiers has been a familiar sight in the digital modeling world for a few years now, and the company is going from strength to strength. Championing deep tone editing through their proprietary Spark app, the Spark Mini offers a host of amp voices, effects and music streaming in an ultra-lightweight, battery-powered combo. For the beginner looking for a small and portable solution, the Spark Mini should be your go-to option.

Build quality: Like most guitarists, my first introduction to Positive Grid was the Spark 40 back in 2019, and since then I’ve kept a keen eye on their frequent releases. The Mini was released in 2022 and wears the hallmarks of the original well, with black tolex, gold detailing, and a detachable handle.

Unlike its predecessor, the control panel has been simplified and houses only three controls: preset selection, guitar volume, and music streaming volume. The Bluetooth pairing, USB-C port, power button, AUX, and headphone input are all housed neatly on the back. It’s tidy, well laid out, and cuts out any unnecessary faff to keep the amp as compact as possible.

Key features: With such a simple control panel, you won’t be surprised to hear that the Mini’s features are best unlocked through the Spark app. There are four amp voices pre-loaded, but a whopping 33 amp models and 43 effects are accessible via your device, alongside a huge range of user-created tones via the Spark ToneCloud. The four channels on the amp are programmable too, so you can choose exactly what you want to hear. I’ve always felt that PG nails amp modeling, with the Mini being no exception. The varied tones from clean to classic crunch and high-gain amps offer beginners a great opportunity to sound great while learning.

Being Bluetooth-enabled, the Mini can double as a music streaming speaker, too. You can play guitar at the same time, enabling you to jam along to the songs you’re learning, pick out backing tracks to improve soloing, or simply use it to listen to your favorite bands in downtime. Smart Jam is also worth checking out in the app for learners. Cleverly, this feature can generate a drum and bass backing track based on what you play, allowing you to hone your timing and rhythm.

Performance: The first thing I noticed with the Spark Mini is its volume. This little guy packs a punch. The 2-inch speakers are considerably small, which is unsurprising in an amp of this size, but the low-end is pleasantly generous. The bass response is aided by the passive radiator and rubber feet, which PG designed to maximise low-end performance. Otherwise, since the Mini has been tuned to stream music, playing guitar through it delivers plenty of mid-range and high-end clarity. Overall, it’s balanced very well.

In terms of dialing in a tone, the Mini is extremely reliant on the app, as there are no editing options on the physical amp itself. Although I love scrolling through ToneCloud and playing other guitarists’ patches, beginners may prefer something more immediate. Bear that in mind if you don’t want to pair your phone while practicing.

Final verdict: Overall, the Spark Mini is the best compact amplifier on my list. With an 8-hour battery life, a wealth of amp voices and effects via the app, plenty of beginner-friendly jamming features, and a very well-balanced tone for its size, the Mini is a brilliant choice for beginners looking for a compact option.

Watch our demo video:

Best budget

What is it? Blackstar was created by ex-Marshall employees, so the company has plenty of heritage in its ranks. One of Blackstar’s most popular ranges – and one that is a great choice for beginners looking to save a bit of money – is the ID:Core series. Now in its fourth iteration, the Stereo 10 packs plenty of amp voices and effects into a compact and lightweight package.

Build quality: Weighing only 3.7kg, the Stereo 10 is light enough to take to lessons or your friend’s house for a jam. Inside are two relatively small 3-inch speakers, and the cabinet is compact enough to push it into desktop amp territory. I’ve found the ID:Core range is great for younger learners since it’s so lightweight and will fit into smaller bedrooms without taking up too much space.

Key features: Blackstar has equipped this amp with six different amp voices, from clean tones to super-crunchy channels, giving learners a great platform to experiment with classic amp sounds. There are 12 effects in total, with four variations each of delay, reverb, and modulation. Although not as extensive as others on this list, it covers the essentials pretty thoroughly.

New to the V4 series is a power control with options for either 10 watts or 1 watt, very useful depending on the time of day you’re practicing. Another handy feature that beginners have fed back to me on is the built-in tuner, which means one less thing to buy when building your first guitar rig.

Performance: The Stereo 10, unsurprisingly, has 10 watts of power, which is more than enough for indoor practice, though it may not deliver quite enough juice for jamming with friends at high volumes. Every time I plug into the Stereo 10, I’m able to dial in a variety of tones, from chorus-y, The Cure-like cleans, to Title Fight-style overdrive, thanks to the different amp voices and effects on offer. That said, one thing I have noticed beginners sometimes struggle with is the effects section, as the light-coded on/off functionality can be a little confusing at first.

Final verdict: The ID:Core Stereo 10 from Blackstar is a super affordable practice amplifier with enough amp voices and effects for beginners to find inspiring and valuable. Although you may outgrow its 10 watts relatively quickly, it’s more than enough to get you up and running and makes for a fantastic practice tool in the bedroom.

Watch our demo video:

Best modeler

What is it? The smallest option in Fender’s Mustang amplifier range, the LT25 is the iconic brand’s popular entry into the beginner amp market. With heaps of usable presets and a wide array of amp voices modeled from Fender’s own catalog and beyond, there is plenty here for beginners to sink their teeth into.

Build quality: What I love most about the build is the aesthetics. The LT25 is one sleek-looking amplifier and I’m a big fan of the blacked-out grille and shiny silver Fender logo. Straight out of the box, it looks as great as it feels. The 8-inch Fender speaker is housed in a wooden enclosure that feels solid, and while the 1.8-inch color display is small, it is bright and easy to read. I just wish it were a touch larger for usability.

Key features: The first time I played the LT25, I had a blast scrolling through the 30 preloaded presets with the big selector knob. You actually get 60 presets in total – the remaining 30 are accessible via Fender’s TONE app. From Blink-182-style ‘Skate Rock’ to fuzzed-out, delay-drenched ‘Space Travel,’ the LT25 is a genre-hopping playground.

You also get the ability to save 30 of your own custom presets. Each selectable amp voice lets you stack on modulation, reverb, overdrive, and delay effects, all with editable parameters. There is a lot to experiment with here, and the LT25 offers a fun, rewarding practice experience as you recall riffs that suit the preset you have flicked on.

Performance: The only potential drawback is the menu diving. Unlike other amps in this guide, you can’t turn effects on or off with a dedicated control knob on the amp; it’s all done through the screen. It’s not tricky to do, but less immediate. I would suggest setting up your favorite presets in advance for quick access via the selector knob.

Sound-wise, the LT25 delivers. I love the warm, clean tones, the mod and reverb effects are spot-on, and there are great edge-of-breakup tones in the gain channels. It’s surprisingly loud for its size, and while the 8-inch speaker can lean a little mid-heavy, there is very little to complain about.

Final verdict: If you want a wide range of classic Fender amp tones and modern sounds too, the LT25 is a fantastic choice. With a generous effects section and tons of preset flexibility, it’s ideal for curious beginners. Just bear in mind that if you’re not a fan of navigating menus, you may want to look elsewhere.

Watch our demo video:

Best tube amp

What is it? Marshall’s DSL series has long been a go-to for players wanting a versatile and affordable tube amp that covers everything from tasty cleans to higher-gain chug. The DSL1CR is the smallest in the series, offering 1 watt of power, ideal for getting those coveted cranked-tube tones at house-friendly volumes. With a 0.1-watt power mode, it is my top tube amp recommendation for beginners.

Build quality: The DSL1CR feels like a much more expensive amp than it actually is. Straight out of the box, from the solid handle to the birch plywood cabinet, this compact, stylish combo has all the Marshall style and quality. That classic red power switch, golden control panel, and of course, the famous Marshall logo, this little beauty looks and feels fantastic. I have had one in my house, and even my partner, who has endured a conveyor belt of amps over the years, gave this one a thumbs-up.

Key features: Like most tube amps, the DSL1CR keeps things relatively simple. There are two channels – Classic Gain and Ultra Gain – letting you go from clean to full-blown saturation. A built-in digital reverb runs from subtle to soaked, and a 3-band EQ handles treble, middle, and bass. The tone shift button scoops the mids, offering a more modern EQ curve. I’ve always found it easy to dial in a range of tones, and for beginners who’d prefer fewer distractions, this stripped-back design is a plus. No apps, no screens, just plug in and play.

Round the back, you’ll find the footswitch input, power control, effects loop, and aux in. That power control is key: while 1 watt may not sound like much, this is a tube amp, and compared to digital alternatives, it hits “loud enough” surprisingly fast. Oh, and did we mention that the footswitch comes free with the amp? A lovely touch.

Performance: Out of all the 1-watt tube amps I have tried, the DSL1CR is easily my favorite sounding. The cleans are warm and open, add a splash of reverb and I could play for hours. The Classic Gain channel comes alive when you crank it, and it is everything you want from a Marshall miniature. But the real surprise is the Ultra Gain channel. There is a huge amount of saturation on tap, and I have happily sat there palm-muting for hours with a grin on my face.

Final verdict: If you’re after tons of amp voices, built-in effects, or deep tone editing, this isn’t your amp. But if you want a simple, great-sounding, easy-to-use tube combo that looks as good as it sounds, the DSL1CR is an absolute gem for beginners.

Watch our demo video:

Best solid state

What is it? The Debut range is Blackstar’s most affordable; its cream covering and burgundy grille have been a familiar sight for beginners since its release. However, the Debut 50R takes things up a notch. The biggest, and in my opinion, the best-sounding Debut yet, the 50R offers an incredibly straightforward interface designed for minimal fuss but maximum effectiveness.

Build quality: With a 12-inch Blackstar custom-designed speaker and 50 watts of power, the Debut 50R is built to pump out heaps of volume. Available in the classic cream covering and, new to the range, a black version, this amp looks the part. There is an ageing effect on the cream tolex – it is almost wrinkled – that I have always felt gives it a great retro charm.

Key features: With two channels onboard – clean and overdrive – this amplifier is ideal for beginners who want something simple and effective. A bright switch on the clean channel adds some extra jangle, while the overdrive channel can get pretty hairy when dialed in. The ‘R’ part of the moniker stands for reverb, and you get a choice of plate or hall, which brings your tone to life in an otherwise relatively dry amp.

Although the Debut 50R is quite straightforward, I think it’s a fantastic pedal platform. Beginners often lean toward an all-in-one amp with built-in effects, but some are excited by the prospect of building their own sound from the ground up. If you fall into the latter camp, the Debut 50R is a great place to start.

Performance: The first thing I noticed with the Debut 50R is its volume – this thing has a set of lungs. That makes the 5-watt power control switch especially useful for quieter practice. If you like having power waiting in the wings, the Debut 50R is a great choice. The overdrive channel can get a little shrill at higher gain settings, but overall, the bite stays on the usable side. Everything is laid out intuitively, and the absence of flashing lights and digital displays makes a refreshing change of pace.

Final verdict: If you’re a beginner who gets overwhelmed by screens or endless blinking effects, the Debut 50R is your best bet. It is an affordable practice amp that handles pedals incredibly well, and with heaps of volume on tap plus a handy power control, it’s a modest amp that offers more than meets the eye.

Watch our demo video:

Best headphones

What is it?: The Positive Grid Spark Neo Core is a more affordable take on the brand’s headphone amp concept, offering the same core sounds and features as the original Neo, just without wireless connectivity. Designed as an all-in-one silent practice solution, it’s aimed at players who want access to a huge range of tones without going down the traditional amp route.

Build quality: The Neo Core feels impressively rugged, with a design that leans more towards guitar gear than typical headphones. The rubberised finish gives it a tough, amp-like feel, and the hinges and overall construction feel solid enough to handle being thrown into a backpack without worry. It’s slightly less flashy than the original Neo, with an all-black finish, but still feels premium and built to last.

Key features: You get access to 33 amp models and 43 effects via the Spark app, alongside features like Auto Chords, ToneCloud, and AI tone generation. There are four onboard presets for quick access, Bluetooth streaming for playing along to music, and up to eight hours of battery life. Connectivity is strictly wired via a 1/4-inch input, so there’s no option to go wireless here, but it keeps things simple and affordable. There is a slight off-balance when wearing the headphones due to the heavier connector, so selecting the right cable for comfort is important here.

Performance: Sound-wise, the Neo Core is very impressive. The tones feel immersive and responsive, with no noticeable latency, and the stereo effects add a real sense of space when playing. Noise isolation is excellent, also making it easy to get completely lost in your playing and keeping housemates happy. The main drawback is the input placement, which can make cable management a bit awkward depending on what lead you’re using, and it may take a bit of trial and error to find a comfortable setup.

Final verdict: If you’re after a budget-friendly alternative to a traditional practice amp, the Spark Neo Core is a strong contender. It delivers a huge range of usable tones in a compact, well-built package, although the wired-only design and slightly awkward ergonomics mean it’s not quite perfect. Still, for the price, it’s a seriously capable practice tool and a fantastic option for beginners.

Also tested

So there we have it – my top six beginner guitar amplifiers. However, it doesn’t stop there. During my testing process and throughout my day job, I’ve played and recommended many more amps that are great options for beginners. Whether you’re after something compact yet powerful, or you’re all about having a plethora of amp voices on hand, here are a few more honorable mentions.

How to choose the best beginner guitar amp for you

Chances are, if you’re reading this, you’re looking for the best amp option to pair with your beginner electric guitar, and if so, it’s your lucky day. I’ve helped hundreds of rookie players choose their first amp during my time working in a guitar store, and I’ve come up with a simple set of guidelines to help you do the same.

1. Start with size

An amplifier’s output is measured in watts. While it’s not a direct translation, wattage gives you a good idea of how loud the amp will be. Most beginner amps fall in the 10 to 20-watt range, although the hugely popular Boss Katana 50 Gen 3 is a full 50 watts. In general, you won’t need an overly loud amp for home practice.

That said, an amp like the Katana 50 gives you more long-term value; it’s powerful enough that you won’t outgrow it quickly, particularly if you start playing music with friends. Many modern amps also have power control settings, letting you reduce output for quieter practice when needed.

2. Consider usability

Beginners thrive with amps that are quick to set up and easy to use. When inspiration hits, the last thing you want is a complicated interface getting in the way. Amps with clearly labeled voices, effects, and EQ controls tend to be more popular with learners because they get you playing faster.

3. Prioritize versatility

Most guitar teachers cover songs from a wide range of genres and eras, so having amp voices that cover everything from clean tones to crunch and high-gain sounds makes a big difference. Learning Master of Puppets with a clean amp tone is not ideal; being able to dial in appropriate tones makes practice more enjoyable and productive.

4. Try built-in effects

You won’t get far learning My Bloody Valentine without reverb, or Nirvana riffs without chorus and overdrive. Having built-in effects lets you experiment with different sounds and learn how they shape your tone, all without needing to splash out on pedals right away.

5. Don't forget Bluetooth

While not essential, Bluetooth-enabled amps are becoming increasingly popular with beginners. Not only do they let you jam along with songs or backing tracks, but they also double as speakers, making them useful even when you’re not playing guitar.

FAQs

Glossary

Read something in this guide that you don’t understand? I’ve rounded-up and explained all the key terms relating to beginner amps so you can become an instant expert:

• Amp voice: A beginner amplifier tends to have multiple amp voices. These are modeled channels designed to replicate specific amplifier tones, such as clean, crunchy, or high-gain.
• Attenuator: A component that allows you to reduce the power output, lowering an amp's wattage and making it more usable at home.
• Aux In: This is a connection found on beginner amps that allows you to connect a line-level signal from your smartphone or MP3 player. It is typically used to play music through the amplifier.
• Build quality: A breakdown of the construction and ruggedness of a guitar amp, from the sturdiness of the wood to the feel of the knobs and switches.
• Channels: Separate sound settings on an amplifier, for example a lot of amps have a clean and a dirty channel. Modeling amps often have multiple channels, which are essentially different presets.
• Clean: A guitar tone with no effects on it. Often clear and bright sounding.
• Combo amp: A type of amplifier that houses every component of an amp, including the preamp, power amp, and speaker. Most beginner amps are combo amplifiers.
• Crunch: A type of amp tone with a little overdrive on it, often found on classic rock tracks.
• Delay: As the name suggests, this effect repeats a delayed version of the note you play. You can usually control how fast or slow the repeats are, while more advanced delays include shimmer or modulation.
• Effects (FX): Additional processing like reverb, delay, distortion, fuzz, that alters the sound of the guitar.
• EQ (Equalization): EQ controls shape your tone by adjusting specific frequencies, typically labeled as bass, middle, and treble. They either boost or cut those frequency ranges.
• Gain: The gain control determines how much signal enters the preamp section of an amplifier. Increasing the gain can push your amp into overdrive or distortion.
• Headphone output: Although it’s called an output, this is where you plug in your headphones to listen to your guitar silently. When in use, most beginner amps will mute the main speaker for quiet practice.
• High gain: A very distorted amp sound, often used in hard rock and metal.
• Hybrid amp: A hybrid amp uses both tube and solid-state technology. Typically, it will feature a vacuum tube in the preamp for added warmth and dynamics, whilst the power amp uses transistors and semiconductors.
• Modeling: A modeling amp uses digital signal processing to replicate the sound of classic tube amplifiers. These digital models aim to mimic the tone and response of real analog gear.
• Modulation: A type of effect that alters your signal’s properties. Common modulation effects include chorus, flanger, and phaser, which modify the waveform to create movement and texture.
• Overdrive: A form of distortion that simulates the sound of a tube amp being pushed hard. It produces a gritty, crunchy tone often used in rock and blues.
• Power amp: The next stage in amplification, the power amp takes the boosted preamp signal and converts it into a high-current signal that is powerful enough to drive the speakers.
• Power control: Also known as an attenuator, this feature allows you to reduce an amp’s power output. It helps maintain great tone at lower volumes, perfect for home use.
• Preset: A preset is a preconfigured amplifier setting, often combining amp voice, EQ, and effects. Beginners can use presets for instant, genre-specific tones.
• Reverb: This is a type of effect that emulates the echo and decay found in rooms, or via a reverb plate. It is a commonly used guitar effect, as it adds body to your sound.
• Solid state amp: Solid-state amp: This type of amplifier relies on transistors and semiconductors to amplify sound. It is very reliable, and most beginner amplifiers use this technology.
• Speaker size: We often discuss speaker size in amplifiers, as they come in different variations. For beginner amps, they will typically be 6, 8, or 12 inches in diameter. Generally, the larger the speaker, the more bass you will hear, while smaller speakers are more prominent in the mid-range frequencies.
• Tube amp (valve amp): A more traditional amplifier design, tube amps use vacuum tubes to amplify sound. They are known for being warm, responsive, and dynamic, although they are more fragile than solid-state amps.
• USB output: Many modern beginner amplifiers are equipped with a USB output. This allows you to connect your amp to a computer or smartphone, either to unlock deeper controls or to use it as a recording device, similar to an audio interface.
• Watt: The unit of measurement that indicates an amplifier’s power output. While other factors also affect volume, wattage gives a good indication of how loud an amp can get.

How I tested the amps in this guide

Having played electric guitar for over two decades, I take a strict and thorough approach when reviewing, testing, and recommending beginner guitar amplifiers. By recalling my own learning days and putting myself in the shoes of someone new to the instrument, I focus on the key factors that matter most to beginners and test various aspects of each amp accordingly.

Build quality: Firstly, when I unbox an amplifier, I check the overall build quality. Beginner amplifiers tend to lean toward the affordable side, but there are still common pitfalls I look out for. I pay close attention to the hardware, ensuring the control knobs aren’t too loose, sticky, or scratchy while the amp is on. I will check the finishing whilst keeping an eye on the covering and I will check to see if the cabinet is solid and has been put together well.

When playing, it’s important to check for any loose parts that rattle at higher volumes, or unwanted buzzing or interference when cycling through the different amp voices. From my experience, beginners appreciate amplifiers that are lightweight and portable, whether for lessons or jamming at a friend’s house, so the weight is something I factor into my tests.

Key features: I have found that the best beginner amps include a few essential features. Firstly, a solid variety of amp voices to suit the range of songs beginners typically learn is a must. A beginner amp will score highly in my book if it covers three key tones: clean, crunch, and high-gain. During testing, I cycle through each voice to ensure there’s enough variety for a learner to get good mileage from the amp.

Next, I consider the built-in effects. Like amp voices, having a healthy selection of usable effects, ideally with simultaneous use, helps a beginner learn what different effects sound like, what pairs well, and how to emulate their guitar heroes.

Anything beyond that is a bonus. Many modern amps now pair with editing apps, offer Bluetooth streaming, or are battery-powered. From what I have experienced, beginners appreciate those added features, but they aren’t essential.

Performance: Lastly, performance is a vital testing point. The last thing a beginner needs is a complicated amp that kills their inspiration. A well-laid-out control panel, easily accessible amp voices and effects, and a simple plug-in-and-play experience are all things I value highly. If an amp relies on an app for tone editing, I download and test it thoroughly, rating how easy it is to use, save patches, and explore new sounds. Of course, when I plug in, I will listen to the overall quality, considering if there is a well-balanced tone, without any particular frequency sticking out and becoming too overwhelming.

Read more about Guitar World's rating system, how we choose the gear we feature, and exactly how we test each product.

Why trust us

Guitar World boasts over 44 years of expertise and stands as the ultimate authority on all things related to guitars. The magazine and website feature expertly written gear round-ups and top-quality, authoritative reviews penned by a team of highly experienced industry professionals.

Guitar World's inaugural print issue hit the shelves in July 1980, and ever since, it has been captivating players and enthusiasts with engaging lessons, insightful interviews with the most prominent guitar heroes, and priceless buying advice for newbie players.

Furthermore, GuitarWorld.com continues this legacy online and serves as the hub of the world's foremost authorities on guitar playing. The site not only hosts content from Guitar World but also showcases articles from respected publications such as Guitarist, Total Guitar, Guitar Techniques, and Bass Player. With a reach extending to 3.8 million players each month, GuitarWorld.com is a go-to destination for guitar fanatics globally.

Meet the experts

Latest updates

Read more

• Best beginner guitars: great acoustic and electric options
• Best budget guitar amps under $500
• The best tube amps under $500
• The best gifts for guitar players

NAMM 2022: Coming in to this year's NAMM show, we were keen to see Blackstar's new St. James guitar amps, which the company touted as as “the lightest 50-watt valve guitar amps on Earth.”

Shortly before the show started though, we got wind of another new Blackstar product that excited us just as much – the Carmen Vandenberg CV10.

A 10-watt version of the Bones UK electric guitar player and Jeff Beck collaborator's signature Blackstar CV30 amp – which was first unveiled last January – the CV10 was born of calls to house the tonal palette of the CV30 in a lower-wattage, more compact chassis.

Like its older sibling, the CV10 is based around a 6L6 power section. Its sonic character also comes from a single ECC83 tube and 12" Celestion Seventy-80 speaker. You can see Vandenberg take it for a spin in the demo above. 

The CV10's control set is more streamlined than the CV30's, with a master volume, plus knobs for Gain, Tone and Reverb. Like the CV30 though, the CV10 features a small button on its front panel that engages a built-in overdrive circuit, for added bite.

Bringing up the rear, there's a series effects loop, a post-power stage emulated output, and a trio of speaker outputs (1 x 16, 1 x 8 and 2 x 16 Ohms).

The Blackstar Carmen Vandenberg CV10 amp is available now, in a limited run of 130 units, for $799. Each comes with a Vandenberg-autographed certificate.

We saw the amp in person at NAMM, where Vandenberg told us that you could get "ANY tone" out of it. We'd love to see if it gets a wider release at some point in the future...

For more info on the amp, in the meantime, visit Blackstar.

Blackstar’s reputation as a purveyor of high-quality and great-sounding tube amps is beyond reproach. So we were thrilled when the company recently introduced a trio of tube-loaded effects pedals – the Dept. 10 Boost, Dual Drive and Dual Distortion – which promise to be “the world’s most advanced valve pedals.”

With that in mind, Guitar World put two of these pedals – the Dual Drive and Dual Distortion – in the hands of our resident gear guru, Paul Riario, to take them for a spin. Not surprisingly, he was wholly impressed.

“The obvious standout feature of the pedals,” Paul says at the top of his demo video, “is they all use an ECC83 triode tube as the sonic engine. This tube runs at more than 200 volts internally. By integrating the same high-tension voltage found in a tube amp, these pedals react more like a preamp than a pedal.”

The Dual Drive and Dual Distortion offer three crunch and overdrive voices along with a clean channel. They’re also equipped with Blackstar’s patented ISF control, low latency USB and an XLR out. Additionally, the pedals feature an effects loop for further flexibility.

“And importantly,” Paul adds, “both pedals include Cab Rig simulation technology, which is Dept. 10’s next generation DSP speaker simulator that reproduces the sound and feel of a mic’d up guitar cab in incredible detail.”

As Paul points out, both pedals “have pretty much the exact same control set,” which he’s more than happy to break down for us. Next, he cycles through each unit’s clean and overdrive channels, displaying all the tonal goodness on offer.

His verdict?

“The Dept. 10 Dual Drive and Dual Distortion combine innovative design, premium components and advanced cab rig DI technology, all to deliver the ultimate valve pedals that replicate the organic tone, dynamics and natural breakup of a tube amp in a compact pedal design."

To check out the Dual Drive and Dual Distortion for yourself, head to Blackstar Amps.

Bruce Keir – co-founder and Technical Director of Blackstar Amplification – has died at the age of 60, the company announced in a Facebook post.

Keir died peacefully with his family last Tuesday, September 14, after battling early-onset Alzheimer’s disease for a number of years. 

Born in Singapore in 1961, Keir's father was a leading BBC radio engineer who exposed him to audio and electronic equipment at a young age. Keir's interest in electronics was compounded by his equally strong love of music, and as a teenager he gained experience working on his brother Bill’s Marshall amplifiers. 

After graduating college, Keir moved to Milton Keynes, England, where he took a position at Marshall Amplification. Starting off as a Design Engineer before progressing to Chief Engineer and then Design Director of the legendary company, Keir played an integral role in Marshall's technological advancements in the '80s and '90s.

It was also during his time at Marshall that Keir met Ian Robinson, Paul Hayhoe and Richard Frost, with whom he co-founded Blackstar in 2007.

Keir designed all of Blackstar's original products – including the Artisan, Series One and HT Pedals – and was also behind the original digital algorithms that became the company's acclaimed ID:Series.

"Under Bruce’s guidance Blackstar has established a world leading guitar technology R&D facility which invests constantly in researching guitar technology and driving forward innovation," read a statement from Blackstar.

"As well as business partner and mentor, Bruce was also a very close friend and played bass in a band with the founding Blackstar team (including Marketing Director Joel Richardson) for years.

"Over the years, Bruce has been an inspiration to many, many people and those who met him will remember the warmth, humor and gravitas of a truly unique individual. Blackstar will make sure his legacy is remembered, protected and strengthened."

In lieu of flowers, Keir's family has set up a donation page to raise money for the Alzheimer's Society. 

Playing the bass becomes so much easier – and so much more enjoyable – with the help of one of the best bass amps for practice. The alternatives are practicing with no amp, or practicing with the overpowered 500-watt behemoth you gig with. Neither is a rewarding experience nor a viable solution.

Practicing without an amp is demoralizing, as you won’t be able to hear yourself play with any tonal depth. Practicing with a stage-worthy amp is fun, but far more hazardous, because everyone within a few square miles will hear you play. Unless your neighbors are stone deaf or unbelievably tolerant, you’re likely to be one slap and a thump away from a slap and a thump of a more physical kind.

Fortunately, the big issue with small practice amps – namely, dreadful tone – has been addressed in recent years. Traditionally, low end was the product of the movement of large volumes of air, made possible only by powerful amplification driving big speaker cones. Hardly the sort of components that sit well in a small, attractive practice amp.

With the adoption of modern speaker tech, such as passive radiators, and the advent of sophisticated DSP and amp modeling, audio engineers are increasingly able to coax convincing bass tones from smaller packages at low volume levels.

Well-designed practice amps, featuring high-quality components, are now compact, portable, attractive, and capable of producing authentic bass tones. This is great news for budding bassists, and a palpable relief for their neighbors.

Below, I've highlighted some of my favourite bass amps, but if you want to know my top pick right away, I've gone for the Fender Rumble 40 v3. It rewards you with that classic Fender sound, is lightweight enough to carry between rooms and it's available for a great price.

If you’re new to the world of bass practice amps, be sure to have a look at my FAQ section too, otherwise, keep scrolling to see my top picks.

Best overall

Fender has long been renowned for their bass amps, especially among the pros. And while many of their most well-regarded amps are built for the stage, Fender hasn’t overlooked those playing in smaller spaces. The Rumble 40 fills that gap perfectly, offering a lightweight and affordable amp but still with that classic Fender sound.

One of the best things about the sound of the Rumble 40 v3 is that you have quite a lot of scope to shape it with the additional bright, contour, vintage and overdrive settings – with the contour especially being a great way to add extra depth to your tone without needing to push the volume up. Not all of these features are as crucial as others, it must be said, and even players looking for a dirty tone probably won’t get much use out of the overdrive switch as it’s definitely no replacement for a decent pedal in terms of tonal quality. Still, this doesn’t really detract from the amp at all.

At 40 Watts, there is a decent amount of low-end here and is powerful enough for the rehearsal room, so will be more than enough for any home. Given how it sounds, its portability and its price point, it’s hard to look past the Rumble 40 as one of the best practice amps for bass around.

Best budget option

If you are in a situation where even a 25 or 30-watt amp is more than you need, or you are seeking one of the best budget bass amps, then the Blackstar Fly 3 might be just what you’re looking for.

This little 3-watter is a deceptively good performer. It’s far more versatile than you might think and includes EQ, compression and even a separate overdrive channel, so there’s plenty of scope to dial in a wicked tone.

It also has a sub-control feature to help bring out the low end, but given its size, this is only going to go so far and you shouldn’t expect any wall shaking - but that might actually be a selling point for many.

Another selling point will be that the Fly Bass 3 can be run on AA batteries, meaning it’s truly portable and would be especially useful for buskers or anybody that likes to play on the go.

For well under $100, this makes for a pretty wicked bass practice amp or even just as an external speaker for your phone or computer. The Fly 3 also comes in a stereo pack for around $120, with many attesting that this is the best way to experience this amp.

Best for simplicity

One of the heavyweights of the amp world, Orange has a dedicated following for those chasing uber-warm and rich tones for good reason.

Most of their amps do this well, but can a solid-state 25-watt bass amp deliver in the same way? Well, not exactly, but it does a pretty darn good job considering the parameters.

The Orange Crush Bass 25 still manages to conjure up some decent low end, thanks largely to its sensitive EQ that covers quite a broad tonal range, but it’s the warm, overdriven tones when cranked that will probably be one of the key selling points with this one.

Few bass amps of this size really sound good when pushed, so if that’s important for you then this could be worth your time.

An onboard tuner along with the line-in and headphones certainly help its practice bass amp credentials. It’s worth noting here this is certainly a true home practice amp, and you’re unlikely to get much use of it in a full-band scenario.

However, if this is what you’re in the market for, it ticks all the right boxes.

Best portable

If you’re looking for the smallest bass amp possible, the Positive Grid Spark GO is about as petite as guitar amps get. Weighing just north of half a pound and around the same size as an old compact digital camera, this tiny amp packs a surprisingly big tone.

I've got one sitting on my desk at the moment and it really is the smallest guitar amp I’ve ever come across. As part of our review, we put it through its paces with our Jaguar bass and it certainly held its own. Of course, the low-end reproduction isn’t huge, but it’s more than capable enough as a practice amp.

You get loads of different tonal possibilities too thanks to the dedicated smartphone app, with plenty of practice tools to keep you occupied as well.

Whether you’re downloading fresh tones, new songs to play along to, or just using the AI-powered jamming tools, the Spark GO is the perfect compact practice companion for guitarists and bassists alike.

Best for effects

If you’re the kind of player who likes a lot of different tones at their fingers, then the Fender Rumble LT25 will give you plenty of options to perfect your craft. Simple to use and coming in a compact and lightweight cabinet, it’s the perfect choice for the sonic explorers.

With 15 amp types and 20 effects, there’s a huge amount of choice available and the quality of the tones is absolutely phenomenal. Whether it’s a classic Fender tremolo or a modern fuzzy bass tone, this amp really inspires you to try out lots of different sounds.

30 presets give you an excellent starting point, and it’s super easy to edit them all to your particular taste. A USB output lets you record your bass tones directly, and a built-in tuner completes this amp's vast feature set. Our only negative here is that it’s not loud enough to gig with, but it’s a perfect option for practicing.

Best modeling amp

When Positive Grid launched the original Spark back in 2019, it sold a shedload to players ecstatic at the prospect of getting their hands on the brand’s renowned modeling software. This time, conveniently packaged in a handsome 40-watt home practice amp. Grid Spark 2 takes the same concept and runs with it.

The form factor remains largely unchanged, and access to Positive Grid’s mighty modeling library – 10,000 tones and counting – remains via the highly intuitive dedicated app. However, pretty much every other feature has been supercharged. Power is increased to 50 watts, and the dual speakers have been swapped out for a pair of Full Range, Flat Response (FRFR) drivers with bass ports, angled slightly outwards to enhance the stereo field. They sound superb for both guitar and bass.

Digital signal processing 'oomph' has been doubled, with a newly developed HD DSP tone engine. To celebrate this, Positive Grid has added a whole bunch of high-definition tones to its library. The Spark AI feature, still in Beta, enables you to describe your target sound – perhaps an artist, song or genre – and will respond with matching tones for you to audition.

The original amp would provide chord sequences via the app for any song you cared to play along to, but now there’s a looper too. Another truly significant feature is the addition of stereo line outs, which enables the Spark 2 to break out of the bedroom and onto the stage.

It’s true that the Spark is primarily aimed at guitarists, but what sets it apart from its competitors, such as Yamaha’s THR line, is that it also provides authentic, usable bass tones.

Best compact

The Micromark 801 shares enough signature design cues to make it instantly recognizable as part of the Markbass family – albeit the brand’s most bijou member.

The enclosure is visually arresting, with its oversized corner guards, heavy-duty handle and industrial-themed metal grille that’s peppered with large, circular holes. However, most recognizable are the yellow speaker diaphragm and contrasting black dust cap, instantly identifiable Markbass characteristics.

Despite the small cube-like enclosure, Italian brand Markbass has managed to squeeze in an 8-inch custom driver and a rear-facing bass port, both of which benefit the sound quality enormously, particularly the low end. There’s no getting away from the fundamental laws of physics; a good quality larger driver will always trump a good quality smaller driver (or two) when it comes to bass response.

The rest of the build is minimalist. Markbass’ focus here is on sound quality over gimmicks, simplicity over complexity. On the top panel are just two rotary controls to govern level and the variable pre-shape filter (which boosts the high and low frequencies while cutting the mids for a scooped sound). Usefully, on the back panel, there is a line out for recording or live performance, as well as a speaker out and a headphone out.

If your quest is for a simple practice amp that sounds fuller and punchier than it has a right to, then the Markbass Micromark 801 fits the bill.

Also tested

If you didn't find your perfect match above then don't worry, there are more great options for perfect bass practice amps. Here are two more of our favorites.

How to choose

Picking a practice amp doesn’t have to be complicated. Here’s what actually matters.

First, think about wattage. For home use, anywhere between 20 and 50 watts is the sweet spot. Enough to hear yourself clearly, not enough to annoy everyone in the building. You don’t need a 200-watt stack in your bedroom, trust us.

Next, check for a headphone output. This one’s a game-changer if you live with roommates, a partner, or neighbors with thin walls. Being able to plug in and play silently at midnight is worth its weight in gold.

Speaker size matters too. A 10-inch speaker will give you a fuller, more balanced sound compared to an 8-inch, which can feel a little thin on the low end. For bass, bigger is generally better here.

Don’t overlook the EQ section. A basic three-band EQ (bass, mid, treble) gives you enough flexibility to dial in a tone you actually enjoy playing through, and that keeps practice fun.

Finally, set a budget and stick to it. There are genuinely great practice amps in the $100–$400 range. You don’t need to spend big to sound good at home.

Glossary of terms

• Cab (Cabinet): The box part of the amp that houses the speaker. Some practice amps are “combo” units where the cab and amp head are built into one unit — which is pretty much the standard for practice setups.
• Combo Amp: An all-in-one unit where the amplifier and speaker are housed in the same box. Most practice bass amps are combos since they’re portable, affordable, and easy to set up — just plug in and go.
• EQ: The set of knobs (usually Bass, Mid, and Treble) that let you shape your tone. Boosting the bass adds thump, cutting the mids can give you that scooped sound, and tweaking the treble adds bite and definition.
• Gain: Controls how hard the signal hits the preamp. Turn it up for a grittier, overdriven tone; keep it low for a clean, punchy sound. On practice amps, gain is often labeled “Drive” or “Volume” on the input stage.
• Headphone Out: A jack that lets you plug headphones directly into the amp so you can practice silently. An absolute lifesaver for late-night sessions or apartment living.
• Input Impedance: The electrical resistance the amp presents to your bass. Most practice amps are designed to play nicely with passive basses, but some have a dedicated “Active/Passive” switch to handle active basses with hotter outputs.
• Ohms: The unit of measurement for speaker impedance. Most practice amp combos run at 8 ohms. You’ll only really need to think about this if you’re plugging an external cab into your amp’s speaker output.
• Preamp: The first stage of amplification that shapes your tone before it hits the power amp. Many practice amps include a built-in preamp with an XLR or line output so you can run straight into a PA or recording interface.
• Wattage: The measure of how much power the amp puts out. For home practice, 20–50 watts is plenty. Don’t stress too much about getting a high-wattage practice amp — a loud bedroom is a bad idea anyway.
• XLR / DI Out: A balanced output (usually found on the back of the amp) that lets you send your signal directly to a mixing board or audio interface. Super handy for recording or gigging with a small practice amp as your bac

FAQ

How we choose the best bass amps for practice

Here at Guitar World, we are experts in our field, with many years of playing and product testing between us. We live and breathe everything guitar and bass related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our guides.

When choosing what we believe to be the best bass amps for practice available right now, we combine our hands-on experience, user reviews and testimonies and engage in lengthy discussions with our editorial colleagues to reach a consensus about the top products in any given category.

First and foremost, we are guitarists, and we want other players to find the right product for them. So we take into careful consideration everything from budget to feature set, ease of use and durability to come up with a list of what we can safely say are the best bass amps for practice on the market right now.

Read more about our rating system, how we choose the gear we feature, and exactly how we test each product.

How we test

Here at Guitar World, we are experts in our field, with many years of playing and product testing between us. We live and breathe everything guitar and bass related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our guides.

When choosing what we believe to be the best bass amps for practice, we combine our hands-on experience, user reviews and testimonies and engage in lengthy discussions with our editorial colleagues to reach a consensus about the top products in any given category.

First and foremost, we are guitarists and bassists, and we want other players to find the right product for them. So we take into careful consideration everything from budget to feature set, ease of use and durability to come up with a list of what we can safely say are the best practice amps for bass on the market right now.

Read more about our rating system, how we choose the gear we feature, and exactly how we test each product.

Why you can trust us

☑️ A global audience of 3.8 million guitarists monthly
☑️ 1,200+ reviews on GuitarWorld.com
☑️ 30+ years of product testing at Guitar World

Guitar World boasts over 44 years of expertise and stands as the ultimate authority on all things related to guitars. The magazine and website feature expertly written gear round-ups and top-quality, authoritative reviews penned by a team of highly experienced industry professionals.

Guitar World's inaugural print issue hit the shelves in July 1980, and ever since, it has been captivating players and enthusiasts with engaging lessons, insightful interviews with the biggest guitar heroes, and priceless buying advice for newbie players.

Furthermore, GuitarWorld.com continues this legacy online and serves as the hub of the world's foremost authorities on guitar playing. The site not only hosts content from Guitar World but also showcases articles from respected publications such as Guitarist, Total Guitar, Guitar Techniques, and Bass Player. With a reach extending to 3.8 million players each month, GuitarWorld.com is a go-to destination for guitar fanatics globally.

Meet the experts

Latest updates

Read more:

• Best beginner bass guitars: top four-stringers for beginners
• On a budget? Check out the best budget bass guitars
• Best bass strings: For the best tone, feel and lifespan
• These are the best bass compressor pedals
• Here is our pick of the best Christmas gifts for bass players
• Enhance your sound with the best bass effects pedals

Finnish retailer Musamaailma is selling stage and studio gear owned and used by late Children of Bodom frontman and guitar great Alexi Laiho, who passed away in December 2020 due to “alcohol-induced degeneration of the liver and pancreas connective tissue.” 

The items, which include Marshall and Blackstar guitar amps, as well as pedals and a pedalboard, will be sold via an offer-based auction ending May 2. Musamaailma states it has been assigned the items direct from the Alexi Laiho Estate.

Said Musamaailma CEO Kai Saarikko, ”We supported him through the years and became friends. After his untimely passing, Alexi’s estate contacted us and due to our long history with Alexi, we are now handling the sale on their behalf.”

You can check out all the gear below, and for more information or to bid, head to musamaailma.fi.

Marshall JVM410H amp, 1960B cabinet and pedalboard touring rig; starting price: 10,000 € (approx. $12,000)

Laiho used this rig, consisting of his #1 Marshall JVM410H head (serial number M-2007-32-0567-1), Marshall 1960B 4x12” cabinet (serial number M-2002-05-1354-Z) and his custom pedalboard, extensively as his number one touring rig and in the studio through the years

The pedalboard includes a T-Rex Fuel Tank Junior, BOSS DD-7 Digital Delay and Dunlop Kirk Hammett Signature Wah with patch cables.

The rig has been featured in multiple rig rundown videos available online and was be seen in action during hundreds of live shows Laiho played around the world.

Previously, the pedalboard also had a BOSS CH-1 Super Chorus, but it has since been removed from the signal chain. The equipment is in the condition it was left after Laiho’s last sessions with Bodom After Midnight.

All original gaffer tapes with markings are intact, and  like all the gear featured, there is some wear, tear, dust and dirt buildup. On the JVM410H tagged ”ALEXI AMP 1” you will also find Alexi’s tone settings marked green on the front panel. The cab has ”ALLU-CENTER” tag on the back.

Marshall JVM410H touring amp; starting price: 3,500 € (approx. $4,225)

Laiho used this Marshall JVM410H head (serial number M-2013-05-0584-1) as his spare touring guitar head through the years. According to Musamaailma, he mostly used the OD2 channel, marked green on the front panel.

Marshall JVM410H studio amp; starting price: 2,000 € (approx. $2,415)

Laiho used this Marshall JVM410H head (serial number M-2013-05-0586-1) mostly in the studio and rehearsals. His tone settings are marked with small green dots on the front panel. According to Musamaailma, Laiho used the 1x16 Ohm speaker out that’s marked with yellow tape.

Marshall JCM 800 Kerry King; starting price: 3,000 € (approx. $3,620)

This Marshall JCM 800 2203KK Kerry King Signature head (serial number M-2007-36-0898-1) was reportedly used by Laiho particularly during the Blooddrunk era.

Blackstar Series One S200; starting price: 650 € (approx. $785)

Laiho used this Blackstar mostly for practice and studio work.

We may be just a few weeks into 2021, but the year has already provided us with plenty of great new products from the MI world. 

But have no fear – Guitar World's Paul Riario and Alan Chaput are here to help you find exactly what you need to bring your playing to the next level. They've waded through tons of new equipment so you don't have to (and also because they really, really love it). 

With that in mind, check out three products that have grabbed Paul and Alan's attention, in the first installment of New Year New Gear. 

TASCAM has introduced the US-HR Series High Resolution USB Audio Interfaces, designed for use in a variety of environments – everything from entry-level recording to high-end studio work, podcasting to webcasting.

The new line consists of three models: the US-1x2HR (ideally suited for guitar and vocal recording musicians); US-2x2HR (for music production, podcasts, and live streaming) and US-4x4HR (for state-of-the-art music production environments).

All incorporate a wealth of features, including 24-bit/192kHz audio performance, ultra-low latency (4 sample driver buffer), Ultra-HDDA mic preamplifiers with +48V phantom power and a comprehensive suite of included software.

Each US-HR interface has multiple inputs, both XLR and 1/4", making them ideal for miking a cabinet/amp via XLR while simultaneously taking a direct signal with the quarter inch input. The US-4x4HR has four inputs – all a combo of XLR and 1/4" – which is great for being able to close mic an amp, take a direct signal and have stereo room mics all at the same time. It’s a perfect solution for being able to get the most out of your performance in just one take.

Additionally, all US-HR interfaces come with a software bundle that includes IK Multimedia's Amplitube – a diverse and quality guitar/bass amp simulator. If a guitarist wants to try something new, they have the option of going direct-in with a wealth of different virtual amps at their fingertips.

Rugged metal chassis and intuitive design make these interfaces long-lasting and incredibly easy-to-use. Record with a wide array of audio qualities and even stream your performances online with ease.

For more information, head to TASCAM.

FU-Tone.com might be best known for its top-notch and widely-lauded tremolo upgrades, but apparently the company can also make a mean six-string. 

FU-Tone has just launched a new line of electric guitars, the FU PRO range, which, in addition to a smart tonewood combination – “San Dimas” style alder bodies, maple necks and a choice of maple or ebony fingerboards – also come stock with a feature set that FU-Tone proudly touts as “never before available on a production guitar.”

Chief among these are a custom FU-Tone FU2 tremolo with a 42mm L brass big block, titanium saddle inserts, EVH D-Tuna, heavy duty noiseless springs, brass claw and claw screws and a brass tremolo stopper, which gives the user the option to float or stabilize the bridge.

There’s also FU-Tone Custom humbuckers with individual coil tap switches, a wheel truss rod and a kill switch, and the guitars come in a variety of eye-catching custom finishes, including Black, Ferrari Yellow, Natural and Transparent Purple.

And you get it all – including a heavy-duty padded gig bag – for $1,099.

For more information, head to FU-Tone.com.

Blackstar, meanwhile, previously impressed with its ID:Core V2 collection of entry-level guitar amps, and now the company is back with the ID:Core V3, an upgraded, versatile model packed with plenty of smart functionality and available in 10, 20 and 40-watt iterations.

The updated ID:Core V3 features six familiar amp voices – Clean Warm, Clean Bright, Crunch, Super Crunch, OD1 and OD2 – and invites guitarists to get creative with their tone with Blackstar's patented ISF control.

Sounds range from the "Boutique" Clean Bright to the "Hot-Rodded" OD1, and the re-voiced and enhanced effects include modulations such as chorus and tremolo, a variety of delays and a collection of room, hall, spring and plate reverbs. What’s more, the reverb button turns into a tuner when held down – a convenient touch.

Additionally, Blackstar's free Architect editing and patch management software allows users access to Cab Rig Lite, a state-of-the-art cab simulator that allows for tweaking everything from mic choice and cab type to room environment.

Furthermore, the PB-1 Power Bank allows for recording and practice anywhere, and the four-channel USB audio turns the amp into an audio interface capable of easy recording, re-amping and editing. You can even live stream to your smartphone via an iPhone/Android-compatible cable.

The ID:Core V3 starts at $129 for the 10-watt combo, while the 20 and 40 will be $179 each. For more information on the ID:Core V3 series, head over to Blackstar Amps. 

NAMM 2021 isn't taking place in the physical realm this year, but you'll find all the hottest January gear launches in our guide to the biggest guitar, amp and pedal releases of 2021 so far.

Said to be the result of over nine years of technical research and development, Blackstar previously impressed with its ID:Core V2 collection of market-leading, entry-level guitar amps, which put huge tones into small packages.

Now, Blackstar is back with the new ID:Core V3 – an upgraded, versatile amp that promises "Incredible tone and Super Wide Stereo sound", available in 10, 20 and 40-watt iterations, and packed with smart functionality.

The updated ID:Core V3 features six familiar amp voices – Clean Warm, Clean Bright, Crunch, Super Crunch, OD1 and OD2 – and invites guitarists to get creative with their tone with Blackstar's patented ISF control.

Offering a wide catalog of sounds ranging from the "Boutique" Clean Bright to the "Hot-Rodded" OD1, the intuitive amp controls allow guitarists to choose a channel, dial in the gain, roll off the EQ and apply a number of immersive effects to achieve their desired sound.

The re-voiced and enhanced effects include modulations such as chorus and tremolo, a number of delays, and a collection of room, hall, spring and plate reverbs. Conveniently, the reverb button turns into a tuner when it is held down, further adding to the all-in-one feel that the amp creates.

The question of tone becomes even more versatile when Blackstar's Architect is thrown into the mix – a free editing and patch management software that gives you access to Cab Rig Lite.

Cab Rig Lite is a state-of-the-art cab simulator that lets guitarists tweak nitty gritty specifics such as mic choice, cab type and even room environment, the "power of programmability" is paired with the natural tones of the amp for an "amazingly versatile tonal range".

Given what's been described, it's easy to forget that the ID:Core V3 is an incredibly small amp. The recessed handle and PB-1 Power Bank allows you to record and practice anywhere, while the four-channel USB audio turns the amp into an audio interface capable of easy recording, re-amping and editing.

Live streaming to your smartphone with guitar amp quality is also made easy using an iPhone/Android-compatible cable, allowing you to show off your chops – and your tone – online. 

The ID:Core V3 starts at $129 for the 10-watt combo, while the 20 and 40 will be $179 each. For more info, head over to Blackstar.

Software amps continue to gain in popularity, and with good reason – they don’t take up any space, and they sound great.

But one drawback, as Blue Oyster Cult guitarist Richie Castellano points out, is that they don’t function like real amps. Going from a clean to a dirty tone, for instance, involves taking your hand off the guitar to click a button on your mouse.

Enter Blackstar Live Logic, a USB MIDI controller which offers the flexible performance control of MIDI hardware and software in a compact, rugged foot controller.

As Castellano says in the above demo, “My favorite software amp is the Line 6 Helix Native. It works fine, but a lot of us would like more of a pedalboard experience when we’re playing our software amps. 

"That’s where the Blackstar Live Logic comes in.”

The Live Logic MIDI control pedal boasts six heavy duty metal footswitches – “the thing’s built like a tank,” Castellano says.

There’s also two expression pedal inputs and two modes – patch, which uses preset program numbers, and custom, which is what Castellano uses to run the Helix through the controller.

As for setting up the controller, it’s as simple as running Blackstar’s free PC or Mac app to customize the function of each footswitch and expression pedal and save and load configuration pre-sets.

Via an intuitive graphical view of the foot controller, users can also choose message types, set minimum and maximum values, toggle whether the switches send momentary messages or toggle on/off and more.

In Castellano’s demo, he assigns distortion, harmonizer (both major and minor), chorus, delay and boost effects to individual footswitches, and even uses the expression pedal to control the amount of delay in real time.

“And now I can just play like a guitar player,” he says.

And what more could you ask for?

“The Live Logic is a really cool solution for people who depend on software amps,” Castellano concludes. “It gives you more of that real feel especially when you have something to step on when you’re playing. Because the mouse just doesn’t cut it.”

For more information on the Live Logic USB MIDI Controller, head to Blackstar Amps.

Blackstar Amplification and Gordon Smith/Auden (GSA) have "demerged" their respective businesses, according to the Music Industry Association.

The two British companies have been working together since 2017, and remain committed to collaborating in the future as independent entities.

Said Blackstar Managing Director Ian Robinson, “Since we got together in 2017, it has been a pleasure to work with Doug [Sparkes, Managing Director of GSA] and the team at GSA. 

"Having achieved many of our original goals, it now feels like the right time for the companies to go our own ways. This will allow maximum focus in our respective core businesses.”

Added Sparkes, “It’s been an positive journey working with the team at Blackstar.  I feel that we now have the right set up in place to continue to develop our electric and acoustic guitar offerings and take our UK-based guitar workshop to the next level.”

Auden acquired Gordon Smith Guitars in 2015, while Blackstar has recently unveiled a host of intriguing products, including the ultra-lightweight Unity Elite Bass Series amps and its Debut combo beginner amps.

Blackstar has revealed the Live Logic - a compact, fully-customizable MIDI controller which aims to bridge the gap between DAWs, pedalboards, outboard gear and more.

The device is equipped with MIDI over USB functionality, designed to offer players quick and easy control over recording and performance environments. For example, the unit can be connected to a computer via USB in order to relay MIDI messages from non-USB guitar pedals directly into a DAW.

In Patch Mode, front-panel buttons one through four are used to send out program change MIDI messages, while five and six are used to cycle through banks. In Custom Mode, these buttons can be configured to control any MIDI-based parameter using the Live Logic companion software.

With official Ableton Live integration, the stompbox can be used as a DAW control surface, a performance controller for looping (as seen below) or even to control lighting rigs.

The Live Logic features MIDI ins and outs, two expression pedal inputs for continuous control of MIDI parameters, a USB port and a 9V DC power input. The device can also be powered using a 9V battery.

It's available now for $179. For more information, head to Blackstar.

There’s also Blackstar’s Patented Infinite Shape Feature, digital reverb with dark/light switch, speaker emulated output with 1x12 or 4x12 voicing, effects loop with effects level switch, USB output for recording and more.

The HT Club 40 MkII 6L6 comes wrapped in black basketweave tolex with chicken head knobs.

Blackstar Amplification recently unveiled a Black and Blue edition of its HT Club 40 MkII, and now the company is back with another iteration of the popular 40-watt guitar amp, the HT Club 40 MkII 6L6.

Per its name, the new combo amp is a 6L6 version of the original, with the pair of tubes driving a 12-inch Celestion Seventy-80 speaker, promising “glassy clean tones, crunchy overdrives and smooth midrange”.

Other features include two channels and four footswitchable voices, and a flexible 10% power reduction option.

The Blackstar HT Club 40 MkII 6L6 is available now for $799, the same price as the regular EL34 version. For more information, head to Blackstar Amps.

Whenever there's a discussion about the best guitar amps out there today, it's never long before Blackstar comes up. 

The company's reasonably-priced creations are always dependable, reliable and free of the unnecessary bells and whistles gear companies sometimes throw onto their products to make them stand out in the ever-growing market.

Case in point is Blackstar's HT20R-MkII. First introduced at the 2019 NAMM show, this amp was cited by our pals at MusicRadar as "possibly the best small combo on the market at the moment."

Featuring one 12AX7 preamp tube and two EL84 power amp tubes, clean and overdrive channels, a USB audio out, an XLR D.I. and a studio-quality reverb, the HT20R-MkII hits all the marks of a perfect mid-price amp. Now, thanks to ProAudioStar, you can get this 20-watt powerhouse for less - way less.

Normally a $679.99 value, the Blackstar HT20R-MkII can now be had for $469.99, a discount of over $200. 

Given this amp's popularity though, we can't imagine this deal will remain on the books for too long, so take a trip on over to ProAudioStar and grab one of the market's best amps for less than $500!

Blackstar has unveiled its newest collaboration with Jared James Nichols, the limited edition JJN-20R MkII guitar amp.

The new 20-watt combo version of Nichols’ signature head boasts an ECC83 in the preamp section and two EL84 power amp tubes.

There’s also Clean and Bluespower channels with footswitchable voices, studio-quality reverb, a power reduction down to two watts, USB audio out and XLR D.I. out and a Celestion G12T-75 speaker.

Aesthetically, the amp features a Jared James Nichols panel design and a tan basketweave front, and is wrapped in racing green tolex.

“Blackstar amps define my tone. It really is the sound in my head. It’s simple; Blackstar inspires me to play at my best,” Nichols said.

You can watch Nichols discuss the new amp with GW's Paul Riario in the video below.

The Jared James Nichols JJN-20R MkII is available for $729.99. 

For more information, head to Blackstar Amps.