Pedals Week 2026: Every now and then, a pedal comes along that leaves guitarists wondering what they just plugged into. Maybe it looks different. Maybe it works differently. Or maybe it solves a problem that nobody was really thinking about at the time.

Whatever the reason, some of the most interesting effects ever made didn't become favorites overnight. In fact, quite a few were overlooked, misunderstood or simply ahead of their time.

Looking back now, it's easy to see just how many of these once overlooked ideas helped shape the way guitarists think about effects today.

1. Boss SG-1 Slow Gear

The SG-1 has always been one of Boss's most misunderstood pedals. Instead of adding gain, delay or modulation, it simply fades in every note automatically, creating smooth violin-like swells without touching the guitar's volume control.

When it arrived in 1979, most players had no idea what to make of it. It didn't fit into any familiar category, and there wasn't much music calling for that kind of effect. Fast forward a few decades and it suddenly makes perfect sense.

Ambient players, soundtrack composers and experimental guitarists all discovered something Boss had quietly introduced years before anyone was really ready for it.

2. EarthQuaker Devices Rainbow Machine

Few pedals have left guitarists scratching their heads quite like the Rainbow Machine. The controls seem almost random at first, and the sounds range from subtle pitch modulation to noises that don't sound much like a guitar at all.

That's probably why so many players weren't quite sure what to make of it when it first appeared. Anyone expecting a conventional harmonizer was likely disappointed.

Dial it back and it adds movement and texture that few pedals can match. Turn it up and things get weird in a hurry. The Rainbow Machine isn't for everyone, and that's exactly the point.

3. Electro-Harmonix Attack Decay

The Attack Decay is one of those pedals that almost defies explanation until it's plugged in. On the surface, it recreates the automatic volume swells of Electro-Harmonix's original late-'70s design, but that's really only the beginning.

With adjustable attack, reverse-style envelopes, fuzz and expression control, it can drift from violin-like swells to synth textures and sounds that barely resemble a guitar. That's probably why it never became a mainstream hit. It asks players to experiment instead of reaching for familiar tones.

Those willing to spend the time are rewarded with one of the most creative and inspiring pedals Electro-Harmonix has ever produced.

4. Boss DF-2 Super Feedbacker & Distortion

The DF-2 is one of those pedals that's much easier to appreciate today than it was when it first appeared in the mid-'80s. Most players saw the word "Distortion" on the enclosure and treated it like another gain pedal, but the real innovation was hidden under the footswitch.

Hold it down and the DF-2 generates controllable amplifier-style feedback, even at volumes where natural feedback would be impossible. At the time, it felt like an odd feature that few players really needed.

Looking back, Boss was solving a problem decades before the rest of the industry caught on. Fast forward a few decades, and what once seemed like a gimmick now feels surprisingly innovative.

5. Boss TE-2 Tera Echo

Trying to describe the Tera Echo is almost impossible because it isn't really a delay, a reverb or a modulation pedal. It borrows ideas from all three, creating spacious, blooming echoes that react to the player's touch in a way that's still difficult to explain. That may be one reason it slipped under the radar.

Guitarists naturally tried comparing it to traditional delays, only to discover it played by its own rules. Give it a little time, though, and its strengths become obvious. The Tera Echo isn't trying to sound like a delay or a reverb. It really does its own thing.

6. Electro-Harmonix HOG

One look at the HOG was enough to intimidate a lot of guitarists. Between all the sliders, switches and expression pedal options, it looked more like a synthesizer than a stompbox. This is probably one reason why it never caught on with the average player.

Spend a little time with it, though, and it starts to make sense. It can create everything from convincing organ sounds and rich octave layers to swelling pads and sounds that barely resemble a guitar.

Most players simply weren't looking for a pedal that could do this much. The HOG wasn't overlooked because it lacked great sounds. It was overlooked because many players never got far enough to it to discover them.

7. Boss DA-2 Adaptive Distortion

At a glance, the DA-2 looks like just another distortion pedal, and that's probably why so many players passed it by. Hidden beneath the familiar controls, however, is Boss's Adaptive Distortion technology, which constantly analyzes your playing and adjusts the distortion across the frequency range. The result is a surprisingly balanced sound that stays articulate whether you're playing open chords or single-note lines high on the neck. It never enjoyed the cult status of classic Boss dirt boxes but that may have had more to do with timing than tone. There's a really good distortion pedal hiding underneath all that technology.

8. Pigtronix Mothership

One look at the Mothership and it's pretty obvious this isn't your average pedal. Part analog synth, part octave generator and part fuzz, it can produce everything from thick octave sounds to quirky synth tones that barely resemble a guitar.

It's not a pedal you can just stomp on and expect instant results. The Mothership rewards clean, accurate technique, and if your playing gets sloppy, you're probably not hearing it at its best. That alone was enough to turn some players away. Those who spent the time with it discovered one of the most expressive and creative analog synth pedals ever built.

9. Z.Vex Seek Wah

The Seek Wah doesn't resemble or behave anything like a traditional wah pedal. Instead of a rocker pedal that sweeps back and forth, you're greeted by a row of lights, knobs and switches that hint at something completely different. It steps through a series of programmable filter patterns that can sound rhythmic, random or somewhere in between. This confused many guitar players.

But the Seek Wah wasn't trying to replace a Cry Baby or Vox wah. It was trying to do something completely different. Players willing to think beyond a traditional wah discovered it could do things no Cry Baby ever could.

10. DigiTech FreqOut Natural Feedback Creator

Initially, creating controllable feedback with a stompbox sounded more like a novelty than something guitarists would actually use. That's exactly why so many players overlooked the DigiTech FreqOut when it first appeared.

Instead of relying on a loud amp, it electronically recreates natural harmonic feedback at almost any volume, with controls that let you choose different feedback harmonics and even adjust how quickly the feedback blooms into each note.

Back then, if you wanted endless sustain, you simply turned the amp up. Today, with lower stage volumes, modelers and home studios becoming the norm, the FreqOut makes more sense than ever.

Pedals Week 2026: Guitarists are contrary beasts. We spend hours honing tones, then declare it’s all in the hands. Pine for a simpler time, while excitedly downloading firmware updates. Form unbreakable bonds with gear, while simultaneously looking over our shoulder at the next shiny object. It’s part of the fun.

Sometimes, then, I think the most telling way to judge gear is just to see what has actually made enough of a difference to stay with us as players and writers – to set up residence in a little bit of our musical brains.

With Pedals Week in full swing, I set about badgering the inboxes of Guitar World’s hard-working staffers, demanding responses to the somewhat tenuous brief of ‘the pedal that changed me’.

To their credit and my surprise, they did not immediately get together and demand my dismissal – instead, their responses have resulted in a bunch of tips, insights and a little window into the slightly unhinged consciousness of the GW team.

Damian Fanelli, Editor-in-Chief – Fender ’63 Reverb reissue

This big brown box entered my life in 2004, when my band, Mister Neutron, didn’t know if we were destined for They Might Be Giants-inspired indie rock or full-on, Dick Dale-inspired instrumental surf-rock. You know, the usual dilemma for New Jersey bands in 2004.

But, as soon as I plugged into the ’63 reissue, my TMBG aspirations packed their witty little bags and never returned. The seas parted before me, leaving a small walkway between two restless 90-foot waves. I walked forward about 15 steps when suddenly the walkway disappeared, the waves crashed down upon me, and I was awash in gloriously lush tube-driven spring reverb. Mister Neutron dived into the world of surf, released three albums, toured quite a bit and even scored an alt-radio hit in Ohio.

But is the ’63 Reverb even a pedal? Yes and no. It’s a big brown practice-amp-sized box that does the job of a pedal, but — because it was invented when pedals weren’t a thing — it looks more like a pipefitter’s lunchbox. Luckily, there are now plenty of normal-sized spring reverb pedals that’ll make you feel like you’re drowning. In a good way!

Michael Astley-Brown, Digital Editor-in-Chief – DigiTech Whammy

I was about to turn 14, and there was only one thing I wanted for my birthday: a DigiTech Whammy pedal. At last, I could perform songs from my favorite bands – Rage Against the Machine and Muse – with the same siren squeals.

But as I have grown as a player over the past 20 years, so too has the way I use the Whammy. It’s very rare you’ll find me dialing in the two-octave-up Killing in the Name death-screech anymore. The octave up/down blend has become my perennial sidekick – a cheat code whose glitchy warble transforms on-the-verge-of-cheese leads into something edgier, more alternative.

Just about every song I have recorded with my band Maebe features the Whammy in some capacity. It has become my voice on the instrument. I have had countless, painstakingly wired pedalboard setups in my lifetime, but the Whammy has been the sole constant. I could gig without it, but it just wouldn’t sound like me.

Jimmy Brown, Senior Music Editor – Hughes & Kettner Tube Rotosphere (MK1)

If there’s one pedal that has inspired my guitar playing more than any other, it’s the original Hughes & Kettner Tube Rotosphere (MK1).

The thing I love most about this pedal, other than the impressively authentic way it emulates the sound and texture of a real Leslie rotating speaker cabinet better than any other pedal I’ve ever tried or heard, is its breaker button, which gradually slows down the low and high rotors (which ramp up and down at different speeds, just like the spinning woofer drum and tweeter in a real Leslie cabinet).

The breaker button is a momentary switch, which means it slows the modulation speeds to a complete halt if you keep your foot pressing on it for more than a few seconds. As soon as you lift your foot off the button, the low and high rotors begin ramping up to full speed again, with the high rotor (emulating the spinning horn tweeter in a Leslie cabinet) accelerating more quickly than the low rotor, which emulates the massive drum with a hole cut in the side that spins around a stationary woofer speaker.

To me, there’s nothing as musically expressive as the sonic magic of the “ebb and flow” that happens during the acceleration and deceleration of the trippy, swirling, phase-y tremolo and Doppler effect of a two-way rotary speaker effect. I’ll often play an entire ballad, such as Thank You by Led Zeppelin, Lucy in the Sky With Diamonds by the Beatles or my own capo-5 guitar arrangement of The Eagles’ Desperado with my foot on the breaker button the entire time, using it to create a quasi-rubato effect without actually slowing down or speeding up what I’m playing.

The pedal is big, heavy and expensive, and it requires a special 12-volt AC power supply. But to me it’s worth keeping on my pedalboard, more than any other pedal. It’s the ultimate expression pedal and my secret weapon.

Rob Laing, Reviews Editor – Boss DM-101 Delay Machine

I'm not an analog snob – I'm a pragmatist. So modeling works for me, but I appreciate why a player would insist on a tube amp. But one area of delay I love... well that's an exception. There are lots of great digital delay pedals but the Boss Delay Machine reminded me that nothing beats warm, slightly wild bucket brigade analog delay.

And I really think this is the final destination for it – this black and chrome beauty is packing eight BBD chips and it's using 'em. It sounds glorious and with 12 varied modes, each with variations, I'm still using it as a creative tool with endless possibilities. Oh, and if you have a stereo rig you really are in for a treat.

Paul Riario, Tech Editor – MXR Phase 90

When I was a young, budding guitarist with my very first electric guitar and amplifier, the next step in my journey was to color that sound with an effect. Was it going to be a chorus? Nah, too boring. Delay? That was still a mystery to me. Distortion? Overdrive? Pass. My amp already handles this.

Seeking to replicate the cool onboard phase shifter from my bandmate's Peavey Deuce amp, I initially picked up a Boss Phaser. However, its piercing, square-wave phase left me uninspired.

It wasn’t until I eventually discovered the venerable MXR Phase 90 that all my swirly dreams came true. Yes, the day the Phase 90 landed on my pedalboard, all the mysteries of the Divine and supernatural made sense – “Oh, that’s how Eddie Van Halen did that!?!” was a consistent, resounding cry from me.

Using its solitary Speed knob, I’ve continuously adjusted it to shift from a gentle sweep to an increasingly dramatic swirl. Whether delivering a warm, chewy texture for solos, throbbing rhythmic stabs, or acting as subtle as an F-15 shattering the sound barrier, its lush, accelerated swoosh always satisfies. Word of advice: For a genuinely organic tone, the original “Script logo” version is the one to get.

Matt Parker, Deputy Editor – Danelectro Black Licorice

At some point around the age of 18, dipping a toe into stompboxes, I ordered up a set of fun-looking Danelectro pedals with weird names, like the PB&J Delay, the Milkshake Chorus and Bacon and Eggs pedal amp (which literally had a speaker in the pedal). They came in a fetching purple plastic carry case (complete with a pretty much useless tuner), had shells of bright moulded plastic, and sounded so much better than they had any right to.

The best of the bunch was the Black Licorice ‘Beyond Metal’, an utterly unhinged high-gain distortion and octave effect. As an indie rock-type, I was not dropping Dimebag riffs on the regs, so every time I hit the sponge-y footswitch it was a ride-the-tiger moment: I never knew what it would do next. The tiny controls made it pretty impossible to commit to a specific setting. Live, it would feed back with a glorious, anarchic bloom that made me whoop.

It got me playing and writing differently, too. I began leaning on more arpeggiated melodies that played well with its octave tracking. I wrote my favorite self-penned riff on it, and those intervals are still a big part of my playing, even now. For an all-black pedal, it had a truly colorful character.

Jackson Maxwell, Operations Editor - Boss DS-1

When I first started hacking away on the guitar, my heroes were alt-rock wizards like Jonny Greenwood and Kevin Shields. Because of them, I knew what a guitar pedal was, but I thought that they were the domain of six-string world-builders like them – not for plebes; you could only have one if you had 100.

But I also, of course, loved Nirvana. I wanted to sound like Kurt Cobain when I played Smells Like Teen Spirit, but I couldn’t turn the volume knobs on my little Strat and amp up to 10, lest my weary parents take their gifts to me away. ‘Isn’t that what he’s doing?’ I thought.

Then my friend said, “you know the Smells Like Teen Spirit sound is just a DS-1, right?”

“A what?”

“The Boss DS-1 pedal.”

“Isn’t that really complicated and expensive?”

“Nah dude. Try the one I have.”

The DS-1 was my first pedal – and with it came the first thrilling moment of “That’s how he got that exact sound!! I can do it too!” We all know how amazing that feels.

Matt Owen, News Editor – Xotic SP Compressor

I could use this time to talk about some of the pedals that revolutionized my rig, but fundamentally there really is one stompbox that actually changed the way I play. So I would like to give the Xotic SP Compressor its flowers. Ever since I bought one back in 2018, it is the only pedal that has never left my rig.

The HX Stomp has come and gone in waves. Even my Nano Cortex has been demoted. But I simply will not consider my pedalboard complete without the SP. I set Volume at 11 o’ click, Blend just after noon, the toggle locked in the middle.

It just makes everything sound and, even more importantly, feel better. Tonally, it is magic; a tonic to thicken and sweeten both my single-coil and humbucker guitars. More importantly, it gives any guitar a lovely expressive touch that feels spongy and reactive.

As such, it has injected my six-strings with a load more dynamic response that has me feeling more in touch with the instrument as a whole, more expressive in lead playing, and more confident when digging in for rhythms. When I turn it off, I'm a completely different player.

Daryl Robertson, Senior Deals Writer – Electro-Harmonix Big Muff

When I think of pedals that changed my life, I instantly think of the Electro-Harmonix Big Muff. I bought my first Big Muff at a pawn shop, bundled with a few other pedals for dirt cheap when I was about 14, and it's the only one I kept.

Despite its massive size and impracticality for my tiny homemade pedalboard, I was hooked. I just love its thick, fat sound. It’s not fizzy or brittle like a Fuzz Face, it’s smoother and fuller. Over the years, I've owned several versions, from the green Russian one to the more pedalboard-friendly Nano.

When I was playing bass live in a band, I, of course, got the bass version, which featured a handy clean-through to preserve the low-end. I actually ended up using it on guitar too, because it sounded so good.

Back when I had a ridiculously complicated rig and ran two amps, I used the bass Big Muff’s dry out through an overdrive, then into a Fender Blues Jr, while the fuzz signal went through a Vox AC30.

I must admit, my signal chain is a lot simpler now, but I always keep a Big Muff handy for when I want to get fuzzy.

Janelle Borg, Staff Writer – Line 6 M9

The pedal that changed my life has to be the Line 6 M9, for many reasons. From sweaty punk shows back in my native Malta to my first tentative gigs abroad, and eventually a full move to another country, it's been a core part of my setup (even though it's currently very much on its last legs) and my love affair with reverbs and delays.

This is (I believe!) the second Line 6 M9 I've owned, as the first one got stolen. Thanks to a crowdfunding effort, I managed to buy the one I currently have. Safe to say this pedal has been through a lot, and even though I probably need an upgrade – and soon – I can't imagine selling it, if only for the memories and the lore.

Pete Emery, Reviews Writer – Mooer Pure Boost

Like most guitarists, I enjoy the process of chopping and changing things and seeing what the newest addition to the board can do. Thinking back on all the pedals I’ve owned, there is one that sticks out as instigating an important penny-drop moment – the Mooer Pure Boost.

It’s a cheap, transparent boost pedal that I bought early on in my playing days, with the intention of using it to make my solo tones louder. Naively, I put it in the front of a distorting Peavey practice amp, and stamped on it, ready for the room to shake with the extra earth-shattering volume.

This did not happen. Instead, all I got was more distortion. Confused, I looked into why and discovered what is probably the most important part of building a guitar tone: gain staging.

This opened the door to understanding how signal chains work, and what to do to get the intended results. Important knowledge that I’m still using 15 years later.

Matt McCracken, Junior Deals Writer – Line 6 POD XT Live

Back in 2009, when modeling was something attractive people did, and metalcore was all the rage, I purchased a Jackson seven-string. I absolutely hated it. When a guitarist in another band asked to trade, I couldn’t wait to get rid of it. He offered me a Line 6 POD XT Live; it had lots of buttons and lights, so I figured, why not?

Little did I know I was exchanging a guitar I hated for every amp and effect I could ever want. It let me craft dream signal chains as a broke student and gig nationwide without a car, packed right into my backpack. I recorded multiple albums with its USB output.

I eventually gifted it to a friend who still uses it today, but it remains the most transformative piece of gear I’ve ever owned, and its influence continues with the legacy models found in Line 6’s modern amp and effects modelers.

With more and more big manufacturers jumping on the bandwagon, the Amazon Prime Day sales are rapidly becoming a legitimate destination for guitar players looking for a deal. What began as an opportunity to grab cheap accessories and off-brand alternatives has now become a place where even legendary companies like Boss are getting in on the action.

There are absolutely loads of Boss' compact stompboxes in the Prime Day guitar deals at the moment, so if you've got a gap on your pedalboard to fill, then now's a great time to take advantage of some serious savings. Some have dropped even further in price since first being launched, so whether you need an overdrive pedal, some delay effects, a new tuner, or even some utility pedals, there's pretty much something for everyone on offer here.

Here's every single one of the 13 Boss stompboxes currently on sale for Prime Day, but act fast, they won't be around much longer!

All the best places to shop at Amazon

• Amazon: All Prime Day guitar deals
• Guitars: Save on beginner guitars
• Pedals: Cheap multi-effects
• Amps: Money off smart amps
• Strings: Stock up on essentials
• Accessories: Capos, slides, straps, and more

Today's best non-Amazon sales

• Guitar Center: Early-access 4th July sale
• Sweetwater: Big savings on guitar gear
• Musician's Friend: Up to 60% 4th July sale
• Universal Audio: Huge up to 80% off half year sale
• IK Multimedia: 50% off software coupon
• Positive Grid: Giant Spark summer sale
• Fender: Up to $200 off Tone Master
• Guitar Tricks: 1 month for $1
• B&H Photo: Money off pro audio
• Plugin Boutique: 100s of plugin discounts
• Reverb: B-stock deals
• Waves: Plugins for just $34.99

• 🇬🇧 Best UK sales
• Thomann: Huge Music Days sale, up to 60% off
• GuitarTricks: Half-price annual plan
• Plugin Boutique: Huge software savings
• Waves: Sale on studio staples

Integrated circuit technology advanced at such a rapid pace during the late ’70s and early ’80s that only seven years passed between the introduction of the first analog delay pedals in 1976 and the debut of the world’s first compact digital delay pedal – the Boss DD-2 Digital Delay – in 1983.

The Boss DD-2 was sort of a spin-off product of the larger and more expensive SDE-3000 rack-unit professional digital delay introduced that same year.

But although the DD-2 contained the same 63H101 CMOS gate array IC “long chip” as the SDE-3000, the pedal version was not an SDE-3000 in a stompbox like some have claimed, as the DD-2 lacked the 3000’s modulation section and had a shorter maximum delay time and lower frequency response of 10Hz to 8kHz (compared to the 3000’s 17kHz upper range), amongst several other feature differences.

Regardless of its spec deficits compared to its big brother rack unit, the DD-2 still sounded superb, with its exceptionally impressive low noise performance and longer delay times (12.5 to 800 milliseconds) than those offered by analog delay pedals.

Many guitarists also preferred the warmer sound of the DD-2’s delayed signal over that of the SDE-3000 thanks to the stompbox’s rolled off high frequencies above 8kHz. With only four knobs on its front panel (effect level, feedback, delay time, delay mode), the DD-2 made it easy for guitarists to dial in delay settings.

When the Hold mode was selected, the pedal would infinitely repeat a short section as long as the footswitch was held down, providing a primitive looper function. The DD-2 also included a pair of output jacks for a stereo setup where the stereo (right) jack output the original dry signal while the mono (left) jack automatically switched from a mixed output to the delayed signal only.

When the cost of the 63H101 chip dropped significantly, Boss changed the pedal’s name to DD-3 and reduced the list price, even though the DD-2 and DD-3 were otherwise completely identical. The decision was mainly a PR move to avoid upsetting DD-2 buyers who paid a lot more for the same thing.

Sometime during the very late ’80s the DD-3’s 63H101 chip was replaced by a smaller square IC that also offered improved bandwidth and audio specs. Further chip upgrades appeared in later iterations of the DD-3 up through 2014.

However, many guitarists feel that the darker, warmer qualities of the more “lo-fi” 63H101 chip sound more musical, so long chip versions of the DD-3 (identifiable by a cutout section on the bottom housing for mounting the old-style large power supply jack) now sell for premium prices.

Despite the fact that digital delay technology continues to expand and improve, many discriminating players like Joe Bonamassa, Nels Cline, Billy Duffy, David Gilmour, Eric Johnson, Tom Morello and Brad Paisley still keep their original DD-2 or long chip DD-3 delays on their pedalboards.

While most guitarists have moved on to more modern digital delay boxes (including the Boss DD-8 and upgraded DD-3T), it seems almost everyone who is anyone has used a DD-2 or DD-3 at some point in their careers. It’s a perennial pedal that simply sounds good and works for anything from rambunctious rockabilly slapback and crisp Edge-style dotted eighth note rhythms to trippy long repeating echoes.

• This article first appeared in Guitar World. Subscribe and save.

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

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

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

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

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

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

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

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

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

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

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

Amazon is typically the home of cheap guitar pedals but with the launch of the Spring Deal Days sale, I've spotted some significant discounts on one of the stalwarts of stompboxes, Boss. Reductions have hit up to 26% off, which makes it a great opportunity to bag yourself a top-quality guitar pedal for a lot less.

It's available on a select few pedals, including a Waza Craft Metal Zone, the super versatile Boss DD-8, and a couple of more left-field selections. One of our top-rated looper pedals has seen a discount with money off the RC-600, as well as the excellent guitar amp headphones in the Boss Waza-Air.

I've had a look through the whole Amazon spring sale to see what's available, and picked out 7 of the best for you:

One minute, it’s a car alarm. The next, it’s a chewed-up cassette tape. And perhaps it’s that infinite capacity for metamorphosis – under the boots of players from Tom Morello to Jonny Greenwood – that has made the pitch shifter a pedalboard staple since the ’70s.

Needless to say, Boss is no newcomer to the market. The king of compacts released its first analogue pitch effects – the OC-2 Octaver and VB-2 Vibrato – in the early ’80s, before going digital with 1987’s PS-2 Pitch Shifter/Delay, and pretty much setting the pace for the modern sector with 2010’s PS-6 Harmonist.

But as global product marketing manager, Matt Knight, reflects, it still felt like there was more gas in the tank. And with the new XS-100 and XS-1 Poly Shifters – a pair of hugely expressive, envelope-pushing units dressed in sky-blue armour – the Japanese pioneer set out to deliver no less than the next generation of shifting.

What made Boss designers believe that pitch shifting could go further?

Boss has a 40-year history with pitch shifting products. But we haven’t had a new device since the PS-6 in 2010. And, you know, how much has changed in music over the past 15 years?

We’ve seen other innovations in that world, in terms of multi-effects, plug-ins, other hardware. So with our history and our vision of always asking, ‘What’s the best thing we can make for musicians now?’, we knew there was still life in this category.

What were the roots of the XS series?

This project actually started back in the mid-2010s, with a PC-based development idea. Our engineers were asking: ‘What can we do for pitch shifting in a computer realm?’

And it was quite easy to do high-speed processing on a PC but really difficult progressing that into a stompbox. So 15 years of background has developed into the XS series. I’m actually glad it took so long because we ended up with such a great product.

What would you say is at the heart of the XS series pedals?

The XS algorithm is where the revolution comes from. First and foremost, we knew it had to be polyphonic. Of course, there are other polyphonic products on the market, but the idea was to create a polyphonic algorithm where users didn’t need to change their playing to get what they wanted out of it.

And, actually, one of the things we realised during development was the possibility of using SHARC processing chips because of their processing power and power efficiency.

We took out any glitches, any hiccups, and just give you pure attack clarity and character. So the XS pedals feel like an extension of your playing, rather than an effect on top of what you’re doing.

So if you want to go half a step down, it really feels like you’re playing half a step down; it doesn’t feel like you’ve added an effect to do that. I found the oddest thing was turning it off after jamming a tone down – and suddenly the natural tuning feels like you’ve retuned the instrument.

The XS-100 offers an impressive shifting range, doesn’t it?

Yeah, it’s four octaves up or down. Some people would argue that’s too much. We’d argue that we look forward to what people could do with it. All of the famous players that have used pitch shifters created their sound from what that product offered them at the time. So that freedom of range just means something new might be born out of it.

And that’s always the great thing about bringing a product to market – actually seeing what people do with it. The maddest sound I’ve got myself is probably going down a 5th, then adding in dry signal for harmonies, then pitch shifting on top.

But I’ve seen people on Instagram almost use the XS-100 like a wah pedal because the expression pedal is so responsive and you can actually dial the feel into your playing as well. And then we’ve also added a toe switch so you can program it to have four different pitches on hand at any one time.

It’s claimed that the XS units raise the bar for lead guitar playing.

100 per cent. Improving that attack and feel just means that whether you do fast runs, legato, really dissonant notes, it just works really well. I’ve spoken to a few people who were, like, ‘I tried to trick it, I tried to break it, I tried to give it really odd things to work out – but it just works.’

They never had to think: ‘What do I need to do from a lead-guitar perspective to match the pedal?’ They could just do what they wanted and the pedal would follow along. You know, it doesn’t feel like you’re losing any connection, from your pick to the string to the effect to your amplifier.

How flexible are the XS sounds?

We didn’t want to limit people. So there’s presets onboard, but you can really dial in every sound. You can go between any range of octaves, or between a semitone down and a semitone up – then save that as a memory.

You can flick through those memories really quickly as well. I’ve already seen some people going up and down through their memories to create riffs.

We wanted a product that effectively gave complete creative freedom, not locked it down. But not everyone is going to do wild, crazy stuff with it. Some people might just go, ‘I need to play in Eb and I’m not going to have a guitar specifically for that.’ Or, ‘I’m in a covers band and I need to do something in drop D, drop C, or even with a capo.’ It’s open for you to do what you want.

How hard did Boss work to make the XS units intuitive?

I think, like any of our compacts, a pitch shifter needs to be super easy to use. So with XS-1, we basically added one big knob that determines where the pitch is, then one controlling how much effect you want – wet to dry – and on/off.

With XS-100, we said, ‘Yes, we need all of those minor tweaks to really dial in the sound. But ultimately, you need to be able to get a product out of the box, plug it in and enjoy it.’ So we knew we couldn’t lock things behind lots of menus.

Then there’s the fact that on the XS-100, you have a toe switch, so you can engage it like a wah pedal. That was one of the first things I said, like, ‘I want to turn it on like a wah because I’m used to clicking my wah in. Why can’t I click my pitch shifter in…?’

It’s said that you can still hear the raw tone of your guitar, even through the effect?

There was a conversation: how does it feel under the fingers? What’s the attack like? What’s the note clarity like? How do I still feel like I’m playing the guitar that I’ve spent all this money on?

If you’re plugging in a Les Paul, you still want it to sound like that guitar, and so much of that comes down to our work on the algorithm to maintain that attack character and tonal clarity. Without that, every instrument could be at risk of sounding similar because you’re running it through a device that’s changing its core tone.

How much scope for connectivity is there with the XS pedals?

“So, just to talk about XS-1 for a second. As a compact, we’ve added that expression input, so if you wanted to use XS-1 as an expression device, you could. But with XS-100, again, our goal was complete freedom. Believe it or not, XS-100 is a full MIDI controller in its own right. So there’s potential for MIDI sequencing and changing pitches remotely.

“It’s mad, the amount of connections they ended up putting on. Because, actually, on the back of the XS-100, you have inputs for a separate control switch or expression pedal. So if you wanted to add a second expression pedal or second set of footswitches, the option is there. I’d imagine we will start to see it as a section of people’s bigger rigs – who knows what someone might come up with?”

Were there challenges along the way?

We weren’t going to revolutionise the way a Boss compact looked. With XS-100, the hardware was developed pretty quickly, too.

It was the software and feature set that took the longest time to dial in. Lots of comparisons, lots of testing, lots of back and forth, lots of very deep analysis at an engineer level.

It went through a lot of revisions, almost weekly. Constantly changing, testing and really trying to put it through its paces to make sure, again, that we’ve achieved that core goal. Once people plug it in, I think they’ll really start to feel that.

Do you have a user in mind for the XS-100 and XS-1?

I think Boss compacts appeal to such a huge range of players, it’s impossible to put it in a box. But I think, ultimately, XS-1 will be a great, easy-grab compact for people who might be doing a covers gig and they need to do something with a capo one moment, then drop a step down, or maybe use a range of different tunings.

To me, it feels like XS-100 will gravitate towards people who are trying to experiment with their sound – you know, not as mad as a synth pedal but more creative than a chorus or a phaser.

You can really make something brand-new in terms of a riff or a style or a sound. I’d love to sit here in two or three decades’ time and look at some of the people that have made hit records with our product. That would be amazing.

Let’s say there’s someone reading this who last used a pitch shifter back in the 90s. Would you encourage them to have a listen to how things have developed?

Absolutely. Going back to the first question: is there still juice in the tank? Absolutely. What I would say is, ‘Pick up the XS pedals with no preconceptions of what it will sound like.’ Just going through the presets, to me, was eye-opening in terms of the riffs and ideas I could get out of it.

And then you need to look at what people have done on the socials. You just think, ‘There’s so much more out there.’ So I would certainly urge people to come back and give it a go.

• “Boss has worked hard to counter the DigiTech Whammy's biggest pitfalls, but whether it dethrones it outright is a matter of taste”: Boss XS-100 Poly Shifter review
• This article first appeared in Guitarist. Subscribe and save.

What is it?

Boss pedals are industry standard, and for a reason. That ingenious, sturdy enclosure design, those multitudes of brilliant circuits that have helped shape entire genres of music, and that astonishingly diverse line-up making it possible to find something for just about anyone.

Boss (and parent company Roland) was also at the spearhead of multi-effects units, with almost four decades of history there alone. Bass-specific multi-effects pedals followed soon after, combining dozens of well-loved effects from Boss's compact pedals into a practical, space-efficient form factor – and today we check out the latest of these.

The GX range appeared in 2022; the new kid on the block relative to Boss's other multi-effects series. It's a more streamlined, cost-effective counterpart to the long-running GT range (and loses some of that line's ultimate flexibility) but is by no means short-changed technologically. Its ethos is decidedly modern, and it provides a large range of digital models for amplifiers and effects alike, using Boss's latest AIRD modelling technology.

The latest model in the series is this, the GX-1B, launched alongside the guitar model GX-1. While the larger GX-10 and GX-100 models do offer some bass functionality, this little newcomer is a specialised bass processor that packs in 16 different bass amp models and over 130 effects. It’s the first model specifically for bass guitar in the GX range, and one of only three such multi-effects in Boss’s current line-up.

Specs

• Price: $229.99 | £225 | €259
• Type: Bass multi-effects unit
• Controls: 3x multi-purpose rotary encoders, Menu button, Up and Down buttons, Exit button, Enter button, illuminated shortcut buttons for FX1/Comp, OD/DS, Amp/Cab, FX2/EQ, FX3/Mod, Delay, Reverb, Edit, Pedal FX, 3x multi-purpose footswitches, expression pedal
• Features: 16 amp models, 130+ effects, up to 8 amp/fx blocks simultaneously, Boss Tone Studio app functionality
• Connectivity: 1/4" instrument input, R and L/mono 1/4" output, 3.5mm headphone input, external control/expression output, USB-C input
• Power: 9v DC, 250mA (or 400mA if powered via USB-C)
• Dimensions: 307 x 73 x 149 mm (with pedal heel-down)
• Weight: 1.2kg
• Contact: Boss

Build quality

Build quality rating: ★★★★½

The GX-1B is small, but not too small; about the size of a Line 6 HX Stomp XL. Of course, that trusted modelling mainstay is festooned with eight footswitches while the Boss only boasts three – but here, we get an expression pedal built in, and that’s a very useful thing to have.

We also get a slew of buttons in addition to the three multi-purpose rotary encoders.

The sleek, vividly blue enclosure feels fairly robust – the top side is metal, the base, sides and pedal are tough-feeling plastic. All the buttons and knobs are nicely damped and feel sturdy too. Digital tech permitting, one could picture a battle-scarred GX-1B still doing the rounds on stage in ten years’ time; really, that toughness is expected from Boss.

Usability

Usability rating: ★★★★☆

The small screen (not a touchscreen as on bigger GXs), and the relatively few knobs and switches, means that scrolling the menus on the unit can be time-consuming. The Boss Tone Studio app is on hand to make this easier, which is useful. Without it, you’ll be doing a lot of clicking on the menu ‘up’ and ‘down’ buttons.

The digital architecture is clearly well-designed, however; the display is crisp, and the menu and rig layouts easy to understand and utilise.

There are also a couple of valuable ways to speed things up. The buttons for each different link in the signal chain are neat – it’s definitely useful to skip straight to the Amp/Cab block, or Delay, or any other, with a single button press (featuring colour-coded lighting, no less). Further to this, every effect model contains a few expertly-dialled presets to expedite the setup process – this new feature is called Gear Suite, and it's another great time-saving idea.

Plugging in the freshest-stringed bass on the rack, my passive Yamaha BB five-string bass guitar, I went for a wander through the presets. That's 99 manufacturer slots, which cannot be overwritten, and 99 user slots which can.

Initially these user slots are filled by duplicates of the manufacturer presets. A lot of memory – likely more than many users will ever need, but it means you’ve plenty of space to experiment at will.

Sounds

Sounds rating: ★★★★½

A favourite clean setting, ‘Down Town’, is a full-bodied, ‘squishy’ compressed tone that works a treat for busy funk and disco lines. Several well-dialled-in filter and auto-wah presets enliven slap and fingerstyle playing alike.

As ever with preset-heavy modelling units, some of the sounds are difficult to imagine any use for, but there are many which are gig-ready right away. The Gear Suite presets for each effect generally sound excellent too – truly saving time when dialling in.

There's an abundance of modulation, delays and reverbs for more esoteric sounds. And, interestingly, there's a model of Boss's rare Slow Gear volume-swell effect – plus the astonishing Slicer tremolo/synth/processor; a particularly powerful creative tool. All the effects can even be set to trigger momentarily, should you require it.

Switching to my Warwick Thumb five-string, I spent time tweaking another setting, 'Djent Core’ to emulate the aggressive, percussive tone of modern metal bass work.

There’s more than enough in the way of gain-stage effects to achieve almost any overdriven sound desired, and – crucially – they allow the distorted and clean signals to be balanced for the right combination of definition and growl.

The AIRD amp and effect modelling is impressive – representing the peak of Boss's digital architecture thus far, it does give realistic sounds and feel whether using simple or complex settings.

Verdict

The GX-1B takes its place alongside a huge number of modern multi-effects units, but is one of relatively few to be designed specifically for bassists.

Its small size means physical control of the unit can be long-winded, but then, this is the modern world; many will doubtless engage the Tone Studio app to set things up. The time-consuming button mashing then becomes a non-issue – and what you're left with is a compact, slick, very solid and great-sounding multi-FX.

It packs in more amps and effects than many will ever need, but only after nailing the fundamentals. From there, you could ladle in esoteric effects and tweak to your heart's content, or you could set up a few great sounds and place it straight onto the stage.

Guitar World verdict: Boss has packed some serious muscle into a small box, and for a relatively small outlay too. The GX-1B is chock-full of amps and effects, and delivers its goods with aplomb - a well-finished package with solid digital architecture, and a contemporary, unfussy aesthetic approach. For its price, it's going to be very tough to beat.

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• "The effects pedal equivalent of a jukebox packed with classics and overlooked gems – but how well it fits your needs may depend on how much extra you're willing to spend": Boss PX-1 Plugout FX pedal review

What is it?

We may not acknowledge it enough but guitar players have got it really good now. Nostalgia is great, but it's not always applicable, so while you can't really find many golden era vintage electric guitar bargains these days, what we do have is better choice and access to gear and evolving technology than ever.

Inevitably, that also brings a degree of entitlement from some quarters, but also genuine skepticism from increasingly savvy customers who have more options than ever when it comes to making investments in their guitar rigs.

So when Boss announced it was launching a pedal with the ability to upload individual pedal models from its vast catalog of classic effects from a 52-year history, it made some sense as a concept, but its announcement to charge for additional 'Model Passes' in the future ruffled some feathers / caused YouTubers to foam at the mouth with pure outrage.

Charging for extras?! Would we get to keep the pedals we buy in perpetuity? Yes, Boss told Guitar World – "Any optional Model Passes that you purchase are associated with your Roland Account and remain available permanently – there is no subscription".

Was this a line in the sand from the Japanese giant, suggesting a new direction it was going in with its effects? No, as long as it continues to produce 'traditional' pedals – and it very much is.

Boss is adding a new choice here – filling a gap for a multi-purpose compact pedal in its lineup. The PX-1 comes with eight effects preloaded (and another eight available once you register with the accompanying Effects Loader app), from the familiar (DS-1) to the discontinued and collectible/valuable (SG-1).

Yes, in a context where firmware updates bringing additional features are freely available the idea of charging $9.99 for additional pedal models can seem jolting, but this isn't the same as firmware support. Boss is very clear about the proposition here – "It is essentially a living history of BOSS pedals – a greatest hits collection of the most legendary and sought-after BOSS pedals, all with authentic tone and response".

Knowing that, players can go in with their eyes open – they don't have to like it, but nobody is being fooled.

The company making its effects available digitally isn't exactly a new concept – but the examples we find featured in Katana guitar amp range and its multi-effects pedals are not such deep dives at those in the PX-1.

However, the divide between what you get for the initial asking price for the hardware here, and what the PX-1 could become if you pay more in the future is new for Boss in the pedal market. Even though this pedal follows its entry into the plugin market for DAWs.

I think the basic concept of the PX-1 is a cool idea. Growing up with Boss pedals in the '90s felt like a rite of passage for me. Including trying to make a Metal Zone sound like Metallica's Justice album. The idea of having your own 'Best of Boss' in a single, familiar unit is attractive. Especially if Boss can deliver favorite icons and curated obscurities from its catalog of 140 unique pedals. A DM-2 for $9.99? Yes please.

But when I'm looking at the PX-1, I have to look at the stock proposition for the initial outlay; while also taking into account the possible investment required to realize further potential.

Specs

• Launch price: $249.99 | £229 | €269
• Type: Multi-modeling effects pedal
• Controls: 3 rotary push button controls with functions dependent on effects model selected.
• Features: Graphic LCD 128 x 48 dots, up to 16 onboard effects (8 first series Boss pedal models included with PX-1 as stock with a further 8 second series models available to download after registration), stereo input and output, tap tempo, MIDI clock sync for time-based effects, Bluetooth and USB-C connectivity for Boss Effects Loader app, support for external footswitches and expression pedal.
• Connectivity: Input and Output x 2 (mono and stereo), Controller 1, 2 / Expression pedal input, MIDI in, USB-C
• Bypass: Buffered
• Power: 9V DC, USB-C, 260 mA (with AC adaptor), 420 mA (with USB)
• Additional options: Footswitch: FS-5U, dual footswitch: FS-6, FS-7
  Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
  Additional models available to buy via Effect Uploader store in January 2026
• Dimensions: W: 73mm | H: 56mm | D: 125mm
• Weight: 400g
• Contact: Boss

Build quality

Build quality rating: ★★★★½

Ask 10 random people to draw a guitar and it's likely something resembling a Strat will be the most common result. For effects pedals, I'd argue it would look like a Boss pedal. It's almost too easy to take for granted just what an industry standard the chassis has become since the trio of OD-1 Overdrive, PH-1 Phaser and SP-1 Spectrum emerged in 1977. All three of those pedals are part of the eight models represented here out of the box.

You can find working originals of those pedals on the used market today - and that's because Boss's compact pedal internal build quality is matched by such a robust protective combo of alloy, rubber and plastic. This is where the "built like a tank" line in guitar reviews sprouted from. It was true in the '70s and it's true now.

The white and royal blue colour scheme is clean but also a little too clinical for me – and it does remind me of the Tesco supermarket color scheme. Perhaps some color options would have been appropriate for a pedal that isn't any one thing, unlike its compact Boss brethren.

The small 128 x 48 dot landscape monotone LCD screen is low-key enough for the pedal not to announce itself as a dramatic departure. It's comparable to recent multi-pedal compact designs from Line 6 and TC Electronic in that regard; just enough screen to perform.

With only three rotary controls above it, I wonder just how this layout is going to work with so many potential parameters, but as each doubles as a push button, I'm starting to guess.

Usability

Usability rating: ★★★½

The downloading of the Boss Effect Loader app (and a firmware update) is first required before you can access, then download half of the 16 effects (tip - search for it on your phone under Effects Loader, not Boss). It's all a bit of a faff - first I had to work out how to turn the pedal's Bluetooth on, then I had to download and install a firmware update by connecting the pedal to my phone with a USB-C cable, before I could then upload the newly accessible eight effects to the PX-1.

I don't think customers should have to jump through a hoop like this to access the base features of any pedal – why not make all 16 effects available out of the box? Perhaps it's not a customer-friendly decision, because from Boss's perspective, it would mean you're signed up early on to the app to manage effects via Bluetooth… and sell / notify you about additional models as they become available from January 2026. That's conjecture on my part, of course.

Use the manual or go it alone, there's a fairly quick learning curve to the menu system here – and accessing additional pedal settings the three button / rotart controls don't cover.

When selecting specific models with the ominous 'Execute' command, a brief monotone intro screen appears for the effect and then you're in, with three controls corresponding to a trio of rotary parameters on the screen (Tone, Level and Distortion for the DS-1, for example). Pressing the button for the additional page then accesses anything else that the pedal offers; In the case of the DS-1 there's nothing, but for the DD-2 it's the delay length selection and Carry Over (trails) mode.

It's as rudimentary as it needs to be and soon becomes second nature. If you're using the PX-1 for 3-4 different effect sounds regularly, it remembers the last setting you had for each effect but it doesn't offer a preset screen. The nature of the pedal is that each effect model has to be loaded when accessed – so no multi-effect stacking within it – but this setup does allow you to move between your go-to settings live in a few seconds.

You can also switch instantly via the app, though the idea of using a phone/Bluetooth connection during a live set makes me shudder.

Less desirable is the limit of 16 effects slots when it comes to storage on the PX-1, which seems seriously stingy for a piece of pedal hardware in 2025. I'd have expected more slots on a "greatest hits' device. Instead, you'll need to keep returning to the app and connecting via Bluetooth to remove and upload effect models if your collection grows – and the eight models available out of the box cannot be swapped out. I think Boss should have either increased the internal storage or removed the cap so users weren't as reliant on the app to access pedals they may eventually pay for.

Where you might place the PX-1 could be a tricky decision too. For modulation and some drives it may be an easier decision, but introducing the time-based effects here like the DD-2 and it's less clear cut without a switching system. You will have to physically move the pedal around the signal chain.

"The PX-1 is not intended to be a broad multi-FX device," Boss told us. "Instead, it bridges the gap between collectors, enthusiasts, and players who want access to classic BOSS sounds in their most faithful form". But the PX-1 is undoubtedly a device with multiple effects, and I think a lot of players would want to utilize it in their rig that way.

With that in mind, the addition of an external pedal input is welcome here. One or two footswitches can access the Swap function to switch between two effects on the PX-1. While most parameters can be assigned to an expression pedal. In this sense, the PX-1 can offer enhanced real-time control the original pedals don't – or couldn't because of when they were launched years ago.

Sounds

Sounds rating: ★★★★☆

With additional paid-for effects models being released by Boss in early 2026, the whole story of the PX-1 is yet to be told. What we have right now is an excellent showcase of Boss's effects modeling, which also serves as an introduction to the world of Boss for newcomers. It also bursts some bubbles.

While we doubt many people are paying for the PX-1 just to access a model of it, the 1979 Slow Gear SG-1 filter pedal can sell for well over $400 used at the time of writing. But its effect is so subtle in cutting your signal's attack, and arguably not exactly that desirable in the way it does it, it's cured me of my intrigue.

Much more desirable is the CE-2 – a stone-cold classic mellow chorus that was reissued in Waza Craft form in combination with the CE-1. Alongside the likes of the DD-2 delay and DS-1, it's a reminder that these aren't just another set of generic effects models; they're accurate reproductions of iconic Boss pedals. Proper cornerstone sounds from the company that developed them. And if there's something you'd like to try here, or from what will be available in the future, it's undoubtedly cheaper than buying multiple analog and digital Boss originals.

Following that logic I could absolutely envision focusing on a choice collection of the stock modulation effects (as well as the CE-2 I really like the versatility of the BF-2 Flanger here, based on the pedal that was discontinued in 2001) complemented by some choice future model purchases, like a Dimension C. I'd be saving the space of three specific pedals there, as well as money. Judging by the 16 effects I have here, the sounds certainly deliver. When I A/B'd the DS-1 with the 'real' thing I couldn't tell them apart.

Verdict

The keyword in all of this is Boss – others can offer elements of the effects modeling here but the PX-1 is the compact pedal destination for the best multiple models of specific Boss pedals right now. That is the foundation for the desirability here for me, and the sounds deliver, the build is good and the general UI is simple.

Players know what they are getting and what they are not here; and it's the not part that shouldn't be overlooked.

The value in the $9.99 price for individual effects models in 2026 will depend on exactly what specific effects you want in your PX-1. Despite Boss's claim this isn't a multi-effects pedal, I think the most common potential user case of the PX-1 is as part of a signal chain to deliver specific effects as needed. With that in mind, the meager onboard storage space seems an unnecessary limitation for a "greatest hits" Boss effects experience, increasing reliance on a smartphone app. Despite this, what the PX-1 does offer, it delivers well.

My perspective returns to the theme of entitlement I mentioned at the start. Greater accessibility and choice don't mean every new release can or should please everyone. Boss has placed itself in an unenviable position with the PX-1 in some ways, as it enters a market now used to multi-effects and modeling wonderboxes.

Perhaps if Boss gives away a lot of effects models for the base £229 asking price, it risks devaluing and perhaps cannibalizing its physical pedal sales, too few and it faces the wrath of the comment sections. But this is a product launch from a business, not a public effects service. Other choices are available, and it's not a wholesale change in Boss direction; if the pricing model of the PX-1 doesn't appeal to you as a fan of this specific company's effects, Boss has plenty more options for you.

Guitar World verdict: It's not going to suit all Boss effects users, nor is it intended to, but approach the PX-1 with your specific needs in mind and you may discover a compact pedal that could be your tailor-made 'Best of Boss'.

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• Best Boss pedals guide

Boss is muscling in on DigiTech’s turf with two new advanced pitch-shifting pedals, the XS-100 and XS-1 Poly Shifter. And it isn’t taking any prisoners as it “sets a new benchmark in polyphonic pitch-shifting effects.”

For years, DigiTech’s Whammy pedal – beloved by everyone from Tom Morello and Jack White to Dimebag Darrell and now a must-have bit of kit in the fast-rising thall guitar movement – has dominated the pitch-shifting world. Other out-there DigiTech inventions, including the MonoNeon signature model and recent Hammer On spin-off, have expanded its empire, but now Boss is getting in on the action.

Boasting a gigantic eight-octave span (that’s four up, four down), real-time pitch controls, expressive pedal and footswitches, a clear LED screen, and – for many a vital ability – MIDI connectivity, the XS-100 has plenty of tricks up its sleeve.

Beneath the headlines of its features, which aim to satisfy chug-loving drop-tuning enthusiasts and those wanting a capo alternative in equal measure, Boss has strived for top-notch realism that protects an instrument’s clarity and character.

Tonal artefacts, it says, have been eradicated when warping the guitar’s signal. Its “finely tuned algorithms and a specially selected DSP platform” coalesce for “balanced polyphonic performance that feels natural and musical across all playing styles, pickup positions, and pedal setups.”

The biggest flaw with pitch-shifting is that guitars often sound pitched – although purveyors of stank face riffs have often embraced that quirk – and so Boss is going for the cleanest sound around. That means that single-note riffing and complex chords will be met with equal clarity.

Like the next-gen Whammy DT, two effects can be run simultaneously, such as detuning the entire signal by an octave and still having expressive sweeps available.

So, what’s the difference between the two? Well, quite a lot. The XS-100 is the big daddy, complete with a rubbed-capped expression pedal that can be assigned to a variety of functions, including turning effects on/off, octave jumps, or subtle detunes for a chorus pedal shimmer. There’s also a bank of 30 preset slots, which the expression pedal and footswitch can recall.

The toe end of the pedal also has an integrated switch to introduce momentary pitch jumps with adjustable rise/fall times.

An extensive I/O supplies myriad connectivity options, including analog dry-through, with room for MIDI and two external footswitches for more expressive options on the fly, and USB-C for downloading updates. And it supports all frequencies, meaning bass players can enjoy the fun, too.

The compact XS-1, meanwhile, resembles a more traditional stompbox, occupying a significantly smaller footprint on pedalboards. The same glitch-free performance is baked in, sans the expression pedal, but it isn’t quite as expansive.

Pitch can be changed across +/- seven semitones or +/- three octaves, while its Detune function works across +/- 20 cents, and notably isn't MIDI compatible. Like its bigger brother, it offers a Balance control.

However, like previous Boss compact pitch-shifters, you can assign the pedal switch for momentary shifts, while up to two external footswitches can offer fast access to alternate tuning modes. You can also connect an external expression pedal for the full Whammy treatment.

It's far less feature-laden, but for those wanting a more on-the-nose pitch-shifting pedal without all the frills, this smaller, cheaper box covers plenty of ground.

The BOSS XS-100 ($349.99) and XS-1 ($199.99) launch in October 2025.

Head to Boss for more.

Last month, Boss announced the PX-1 – a ‘convertible’ stompbox designed to provide players with the opportunity to play through a number of classic Boss effects, all from a device inspired by its classic compact pedal template.

At its basic level, the PX-1 is a single-switch multi-FX pedal that offers eight pre-installed effects, with the space for up to eight additional effects to be added. The original list includes fan favorites, such as the DS-1 Distortion, and discontinued vintage gems, such as the SG-1 Spectrum.

Next year, Boss will roll out additional effects for the PX-1, which will be available for $9.99 via a ‘Model Pass’.

The overwhelming reception to the PX-1, it’s fair to say, was far from warm. Upon the release of the pedal, the internet was quick to pick apart the pitch, with big-name influencers and casual Boss fans alike calling out divisive aspects of the PX-1 on gear forums, Reddit threads, social media posts and YouTube videos.

There was no shortage of criticisms levelled against Boss and its new compact pedal. Some condemned what they dubbed as the “micro-transactional” nature of the pedal, and the fact additional effects will need to be purchased in the future. Others voiced concerns that the PX-1 platform may eventually be abandoned altogether, and that one day Boss will simply stop supporting it.

Some also rebuked what they perceived to be the licensing and ‘subscription’ approach to the PX-1, believing that rolling payments to ‘rent’ rather than outright ‘own’ an effect would be required. This, it should be noted, is inaccurate.

Among the noise came some other misunderstandings, which Boss has been working to point out on posts across social media. To cut through that noise and to set the record straight, we reached out to Boss and leveled five of the biggest criticisms that the guitar internet has had against the PX-1.

Here is what the company said…

1. Micro-transactions and "Pay-For-Play"

Some players have voiced their concern over the micro-transactional nature of the pedal, and the fact new effects will be accessed through additional payments. Plus, a Roland Cloud account will be required to upload new effects.

Boss: “The PX-1 includes 16 effects at launch, available for the lifetime of the pedal with no restrictions on performance. Each effect has been purposefully recreated with the unique sound character and expression that musicians expect from BOSS, using 100% of the unit’s processing power to ensure accuracy and performance, per effect.

“Additional Model Passes are optional. They can be purchased individually for $9.99 USD through the BOSS Effects Loader app – no subscription is required. Once purchased, they can be loaded to the PX-1.

“PX-1 effects software licenses are called Model Passes. They last a lifetime. Once loaded, the effect becomes part of the pedal and works on its own, without needing the app or an internet connection. Much like buying a computer game for a console, you’re not purchasing the underlying code or copyright when you acquire a Model Pass for the PX-1; you’re obtaining a license to install, use, and enjoy that software product indefinitely.

“It’s a purchase that lasts a lifetime, as opposed to a time-limited subscription. These are not software updates but entirely new effect models. Offering them as optional add-ons allows players to expand their palette if they choose, while keeping the core product complete out of the box.

“Once your favorite sounds are loaded onto the PX-1, no ongoing connection to the app is needed. A Roland Account is required to access the app – this is not a Roland Cloud subscription. Creating a Roland Account across Roland and BOSS products helps ensure a smooth and secure experience for users. Roland Accounts are free, requiring only a name and email address to unlock a range of benefits across Roland and BOSS.”

2. Licensing and subscription concerns

By extension, some players are also concerned that to access more effects, they will need to pay for a license, rather than buy and own the effects algorithm out-right. 'Effects rental' and 'pay-for-play, you will own nothing' are some of the phrases that have been used.

Boss: “The PX-1 always includes 16 effects at no additional cost – these are owned outright by the user and do not require a license or subscription. Optional effects can be purchased individually. Once purchased, they remain available to the user without expiration – the player is not renting or subscribing to access the effect, and there is no future or ongoing cost to the player.

“Model Pass works the same as purchasing and owning the effect outright, however your account is linked to the hardware. For clarity, if you own two PX-1 units, and you wish to load a purchased Model Pass, you’ll need an individual model pass for each unit. Bug fixes and software updates are always included at no cost.”

3. Support and upkeep

Others are concerned over the longevity of the pedal, in regard to how the terms of service could change in the future, leading to higher costs, and how the platform could eventually be discontinued and inaccessible if updates are not consistent and regular.

Boss: “Any optional Model Passes that you purchase are associated with your Roland Account and remain available permanently – there is no subscription. Once sounds are loaded onto the PX-1, they stay there until you choose to swap them. As with all Roland and BOSS products, we are committed to long-term support, including free bug fixes and software updates to ensure stability and reliability.”

4. Similarities to the gaming and automotive industry

A few players have also likened the PX-1 to products in the gaming and car industries i.e., having to pay for DLC content and to unlock physical features that are already built into the hardware. Some have argued this shouldn't be the case for a compact guitar pedal.

Boss: “While we understand comparisons to other industries, the PX-1 will always operate as intended without requiring any further payments. Any add-ons are entirely optional and based on player preference. You can also demo Model Passes before making a purchase. The PX-1 is a complete product as advertised – nothing is locked, paywalled, or restricted. All 16 effects are available for the lifetime of the pedal at no extra cost.

“Right out the box, the BOSS PX-1 Plugout FX provides the tremendous benefit of a complete collection of 16 classic BOSS compact pedals in a single unit, with pristine digital recreations of the original analog tones. It is essentially a living history of BOSS pedals – a "greatest hits" collection of the most legendary and sought-after BOSS pedals, all with authentic tone and response.

“At its price point, the PX-1 delivers full functionality out of the box. Optional Model Passes are simply an additional way for players to expand their sound library if they wish, with one-time purchases priced at $9.99 USD. ”

5. Price per effect

Some commenters have compared the PX-1 to the Line 6 HX One, which they say offers more effects and no 'subscriptions' for only $50 more. Other options such as the Zoom MultiStomp and TC Electronic Plethora explore the 'one-effect multi-FX' concept without additional payments / subscriptions required.

Boss: “The PX-1 was designed to deliver authentic BOSS compact pedal tones at the highest quality – effects that are otherwise rare and/or hard to find. The PX-1 is not intended to be a broad multi-FX device. Instead, it bridges the gap between collectors, enthusiasts, and players who want access to classic BOSS sounds in their most faithful form.

“We believe the pricing reflects strong value: $9.99 per optional Modal Pass offers players access to premium, highly detailed recreations of iconic pedals – delivered in a way no other platform currently provides. Other solutions on the market are excellent tools in their own right, but the PX-1’s purpose is different: to provide the best BOSS sounds, built by the originators.”

What is it?

The Rotary speaker effect is a classic of the early rock 'n' roll era. In its original form, the effect was created mechanically by rotating horns around the treble tweeter, and a rotating drum in front of the bass woofer.

The end result is a speaker cabinet that creates distinctive pitch and volume modulation. Another famous modulation of the period was the Uni-Vibe effect, created using a phaser with a variable speed.

Although many assume the Uni-Vibe was inspired by rotary speakers, its designer has since said it was inspired by atmospheric modulation on long-distance radio waves.

Regardless, many units that emulate the one can pull double duty for the other, and that's a reasonable expectation here as Boss aims to bring back the goodness of its RT-20 unit in a more compact guise.

Specs

• PRICE: $239/£229/€269
• TYPE: Rotary Speaker
• MADE: Malaysia
• CONTROLS: Mode, Level, Drive, Fast, Slow, Rise/Fall Time Switch, Drive Switch
• FEATURES: 3 rotary speaker modes, drive control, ramping, visual speaker display
• CONNECTIVITY: Stereo In/Out, Speed Expression Pedal, Power
• BYPASS: Buffered
• POWER: 9V Battery or 9VDC centre-negative
• DIMENSIONS: 73x59x129 mm
• WEIGHT: 0.45kg
• OPTIONS: Additional footswitches, expression pedal, BOSS PSU
• CONTACT: Boss

Guitar World video demo

Build quality

Build quality rating: ★★★★★

In typical Boss style, the RT-2 is a tank, and even the delicate-looking display is reinforced. RT-20 fans will recognise the display style from the RT-20 – a virtual rotor display with lights to indicate the treble and bass rotor speeds. It certainly looks cool too!

The only issue you might have is at 115mA (more than the RT-20's 85mA), which will limit battery life if powering off a 9V or on the go.

Usability

Usability rating: ★★★★★

The RT-2 is straightforward, with most controls accessible on the front panel except for the Rise and Fall time (a switch to select between Slow and Fast) and Drive Balance. Impressively, it manages to cram most of the features of its predecessor, the larger RT-20, into this smaller footprint. This is achieved by combining the two footswitches.

Holding the footswitch changes between two rates, fast and slow, and their relative speed can be changed with the speed knobs. That's an improvement on many other pedals that use fixed rates like the original speaker cabinets.

A big bonus for usability is the rotary indicator. Though it seems gimmicky at first, in use it's reminiscent of the Neo Instruments Vent II or Mini Vent, which also had speed indicators for each 'speaker.' Here, the red light indicates treble, and the blue, bass.

Unlike stripped-back emulations like the Neo pedals, the RT-2 has functionality crammed in. With regards to those rear controls I mentioned, you can switch the Drive knob to instead control volume and rotary balance, or switch to change the speed at which the pedal ramps between motor speeds. The Drive control is also a tilt tone control, which is a bit of a negative for usability.

It's possible to attach an expression pedal to control the rate. Doing so results in something that can replace a Uni-Vibe on your board. However, this obviously increases the footprint and detracts from its compactness.

Sounds

Sounds rating: ★★★★½

Digging in with a neck single coil, there isn't a bad sound in the RT-2, and this thing has real mojo. I find that setting the speeds relatively close to one another enables more expressive use of the ramp function, while pushing up the drive results in pleasing saturation.

However, the pedal doesn't stack super well if you like a controlled sound. With a JFET overdrive pedal in front, there's a big jump in volume when engaged, and that's the case for every drive or fuzz I try.

Switching to Les Paul-style humbuckers, the pedal punches through a mix, though on a bridge humbucker, and particularly with higher-output, Ibanez 'buckers, the RT-2 gets a little 'scratchy' in Mode III.

Ultimately, it sounds better to switch back to Mode I or II, pull back the gain a bit and use an external drive or fuzz pedal.

With this done, clean, the RT-2 can be coerced into a Steven Wilson-style vibrato tone, with a wild, Hendrix-like scream available by ramping the speed and hitting a fuzz pedal.

It sounds fantastic in stereo, although at faster rates it's harder to distinguish the stereo movement.

Verdict

This is an excellent-looking, intuitive pedal. Luckily, it also has sounds to match, and enough versatility to earn its space on even a tight pedalboard.

There's not much to tell between the modes – a wasted opportunity perhaps – but there are excellent sounds in here. It's a best-in-class rotary emulation and a serviceable Uni-Vibe style effect. Does it perfectly match the deep phase tone of the Uni-Vibe? No, but it's close enough.

Guitar World verdict: If you're after a compact rotary speaker emulation, the RT-2 is a game-changer. It has all the functional oomph of the larger RT-20, and the sound quality to go up against its boutique competitors. With a footswitch attached, it will work as a Uni-Vibe, and its more modern voiced modes are reminiscent of the fun, experimental features snuck into older BOSS pedals like the PW-10 wah.

Also try

Hands-on videos

Boss

Let's Play All

• Best Boss pedals 2025: Give your playing a fresh lick with our top Boss pedal picks

In this instalment of Bought & Sold, we sit in with session legend Jeff ‘Skunk’ Baxter to talk all things electric guitar, from pickup and amp preference to his gear-buying advice, and hear some of his regrets along the way.

But there is only one way to start this conversation, and that’s with the first six-string that really got him excited. As it turns out, it was an offset guitar, very fashionable. But then, with his amp modeling tech wired into his guitar, Baxter has always been ahead of the curve.

What was the first serious guitar that you bought with your own money?

“That would probably be a Fender Jazzmaster. Because number one, when you grow up in Mexico, American guitars were so expensive. But I’d always wanted a Jazzmaster because Bob Bogle from The Ventures had one. I’d sent him a fan letter and he told me to buy one, but they were just too expensive.

“So when I went to the United States to go to school when I was around 13, I went to Manny’s [Music in New York City] with all the money I’d saved up and bought a Jazzmaster. And I still have it today. I love that guitar; I think it’s one of the coolest guitars ever.”

What was the last guitar that you bought, and why?

“The last guitar I bought… for myself? Because I buy a lot of guitars for veterans’ charities and stuff like that. But let’s see… the last guitar I bought for myself, I think, was a Squier Telecaster that has a Jazzmaster pickup installed for rhythm. It’s a great guitar. I bought it just for the hell of it.

“I saw it and thought, ‘Wow, a Jazzmaster pickup,’ and it was put in at the factory. I played it and really loved it, so I told the guy at Guitar Center, ‘Pull down that ’58 Telecaster you have up there,’ which cost about a bazillion dollars, and I spent about an hour setting up the [Squier] guitar.

“They had a guitar repair guy there and I asked if I could use his tools and set up the guitar myself. And very quickly, I compared the two, and the $140 Squier Telecaster, to me, sounded better, so I bought it. I said, ‘Yep, gonna have one of these,’ so I think that’s the last guitar I bought.”

What’s the most incredible find or bargain you’ve ever had when buying guitars?

“In terms of value for money, that would be a Burns Baby Bison guitar that I bought for 35 bucks. I ended up using it on the Donna Summer album [Bad Girls on Hot Stuff] and also started playing it in the studio as well as playing it live. It was a hell of a deal.”

What’s the strongest case of buyer’s remorse you’ve ever had after buying gear?

“I don’t think I’ve ever had buyer’s remorse. Because if I bought something that I wasn’t happy with, I would just rip it apart and put it back together [laughs].”

Have you ever sold a guitar that you now intensely regret letting go of?

“That’s an interesting question. I don’t think so because, luckily, I never had to sell a guitar. But I remember John Entwistle and I were at the Rainbow – which is a restaurant and bar right next to The Roxy in Los Angeles, in Hollywood – and we were talking about all the guitars we had. John had like 400 or 500 and I had about 200.

“We just looked at each other and said, ‘You know… we’re idiots. We have all these beautiful instruments sitting in a warehouse, and that’s probably a sin that we should probably go to hell for. It’s a terrible thing.’ We said, ‘There’s all these instruments that want to be played – and should be played by other people.’ So he ended up getting rid of 80 or 90 per cent of his guitars, and I got rid of most of mine as well. But I didn’t regret selling any of them.

“A lot of it was, you know, when you’re a kid, and you don’t have a lot of money, you dream about how many guitars you can have. And then when you get to that point, I think it starts to get obsessive. I used to push my face up against the plate-glass window at Casa Veerkamp, the main guitar store in Mexico City that had American guitars, and look in.

“I’d think, ‘I don’t know how I’m going to do this, but one of these days, I have to get one. I have to do this.’ And so, I guess, it was one of those obsessive things. But I don’t regret that at all. As a matter of fact, it took a huge burden off me to get all that stuff out the door.”

What’s your best tip for anyone looking to buy their ultimate guitar?

“The first thing I would say for sure is that, if you can, ignore everything and just play it. And if it plays great, then it is great. Whether it’s a Squier as opposed to, like, an expensive Fender special, custom – whatever. This is not to say that you shouldn’t buy quality instruments, that’s not the point. The point is that whatever guitar feels good to you is the right guitar. Don’t buy it for any other reason.”

When was the last time you stopped and looked in a guitar shop window or browsed online, and what were you looking at?

“Well, it’s a lot of amplifiers. The first amplifier I bought brand-new was a Fender Vibroverb, and it was a wonderful amplifier. It was the first amplifier that Fender had designed and built with built-in reverb, and it was, and still is, a wonderful amp and great for steel guitar. They have a nice big 15-inch speaker, and as soon as I bought it, I replaced the speaker with a JBL speaker. They’re just wonderful amps.”

If forced to make a choice, would you rather buy a really good guitar and a cheap amp, or a cheap guitar and a top-notch amp?

“Well, it depends. If the cheap guitar is a good enough platform that I can customise in the way I want, then I’d buy the cheap guitar and a great amp. But when you say ‘great’, do you mean great-sounding, or expensive? [For example,] I’ve been working for Roland for 50 years, so I have a place in my heart for them [as an example of an affordable amp maker].

“As a matter of fact, when I play live, I use a pair of Roland Blues Cube Artists because I had a lot to do with designing those amps. So, absolutely, if I had to choose [between a Roland amp and a Fender Princeton, for example], it would be the Katana.”

If you could only use humbuckers or single coils for the rest of your career, which would it be, and why?

“Oh, I would absolutely take the humbuckers, take them apart, rewind the bobbins, coil-split them and then have the best of both worlds [laughs].”

Jeff's go-to rig

“My main guitar is a Roland G-5, which is a Fender Stratocaster that has modeling electronics in it. It’s a project we did some years ago at Roland because I got tired of carrying different guitars with me.

“I can have an electric 12-string, drop it down to a baritone, be able to have a nylon-string guitar, be able to just hit the switch and go to an open G, to be able to play slide, to have humbucking pickups, a Telecaster or a Stratocaster.

“Having a number of different guitars and instruments in one guitar makes life delightful, especially when playing live. Sometimes you just want to get that nylon-string feel and sound, or you want to be able to go to an electric 12-string or an acoustic 12-string, you know? So that’s my go-to instrument as far as the guitars are concerned.

“For amplifiers, it’s the Roland Blues Cube Artist because, again, I spent a lot of time working on that design with Roland and customising it – especially with the specific Tone Capsule and to be able to reconfigure the electronics of it, so it’s exactly what I want.

“And as far as pedals are concerned, many, many years ago, one of my first projects with Roland was to develop the GP-10 [Guitar Processor] multi-effects pedal. And to this day, I still use it. So I love it.”

• This article first appeared in Guitarist. Subscribe and save.

It might be a gross oversimplification to state that the chorus pedal defined the guitar sound of the ’80s, but the effect did indeed appear on a hell of a lot of recordings during the entire decade by artists from almost every genre, including new wave, alternative, funk, metal, punk, jazz, country and probably even a few blues tracks.

Although it wasn’t the only chorus effect around at the time, the Boss CE-2 Chorus pedal played a huge role in the popularity and predominance of this effect during this period.

Several chorus effects preceded the Boss CE-2’s introduction in late 1979. Roland’s Jazz Chorus series amps whetted many guitarists’ appetites for the chorus effect, but most players didn’t want to be limited to a particular amp just to use the effect.

Standalone chorus pedals like the Boss CE-1 Chorus Ensemble introduced in 1976 and the Electro-Harmonix Clone Theory released in 1977 made the effect more popular, as did flangers like the EHX Electric Mistress and ADA Flanger, which could be tweaked to provide superb chorus effects.

All of the preceding chorus effects were perfectly fine, but the Boss CE-2 hit all the sweet spots – affordable price, bullet-proof construction, simple controls and lush tones – that made it an instant hit from the day it first reached the market. Featuring only Rate and Depth controls, the CE-2 is basically “idiot proof” and provides great-sounding chorus effects no matter where the knobs are set.

Even with the Rate and Depth knobs fully maxed, it produces a gently warbling vibrato effect that is more warm and welcoming than the woozy and weird sounds from most other chorus pedals set to their extremes.

The CE-2’s warm, rich mids play a huge part in its allure. Many chorus effects tend to scoop the mids, which can result in a brilliant, shimmering sound but with the drawback of tending to get lost in denser mixes.

The CE-2’s chorus punches to the front of the mix, thanks to a slight level boost and its distinctive midrange. The CE-2 also sounds equally good with either clean or overdriven tones, and it pairs quite well with bass, especially fretless.

Boss manufactured the CE-2 in Japan until 1988, when production shifted to Taiwan, and as a result, earlier made-in-Japan units sell for premium prices.

If opting for an original unit, forget silver vs. black screws, black vs. green labels, Japan vs. Taiwan and look for a unit featuring an MN3007 BBD chip, which is more desirable, thanks to the circuit’s lower noise and improved clean headroom.

However, as great as vintage units can be, Boss’s recent CE-2W Waza Craft unit offers a much more attractive alternative, thanks to its dead-on accurate CE-2 sounds combined with compelling classic CE-1 chorus and vibrato effects.

Pretty much everyone who used chorus during the ’80s had a Boss CE-2 at some point or another.

Notable ’80s CE-2 aficionados include James Honeyman-Scott of the Pretenders (who used an EHX Clone Theory on the first Pretenders album but swapped to a CE-2 for his live rig), David Gilmour (who used a CE-2 in lieu of the Uni-Vibes and phase shifters he relied on earlier), Johnny Marr, Billy Duffy, Robert Fripp and Rory Gallagher. Current fans include John Mayer and Keith Urban.

• This article first appeared in Guitar World. Subscribe and save.

What is it?

When Boss released its Tube Amp Expander under its Waza sub-brand in 2019, there was nothing else quite like it. Far from the crude technology of older load-boxes and amp attenuators, it was a true Swiss army knife, boasting every trick in the book for ‘expanding’ a tube amp.

An advanced reactive load circuit preserved your amp's tonal characteristics while bringing the decibel level down. Direct outputs for silent recording, multiple slots for IRs, built-in effects, and an effects loop for amps without one. It'd even boost a smaller amp's output, its own integrated power amp cleanly increasing the volume of an amp that might otherwise lack sufficient headroom. Quite a thing.

Now, though, Boss has… ahem, contracted the Expander down to what it considers the essentials, calling this new model the Tube Amp Expander Core. Does the little newcomer remain a vital tool for extending the capabilities of your amp?

Specs

• Price: $769/£599/€699
• Type: Reactive load box, attenuator and power amp, IR loader
• Origin: Malaysia
• Features: 10 IR slots, reactive load and onboard 30w power amp
• Controls: Reactive Load response selector, Rig selector, Air Feel Level, Speaker Out level, Line Out level, Phones level
• Connectivity: 1/4" to speaker, 1/4" from amp (with input level selector), XLRs for Line Out left/right (with ground/lift), DC in, MIDI in, USB, 1/4"s for FX loop Send and Return (with level control), 1/4" headphone jack
• Footswitch: None
• Weight: 2.2kg (4lb 14oz)
• Dimensions: 200 x 99 x 202mm
• Contact: Boss

Build quality

Build quality rating: ★★★★☆

Like the original, its robust but relatively unassuming aesthetic will blend in with your rig - an ultra-distinctive Universal Audio OX this is not. Regardless, it's a nicely-made bit of kit, with well-damped controls and a what-you-see-is-what-you-get layout. There's a complex block diagram on the top panel, detailing how it can be integrated into various setups.

One concern is that the universal IEC power socket makes way for a smaller (perhaps flimsier) DC adapter. Other than this, the Boss seems like it'd stand up to gigging with aplomb. Sturdy, functional, and easy to understand.

Usability

Usability rating: ★★★★☆

There's still a lot to unpack, though. The Core's a small box, around half the width of the full-fat model, but crams in almost as many controls.

We've a ten-position encoder labelled 'Rig', selecting which IR to apply to the direct signal, and the Air Feel control, for a simulated room-like ambience. You'll need to open the editor app to set this up to taste, however.

There's a knob for the reactive load, for combo or stack-style response; as a mere two-way control, perhaps this could have been a switch. On the bottom row, three volume controls – one for any connected speakers, one for the direct signal, and one for headphones, alongside a 1/4" jack. Yes, you really can play your tube amp through headphones, all night if you want – what a time to be alive.

While it retains the lion's share of its bigger brother's features, some have fallen by the wayside; no onboard effects or dual speaker outputs, and no provision for footswitch control. The line out, MIDI and effects loop are also simplified a little, but are still probably enough to keep most users happy.

The attenuation circuit itself cannot be used with amps rated above 100 watts (down from the original's 150); this limitation will only trouble owners of truly enormous amps. Overall, the Core preserves much of what made the original Expander such a useful tool.

Sounds

Sounds rating: ★★★★★

I set up the Core with my 2x12 Marshall cab on one end, and my Laney VH100R on the other; that's four EL34s and 100 watts of comically oversized British thunder. It's a stadium amp, utter overkill for a home situation – it's a shame that it doesn't get to stretch its legs more. That is, until now.

To my delight, I could hear the big Laney get into its stride - turning the volume up to allow the power tubes to start doing their best work, while balancing it with the Core's Speaker Out level control to keep the volume at neighbour-friendly levels.

I repeated the trick with my '68 Custom model Fender Deluxe Reverb, taking advantage of the Core's effects loop to introduce such joys as the Boss RE-202 Space Echo and Dimension C chorus to the old Fender, which has no loop of its own.

And of course, one might set the amp's volume around its power section 'sweet spot', and then push Speaker Out to make it louder without introducing further distortion. Not to the same volume as the full-size Expander, but enough for many needs.

Both these amps were able to be easily, silently recorded too - with selectable IRs providing a choice of sonic finishing touches.

Verdict

The Core provides yet further evidence of Boss's fantastic work with the Waza line, and the Tube Amp Expander concept. It provides a very well-judged abbreviation of the same feature set – half the size and price it may be, but it's far more than half the product.

Some will need more in-depth features, justifying the stretch to the full-size model, but the Core won't leave many feeling short-changed at all. Considering everything it does for $769, it ought to create many new fans for the Tube Amp Expander range.

Guitar World verdict: The full-size Expander is the ultimate secret weapon for tube amp users, but the Core proves that the concept bears shrinking. It captures the essence of the original model's appeal – taming even the most feral of tube amps, giving them flexibility never previously thought possible.

Also try

Hands-on videos

Boss

The Studio Rats

Leon Todd

• Everything you need to know about tube amp attenuation
• Best Boss pedals 2025: Give your playing a fresh lick with our top Boss pedal picks.

Boss has dropped some fresh pedalboard candy for players looking to nail some of those retro psych electric guitar tones as popularized by, y’know, the cosmic genius of the likes of James Marshall Hendrix and David Gilmour, with the RT-2 Rotary Ensemble packing all of the swirly modulated mojo of a rotary speaker in a compact effects pedal.

And while it might be small – just like a regular Boss pedal – the RT-2 is packed with features, with three modes offering three different styles of rotary speaker.

The first is straight-up vintage, which gives us strong Leslie vibes. Unsurprising, given that Boss describes it as “a faithful reproduction of the most famous vintage rotary speaker design”. The second opens up the tonal range. The third is voiced to add “power and presence to arpeggio playing and solos”.

Players have a lot of options for how they want to set this up. There is a two-way Rise/Fall switch that alternates between two speeds for the rotary speaker transition time. You can run the RT-2 in mono or stereo, or set it up for a wet/dry stereo rig.

There is an expression pedal input that allows you to adjust level, drive, balance, and speed via the treadle, and you can hook up to two external footswitches for independent rotor speed control on the fly.

Nothing could quite compete with a real unit – in the sense that you have a cabinet, inside which there is a tweeter and a woofer, handing high and low frequencies respectively, rotating at your chosen tempo – but Boss is trying hard. It has put a circular display with red and blue LEDs inside that show you how fast the treble and bass rotary speakers are turning.

There is more. The Drive knob replicates the original tube-driven preamp of the hardware rotary speaker units, and allows you to dial in some of that warmth and grit.

This knob can also be set to adjust the balance between the treble and bass speaker rotors, giving you more control over your tone. That control extends to a “Brake” mode, that effectively holds the rotors in place.

It is a lot of pedal for its size, for the fact that it is a relatively simple two-knob format. Feed it 9V DC from a pedalboard power supply and it’s good to go.

The RT-2 Rotary Ensemble is available now, priced $239. See Boss for more details.

Eight Boss pedals have officially entered the digital realm for the first time, having been turned into a new plugin and added to the Roland Cloud of virtual instruments and effects.

Following recent moves from Hughes & Kettner, Blackstar, and Universal Audio, Boss made its first move to bring some of its most fabled physical gear into the plugin world.

However, its digitized stompboxes sit in Roland's subscription-only Cloud bank of digital gear, meaning users will need to subscribe to the whole suite of offerings – which includes everything from a Roland JC-120 Jazz Chorus amp sim to tape echoes and synthesizers – to get them on their virtual pedalboards.

This comes in contrast to the standalone plugins produced by other firms. However, the fact that Boss plans to roll out more and more pedals from a line that has sold 19 million units since 1977, may offer some consolation.

The initial eight pedals recreate some Boss classics, such as overdrive and distortion pedals, and some less-predictable choices that may prove invaluable for bedroom producers.

The pedals launched in wave one are: the OD-1 OverDrive, PH-1 Phaser, SP-1 Spectrum, SG-1 Slow Gear, CS-1 Compression Sustainer, TW-1 T Wah, SD-1 Super OverDrive, and DS-1 Distortion.

Each pedal looks exactly like its physical counterpart, with a simplistic interface mirroring Boss’ famously user-friendly operation. Away from each pedal’s on-board dials, their input and output levels can also be altered, and there are tempo sync features for time-based effects.

It’s worth noting that the plugin can only load up one pedal at a time, but it can be duplicated to create a chain of effects.

“Since debuting in 1977, the colorful Boss compact pedal lineup has been loved by generations of musicians,” says the historic gear firm. “The plugin brings the authentic Boss compact pedal experience to computer music production for the first time.

“They’re used by everyone from beginners to professionals, and numerous legends have relied on various models for their signature sounds and the creation of the greatest recordings of all time,” it adds.

That, in truth, isn’t hyperbole. Take the OD-1, for instance, which has found its way into the hands of top-tier guitarists such as Tony Iommi, and Radiohead's Ed O'Brien, through to Rory Gallagher and Pete Townshend.

Other popular stompboxes missing from the collection include the CH-1 chorus pedal – beloved by Joe Satriani, Zakk Wylde, and Jerry Cantrell among others – and any number of its sizable digital delay pedal collection.

“Over time,” Boss says, “the core library will be populated with an ever-expanding selection of models derived from the historic hardware lineup.”

As mentioned above, however, how users access the pedals may prove to be a sticking point. New users are granted a fairly generous 30-day free trial of Roland Cloud, but beyond that, subscriptions start at $29.99 per year. That includes only a select array of the Cloud’s roster. The Ultimate package rises to $199 per year. For users just wanting to drop a DS-1 in front of their virtual amplifier, that’s a pricey outlay.

For those on the fence, a special-priced three-month Ultimate package is available for $39.99.

Head to Roland to learn more.

Boss has announced the return of its Katana:GO, after the well-received headphone amp was discontinued mere months after it was first introduced last year.

The Katana:GO hit the market in March 2024 as the firm’s answer to the Fender Mustang Micro. The launch spiced up the home practice solution market, and the Katana:GO received rave reviews across the board as it positioned itself as a potential successor to the Mustang Micro’s headphone amp crown.

However, it was short-lived: two months later, Boss announced it would be discontinuing the Katana:GO as a result of “the procurement situation of the materials” required to build the physical units.

Now, eight months after Boss pulled production of the Katana:Go, the hugely popular headphone amp is finally back – but it’s been given a few tweaks.

Whether it’s because of a workaround owing to issues in procuring the same parts, or Boss just fancied taking the opportunity to give the Katana:GO a refresh (we suspect it’s probably the former), the second-gen headphone amp has been given a new external look.

That means the large central master volume wheel that was previously positioned on the top of the unit – and that was directly inspired by the Mustang Micro – has been removed. Instead, there’s now a much smaller side-mounted wheel for controlling overall output.

Not only that, the headphone amp itself has been given a much sleeker, seemingly more contoured design that at first glance looks to be even more compact than the original. A masterful move if that’s the case, considering the convenience of the original model was what helped make it such a popular product.

Functions and performance, though, remain the same. On one side, you have a Bluetooth button, an On/Off switch, and the innovative Stage Feel control that offers a more immersive playing experience thanks to advanced Boss spatial tech.

Indeed, it was that Stage Feel function that made the first generation model such a hit. When Guitar World’s Matt Parker took the original for a spin, he wrote of the Stage Feel, “It’s super-simple to use (engaged with a switch on the side of the unit) and, when you don the headphones, it feels like it puts you in the room with the amp sound.”

On the other side of the Katana:GO, there’s a tuner, and three preset buttons that can be used to recall curated sounds. The small display screen, which makes clear what preset you’re playing through, also returns.

Those familiar with the original Katana:GO won’t be surprised to find this new iteration can be paired with the Boss Tone Studio and Boss Tone Exchange to explore and edit other amp tones, all of which have been lifted from the Boss Katana amp family.

It also offers a USB port for functioning as an audio interface, guitar and bass modes with 30 memories loaded with ready-to-play sounds, and 10 unique guitar amp types that range from clean and crunch to Brown and beyond.

“The highly anticipated Katana:GO returns with a sleek, revamped form factor showcasing a bold new look for 2025,” Boss writes. “It’s still the same powerhouse of inspiration, retaining the iconic BOSS tones that made it a game-changer from the start.”

The Katana:GO will be available for $130 – a slight increase from the $119 price tag of the original and identical to the latest Mustang Micro Plus.

Visit Boss for more.

NAMM 2025: If you're a fan of funky colors – and, even better, funky colored guitar accessories – Boss has just announced the BIC-10A series instrument cables, which come in a variety of six colors, inspired by some of the most iconic BOSS pedals.

Color palette-wise, players can choose between orange (a nod to the DS-1 Distortion), yellow (the SD-1 Super Overdrive), green (PH-3 Phase Shifter), red (RC-1 Loop Station), or blue (CH-1 Super Chorus) – plus an added black option (MT-2 Metal Zone) for a more “traditional look.”

Aside from the aesthetic appeal, each BIC-10A cable is offered in a 10ft/3m length and features studio-grade, oxygen-free copper core wire and custom-designed 1/4-inch straight and right-angle connectors that promise “excellent audio reproduction,” “precise signal transfer,” and, most importantly, “lasting durability.”

Alongside the cables, Boss is also offering a compact solution for carrying multi-effects units, in the form of its CB-BM-S and CB-BM-M cases. Each case comes fully equipped with a rugged polyester exterior, a soft interior with microfleece lining, and a removable adjustable shoulder strap.

Due to its smaller size, the CB-BM-S has a single reinforced handle, as opposed to the CB-BM-M's two, and both options include pockets (in case you need more storage space).

According to Boss, “The CB-BM-S is a perfect fit for the BOSS GX-10, GT-1, and GT-1B models, while the larger CB-BM-M fits the GT-1000, GX-100, ME-90, and ME-90B models.”

The BIC-10A series instrument cables are now available for purchase at select U.S. Boss dealers for $22, while you can also bag the cases for $59, (for the smaller case) and $69 (the medium case).

For more information, visit Boss.

NAMM 2025: Boss has launched the Waza Tube Amp Expander Core – a new recording and practice solution designed specifically for tube amp users.

Based on the Waza Tube Amp Expander, the downsized Core version is a variable reactive loadbox, an analog power amplifier, IR loader, and loudspeaker emulator all in one, but offers a streamlined footprint, with a 30-watt reactive power driver at its core.

This, Boss says, “allows users to hook up a speaker cabinet and enjoy sweet spot amp tones at home-friendly levels”.

Tube amps, of course, have always excelled at ear-splitting volumes, which presents obvious neighbor-upsetting issues for regular players. So, the Tube Amp Expander Core aims to rectify that problem by capturing a driven amp’s speaker output with “a reactive load that accurately emulates combo and stack-style speaker behaviors”.

The resulting isolated signal can then be used for “mix-ready recordings” and low-volume jams, and its companion editor software “provides a studio playground for shaping the raw amp sound”.

There are 22 cab sims to play with, which can be blended with five microphone types – of which two can be used at once. Their position, distance, and levels can be edited, and there’s also an option to use two speaker Impulse Responses at once, too, either from the 10 included Celestion flavors or from 64 slots left vacant for players to load in third-party IRs.

Finally, high-quality internal processing can apply compression EQ, delay, and reverb within the unit, and custom setups, which include cab choices and effects, can be saved for rapid-fire recall.

Connectivity comes in a few forms. There’s USB for linking to DAWs, or stereo XLR output jacks for connecting to mixers and audio interfaces. Alternatively, it can be plugged into a cab, or Air Feel can do its thing during headphone sessions.

The optional addition of the Bluetooth Audio MIDI Dual Adaptor (approx $40) also adds wireless capabilities, for connecting smartphones for controlling the editing software.

Though digital amp modelers seem to be all the rage right now, there is still a large contingent of traditionalists who favor playing through genuine tube amps. As such, there’s no shortage of products out there to help players make the most of their setup.

To that end, the Boss Waza Tube Amp Expander Core is going up against some established recording and performance tools, particularly in the form of the Universal Audio Ox Amp Top Box and the more basic Two Notes Torpedo. With its feature set, though, the Core might just fancy itself as the pick of the bunch.

The Boss Waza Tube Amp Expander Core costs $699.99 and helps players “harness the complete output of a tube amp, supported by premium cab emulation and studio processing to craft impactful, mix-ready guitar tracks”.

Head to Boss for the full scoop.

NAMM 2025: Boss has lifted the lid on one of its most ambitious modeling projects yet, the VG-800 V-Guitar processor. If ‘V-Guitar’ sounds like a throwback term, well, it is – having been introduced by Boss-owners Roland back in 1995.

The latest take on the technology seems to have moved things on considerably, though, and the VG-800 is designed to be paired-up with Boss’ Serial GK divided pickup.

In this sense, it’s presented as something of a partner to the existing Boss GM-800, but whereas that particular blue box is focused on creating more traditional synth-style tones, the new VG-800 is essentially a stringed instrument modeler. Pair them up and you could – should you so wish – have pretty much any instrumental base covered from your guitar.

Indeed, with the right presets or purpose-built patch combinations, the VG-800 should be able to create emulations of most existing electric guitar builds, plus acoustic, bass, sitar, banjo and even synth tones, alongside plenty of new combinations.

“[It] makes it easy to build virtual instruments with deep customization tools that include string behaviors, instrument style, pickup position, resonance, and much more,” promises the Boss press release. “Each string’s pitch and panning are adjustable, enabling alternate tunings and ultra wide sounds.”

What’s more, you can play different ‘instruments’ simultaneously, triggering them from individual strings, or use the pitch capabilities to create quick B-Bender style tunings and there’s the same onboard signal processing found in Boss’ perennially popular multi-fx units. These can be applied to both modeled instrument sounds and the regular guitar input.

As is standard in 2025, it’s also a USB and MIDI interface and Boss calls its it a recording “powerhouse”. You can record two modeled instruments and the direct guitar simultaneously – each to different tracks in your DAW – and even “re-guitar” dry signal back through the unit’s processors to make it into an alternative string instrument/guitar and shift pitches or tunings.

It’s all packaged in a pedalboard-friendly footprint, at roughly the size of a trio of the firm’s landmark compact pedals. And, at $649, this tech – once the preserve of boundary pushing players like Matt Bellamy – is suddenly seeming quite attainable to the average player.

For more information, head to Boss.

A few months ago, Reverb maintained tradition by announcing its best-selling effects pedals of the year – a list that seemingly identified a winner from 2024’s mini amp modeler arms race.

Now, the online gear retailer has delved deeper into the data to produce a list charting the most popular pedals in each US state.

Like its overarching pedals round-up – and its list of the best-selling electric guitars from 2024, which saw a previous chart-topper toppled – the state-by-state run-down makes for rather interesting reading.

Perhaps the most unsurprising-yet-still-interesting-to-see stat is the fact that Boss comfortably dominated proceedings. Indeed, Boss pedals were the go-to units for 13 states, which roughly equates to 25% of the entire country.

Across the board, Boss’ RE-202 Space Echo, BD-2 Blues Driver, TU-3 Tuner and CE-2W Waza Craft chorus all topped state-level charts, as did the RC-5 Loop Station in Colorado and RV-6 Reverb in Alabama.

It was one of the key takeaways from the larger list – that Boss is still the name to beat in the effects pedal game – and that’s been further cemented here.

Other popular brands to achieve a multi-state presence include Electro-Harmonix – whose Pitch Fork was favored in Nevada, and Nano Metal Muff was most popular in Wyoming – and MXR, which had its Reverb, Duke of Tone overdrive and Carbon Copy delay show up on the map.

Some other note-worthy results include the Strymon Big Sky reigning supreme in Texas, the EarthQuaker Devices Dirt Transmitter topping sales stats in its home state of Ohio, the Chase Bliss Mood finding favor in Maine, and Idaho championing the super-budget Behringer SF300 Super Fuzz.

Oh, and as Reverb notes, some states had rather expensive tastes: Alaska, for example, went all-out for the R2R Electric Supa MKII – a rare and collectible boutique fuzz of which only 200 were apparently made.

There was also a strong showing from amp modelers and digital amp sim pedals, which further reflects the wider findings of the general rundown. Across the map, Line 6’s HX Stomp, the IK Multimedia ToneX One and Universal Audio Ruby all made the cut.

It is worth noting the Reverb methodology, though. In instances where an effect was the top-seller in multiple states, Reverb awarded it as the winner only in the state with the most purchases. Whether that could increase the overall dominance of Boss even further is unclear.

“Ohio supports their own, Alaskans have expensive taste,” Reverb writes of its findings. “13 states – or roughly 25% of the country – chose a Boss pedal more than any offerings from other brands.”

The full list can be found below.

Visit Reverb for more.

Boss has bolstered its Katana amp family by unveiling what looks to be its most powerful pound-for-pound practice amp yet, the Katana-Mini X – and you can read our review here.

Alongside Positive Grid’s Spark amp range, the Boss Katana collective is widely seen as the market’s premier round-up of desktop amps and fully fledged solid state amps, with a range of at-home practice tools and giggable companions.

For its latest release, Boss has firmly set its sights on the former cohort. Perhaps with an eye on keeping Positive Grid’s growing influence in the desktop amp market in check, the Katana-Mini X is a 10-watt offering designed specifically for “daily practice and jamming”, and offers some of the bells and whistles you’d expect from a Boss amp in a very portable and affordable package.

It’s not the smallest Katana amp – that award goes to the seven-watt Katana Mini – but, in terms of what it offers from its humble size, it’s certainly one of the more powerful. In Boss' own words, it delivers “punch and power in a flyweight build”.

Notably, it has a multi-stage analog gain circuit with the Boss Tube Logic tech in order to deliver authentic tube amp tones from its solid state build, which can be harnessed through its three onboard amp types: Brown, Crunch and Clean, accessible via a slider switch.

These are complemented with two independent effects sections, split between Modulation/FX and Reverb/Delay, which offer a total of 10 effect types, including Tremolo, Phaser, Wah, Octave, Spring, and Delay.

Elsewhere, the front panel features a no-nonsense three-band EQ, a sole volume parameter, and that gain control that works alongside the aforementioned analog circuit.

There’s also a ‘Variation’ button that provides an additional voice per amp, Bluetooth connectivity for using the Katana-Mini X as a portable speaker, and cabinet emulation for silent headphone practice.

All of the above is packed into a lightweight, tidy-looking cabinet (only 6lbs) that houses a five-inch speaker that projects the amp’s array of tones. These supposedly span from “high-gain solo sounds to tight metal rhythm tones”.

As a plug-in-and-play practice amp that you can take anywhere, the Boss Katana-Mini X looks like a pretty solid option, with a USB-rechargable battery advancing its practicality. It’s also priced at just $149, making it one of the most affordable Katana amps ever produced.

To put that into perspective, the 10-watt Positive Grid Spark Mini – a close competitor in output and price – is slightly more expensive at $189 and has a streamlined, three-knob control circuit.

However, the Katana-Mini X doesn’t, it seems, support Bluetooth connectivity with the Boss Tone Studio unlike the other, more comprehensively appointed Katanas. That means you won’t be able to hop into the app for deep effects editing and selecting, which Positive Grid units allow. Nevertheless, we suspect that, for many players, it will offer more than enough functionality for a 10-watt bedroom amp.

For a full deep dive into the Boss Katana-Mini X, check out Guitar World’s in-depth review.

The Boss Katana-Mini X is available to preorder now for $149.99.

Visit Boss for more.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Visit Boss to find out more.

It’s remarkable that the Katana is fast approaching its tenth birthday. Initially released in 2016, Boss’s now-famous solid-state amp has become the best-selling amplifier range on the market. From the recently discontinued pocket-sized Katana:GO to the upscale Artist model, the range caters to a wide variety of needs. Its long reign at the top is no surprise, but it does make me feel a little old…

Versatility has always been a hallmark of the Katana range. Whether you’re after a home practice tool with deep tone editing capabilities, a plethora of amp voices, a tonne of industry-standard effects or an amp with USB recording capabilities. There’s no denying that for home use, practice, and even recording, the Katana rules all.

But what about gigging musicians who need one amp that can handle both the demands of the stage and serve as a useful practice tool for home? In decades past, that might have been a tough ask – but not anymore, thanks to the Katana Head.

The Katana range is now in its third generation, with an entire range of updated amps released early in 2024. While the Katana Head has been a staple in the Boss lineup since 2016, advances in technology and the incorporation of features from the flagship Artist model have given the Katana Gen 3 Head some fantastic upgrades. With plenty of new bells and whistles added since the original, it continues to impress.

Sitting near the top end of the Katana range’s price point, the Gen 3 Head will set you back around $/£430. Given the extensive features and versatility it offers, I think this is a reasonable ask for what’s on offer.

Although amp heads are typically seen as heavy, single-purpose bits of kit, the Katana Head breaks from that stereotype. As players know, balancing power with home usability can be a headache. Practice amps are usually unsuitable for anything beyond bedroom use, while gigging gear is often far too loud for home practice. I can certainly relate – my dusty AC30 is patiently waiting for the next gig, not seeing the light of day in my city-center apartment.

With that in mind, I put the Katana Head Gen 3 through its paces, cranking it up in a practice room next to a drum kit in a full band setting and dialing it down for home practice, too. I’ve tested its true versatility every step of the way. Let’s take a look.

Amplifier layout

Starting with the control panel, I’m greeted by the familiar Katana layout. On the left, there’s a knob for selecting from six amp types – Brown, Lead, Crunch, Pushed, Clean and Acoustic – each with a variation, bringing the total to 12 options. You’ll also find separate gain and volume controls. Above these is the all-new Bloom function, which can be toggled on or off.

Next, is the 3-band EQ section – Treble, Middle and Bass. The Gen 3 series also introduces a new feature here: Contour. This provides three midrange contour settings, each with its own voicing, controlled by a color-coded button to indicate which one is active.

After the EQ section, you’ll encounter what I think is one of the Katana range’s standout features: controls for five built-in Boss effects – Booster, Mod, FX, Delay and Reverb – each offering three variations, for a total of 15 impressive effects. Beyond this, there’s a presence control, master volume, Solo control, a power attenuator with four modes, and a cab resonance switch offering three options: Vintage, Modern and Deep.

On the back panel, connectivity options cover everything from gigging to home recording. There’s a ¼-inch speaker out for connecting to cabinets (minimum 8 ohms), foot control and expression pedal inputs for more flexible control, and a USB-C stereo recording out, which also connects to the Boss Tone Studio for deep sound editing. You’ll also find an effects loop for keeping reverb or delay effects clean, a 3.5mm aux-in, and a ¼-inch stereo ‘phones output.

Rounding out the back panel, there’s also a ¼-inch Power Amp input that bypasses the preamp for use with a modeler. Lastly, the line out and Stereo Expand feature lets you hook up two Gen 3 Katana amps for stereo output, adding even more versatility to the rig.

Internally, behind the dark grille, lies the Katana Head’s secret weapon – a 5-inch speaker designed for home practice. While not a new addition to the Gen 3 range, this internal speaker transforms the 100-watt amplifier head into a practical desktop practice amp for home use.

Feel & sound

Straight off the bat and without editing via the Boss Tone Studio, the Katana Head sounds massive. Plugging it into my custom 12-inch Celestion G12H cabinet, it’s clear the six amp types cover a huge breadth of playable genres. On top of that, the Head’s volume took me by surprise; this thing is loud! It had no issue keeping up with my drummer when taking it to practice.

The brand-new Pushed amp type is perhaps the most enjoyable to play. Designed to replicate that sought-after edge-of-break-up chime produced by tubes, it is impressively dynamic. I’m currently running The Creamery’s Wide-Range humbuckers, and with the Pushed voicing it added just the right amount of grit to a clean tone, cutting through a mix perfectly and adding plenty of life.

Moreover, the new Bloom function – borrowed from the Artist model – delivers a more three-dimensional sound, with deeper lows and a noticeable boost in presence. When paired with my Nashville Telecaster’s single coils, it added a beautiful glassiness that really stood out. In my opinion, the Bloom function shines best with cleaner or slightly grittier tones, making it a perfect companion to the new Pushed amp voice.

The Contour control is another standout addition, offering even more shades to your sound. In my testing, I noticed a boosted lower-mid tone, a scooped midrange setting, and a sharper mid-focused sound that works brilliantly with the Brown amp type. All three are highly usable and will bring out different nuances depending on your pickups, pedals and guitar.

Another great feature is the Head’s internal speaker for home practice. While it won’t blow you away – it’s a 5-inch speaker with a pronounced midrange – it’s more than sufficient for practice. Just don’t push the Brown channel too hard at full power, as it may start to struggle. But for those arena-filling volumes, plugging into a cabinet is always an option. For home use, though, it does the job nicely.

Key features

Moving on to the effects section, there isn’t a significant change compared to the Gen 2 Katana Head. Utilizing concentric knobs, all five effects can be used simultaneously, which is a big appeal. Boss has adopted an ‘if it ain’t broke, don’t fix it’ approach, but we’re not complaining. Having all these iconic Boss effects integrated into one amp is a real treat, allowing you to get pretty close to the sound in your head using the onboard controls alone.

However, it’s in the Boss Tone Studio where the effects section truly shines. There’s a vast library of effects pedals you can tweak to your heart’s content, and the desktop app offers a range of editable parameters for each effect that give modelers like the Line 6 Helix a run for their money. From the depth and rate of modulation to low-cut and high-cut filters on reverb, I had a lot of fun tweaking and getting a plethora of different tones.

One improvement to the Tone Studio that I really appreciated is the ability to creatively arrange your effects; while editing your saved channels in the chain tab, you can now simply drag and drop some effects to achieve your preferred order.

Another notable addition to the third generation Head is the ability to edit effects wirelessly from your smartphone via Bluetooth. While Boss’ Tone Studio has always been available through a wired computer connection, this wireless option removes the hassle of extra cables.

It is a bit disappointing that you need to purchase Boss’ Bluetooth adapter separately for around $50. My review unit was shipped with the adapter and I found that editing effects on my smartphone was hassle-free and seamless. Plus, it enables you to stream audio while jamming along to backing tracks or your favorite songs. Well worth the extra investment, in my opinion.

The new Solo function is a welcomed addition; when activated, it provides a boost in both volume and gain, perfect for blasting out hair-raising solos on the fly. Also, on this side of the control panel is the saveable Tone Setting channels. There are eight saveable presets in total split between Bank A or B.

Without a doubt, the effects, Solo function, and saved Tone Settings are best managed with the additional GA-FC EX foot controller. Since the Katana Head is largely designed for gigging, having the foot controller ties these features together into a genuinely gig-friendly package. Although another added extra, costing around $/£140, it allows you to switch between banks, channels, presets, and effects with your foot. Much more convenient in a live setting.

The Power Control attenuator returns, letting you dial down to just 0.5 watts for home practice and delivering that cranked amp tone without disturbing the neighbors. The other settings, Half and Max, offer even more fine-tuning to your surroundings. Max power provides approximately 30 watts through the internal speaker and a full 100 watts when used with an external cabinet.

Also carried over from the Gen 2 Katana Head is the Cab Resonance switch, offering three distinct options: Vintage for a spongy low-end, Modern for a tighter, balanced response, and Deep for an enhanced emphasis on the lower frequencies. There is certainly a noticeable difference between all three. I was genuinely impressed with the amount it colored my cabinet, with modern standing out as a personal favorite.

Final verdict

The Boss Katana Head Gen 3 is a masterclass in versatility, seamlessly bridging the gap between practice and performance. Its internal 5-inch speaker is ideal for home use, while the ability to connect to a cabinet unleashes arena-filling power. The amp offers a rich array of tones and iconic Boss effects, enhanced by the user-friendly Tone Studio, now compatible with smartphones. New features like the Solo function, Contour controls and Bloom elevate the experience, making it perfect for both recording and live gigs. For a solid-state amp it provides an incredibly dynamic, tube-like response. Overall, it’s an impressive amplifier head that can be the one-stop shop for a gigging guitarist who wants to practice with the same model at home.

Specification

• Type: Solid state
• Output: 30W (using internal speaker), 100 W (using external speaker)
• Speaker: 12cm (5 inches) x 1
• Connectivity: input jack, 1/4-inch phone type; power amp in jack, 1/4-inch phone type; line out jack, 1/4-inch phone type; send jack, 1/4-inch phone type; return jack, 1/4-inch phone type; speaker out 1/4-inch phone type (min 8 ohms); stereo phones, stereo 1/4-inch phone type; expression pedal, 1/4-inch TRS phone type; solo jack: 1/4-inch TRS phone type; aux in jack, stereo miniature phone type; USB-C; MIDI in connector; Bluetooth Audio MIDI Dual Adaptor
• Weight: 8.8kg
• Dimensions: 470 (W) x 228 (D) x 215 (H) mm
• Contact: Boss

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

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

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

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

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

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

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

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

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

I've owned the Boss CE-5 for a long time. The Chorus Ensemble is one of the most popular chorus pedals built by the Roland subsidiary, right behind the CH-1 Super Chorus.

Although the CE-5 was first introduced as an analog pedal in 1991, the current iteration – or “new” – CE-5 features a revised digital circuit, launched in 2001.

Pro guitarists who use (or have used) the CE-5 include Zakk Wylde, Adam Jones (Tool), Stephen Carpenter (Deftones), Brian Welch (Korn) and Herman Li (DragonForce), to name just a few.

In this article, I'll lay out some of my favorite Boss CE-5 settings that I've used over the years, and share a few tips on how to target the chorus sound you're after.

If you want to listen in, I cover some of the settings and tweaks in the video below, using a PRS CE 24 electric guitar in the middle pickup position, and a Mesa/Boogie Rectoverb tube amp set to the clean channel.

The 12 O'Clock

Thin modulation layer. Set everything to 12 o'clock.

The first setting I'd recommend to get started has all of the knobs set to 12 o'clock. This gives a simple shimmer and modulation layer.

• E.LEVEL: 5
• RATE: 5
• DEPTH: 5
• FILTER HIGH: 5
• FILTER LOW: 5

I've found this to be one of the best ways to use this pedal. In fact, I usually have it set to 12 o'clock and taped up so that I don't/can't move the knobs. It's a smooth layer of modulation without a noticeable shift in pitch, which sounds good with chords and melodies alike. For this particular pedal, it's the setting I like to use most of the time.

Lowered E.Level

Lowered E.Level and slightly lowered depth.

The next thing I'd try is lowering the effects level knob, which controls the mix of your wet and dry signal. As you can tell, I prefer to have a subtle level of chorus that doesn't cover up your clean tone or get too disruptive.

If you want something a little more intense, bump to the next two Boss CE-5 settings in this list.

• E.LEVEL: 2
• RATE: 5
• DEPTH: 4
• FILTER HIGH: 5
• FILTER LOW: 5

Slight Pitch Shift

If we push the depth up to 6-7, and bring the effects level back up, it will create a deeper modulation that gives you a more detuned and pitch-shifted quality.

• E.LEVEL: 6
• RATE: 6
• DEPTH: 7-8
• FILTER HIGH: 5
• FILTER LOW: 5

High Intensity

To get a more intense, almost fluttering chorus effect, we push depth and rate up further to 8-9, and then use the high EQ to make it a little brighter so it’s more noticeable in the mix.

You could bump up the effects level knob here, too, if you want to hear more of the wet signal, but it should be a pretty intense effect either way.

• E.LEVEL: 7
• RATE: 8
• DEPTH: 9
• FILTER HIGH: 8
• FILTER LOW: 5

It was only a few months ago that we were singing the praises of Boss and their latest practice companion, the insanely good Katana:GO. In our glowing review, we said, “The technology that’s on offer in the Katana:GO is so much fun and so inspiring; it’s a steal at the asking price – and it will inspire you to play more guitar, too.” High praise indeed for a super affordable little headphone amp. So, you can imagine our surprise when we heard the news that the Japanese guitar titan had announced that the pint-sized Katana had gone to the great gear pile in the sky, discontinuing the product after only a handful of months in production. 

In a statement posted to their website, Boss alluded to difficulties in “the procurement situation of the materials”. So, it seems that shortages in the parts used to create the headphone amp are what has led to it being terminated so quickly. 

Now, it’s obvious that there was clearly a healthy appetite for this style of headphone amp, with the greater guitar community embracing the Katana:GO with open arms. So, with that in mind, we thought we’d take a look at alternative options – that we've tested – if you’ve suddenly found you had a Katana:GO on your wishlist, or your order has been cancelled out of the blue.  

Okay, the first and most obvious option is the newly released Fender Mustang Micro Plus. Taking some design cues from the now defunct offering from Boss, Fender has to be commended for building on the already excellent features of the original Mustang Micro and adding new ones fans were calling out for. 

The most obvious addition is the inclusion of a screen, which makes selecting tones a lot more streamlined while also making tuning easier and more convenient. 

But wait, there’s more. The new Mustang Micro Plus also includes 25 amp and effect simulations, 100 preset slots and a handy companion app for tweaking pedal parameters, adjusting amp settings and downloading tones via the cloud. 

In our review, we said, “The Fender Mustang Micro Plus is very much the upgrade that was needed for one of the most popular headphone amps for guitar. The addition of a small screen, app compatibility, and the ability to save presets makes it a worthwhile practice companion that costs relatively little.” 

So, if you feel let down that the Boss Katana:GO is no longer available, the Fender Mustang Plus is most definitely the headphone amp for you. 

Read our full Fender Mustang Micro Plus review

Looking for something a little cheaper and not so full-on with high-tech features? Well, the Vox amPlug 3 AC30 is the unit for you. 

Designed to invoke the spirit of Vox’s legendary twin speaker combo in a much more accessible format, this affordable headphone amp features both channels of the AC30 amp. Normal delivers crystal clear cleans with a more open and rounded sound, whereas the iconic Top Boost circuit produces a hard-rocking punch with plenty of grit and bite, ideal for classic rock. 

Now, as you expect, this isn't an exact replica of the AC30. There are also a few modern twists, with a plethora of integrated effects, such as tremolo, chorus, delay and reverb, as well as handy built-in rhythm patterns to aid in your timekeeping. 

We gave the unit four out of five stars when we reviewed it back in March, saying, “There's a reason the Vox amPlug has been the go-to headphone amp for many players since they launched in 2007 – they offer a fun practice solution for bedroom players, and they actually sound great. Now, while Vox has refreshed the range for the new generation, they haven't lost the stellar sound and simple design that many loved about the previous iteration.”

So, if you’re on the hunt for a simple solution that delivers big on tone, this miniature AC30 is the amp for you. 

Read our full Vox amPlug 3 AC30 review

Lastly, we have to give a shout-out to the Boss Waza Air Headphones. Taking the concept of a headphone amp to a whole new level, this all-in-one solution is ideal for those who don’t want to have to carry around a separate pair of cans as well as an amp. 

Released as a follow-up to the successful Boss Katana Air amp – an amp Boss called “the world’s first totally wireless guitar amplifier” – Boss decided to push the envelope even further with the creation of a personal wireless guitar headphone amp that integrates a gyro sensor that tracks your head movement and spatial technology to offer a truly three-dimensional tone.

Now, this is definitely not the most affordable option out there, but we’ll go out on a limb to say that these innovative headphones certainly offer the best sonic experience out of the bunch. 

In our review, we loved the freedom of having a completely wireless option, and thankfully, the Katana Air had the tone to back up this gimmick. Guitar World’s Paul Riario said “It’s quite liberating. You have the freedom to move about, with no cables to get tangled up in, as you play. All the while you are hearing your guitar in three novel environment settings. The panoramic effect triggered by your head turning in Static and Stage modes is really wild while the Surround mode is like virtual-reality candy for your ears. The sensation is best described as surreal,” he continues. “Cooler still is when you use the Tone Studio app to and use a 360-degree rotation control over where you place your guitar and audio positions.”

Read our full Boss Waza Air Headphones review

While it may not be a traditional headphone amp, the compact GO is versatile enough to fit the bill. While it may be the smallest member of the Spark family, it doesn't compromise on features or tones, offering a world of possibilities in a pint-sized package.

Granting you access to the same application as the other Spark models, the Spark GO delivers a wealth of tones that simply aren't found on other amps of this size. With literally thousands of tones and effects to play with, as well as a range of clever practice aids, the Spark GO is designed to transform your guitar practice, whether you're at home or, well, on the go.  

Now, it's worth noting that while the Spark GO does have a handy headphone out, it also features a 2" custom-designed speaker and rear bass radiator for increased depth, meaning you can play it loud when the situation calls for it.

Read our full Positive Grid Spark GO review

Earlier this year, BOSS unveiled the Katana Gen 3 range – an evolution of the amp and effects specialist’s market-leading Katana amp family.

The wholesale upgrade introduced an all-new amp type called Pushed, numerous functional updates, and some crucial specs that have been long desired by BOSS players, all of which help take the award-winning collection to unprecedented heights.

The BOSS Katana Gen 3 lineup was the topic of Guitarist’s latest Tone Lounge episode, which put a number of units from the collection under the microscope for an in-depth demonstration of the performance changes and a showcase of the various top-tier tones on offer.

One of the biggest upgrades of the Katana Gen 3 range is the Pushed amp type, which is designed to deliver authentic edge-of-break-up cleans that are notoriously difficult to emulate.

“Traditionally, solid-state amps have been thought of not being able to do that sound, being a bit too high-gain or clean,” says Guitarist’s Richard Barrett of the new amp option. “These respond and feel much more like one of those old Fender combos.”

Pushed is joined by five other onboard amp types – each with selectable variations for up to 12 distinct voices – which have been enhanced with even greater sound, response and feel via BOSS’ Tube Logic design philosophy.

There are also world-class effects – divided into Booster, Mod, FX, Delay and Reverb – a stereo headphone output, and Bluetooth connectivity through the optional Audio MIDI Dual Adaptor (BT-DUAL).

“Out of the box, it’s like somebody else’s very well-set-up pedalboard,” the Guitarist team notes of the new-and-improved range. “There are so many features, you turn this into your rig and personalize the whole thing. The permutations are pretty much infinite.”

“The nice thing we noticed is how they react like a valve amp. I don’t want to keep saying, ‘Oh, they’re like valve amps.’ They’re trying to emulate valve amps, and these are doing it pretty brilliantly in my view.

“They really react to what you put into them, which is what everybody would say a great classic amp would do. If somebody said there was a valve amp in the room, you wouldn’t contradict that. There is something for pretty much every type of guitarist here.”

Watch the full Tone Lounge video for a deep-dive into the updated Katana Gen 3 amp range, and visit BOSS for more information.

Boss has brought back the legendary Roland SDE-3000 rackmount delay in stompbox form with the release of the SDE-3 Dual Delay.

Following its release in 1983, the Roland SDE-3000 became a go-to delay effect and studio staple, famed for its analog/digital hybrid design and distinct modulation effect.

The influential digital delay was championed by the likes of Eddie Van Halen, Steve Vai and Steve Lukather in the 1980s. Eric Clapton, Neil Young and dozens of other pros have all relied on the SDE-3000 at various stages in their careers.

Its first iteration was discontinued in 1985, but over the years the popular delay has been brought back in various forms, most recently in 2023 as the SDE-3000D and SDE-3000EVH – the latter of which came equipped with the exact settings from Van Halen’s own live rig.

But now Boss has revived the Roland rack unit in its smallest form yet, issuing the standard-stompbox-sized SDE-3.

In the firm’s own words, the SDE-3’s mission is to authentically deliver the authentic SDE-3000 vibe in a pedalboard-friendly package, while creatively optimizing its smaller footprint to deliver some enhanced features and functions.

Of course, given its super-streamlined topography, Boss has had to get selective with its onboard controls. With a standard Boss design, the SDE-3 features stereo input and outputs, as well as a unique Offset parameter that adds a second delay to the primary effect.

According to Boss, “This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control.”

Three stacked control knobs dictate Level/Depth, Feedback/Rate and Time/HiCut, which are responsible for the delay and modulation effects. From these, “a wide range of tones are available” – from ‘80s mod/delay combos to contemporary lo-fi.

Two stereo modes also let players choose between discrete left-right delays and ultra-wide panning, while a wet/dry amp setup can be configured thanks to its connectivity.

Other notable features include a tap tempo mode, a TRS MIDI input for syncing delay times to DAW clock signals and drum machines, and an optional external footswitch that can access a ‘Hold’ function for on-the-fly looping. There’s also an Expression Pedal jack for controlling an array of parameters.

Given its size, the SDE-3 Dual Delay isn’t just the most compact iteration of the original rack delay we’ve ever seen, but it’s also the most affordable, weighing in at $219.

Head over to Boss to find out more.

Through its innovative and hugely popular Katana range, BOSS has built one of the market’s leading collections of guitar amps – one that utilizes a cutting-edge combination of digital processing technology and analog circuitry to deliver a wide array of top-notch guitar tones.

Since its inception in 2016, the Katana catalog has become one of the best-selling amp families in recent memory, and has been the recipient of countless rave reviews, from the near-perfect 100 MKII to the five-star 50 MKII EX.

Now, for 2024, those cherished amps have been made more versatile and better than ever with the arrival of the Katana Gen 3 lineup.

The result of a systematic top-to-bottom overhaul, the seven new Katana Gen 3 solid-state amps build on the rock-solid foundation of their predecessors, but take the range to new heights with updated functionality, a new amp mode, improved hardware and Bluetooth capabilities.

Overall, the new range comprises five combos and two amp heads, each of which make use of BOSS’ existing Katana tech but bring new features to the table.

Such features include a new ‘Pushed’ amp voice – perfect for edge-of-break-up tube amp cleans – which makes up the list of six onboard amps that have been designed from the bottom up with unique characteristics.

These amps also have selectable variations, resulting in 12 distinct amp voices in total. Leveraging its Tube Logic design philosophy, BOSS has enhanced each with even greater sound, response, and feel.

BOSS’ world-class effects can also be accessed. The Gen 3 amps each offer five onboard categories – Booster, Mod, FX, Delay and Reverb – with three variations per slot. This results in a very generous 15 onboard effects you can play with.

All of these amps and effects can be customized and programmed into a range of presets, which can further be tweaked via the BOSS Tone Studio app.

Despite these onboard effects, the Katana amps are also excellent external effects pedal platforms, and can easily take the place of an existing amp in a pedalboard-loaded rig to provide a premium setup for gigging guitarists.

And, for those who prefer modelers, the Gen 3 amps can likewise be used as power amps, making them versatile and practical additions to any live rig.

Other Gen 3 updates include an upgraded stereo headphones output. Paired with the audio interface recording options, this makes at-home practice, learning and recording even more engaging than before.

And then there’s Bluetooth connectivity, which won’t be found on older Katana models. With the optional Bluetooth Audio MIDI Dual Adaptor (BT-DUAL), players can easily stream music and deeply edit parameters using a smartphone or tablet via the BOSS Tone Studio app.

Already, BOSS’ updates to the Katana range have been noticed. In Guitar World’s own review, the Katana-50 Gen 3 combo was praised for its excellent amp tones, world-class effects, and easy operation.

“It’s immediately obvious that BOSS has gone to great lengths to improve the overall sound quality of the Katana Gen 3,” notes GW writer Daryl Robertson, “resulting in an amplifier that sounds more alive with sweetened highs, richer harmonics in the mid-range, and a tighter, more defined low-end.”

And, like any Katana amp, these will only get better in the future, thanks to BOSS’ routine software updates.

There’s a reason why the Katana amps are viewed as some of the best solid-state amps money can buy, and with price tags that compete with older MKII models, these updated Gen 3 Katanas have certainly raised the bar.

Visit BOSS to find out more.

Boss has issued free new updates for its GT-1000 and GT-1000CORE pedals that look to elevate the performance and functions of the multi-effects amp modelers.

While it’s been officially labeled as ‘Version 4.0’ for the GT-1000, and ‘Version 2.0’ for the GT-1000CORE, the update has introduced wholesale features that are universal across both stompboxes.

It is, notably, the first big update Boss has rolled out for its GT range in quite some time. Aside from December 2023’s Bug Fix update, the last time Boss ushered in a performance update this comprehensive was more than two years ago.

Further still, it’s the first time Boss has expanded on its flagship collection of X-amps, which utilize the innovative 'Multi-Dimensional Processing' technology found in the firm’s X-series effects pedals.

The update, according to Boss, reflects the firm’s “dedication to the continuing development of its flagship-class GT platform”. That dedication is evidenced by three newly developed high-gain amp types that build on Boss’ AIRD and MDP technologies.

'Augmented Impulse Response Dynamics’ looks to reproduce the tone of tube amps in digital form – “from guitar input to speaker output and everything in between,” according to Boss – paying particular attention to dynamic feel and musical responsiveness.

'Multi-Dimensional Processing', meanwhile, takes things even further. It effectively separates an input signal into various frequency constituents, and analyzes each one individually in order to achieve “a higher level of clarity and dynamics”.

To further put MDP into perspective, it was once described by Boss as “the pinnacle of 50 years of engineering”, and is said to deliver “impossible results with conventional technologies”.

These developments have manifested in the form of three new X-amps – X-Ultra, X-Optima and X-Titan – which are joined by six new bass preamps, two new drive effects, a new tuner display mode, and ambiguous “under-the-hood enhancements”.

As for the amps, X-Ultra is a “classic British stack amp modified with a modern multi-stage gain circuit”, which uses MDP to take control of each gain stage’s clipping.

Not only does this look to be a powerful feature for a digital amp modeler, it’s apparently said to offer an “extended dynamic response that’s not possible with traditional analog designs”.

X-Optima and X-Titan recruit MDP in similar ways. The former – which debuts an entirely new gain algorithm – makes the most of its adaptive frequency shaping function, promising to help craft rhythm and lead tones that can cut through the mix.

The latter, said to be “perfect for aggressive metal styles driven by heavy riffs”, meanwhile uses it to separate the string sounds to provide “tight sounds on the low strings” while maintaining “fatness and body” in the high range.

As mentioned, the Version 4.0 and Version 2.0 platforms are completely free, as is usually the case with such updates.

With Line 6 regularly updating its Helix software, Fender rolling out improvements to its burgeoning Tone Master Pro platform, and even Neural DSP beginning to build on its Quad Cortex software, this serves as a welcome – and long-awaited – development from Boss.

Head over to Boss to find out more.

The name Katana always felt like the perfect moniker for this cutting-edge practice amp. This feature-laden combo sliced through its competition when it hit the market in 2016 and became one of the best-selling amps in recent memory. In 2024, Boss revamped the series for its third generation, boasting improved sound quality, a brand-new “pushed” amp model and an enhanced feature set – but can it live up to the hype of the previous versions?

Today, we'll examine the Katana 50 MKIII to see how it compares to the prior generation. Now, if you want to hear exactly what this new amp sounds like, we've included a playing demo below. In the video, Guitar World's very own Pete Emery, armed with this trusty battle-worn Fender Tele, plays through the range of amp models on offer, from clean to high gain.

Okay, it’s fair to say that this new iteration of Katana isn’t a complete retooling of the series but rather a subtle evolution of what came before. Still powered by the clever Tube Logic technology and a reactive Class AB analogue power section, the MKIII feels and behaves exactly like its predecessor, albeit with definite advancements in overall clarity.

Performance

While we were fans of the previous iterations, it’s immediately obvious that Boss has gone to great lengths to improve the overall sound quality of the Katana MKIII, resulting in an amplifier that sounds more alive with sweetened highs, richer harmonics in the mid-range, and a tighter, more defined low-end.

This is particularly evident when you switch to the new Pushed setting. Sitting between Clean and Crunch both physically and stylistically, this stellar preset delivers the sound of a slightly driven valve amp that’s just on the edge of breakup and is bright, vibrant, and excellently responsive.

Paired with our favourite ‘54 Strat reissue, it was a match made in heaven. Single notes rang out as clear as a bell while digging in and playing aggressively returned the perfect amount of grit – a seriously impressive feat for an affordable modeller.

Now, if there was one feature that Katana fans have been crying out for since its launch, it’s Bluetooth connectivity – and it’s finally here. Each Gen 3 amp features a rear connection specifically for the Boss Bluetooth Audio MIDI Dual Adaptor, which enables wireless audio streaming and editing via the new and improved Boss Tone Studio. The catch? It’s an optional extra.

Easy to set up and effortless to use, this adaptor works exactly as instructed and vastly improves the amp's functionality. That said, while £49 for the adapter won’t exactly break the bank, we can’t help but feel a little shortchanged.

Many of the Katana’s direct competitors include Bluetooth as standard, and in this day and age, it’s a feature that most consumers expect – perhaps we’ll see it integrated into the amp on the next generation.

Watch our demo video:

Final verdict

Putting our thoughts on the Bluetooth situation aside for a second, there is a lot to love about the new generation of Boss Katana. Boss hasn’t tried to completely reinvent its popular practice amp line, because it didn’t need to. Katana MKIII keeps the same great aesthetic, usability and spirit of the original, while pushing the series forward with upgraded tones and functionality.

Specifications

• TYPE: Solid state
• OUTPUT: 50W
• SPEAKER: 30 cm (12 inches) x 1
• CONTROLS: POWER switch, MASTER knob, POWER CONTROL switch (STANDBY, 0.5 W, HALF, MAX), VARIATION button, AMP TYPE switch (ACOUSTIC, CLEAN, PUSHED, CRUNCH, LEAD, BROWN), GAIN, VOLUME, BASS, MIDDLE, TREBLE, BOOSTER, MOD, FX, DELAY, REVERB, TAP, BOOSTER, MOD, FX, DELAY, REVERB, CH1 button, CH2, PANEL
• CONNECTIVITY: INPUT jack: 1/4-inch phone type, POWER AMP IN jack: 1/4-inch phone type, STEREO PHONES jack: Stereo 1/4-inch phone type, CTL CH1/CH2 SOLO jack: 1/4-inch TRS phone type, EXP PEDAL jack: 1/4-inch TRS phone type, AUX IN jack: Stereo miniature phone type, USB port: USB C type, BLUETOOTH ADAPTOR SLOT: Bluetooth Audio MIDI Dual Adaptor, AC IN jack
• WEIGHT: 11.6 kg
• DIMENSIONS: 470 (W) x 238 (D) x 398 (H) mm
• CONTACT: Boss

Boss has finally lifted the curtain on the third generation of its Katana guitar amp family, introducing a few choice features that look to make the solid-state combos and amp heads better than ever.

Specifically, the Gen 3 amps look to build upon the wild successes of Boss’ hugely popular Katana catalog with updated tones, improved usability, all-new specs and some sought-after appointments.

It’s a systematic, top-to-bottom overhaul, so first, some housekeeping: Boss has debuted seven new amps that cover all the bases from one and two speaker combos to amp heads.

That list includes the entry level 50-watt Katana-50 Gen 3 1x12 combo; its slightly souped-up sibling, the Katana-50 EX Gen 3; the 100-watt Katana-100 Gen 3 1x12” combo and a 2x12” variant; and the Katana Head Gen 3.

There are also two “Artist” models on the roster – a combo and a head – which offer exclusive extra features and some sleek aesthetics.

These are the amps into which Boss has loaded the third generation of its Katana tech, so… what’s new?

Well, where tone is concerned, the chief feature is the all-new Pushed amp model, which is said to focus on the “touch-responsive gain of a clean combo driven into harmonic saturation”, ie, “edge-of-breakup”.

Across the board, Boss has also built upon the core platform by way of Tube Logic enhancements that provide even greater sound, feel and response. That means, at least on paper, the five existing amps will perform even better than before.

All six amps have a selectable variation, resulting in 12 distinct amp voices, with some also offering the recently innovated Bloom circuit, which further shakes up the amp’s feel and response.

Tonal improvements are matched with software upgrades to the Boss Tone Studio, which is where Katana players can tweak deep-editing parameters that aren’t available on the amp panel and customize onboard effects.

Speaking of effects, it’s worth noting that 3rd Gen Katana amps offer five onboard effect categories – Booster, Mod, FX, Delay and Reverb – with three variations per slot resulting in a generous 15 effects to utilize.

And, thanks to the returning Tone Setting memory slots, players can again craft amp/effects setups – using any of the updated tones – and recall them at will.

As well as sounding better than ever, Boss has sought to make its Katana amps more usable than ever, too, namely by updating the connectivity options. 

For example, the old standard headphones output from previous models has now been upgraded to a stereo headphones out, which will no doubt make for a more immersive listening and playing experience during silent practice.

Bluetooth is also a biggie when it comes to Katana, and for some time players have been asking for Bluetooth connectivity between amp model and smartphone, to enable them to stream music and access the in-depth tone-tweaking controls mentioned above from the Tone Studio.

That has kind of been addressed for the 3rd Gen amps: Bluetooth is technically available – but you’ll need to get hold of and install the optional Bluetooth Audio MIDI Dual Adaptor.

Boss is clearly pleased with its upgrades, commenting of its new amp family: “Katana Gen 3 elevates the lineup with even more range and versatility, providing a playing experience that goes where no other amps can.”

There's good reason for Boss' optimism, too. Guitar World got its hands on the Boss Katana Gen 3 for an early review, and commended the new lineup for its wholesale tonal upgrades and connectivity improvements.

“It’s immediately obvious that Boss has gone to great lengths to improve the overall sound quality of the Katana MKIII,” notes GW writer Daryl Robertson, “resulting in an amplifier that sounds more alive with sweetened highs, richer harmonics in the mid-range, and a tighter, more defined low-end.”

As for prices, the Katana-50 Gen 3, Katana-100 Gen 3, and Katana-100/212 Gen 3 are available now starting at $299. The rest of the lineup is available to pre-order.

That means there really isn't too much difference between these new amps and the older MkII models. The most expensive, top-of-the-line Artist Gen 3 combo, for example, lists for $599, while its predecessor went for $529.

When the sweeping tonal upgrades, new amp mode, and connectivity improvements are taken into account, that's a very nice price point indeed. 

The full Katana Gen 3 lineup will be available later this year.

To find out more, head over to Boss.

Boss has teased the imminent arrival of the third generation of its innovative and hugely popular Katana guitar amp series. 

Posting on its social media channels, Boss says it's “advancing the lineage” of the previous two versions of its guitar and bass amps with “enhanced features and sounds”.

The company promises to preserve the heart of the amps and remain true to everything that has made them such a roaring success – namely, affordability and versatility. Indeed, for countless players, the Katana amps have proved perfect for home, studio, and live environments.  

The post shows an amp of an undeterminable size hidden beneath a silk sheet. There are, sadly, no further details to mull over before a full announcement. 

It’s certainly going to be interesting to see where Boss takes its flagship amp in the face of much steeper competition than when it launched. 

First unveiled in 2016, the Katana range really helped put Boss on the amp map. The innovative solid-state amps are bolstered with digital sounds and effects, resulting in a modern hybrid that looks and feels like a traditional amplifier. 

The range offers amps of various wattages and formats, from 50-watt combos through to heads, with the second generation coming in 2019 while sales were still strong.

Boss has clearly been biding its time for a follow-up, presumably to ensure the MKIII creations bring highly competitive new features to the table. It’s a wise move, too, as the competitor landscape has changed since 2016. 

For example, Line 6 has since taken the fight to Boss with its Catalyst CX amps with its latest version, unveiled earlier this year, benefitting from the brain power of its Helix modeling units.

Keep your eyes peeled on the Guitar World website for more developments as soon as we sniff them out. Given the hype campaign has started, though, we can't imagine an official announcement is too far away...

As guitarists, we are guilty of not practicing as much as we should – sometimes we’d much rather doom scroll our way through social media and marvel at the talented players on display. Well, practicing doesn’t need to be a chore, there are many gadgets out there that will make the process of learning a lot more enjoyable. One such gadget I've found particularly useful is the headphone amp. This clever device allows you to play day or night without disturbing the rest of your household. 

In the world of headphone amps, the Fender Mustang Micro reigns supreme. It offers players a wide range of amp models and excellent connectivity, all at an affordable price. But there's a new player on the scene, the Boss Katana:Go, ready to challenge Fender's dominance. This compact device packs everything we love about the Katana series of amplifiers into the palm of your hand, promising a powerful practice experience. 

Today, I'm setting the stage for an exciting showdown between these two practice solutions. I'll be putting the Fender Mustang Micro, the reigning king of the headphone amp category, against the Boss Katana:Go, a new contender looking to claim the top spot. If you're struggling to decide which headphone amp is right for you, I'm here to hopefully settle the debate once and for all. 

It's worth noting that Boss quickly discontinued the Katana:Go back in late 2024 but has recently relaunched the unit in February 2025 - albeit with a slightly new look. According to Boss, the functionality stays the same, but we'll know for sure once we get hands-on with the new generation soon.

At a glance

Build quality & design

Let's take a closer look at these two popular headphone amps. Placing them side by side, I can't help but notice how similar they are aesthetically. Both units come in around the same size and feature a large, sleek control knob in the center that just begs to be fiddled with. 

Again, when it comes to build quality, both amps are on par. They feel robust and well put together, with hinges that are reassuringly strong. You can clearly tell that these devices were built to last a very long time.

But what sets these amps apart is their method of displaying information to the player. The Fender Mustang Micro uses colored LEDs to display presets, while the Boss unit features an OLED display. The latter makes choosing presets and adjusting effects a breeze, creating a streamlined and user-friendly experience that is sure to make any musician's life easier. 

Winner: Overall, these are two fantastically designed and rugged headphone amps that are sure to stand up to even the toughest practice sessions. However, I have to say that the OLED screen on the Katana:Go is a game-changer when it comes to choosing presets and adjusting effects. It gives the device a superior user experience that just can't be beat. In my opinion, the Boss Katana:Go is the clear winner here.

Sounds

Moving onto tones and each device delivers a cornucopia of sounds that cover just about any genre. The Fender Mustang Mico offers users 12 amp types and 12 effect combinations, while the Boss Katana:Go has 10 amp types and over 60 effects locked away inside. 

Undoubtedly, as the world’s leader of guitar effects, the Boss Katana:Go offers an extensive range of effects. However, it’s crucial not to overlook the Fender Mustang Micro. Its amp models are meticulously crafted, delivering warm and expressive tones. The effects, particularly the reverb and tremolo, are spot-on, enhancing the overall performance. 

If you're familiar with the renowned Katana series of amps, you’ll have a glimpse of the sonic possibilities the Katana:Go can offer. From pristine cleans to distortion-drenched octaves, bluesy overdrive to monstrous metal tones, this amp is a treasure trove of sounds, catering to every type of player.

Winner: This one is pretty close. Both units sound fantastic, but there are some subtle differences. The Fender Mustang Micro offers a very solid foundation of tones that are reliable and dependable, while the Boss Katana:Go offers a larger selection of effects. However, both offer a very similar range of tones, so I'd say it’s a draw. 

Functionality

Lastly, let's examine some of the extra functionality of these two headphone amps. As you’d expect, both units include Bluetooth audio streaming, USB charging, and recording capabilities – and they both have a similar expected battery life of around four to five hours. 

So far they have been pretty evenly matched, but here's where the Katana:Go truly shines with its unique features. 

With its innovative Stage Feel mode, the Katana:Go offers a unique experience. Imagine placing your amp and backing music in different locations within your sound field. It's like you're performing on stage with a band even when you're just wearing headphones in your bedroom! 

And if that's not enough, the Katana:Go offers even more versatility. You can connect the EV-1-WL Wireless MIDI Expression Pedal and FS-1-WL Wireless Footswitch to expand its functionality. This allows you to control the unit just like a standard practice amp, giving you full control over your sound. 

Winner: And the winner is... the Katana:Go! The Boss amp may offer everything the Mustang Micro does, but the Katana:Go goes above and beyond, making it the clear winner in this comparison.  

Verdict

When it comes to choosing between two fantastic headphone amps, you really can't go wrong with either the Boss Katana:Go or the Fender Mustang Micro. However, if you're looking for a true champion, I have to give the crown to the sleek and stylish Boss Katana:Go. This brand-new amp is incredibly well-built and offers a treasure trove of tonal options and exciting features that will take your practice to a whole new level. 

Now, I don't want to throw any shade at the Fender Mustang Micro, but it's been around for three years now, while the Katana:Go is fresh on the scene. I'm sure Fender is cooking up a new version of their beloved headphone amp, but until version 2.0 hits the market, the Boss Katana Go is my new favorite practice solution. 

The Boss Katana bass amp range has been on our radar for some time now, having already experienced the Katana-110 Bass combo, followed by the bass-friendly wireless Katana Air. Now it’s time to welcome the first-ever Katana bass head.

This feature-packed bass amp boasts 500-watts of Class D power, onboard memory, a USB connector and optional Bluetooth adaptor, plus a range of built-in effects and sounds, with the extra ability to tailor those sounds via a downloadable app.

However, according to Boss, the real ace up the Katana-500 Bass Head’s sleeve is the company’s ‘Cabinet Resonance’ technology, which calibrates the amp’s circuitry to match the impedance and frequency response of your connected speaker cabinet.

On paper, the Katana-500 Bass Head offers a truckload of features for a pretty attractive price, but it’s hard to know what kind of sounds to expect from this highly original mix. Let’s find out how special it really is.

Features

The real plus points for this amp lie in the extensive tone controls, which should provide enough tone-shaping tools for even the most anal Rush tribute band.

Alongside bass, lo-mid, hi-mid and treble EQ controls, you can select preset curves via the Shape button – perfect if you’re in need of a giggable bass guitar sound in a hurry or if you’re a little unsure about tweaking the EQ.

The Gain control should be set as high as possible without the signal clipping, which will allow the signal to run through the preamp at its highest point before distorting. There’s also a neighbouring Pad button should you need to lower the sensitivity of the input stage.

Next comes the FX section, which offers easy access to the amp's built-in effects. Three compression and limiter sounds are available via the Comp control, three drive effects of increasing intensity are available via the Drive control, and three modulation effects can be had via the FX control.

Each control has a corresponding button that allows you to toggle through the different effects you have stored on the amp. You can also change effect types with alternate selections via the Boss Tone Studio.

The businesslike feel of the controls, plus the colour changing indicators that change (from green to red to orange) as you toggle through each effect, create a really user-friendly feel.

There are emulations of three different mic settings on offer via the Line Out section, ranging from a distant mic’d sound or a close mic’d sound, or a blend of both. You can also create your own custom settings by downloading the Boss Tone Studio app.

Next up is a Bottom control that works as a low-frequency cut to eliminate any unwanted sub-bass rumble, and a Hi Cut button with three selectable frequencies. As if this weren’t enough, you can also select either Modern or Vintage – with distinct sounds in each – via an Amp Feel switch.

To engage the Cab Resonance feature, press and hold the Cab Resonance button until it blinks red, at which point the amp has measured the frequency response of your speaker cabinet. According to the manual, this feature uses “high-tech calibration to internally fine-tune the power output section for the user’s preferred speaker cabinet”. More on that later.

The Katana-500 Bass Head also allows for user-defined presets, which can be saved and recalled at the push of a button. Once you’ve set the front panel controls how you want them, press and hold the Memory button to store that setting. It really is that easy.

Check out the rear connection panel for even more options: there’s a balanced XLR output with direct, pre or post signals, left and right speaker-out sockets, a ground lift switch, a headphones/recording output, a USB connection, Bluetooth connection through an adaptor, and connections for footswitches and expression pedals.

Sounds

Now, the million dollar question: how does it sound? Thankfully, despite the sheer range of features, along with the scope with which you can shape your fundamental tone, you’d be hard-pushed to find a bass sound that you couldn’t gig with almost immediately.

There’s nothing fussy or complicated about the EQ. It works well and is perfect for bass. The more off-the-wall tone shaping options located either side may result in more tweaking than you might initially want to indulge in, but they're often too tempting to leave alone.

The sonic differences on offer from the Amp Feel switch can be quite subtle, yet each one has a very identifiable tonal character. The Modern setting offers a slightly scooped, punchy bass tone that’s great for funky fusion, though can sound a little too clinical for more traditional styles. In which case, switch to Vintage for a warmer, rounder Motown kind of bass sound.

The in-built effects work brilliantly, and the fact that you also get access to over 60 additional effects via the Boss Tone Studio software is a serious bonus.

The different effects are fun to trawl through in search of inspiration, and they make a good jumping-off point for fiddling around to create your own custom tones. There are some good distortions and compressors on offer, and the reverbs are excellent too.

Different cab and mic settings can also be selected, and there are different mic placement options, ranging from the middle to the edge of the speaker. Navigating the app takes a bit of practice, but it's great fun once you get the hang of it. We found the opportunities to experiment just too tempting to resist.

The last feature we want to touch on is the Cab Resonance technology. It’s fair to say that when it comes to speaker cabinets, it often comes down to personal preference, but either by accident or by design the slightly warm, vintage character of our in-house Ampeg cab became a great match for the clear and accurate nature of the Katana-500 Bass Head.

It's hard to know exactly what this electrical wizardry is doing most of the time – but it sounds good to us and we found it to be a welcome addition alongside the already pretty comprehensive feature set.

Verdict

The Katana 500 Bass Head lived in our home studio for a few days, and we enjoyed letting several bassists of different musical styles and abilities try it out. None of them were disappointed.

Creating new tones is a really enjoyable experience, and there’s always the feeling that the next sound you dial in will be better than the last. Coupled with the Boss Tone Studio effects, we found it really hard to stop checking out permutation after permutation.

There’s a lot to take in and we have to point out that there were times when we got a little lost when navigating all the options and, most importantly, finding that all-important killer tone on the fly. But for all its features, it remains functionally pretty straightforward, making for a great little amp that’s definitely punching above its weight.

At 500 watts, it may not be quite as powerful as its $799 price tag demands, but what it lacks in raw power, it makes up for in versatility. If you get a chance to audition one of these, hooked up to any speaker cabinet, you won’t be disappointed – though it doesn’t correct wrong notes!

Specs

PRICE: $799 / £734

MADE IN: Malaysia

TYPE: Class D bass amplifier

OUTPUT: (4 ohms) 500W (8 ohms) 250W

FEATURES: master volume, bass, lo mid, high mid & treble EQ controls, built-in compression, modulation and drive effects, 2 programmable amp models: modern & vintage, line out with emulated mic settings, cab resonance, programmable presets, XLR DI out, 2 x SpeakON outputs, ground-lift switch, USB port, Bluetooth adaptor connector, headphone & rec ouput

WEIGHT: 2.8 kg (6.3lbs)

DIMENSIONS: 29.8 (w) x 9.6 (h) x 21.2 (d) cm

CONTACT: Boss

Guitar wireless systems are freeing, but they also come with a sense of anxiety. Will I pick up interference on stage? Is my transmitter going to die minutes before I go on stage or even worse, mid-way through the set? The truth is over shorter distances 2.4GHz wireless systems are incredibly reliable and the chances of you picking up the venue WiFi over those distances are highly unlikely.

If you’re thinking about freeing yourself from the grasp of your guitar cable, then you’ll have considered getting yourself a wireless system. There’s a lot of choice on offer nowadays and many systems are well within the grasp of the average guitar player, with one such reasonably priced option being today’s subject, the Boss WL-50.

Designed to be placed on your pedalboard, this offering from Boss looks to compete with similar options from Line 6, Shure, and Sennheiser. Coming in cheaper than all of its main competitors gives it an advantage, but does the performance match? Let's find out… 

Boss WL-50 review: Features

The Boss WL-50 comprises two main components, transmitter and receiver. The receiver is around the size of a regular Boss-sized stompbox and features a 1/4-inch input and output jacks. Why an input? It allows you to plug a guitar in via cable that will override the transmitter – handy in an emergency. 

9V power-in and power-out sockets provide your juice and you can also run the receiver with two AA batteries if you wish. A ‘cable tone’ switch simulates different cable lengths and the two lights on the receiver let you know whether it's receiving a signal and whether it's powered on.

The transmitter meanwhile comes in a lightweight, ‘bug’ style plastic casing promising easy connectivity and the ability to fit into any guitar’s output jack. Gaining its charge whilst sitting in the receiver, it also features a USB Micro B port in case you need to charge it away from the receiver.

It has a colored light on it that determines several states. Whilst in the receiver, flashing orange indicates finding the optimum wireless connection, stable orange is charging, blinking green is fully charged, and stable green happens after five hours when charging automatically stops to protect the battery. Out of the housing stable green implies a healthy charge, orange indicates two hours of battery life, while red means thirty minutes of charge left.

Boss WL-50 review: Usability

Getting the WL-50 ready to rock was quite literally a matter of a minute. Placing the transmitter on my pedalboard and plugging the output into my guitar tuner pedal, I simply switched on the unit by plugging it in and I was ready to go immediately. Despite both components being made of plastic they feel ultra-rugged, as you'd expect with Boss' legendary reputation for durability. This also makes them nice and lightweight which is welcome alongside a heavy 'board full of pedals.

I tried the transmitter in several of my guitars including a Telecaster, Stratocaster, Les Paul, and a PRS, finding no issues whatsoever with compatibility. It’s super lightweight which is quite a freeing feeling as you’re much more easily able to move about without the feel of a cable, whether you’re playing sitting or standing up. I’ll admit though it looks a bit ugly sticking out of my Strat.

Having an extra power out on the receiver is a godsend for pedalboard users, essentially saving you from wasting one of your power outs charging your wireless unit. There’s no documentation on how many mA it delivers but I used both my Carcosa fuzz and Victory Sheriff overdrive with no issues. Presumably, there’s a limit on what it can power but as I don’t use many intensive digital effects I didn’t find it.

Boss WL-50 review: Performance

As I was reviewing various bits of gear I was able to play with the transmitter on consistently for well over three hours, with the light remaining green. It was only once I had played for a few more hours the next day that its light changed to orange, so no worries about it not lasting the course of a show or even a long rehearsal. The fact that it's charging every time you place it back into the receiver is reassuring too.

I could also tell no difference between the tone of my guitar with the Boss WL-50 and with a regular guitar cable. I A/B’d them with the same settings to see if there was anything discernably different but to my ears, the tone sounded exactly the same. I didn’t find there was any noticeable loss of treble bite with my Klon clone engaged and my octave pedal sounded just as beefy as it always does.

The cable tone switch is a nice extra touch although to be totally honest, I couldn’t tell much of a difference in switching between the three options. One is no cable length, one short, and one long. My ears seemed to prefer the ‘short’ option when I tested all three back to back, although I couldn’t really tell you why other than gut instinct.

Boss WL-50 review: Verdict

Having tested several wireless systems I can safely say that the Boss WL-50 is one of the best out there. If you’re a pedalboard user it's a fantastic option and coming in cheaper than similar offerings from Line 6, Shure, and Sennheiser makes it a tempting choice. 

I've oft-debated whether or not to go completely wireless for shows and the WL-50 makes a compelling argument for me. There’s plenty of great functionality to make your life easier and assuage any fears of signal or battery loss, and the sound is simply fantastic.

Boss WL-50 review: Specs

• Price: $229 / £178 / €209
• Range: 65 feet line-of-sight
• Latency: 2.3ms
• Frequency response: 20Hz - 20kHz
• Dynamic range: >110dB
• Operating band: 2.4GHz
• Transmitter battery life: 12 hours
• Transmitter battery type: Lithium-ion rechargeable
• Receiver inputs: 1 x 1/4" (line), 1 x 1/4" (transmitter)
• Receiver outputs: 1 x 1/4"
• Contact: Boss

Last summer, Boss overhauled its multi-effects pedal game with the ME-90, which came loaded with the firm’s flagship modeling tech.

Now, the brand has catered to bass guitar players with the purpose-built ME-90B – a low-end reimagining of the retro-styled guitar pedal.

With some bass-specific sounds and a fresh lick of paint to boot, the ME-90B adopts the same throwback aesthetics of its electric guitar pedal counterpart, and retains the key internal upgrades that made the original such a notable release.

What does that mean for the ME-90B? Well, Boss’ AIRD (Augmented Impulse Response Dynamics) technology once again makes the cut. Notably, this is the same tech found in the GT-1000, which replaced the Boss COSM tones in the standard ME-90.

At the time, the switch to AIRD was seen as a significant upgrade for the ME-90, and so it’s no surprise Boss has extended this into the bass realm.

Through AIRD, the ME-90B offers 61 effects optimized for bass, and 10 bass preamps. To tweak this array of tones, the pedal offers eight footswitches, a built-in expression pedal and a legion of parameter-sculpting knobs.

As was noted with the ME-90, the ME-90B might not look the sleekest, and it might be reminiscent of multi-effects from yesteryears, but the vibe has a certain charm, and it certainly appears intuitive to get around.

Pair that no-nonsense operation with robust AIRD tech that promises up-to-date Boss tones and effects, and the ME-90B has all the ingredients of becoming a rather popular pedal indeed.

A whistle-stop tour of what’s on top: there are sections for Preamp/EQ, Modulation, Drive/Synth, Delay/Reverb, Comp/FX1 and Filter/FX2. In each, there is a rotary knob to navigate the catalog on onboard effects, and parameters to tweak them as players see fit. 

Connection-wise, there are jacks for stereo and mono operation, an XLR jack with ground lift for sending a balanced DI signal to a PA, and USB for direct recording in DAWs, as well as a headphone output for quiet jamming.

Like most Boss products, the ME-90B can be hooked up to the firm’s Tone Studio. Here, players can edit tones, swap in amps and effects, organize presets for gigs, and bolster the onboard IRs with three user-supplied alternatives.

At $399, it’s slightly pricier than the ME-90, but still sits at a very competitive price point when compared with other, flashy-looking multi-effects (not to mention the $1,189 AIRD-loaded GT-1000).

To find out more, head over to Boss.

Boss has been busy bolstering its bass arsenal. It has also unveiled its flagship Katana bass head, which aims to change the bass amp game for good.

Boss has expanded its amp family with the Katana-500 Bass Head and Katana Cabinet 112 Bass, which look to take bass amps to a new level thanks to some characteristic Boss innovations.

There are a few headlines here, but the main one is: this is Boss’ first-ever Katana bass head. Indeed, the company is still relatively green when it comes to Katana bass products, having only released its flagship bass combos in 2022.

A Boss Katana combo would no doubt have appealed to a large number of bassists, but a portable Katana head that can easily be transported between gigs, and that still supplies Boss Tone Studio powers? This is a very savvy move from Boss indeed.

But here’s the kicker: the Katana-500 Bass Head looks to one-up other bass heads by way of its innovative Cabinet Resonance calibration function.

In practice, the Cab Resonance uses “high-tech calibration to internally fine-tune the power output section for the user’s preferred speaker cabinet”. 

In other words, it can be paired with a cab of your choosing, and thanks to some electrical wizardry, will calibrate the amp’s reactive output stage circuitry to match the impedance and frequency response of its connected cab.

The process considers the lowest frequency a cab can produce, its high-end resonances and “many other factors”, before using advanced processing to “provide superior feel and response, powerful lows, and high-definition overall sound”.

It sounds very practical indeed. Active bassists, at least on paper, could haul the head to a gig and get a dead-on bass sound regardless of the provided backline.

Now, Cab Resonance can be found on some other Boss Katana guitar amps, but the function here is different. On the Katana-100 MkII, for example, the parameter is used to emulate Vintage, Modern, and Deep tones. Here, it aims to optimize the amp’s performance for any speaker cabinet.

Cab Resonance aside, the Katana-500 Bass Head is a well-spec’d amp. It boasts a four-band active EQ with three adjustable frequency options, three Hi Cut settings, a Bottom parameter for low-end sculpting and a Shape knob that can “instantly revoice the amp with mid-scoop, bright, and wide-range curves”.

There’s also an Amp Feel switch, which applies Modern or Vintage tones, and an FX section that offers room for three bass effects, including Comp and Drive types, and a Blend knob.

Elsewhere, the amp debuts a newly developed 500-watt Class D power amp and refined preamp circuitry. As for connectivity, there’s an XLR line output, two locking Speaker outs and a headphone jack, as well as a USB port.

Because let’s not forget, this is a Katana amp, which means it has access to the Boss Tone Studio. There, bassists can edit amp parameters, and access over 60 Boss effects that can be used in place of the stock Comp, Drive and FX sections.

It’s without doubt Boss’ most advanced Katana bass amp yet, and Boss seems keen to hammer home that point.

“The Katana-500 Bass Head raises professional bass amplification to the next level with advanced Boss technology,” the firm writes. “The compact Katana-500 Bass Head brings serious bassists a next-generation sound experience backed by decades of Boss R&D.”

The head is joined by the Katana Cabinet 112 Bass. This is Boss' first bass cab, and comes loaded with a 12” Eminence Neodymium woofer and high-frequency tweeter.

“It’s an ideal match for the Katana-500 Bass Head,” says Boss, “providing full support for the amp’s 500-watt output in a compact, space-saving footprint.”

Price-wise, the Katana-500 Bass Head weighs in at $799, while the Katana Cabinet 112 Bass will list for $699. Both will be available in May.

Head over to Boss for more info.

The CE-1 Chorus Ensemble and the RE-201 Space Echo may be long-gone 1970s designs, but they live on – and perhaps not in their original, intended roles. 

While the CE-1 provided luxurious chorus and vibrato and the RE-201 offered mellifluous tape echoes, those effects were coloured and enhanced by the sound of the preamps in each unit, something that guitarists found that they favoured, at times using the units with the effects bypassed just for the extra that the preamp offered. 

Here, the new BP-1W uses analogue circuitry to recreate the sound of those two preamps, delivering them via Level and Gain knobs. You choose your preamp from a three-way toggle switch, and the central (NAT) position offers a natural transparent sound if you prefer to dial in a boost without the added colour. You also get the choice of two buffers: Standard and the slightly warmer‑toned Vintage.

The Level knob dials up the output volume with plenty of capacity for substantial boost, while a Gain knob adds in some dirt – and between the two of them you can set up your favoured tone, mixing a sufficient amount of volume with a dash of grit. 

When the Gain knob is maxed, it can actually add in quite an amount of drive/distortion, but that varies and is dependent on which of the three settings you’re using, with the CE setting getting the most distorted. 

That crunch is there to be called upon, but we preferred the sweet spots to be found further back on the dial. The RE and CE settings both add in a little extra midrange compared with the NAT sound, just right for adding a little girth.

However, both have their own character, the RE being softer/warmer in the top-end with more subdued transients to the CE’s glassier top and clarity in pick attack. All three voices work brilliantly, providing plenty to give your guitar amp a kick, bolster the sound of other dirt pedals or just generally providing that ‘more’ factor.

Verdict

The BP-1W is a quality tone conditioner to have in front of your amp. Couple it with the recently released IR-2 Amp & Cabinet to add switchable gain-changing options and you’ve got a truly portable rig that’ll get you through many scenarios. 

Specs

• PRICE: $169 / £259
• ORIGIN: Japan
• TYPE: Boost pedal 
• FEATURES: Buffered bypass
• MODES: RE-201, Natural, CE-1
• CONTROLS: Level, Gain, Natural/RE/CE switch, Buffer switch, Bypass footswitch
• CONNECTIONS: Standard input, standard output
• POWER: 9V battery or 9V DC adaptor 60 mA 
• DIMENSIONS: 73 (w) x 129 (d) x 59mm (h) 
• CONTACT: Boss

The Boss IR-2 takes the guitar amp and speaker emulation facility of Boss’s twin-footswitch IR-200 and makes it available in a compact pedal format.

Plenty of players have got used to working without amps these days, with the consistent quality of sound and sheer convenience of digital winning out in many situations. If we’re talking convenience, few amp modelers come close to the practicality of this new IR-2 – the amount of functionality Boss has packed into a Compact series pedal is just staggering.

What you’re getting here is a pedal that can supply the signature sound of 11 different amp types – a mix of some named favourites and some more generic Boss creations – each of which with an associated cab IR from Celestion Digital, although you can load alternative IRs into the pedal using the free, dedicated IR-2 IR Loader app for Mac OS and Windows. 

Each amp can be adjusted with Level, Gain, Middle, Treble and Bass knobs, and an ambience knob adds in a choice of either Room, Hall or Plate Reverb. Connection is via a mono input with a choice of mono or stereo output, and there’s also a mono or stereo send and return loop so that you can bring other pedals into the signal path after the amp emulation.

While the default option is connection to a line-level device, there is a range of options for calibrating the IR-2 for optimum use with different amps. For a bit of silent practice, there’s also a mini-jack stereo headphone socket. Besides loading IRs, a USB input allows the pedal to function as an audio interface so you can easily connect to a DAW for recording.

The amps are tactile to play through, nicely dynamic and react well to boost pedals placed in front. The 11 amps have been chosen to cover a range of musical genres, and the named models (Fender Twin and Bassman, Vox AC30, Marshall ‘Plexi’, Soldano SLO-100 and Mesa/Boogie Rectifier) would probably be enough for many players.

However, there are also some really good tones delivered by the proprietary models as Boss uses its Multi-Dimensional Processing (MDP) to positive effect for crunch and high-gain sounds that retain great string clarity.

These models are useful for live scenarios because you get instant access to two channels, each with a different amp or the same amp with altered settings (perhaps more gain), which are toggled between with the footswitch (a press and hold is needed for bypass). There’s also a provision to add an external footswitch for the channel switching.

If you don’t want amp and cab together then you’re able to turn the other on or off. For example, you may wish to turn the cab off so you can use an amp’s sound as a drive pedal in front of your amp, or perhaps use the Celestion IRs to complement another favoured amp‑in-a-box pedal.

Specs

• PRICE: $199 / £179
• ORIGIN: Malaysia
• TYPE: Amp & cabinet simulation pedal
• FEATURES: Buffered bypass
• MODES: Clean, Twin, Tweed, Diamond, Crunch, Brit, Hi-Gain, Soldano, Brown, Modded, Rectifier
• CONTROLS: Ambience, Level, Gain, Bass, Middle, Treble, Mode selector, Bypass footswitch
• CONNECTIONS: Standard input, standard outputs (A/Mono, B), standard CH Select input, standard Send, standard, Return, Phones, USB
• POWER: 9V battery or 9V DC adaptor 160 mA
• DIMENSIONS: 73 (w) x 129 (d) x 59mm (h)
• CONTACT: Boss

The near-universal popularity of Boss’s Katana range shows no sign of slowing down, with a full range of affordable digital amplification covering every need – from big stages and arenas, to pubs, clubs and the home. The latest product to bear the Katana name, the Katana:Go headphone amplifier, is the smallest yet and likely to become another success story for Boss.

The Katana:Go is small enough to fit in your pocket and exquisitely designed, with the same attention to detail lavished on all Boss products. As you might expect, it’s not exactly bristling with knobs and switches, and yet the various small buttons and volume-control wheel handle everything you might need, and they’re intuitive to use so after a while you don’t really need to look at them any more.

On the lower side, from a plugged-in perspective, you’ll find an on/off switch with a charge indicator LED that glows red when the battery is low, amber when charging, and green when fully charged. Two more button switches manage the Katana:Go’s Bluetooth connection and a Stage Feel 3D ambience effect.

On the opposite side, nearest the player when plugged in, there’s a Bank Up/Down switch that also operates the tuner, together with three patch selection buttons labelled A, B and C. On the top face is a small monochrome display and the volume control, with a 3mm stereo jack socket for your headphones and a USB-C socket on the back face. 

The integral jack plug is hinged and folds to accommodate angled and straight jack sockets, covering practically all guitars. Thoughtful soft pads on the underside protect your guitar’s finish.

The key to the Katana:Go’s power is software, rather than hardware. A specially designed version of Boss’s Tone Studio app connects via Bluetooth and lets you access the five famous Katana guitar amp voices, each with a second variation. EQ controls include Bass, Middle, Treble, Presence and Cabinet Resonance, this last one with a choice of Deep, Vintage and Modern modes.

There are dozens of effects to choose from, covering all the bases you might need in the overdrive, distortion, modulation, delay and reverb departments, plus seven different signal chains to arrange them in. 

There’s also not one but two parametric EQs and a noise gate, with yet another global EQ lurking in the system settings. The Katana:Go also unleashes 3D audio in its clever Stage Feel mode, which gives you the impression of playing in a room, either in a hall or a studio, with your virtual amp in front or behind, plus a custom setting you can tweak.

You can use the Tone Studio’s Session List feature to load and play music from your mobile device or YouTube, and arrange songs in your favourite order, as well as assigning your favourite patches to play along with them. 

Roland account holders can make full use of the Boss Tone Exchange to browse and download from thousands of Liveset patches uploaded by users from all over the world; the Katana:Go is compatible with Livesets created on the Mk1 and Mk2 Katana amps.

Are we finished? Nowhere near. This feature-packed device also offers high‑quality USB streaming and recording to your mobile device or desktop, is compatible with the Boss wireless expression pedal and footswitch, and operates in either Guitar or Bass mode.

In use

The Katana:Go’s onboard memory holds 30 patches (or 60, if you count the bass mode) that are arranged in 10 banks of three. Soft-touch button switches on the side nearest the player scroll through the banks and select the individual patches, with a useful tuner function if you push in the Bank Up/Down switch.

In guitar mode, you can pick or choose from Acoustic, Clean, Crunch, Lead or Brown amp voices, each with a variation and a regular EQ layout. Swapping into bass mode gives you a choice of bass-optimised Vintage, Modern or Flat amp voices, each with a Shape option, while the amp EQ defaults to a semi-parametric configuration, with swept low and high mid controls and shelving treble and bass.

We used our regular Strat and Les Paul guitars, together with standard mobile phone wired earbuds and a decent mid-priced closed ear studio-type headphone for comparison. 

The ‘out of the box’ EQ sounded somewhat fizzy with too much top-end for the small earbuds, but it was warmer and more relaxing to listen to on the studio headphones. The Katana:Go’s global EQ is the solution here, making it quick and easy to dial the amp into your favourite pair of speakers.

The effects are the same as the larger full-sized Katana amplifiers and there are dozens to choose from, including popular staples such as chorus, flange and phasing alongside wilder options such as the Slow Gear reverse effect and the Slicer, one of our personal favourites and a brilliant source for creative chord playing. Delays feature another favourite, the SDE3000 model.

Boosts and overdrives include well-known Boss hallmarks such as the HM-2 and Metal Zone, alongside other famous effects such as the Centa OD, Rat and imaginatively named Muff Fuzz.

They all sound great with a little careful editing, especially when filtered through the Stage Feel surround sound, which puts you and your virtual amp in a hall or room with streamed music from your favourite band coming from behind while you’re centre stage. The quality of the Bluetooth stream is excellent with practically zero latency; the illusion can be quite convincing.

Verdict

We’ve said on more than one occasion recently that digital amplification for the guitar has now arrived at the point where the differences between analog and digital are so small they’re not worth arguing over. 

More so than the high-end devices that tend to get the attention, the Katana range has arguably been the most disruptive, taking over the highly competitive mid ground with great tone and effects that practically everyone can afford. 

The technology that’s on offer in the Katana:Go is so much fun and so inspiring, it’s a steal at the asking price – and it will inspire you to play more guitar, too.

Specs

• PRICE: $/£119
• ORIGIN: Vietnam
• TYPE: Digital modelling headphones amplifier
• DIMENSIONS: 45 (w) x 83 (d) x 25mm (h) 
• WEIGHT (kg/lb): 067/0.15
• CASE: Plastic
• CONNECTIONS: Single instrument plug, stereo headphones jack, USB-C socket for desktop/charger connection
• CHANNELS: 30 slots organised in 10 banks of 3
• CONTROLS: Volume control, bank up/down/tuner switch, A/B/C patch select buttons, Bluetooth button, on/off button, stage mode select button
• FOOTSWITCH: Optional Bluetooth footswitch/expression pedal
• ADDITIONAL FEATURES: Bluetooth audio streaming, USB audio recording, integral tuner
• POWER: Integral rechargeable battery pack
• CONTACT: Boss

A few years ago, I was interviewing Band of Horses guitarist/frontman Ben Bridwell and chatting about guitars. As if often the case when writing for Guitar World, he in-turn asked me what I play and I told him the barebones truth: a single-pickup Strat direct to a Vox AC4.

“You had kids, didn’t you?” replied the songwriter, with annoying perception. 

Upsettingly, he was right: I did have kids. Now, my children are the light of my life, but they also are the chief recipients of my time, money and essential life force – all of which had previously proved useful in my pursuit of the guitar. 

I’m fortunate enough to write about guitars and playing every day, but actually finding the time to do the thing has gotten progressively harder. And I know I’m not alone in that: from amateurs to tour-hardened pros, the parent-players I speak to are often in the same boat. 

Finding ways to fit playing into my day has therefore become something of a challenge and – like any self-respecting guitarist – I have attempted to fix it by buying new gear.

The only real time I have to myself is post-bedtime and, as such, I’ve worked through a host of different quiet practice options over the years. 

I have long traded off my ‘big’ tube amp for a small combo, but even on its ¼-watt setting, the paper-thin walls of my house ensure my Vox AC4 is enough to disturb a sleeping toddler. 

Years back, I was an early adopter of the iRig/iOS AmpliTube iPad option, but I never enjoyed playing it for long periods, and I disliked having to hop between apps for recording.

Then I tried a laptop setup, but again, I found firing up the interface and fiddling with presets hampered my actual playing time.

Later came the Blackstar Fly 3 (in stereo). It’s a great mini amp for the money and punches well above its weight, tonally, but for some reason, it never stuck. Instead, it sat on my desk, gathering dust. 

I had more luck with Positive Grid’s Spark. It has the smart features and preset fun of the software solutions/apps, but looks and feels like an actual amp. However, the interaction can be a bit jarring – most notably, having to figure out where your physical controls are after you’ve made tweaks on the app.

What’s more, for silent practice, you’re limited to the reach of your cable and headphones – and I’ve never been very good at sitting still while playing.

All of this time, the ultimate silent rival lurked on the horizon: the headphone amp. 

The problem is that I am an egotistical guitar journalist and headphone amps do not exactly scream ‘outlaw cool’. More importantly, they just don’t feel real – and some of them are not up-to-scratch tonally – and the sense is often that they’re cash-grabs or cheap gimmicks.

Then, about a month back, along came word of Boss’ Katana:GO, which promised to pack an entire library of the brand’s much-vaunted Katana amp tones and 60 Boss effects into a device you can keep in your pocket.

Press releases from manufacturers are always making these kind of breathless claims, but two things piqued my interest: 

1) GW’s Editor-in-Chief, Mike – who operates on a three-guitar-post-rock-band level of tonal obsession – returned from an early hands-on preview looking unusually impressed.

2) Presenting it as ‘a Katana amp in a jack’, rather than a standard headphone amp somehow felt much more acceptable to my inner rock idiot. (The vanity of small small differences, eh?)

As such, I gave it a go more out of curiosity than the courage of my convictions. The format will look familiar to anyone who’s seen the Fender Mustang Micro – a small black box with a foldable jack, central dial and side-mounted controls.

Unlike the Mustang, the Katana:GO also has a small built-in screen and a larger line-up of presets (available from three banks) – meaning you can quickly access everything without your phone, or you can pair up to tweak parameters, build your patches and stream practice audio.

My ambition on the first night was honestly just to get it working, but by the time I’d put the guitar down, two hours had passed. I’d played all manner of fun things and I had the bones of a new song. 

The same thing happened again a few nights later. And, well, to cut a long story short, I’m now playing more at home than I have at any point in the past few years. 

So why the hell has that happened with a headphone amp, rather than all my previous efforts? 

Some of it is simply the great guitar player ‘peak and plateau’ wheel turning once more, but some of it is down to the gear.

The Katana:GO is not without its niggles, but it does what it needs to do well – and that is to get me playing a lot more. And to do so quickly, conveniently, and in a way that still feels lively and responsive. 

The niggles are the kind you can live with. The app feels notably dated when placed next to the likes of the Spark series, but using it has made me realize that having fancy GUI amp/pedal recreations to tweak on my smartphone has been more of a hindrance than a help. 

I look at screens all day, so I think the Katana:GO is working because a simple list and some colored dials is a comparative relief. It’s the same with the OLED screen. It’s bright, functional but in no way attractive, so I can browse presets (and even tune up) without distraction – and it makes me listen to what I’m playing.

The casing feels like it might not survive being stepped on, but frankly, so does my phone. This is lightweight and small enough to tuck in my pocket – and, at $119 new, it will not bring me to tears/my home insurer when my two-year-old drops it in the toilet. 

Meanwhile, it's also powered by a rechargeable battery, so I can run about the bottom floor like Angus Young at an open house.

On the tone front, a lot of words have already been written about the strength of the Katana sounds and I won’t retread them here, but suffice to say they are really good.

As ever, there are some that I, personally, would consign to the realm of Hades, but I’m a fan of deep, verb-y cleans and crunchy, harmonic distortions and there’s plenty on that front.

What has really cinched it for me, though, compared to any other silent practice solutions I’ve tried is the Stage Feel modes.

These are essentially three room sound presets, which offer a choice of Stage, Studio and Custom settings and, if you dig in via the app, allow you to move audio sources and amps around the listening space.

This is done using “advanced BOSS spatial technology” – likely some form of IR and hardly revolutionary in isolation – but it’s hard to think of another scenario where it’s been incorporated in such a straightforwardly useful way.

It’s super-simple to use (engaged with a switch on the side of the unit) and, when you don the headphones, it feels like it puts you in the room with the amp sound. 

The most persistent wisdom I have garnered during my 15-odd years of writing about guitars is that playing is about feedback loops – between your mind and your hands, your hands and the strings, the guitar and the amp and so on. And that all exists within a broader, overarching loop of the sound and your ears. 

Anything that breaks or interrupts one of those loops hinders our flow as players – and that is where headphone amps (and a lot of other quiet practice solutions) traditionally fall flat. If our brain has to compensate for that interruption then it becomes much more wearing on the ears and mind. 

It doesn’t feel like that is happening in the same way with the Katana:GO. The Stage Feel feature is a major part of that, but it’s also the way it’s incorporated into a bigger offering that, by luck or design, has made it much easier for me to pick and play for long periods – and, at its core, that is all I really need it to do.

As a guitar journalist, it’s very easy to become prone to cork-sniffing, but ultimately the best gear is the stuff you find yourself using time and again. And so this is where I find myself – a guitar journo of 15 years – standing in front of the world declaring my love… for a headphone amp.

Boss has unveiled the Katana:GO – a tiny headphone amp that packs the same Katana tones found on its best-selling amp range into an ultra-portable jack unit.

The first Katana debuted back in 2016 and, at the time, raised a few eyebrows as the effects stalwart turned its hand to amp-making. Boss quickly silenced the doubters, though, and the Katana line has become much-admired for the quality of its tones – and one of the most popular practice amp choices in the process. 

What’s more, as evidenced by our recent chat with Sprints, we’ve also seen an increasing array of guitarists confident enough to take Katanas stage-side, too. 

As such, the diminutive Katana:GO is officially a big deal: offering the tones found on those larger Katana units in a super-compact, foldable headphone amp that will pop into your gigbag (or even your headphone case), leaving room to spare. 

In terms of tones, that means you get access to 10 amp models, including clean, crunch and the (EVH-inspired) high-gain brown type, alongside dedicated bass amp models, plus Boss’ mammoth effects library – filled with all the usual suspects, including delay, reverb, modulation and pitch effects – and the option of further customization from the Boss Tone Studio app.

In addition to the usual tonal platter, the Katana:GO employs Boss’ spatial technology – as heard in its Waza-Air headphones – with three ‘stage feel’ options (Studio, Stage and Custom), which aim to create “an immersive audio experience” and can be tweaked to move the position of the ‘amp’ and backing tracks around the stereo field.

The aforementioned Tone Studio app will also offer some handy practice features – enabling you to stream YouTube clips through the app and (via Bluetooth) for headphone playback, alongside your guitar audio from the Katana:GO. It can also be used to slow, loop and timestamp elements of the tracks.

Then you’ve got all the usual editing and patch-saving features you’d expect from a companion app, with 30 memory slots to occupy. It’s also USB-C rechargeable (offering five hours of playtime before it runs out of juice) and doubles up as a portable audio interface. 

Finally, it takes a notably different tack from the likes of the Fender Mustang Micro and Positive Grid Spark GO (no relation), by offering a fair amount of control on the unit itself, with a built-in tuner, stage feel control, three memory bank buttons and a patch browsing flick-switch, alongside the main dial – and it has a display. All of which should mean that practice time is not necessarily over if your phone dies.

We’ve had our hands on one for a few weeks now and can say that, while the tones are great, the spatial audio is a real game-changer when it comes to headphone practice – creating a much more natural sense of movement from the amp models. 

We’ll update you as to how we’re getting on with it shortly, but suffice to say, it’s dangerously playable...

The Katana: GO is set to retail for $119. Head to Boss for more information.

The RV-200 has been a long time coming. When Boss’s pedalboard-friendly twin-footswitch designs made their debut in summer 2019, the 200 Series featured four pedals. 

Two of them – the DD-200 Delay and MD-200 Modulation – were downsized from Boss’s flagship 500 Series units. But one escaped Boss’s shrink ray: the RV-500 Reverb. 

It would have been the no-brainer of all no-brainers – the ideal counter to the Strymon BlueSky or Source Audio Ventris. Yet as the 200 Series expanded with Synthesizer and Impulse Response offerings, an RV-200 never emerged. Mock-ups were made by Boss fans, but we had all but given up hope… until now.

So, the RV-200 is one of Boss’ most eagerly anticipated pedals ever – but is this featured-packed reverb worth the wait? Well, thankfully, it’s spec’d pretty much as we’d hoped it would be. It features 12 reverb types, 10 of which are lifted from the RV-500. 

You’ve got your standard Room, Hall, Plate et al, Shimmer and Modulate for the post-rockers, Reverse for the shoegazers, and a combined reverb and delay based on the cult classic RV-3. Boss has also compensated fans for the wait with a new algorithm exclusive to the RV-200: the arpeggiated ‘Arpverb’. 

These are controlled with your usual ’verb controls – Type, Time, Pre-Delay, Effect Level – as well as separate Low and High EQ controls, a Parameter control to adjust type-specific settings, plus a Density button that tweaks the ‘thickness’ of the reverb trails.

Your sounds can be saved into one of four onboard presets, while the Manual setting calls up whatever you’ve got the controls set to. You also get a dizzying level of connectivity via MIDI, stereo inputs and outputs, plus an expression/external footswitch jack. 

Then there’s the Memory/Hold footswitch – that’s your gateway to the RV-200’s infinite sustain features and preset switching: short press to change sounds, long press for Hold.

Boss reverbs have a distinct tonality, and given the RV-200 is mostly composed of the same 2017 algorithms that featured in the RV-500, the story is the same here. The effects are pristine and unblemished – this pedal is more of a do-all workhorse than many of today’s singular boutique offerings. It also means the same strengths and weaknesses rear their heads. 

Spring modes have never been Boss’s strength, yet its modulated reverbs are among the best in the business. Room, Hall and Plate are all excellent with a little taming of the high frequencies, and the octave-up Shimmer has a pleasingly psychedelic organ tonality.

There are some frustrating oversights, however. Initially, you’ll be bowled over by the Arpverb’s 5th and octave cycles – it’s an inspiring sound, like a step phaser with reverb. But there’s no control over the tempo of the arpeggiation. Likewise, adjustment over the speed of the Slowverb’s fade-ins would make that setting infinitely more useful.

Lo-Fi sounds like running your guitar through a transistor radio in an aeroplane hangar – cool for a reverb effect, but it also effects your dry guitar sound, which is significantly less appealing.

The Reverse function sounds rich and atmospheric, but there’s no way to go 100 per cent wet – ie, Kevin Shields shoegazing 101 – without menu-diving and digging up the Direct Mute setting. Which is universal, so can’t be saved to a patch (arg). 

Speaking of which, dialing in the pedal’s deeper settings is slow going with the three-character LED display, which feels a little outdated now. 

The Hold functions, meanwhile, sound like they belong on a delay pedal – the infinitely sustaining Hold function has a definite repeat-like pulse to it that’s not as smooth as rival offerings, while Twist and Warp are both essentially versions of delay oscillation takeoffs. Fun, but not the smooth pad sounds you’d expect from a reverb of this calibre.

Boss reverb pedals are legendary, and their algorithms remain inspiring, so if you’re after a reasonably priced studio-quality reverb that doesn’t take up much room on your ’board, and boasts excellent connectivity and preset functionality, the RV-200 is a must-try. But its more adventurous offerings are let down by some odd design choices – most of which are (hopefully) updatable from Boss’s end in due course, and would take the RV-200 from good to great.

Specs

• PRICE: $269 / £259
• TYPE: Reverb pedal 
• DIMENSIONS: 63 (h) x 101 (w) x 138mm (d)
• CONTROLS: Type, Time, Pre-Delay, Effect Level, Parameter, Low, High, Density button, Memory, Memory button
• CONNECTIONS: 2x inputs, 2x outputs, Ctrl 1/2/Expression TRS jack, power, MIDI in/out mini-jacks, USB micro B
• POWER: 3x AA batteries (included), 9V DC power supply 260mA (not included)
• CONTACT: Boss

Whether we like it or not the amp modeler is here to stay. If you're in the former camp - or you're just not quite ready to go fully ampless - then you may well have looked at the options for a unit that will fit on an already existing pedalboard. Many guitarists are opting to go this hybrid route, perhaps using the effects in combination with a tube amp, or the amp modeling with a regular cab for a better playing feel onstage.

Two of the title contenders in the fight for space on your pedalboard are the Boss GT-1000 Core and the Line 6 HX Stomp. Both are compact units that feature amp and effects modeling, plenty of connectivity to integrate into existing setups, and they even look pretty similar with the switch and knob placement.

So which should you get for your rig? It’s a tough choice that’s for sure, but we’re here to lay out the pros and cons, ins and outs, and give you all the info you need to decide which is best for your rig. Let’s get stuck in. 

Boss GT 1000 Core vs HX Stomp: At a glance

The GT 1000 Core has 22 amp types and the majority of effects present in the DD-500, MD-500, and RV-500 effects pedals, giving you a huge 140 amp and effect types overall. You can run stereo amps and get 24 ‘blocks’ to play with, so you can craft some seriously complex effects chains.

The HX Stomp comes with a ginormous 88 amp models thanks to multiple updates since its release, as well as 194 effects, 37 speaker cab models, and 16 microphone types. Like the GT 1000 Core, you can run stereo amp setups but you only get 8 blocks to craft your signal chain due to DSP limitations.

Boss GT 1000 Core vs HX Stomp: Connectivity

With both units being so closely matched, it’s definitely a tough ask to separate them just on hardware alone. Both feature three stompbox-style switches for changing up your sound on the fly, and both are capable of stereo ins and outs. The GT-1000 Core has six knobs plus a master volume for adjusting your sounds and going through menus whereas the HX Stomp has five and a master volume, so again very similar.

There are some slight differences, however. Both units feature MIDI, but the Stomp uses full-size MIDI plugs while the Boss unit has the 3.5mm TRS ins and outs, so you’ll need the appropriate cables if adding MIDI control to your rig. While the HX Stomp has a single effects loop, the GT-1000 Core has two, giving you a little more flexibility when integrating into complex setups.

The Stomp has a dedicated headphone output on the side, whereas the GT-1000 Core uses the left main output for headphones. The Boss unit also has two sockets for expression or control pedals to the HX Stomp’s single input. Both units can use splitter cables to connect multiple expression or switches to each slot. 

For connecting to your computer, you’ll need a micro USB cable for the GT-1000 Core, the same as which some older phones use, whereas the HX Stomp features a USB-B type input, much like the one you’d find on a printer.

Winner: We’re going to call this one a draw. As near identical units in both size and functionality, there’s very little separating the two here. Apart from the extra fx loop and expression input of the GT-1000 Core, both units are the same in terms of hardware.

Boss GT 1000 Core vs HX Stomp: Build quality & design

These are two major manufacturers so it’s to be expected that both feature a very rugged build quality. They’re designed to be used on pedalboards in a live scenario, so both units feel very robust with a reassuring weight to them. There’s no doubt in our minds that both will put up with plenty of use and abuse on stage.

The HX Stomp is ever so slightly wider, coming in at 178mm to the 1000 Core’s 173mm. Both are a similar height, the Stomp sitting at 66mm and the Boss unit at 65mm including the rubber feet. The HX Stomp has a slightly shorter depth, however, measuring 125mm to the GT 1000 Core’s 135mm. Both will pretty easily fit onto a pedalboard with plenty of room to spare for external effects too.

Everything feels nice and solid in terms of switches, knobs, and buttons. Both units feature smooth turning knobs and responsive buttons that deliver an articulate click when pushed. The GT-1000 Core has a few more buttons you can press when editing via the unit itself, whereas the HX Stomp relies more on combinations of buttons as it has slightly less here. 

The buttons are larger on the HX Stomp, however, so some users may find the smaller buttons of the Boss unit a little fiddly. Also, the HX Stomp footswitches have capacitive touch, which means they double as buttons too, useful for selecting an effect when editing patches without having to scroll through your whole effects chain.

In terms of aesthetics, both look very slick, with the brushed grey steel exterior of the GT-1000 Core versus the sparkly black metal of the HX Stomp once again making them very evenly matched. It’s really a matter of taste as to which aesthetic you prefer, but they're not miles apart in terms of design ethos.

Winner: We hate sitting on the fence, but once again it’s too close to call. Both units have a very similar build quality that’s more than rugged enough for life on the road. With such similar looks too it's it’s going to come down to your own unique tastes as to whether you prefer one or the other.

Boss GT 1000 Core vs HX Stomp: Usability

So how easy are they to use? Let’s start with the HX Stomp when using the interface on the pedal itself - we’ll come to the dedicated app later. There’s a definite learning curve here, as you’ll need to memorize certain button presses to save changes or access things like the onboard tuner. However from personal experience it doesn’t take much to nail these, and thanks to the clear screen we found it easy to navigate and edit settings using just the pedal itself.

With the selection of knobs, we found the GT 1000 Core easily navigable as well, however, despite being larger the screen is far less high-resolution than that on the HX Stomp. To be brutally honest it’s a bit like looking at a Gameboy at times and when standing up we had to squint a bit to see what was on the smaller bits of text. That said actually navigating the menus is a touch easier on the GT 1000 Core thanks to the six dedicated buttons, so you don’t have to memorize combo button presses like you do with the HX Stomp.

Despite the obvious difference in quality, both UIs are very similar in terms of how you edit, move around, and adjust your parameters. Both will require some manual diving or video watching when you first get them, but we found the learning curve wasn’t so steep it would put us off either.

Both units have configurable footswitches so you can change what they do and tweak to your personal preference, whether you want certain effects to toggle on and off, or you want to use them to cycle up and down through presets. The capacitive touch switches on the HX Stomp are an interesting choice, and depending on what sort of player you are, can either be really useful, or really annoying. Thankfully if you're in the latter camp you can turn it off via the global settings menu.

Both units also feature a ‘pedalboard’ mode, whereby the switches turn selected effects on and off. However, the HX Stomp goes a significant step further here with its ‘snapshot’ mode. Instead of turning single pedals on and off, you can turn multiple pedals on or off simultaneously and even change amp settings.

Say you wanted a clean tone to start with, then you wanted to add some gain to your amp, a boost, and a chorus pedal, you could execute that with a single button press. You could then change to high gain amp settings, add an overdrive in front of the amp, turn off the chorus and add a reverb and a delay pedal in, again with a single press of the footswitch. It’s incredibly powerful for live playing, and a useful feature in general that adds a lot of flexibility.

Finally, each unit also has an app you can use to edit your tones via a desktop or laptop. As is becoming a running theme between these two, there's not all that much to separate the two, with both the Boss Tone Studio and Helix Control app providing an easier way to adjust your parameters than fiddling around with the small number of buttons on the unit itself.

They're very similar in terms of looks and usability, providing a path that allows you to click on and adjust effects, as well as drag and drop to rearrange your amp or effect blocks. We found both super easy to craft sounds from scratch as well as adjust existing presets and upload your own impulse responses.

Winner: With a better screen and the fantastic snapshot mode, we’re going to have to go with the HX Stomp. While both units are relatively easy to use once you’ve digested the manual, the extra functionality of the HX Stomp sees it nudge ahead on this one.

Boss GT 1000 Core vs HX Stomp: Sound

Now for something a little more subjective. Both units do their tones a little differently and of course, great sound is in the ear of the beholder, so it’s probably best that you listen to some sound demos for yourself to help inform your decision with this one. That said, we’ll do our best to explain what both these units can do.

The HX Stomp features a huge 74 different guitar and bass amp models and tends to focus on recreating real-life amps. You’ve got models of classic Marshall, Vox, and Fender amps which are standard on many modelers, but Line 6 really pushes the boat out with Matchless, Sunn Model T, HiWatt, and Supro models amongst many others giving you a really broad selection of models to choose from.

The GT-1000 Core takes a slightly different approach by creating more unique amp models. There are of course a few classic amps here like your Marshall’s, Fender, and Vox amps, but the majority of the models are of Boss’ creation. It’s an interesting take on amp modeling in general, delivering fresh sounds with their own characteristics voiced specifically for the unit.

Both units deliver fantastic amp tones and while they will need tweaking like most modelers, you won’t fail to get great amp tones out of either. For pure choice, Line 6 very obviously takes the top prize, but we have to say we love the Boss philosophy of not relying upon classic amp models and instead building unique tones.

Line 6 digital effects are renowned for their quality, and you get a huge selection of the company's own effects, alongside a myriad of other famous modeled stompboxes from classic mid-heavy overdrives to world-famous tape echo machines. It’s an astounding collection and thanks to regular updates, one that continues to grow.

Boss are similarly renowned for their effects too, and the GT 1000 Core features the majority of the 500 series reverb, delay, and modulation effects. As you’d expect from Boss these are all top-quality effect algorithms and again there’s a huge amount of choice on offer. The GT 1000 Core also models some classic units but takes the majority of its sounds from existing Boss pedals.

In terms of effects, it's nigh on impossible to separate the two, both have a huge array of choices on offer and give you fantastic quality sounds. If pure choice is what you need then we’d go for the HX Stomp, if you’re already a fan of Boss effects, then the GT 1000 Core might be the better option.

Winner: It’s hard to subjectively say that either unit has ‘better’ sounds so we’ll call this a draw once again. These two amp modelers go about their work in slightly different ways, but both feature a wide range of excellent quality, usable guitar tones.

Boss GT 1000 Core vs HX Stomp: Verdict

We’ve done a few versus pieces and not many have been so closely matched as these two are. Not only do they look strikingly similar but they also operate in much the same way, making it very difficult to choose a clear winner.

That said there was one category where someone just nudged ahead, and that’s in usability and functionality. The Line 6 HX Stomp was far superior here thanks to its snapshot mode, and the regular amp model and effects updates it receives. For playing live or integrating into an existing pedalboard, it’s the natural choice.

It’s a shame that the Boss GT 1000 Core has not had an update since 2022, as it seems like all the ingredients are there to allow it to compete better in terms of functionality with a little tweaking. That said, if you’re a total Boss tone hound and not necessarily fussed about playing live, then it’s a no-brainer to pick the GT 1000 Core, as the amp models and effects are done fantastically well.

Ever since its introduction, the Boss Katana range has become a byword for affordable digital modeling, with a wide range of guitar amps covering home, studio, and stage use. 

In the home amp market, small is often beautiful, and the Katana Air stereo desktop guitar amp is a popular choice, pushing out up to 30 watts through a pair of three-inch speakers, with a wireless guitar transmitter and battery power to remove untidy wires and cables. Now Boss has added yet another option to the range, for those who like the wireless thing but want more: the Katana Air EX. 

The Katana Air EX is physically bigger than the original Air, with a ported wood cabinet housing a pair of specially-designed five-inch loudspeakers. With a tough textured black finish, recessed control panel and silver accents to the speaker grille, the Air EX has more of a professional amp look and feel. 

As well as regular jack sockets for guitar and guitar amp headphones, there’s a docking port and charger for the Katana Air EX’s wireless transmitter, which provides up to 12 hours of play time. On the rear panel, there’s a useful pair of stereo line out jacks, together with an aux in and a USB type ‘B’ port for direct recording into your computer.

Bluetooth provides audio streaming and remote control from the Boss Tone Studio mobile app, enhanced by an optional wireless footswitch and expression pedal. Like its smaller brother, the Katana Air EX can run off mains power or batteries, with an optional rechargeable power pack giving up to 16 hours of cable-free use. 

In use, the bigger loudspeakers and stereo sound make the Katana Air EX satisfying to play and record, with practically zero latency from the wireless transmitter. The five amp voices aren’t modeled on specific designs but include superb clean, crunch, and lead tones together with a dedicated voice for bass and acoustic instruments.

There’s also the wonderful ‘Brown’ custom lead sound from Boss’ acclaimed Waza Craft head, which sounds terrific when teamed with a brawny humbucker pickup. You can take your pick from over 60 assorted boosts, overdrives, delays and modulations, and store your favorite patches in six on-board memory slots.

The stereo line-outs mean the Air EX isn’t restricted to home use – you can easily plug it into a console and use it on any size of stage, with enough power from the larger speakers to handle rehearsals and smaller un-mic’d gigs, with wireless freedom removing the distracting tangle of leads that can be pulled out or tripped over. 

If you’re looking for a desktop amp that crosses over into serious recording, rehearsals and more, the Katana Air EX is an ideal choice. 

Specs

• PRICE: $599 / £544
• TYPE: Digital modelling 2x5” stereo combo
• CHANNELS: Five amp voices and six on-board memory slots
• OUTPUT: 35 watts RMS on mains power, reducing to 20 watts on batteries
• CONTROLS: Amp type, gain, volume, bass, middle, treble, effects select x 2, reverb level, master volume, Bluetooth pairing, power, patch store/select
• SOCKETS: Guitar in, headphones out, transmitter dock/charge. Stereo line out, USB Type B port for direct recording to computer/DAW
• LOUDSPEAKERS: Two 5” special design
• WEIGHT: 5.6kg 
• DIMENSIONS: [HxWxD] 236 x 414 x 192mm
• OPTIONS: The EV-1WL wireless expression pedal retails for £163, while the FS-1WL wireless footswitch is £112. As an alternative to AA batteries, the rechargeable BTY-NIMH/A power pack gives up to 16 hours of playtime and sells for £108.           
• CONTACT: Boss

Distortion is, arguably, the most widely used effect in the guitar world. From a light sprinkle of grit to dank, overly saturated fuzz, the best cheap distortion pedals we're looking at today will take the sound of your guitar to another level, using some of the simplest and most effective methods imaginable, and for less money than you'd expect.

There’s something truly magical about hearing a sound traverse the sonic spectrum, from jangly clean to something far more harmonically rich. 

In this guide, we’ve rounded up some of the best cheap distortion pedals around today. Pedals to help your solos soar and add that extra dimension of heaviness to those chugging riffs. And, best of all, with the pedals we’ve collated here, you too can achieve this wondrous effect for not a lot of cash at all.

Best cheap distortion pedals: Quick list

Best cheap distortion overall

Another classic on the list, the Boss DS-1 has surely been the ‘first’ pedal many a guitarist has got to grips with over the years. The combination of a low price point, rigid build quality and perfectly usable distortion sounds have made it a staple for players of all experience levels. 

It’s possibly not the option to choose if you’re looking for that crushing low-end you’d find in more extreme metal styles, but as a tool in the arsenal of pretty much any other genre, the Boss DS-1 distortion pedal is a solid option.

Best MOSFET distortion

The reborn DOD pedals continue to impress, with the Gunslinger a worthy addition to this list. We liked the MOSFET flavour here; more fizz than chunk, so it imparted a nice extra dimension when used in conjunction with our amp’s gain. 

The high and low controls are responsive enough, and reward more dynamic playing styles, but we can’t help wish we also had control over the pedal’s midrange sounds. For the price though, it’s a great alternative to some of the more widely-used pedals in the list. 

Best cheap distortion for punk

The original ProCo RAT is surely one of the best-known and most widely-used distortion pedals of all time, appearing at the feet of some of rock guitar’s biggest names for decades. The new version picks up the baton and changes… not a huge amount. But that’s fine! 

The RAT 2 works nicely in conjunction with amp gain, meaning you can dial in as much or as little as you need to jumpstart your on-stage tone. Plenty of players use the RAT as little more than a boost pedal, although there is bags of raspy character on offer if you need it. We’re also big fans of its build quality. This is a solid pedal, so much so that ProCo offers a five-year warranty on it, even if you happen to abuse the poor thing so much it falls apart. That’s confidence for you. 

Most affordable distortion pedal

For players searching for an inexpensive way to add both overdrive and distortion to their sound, the Behringer OD-300 might be just the ticket. Sure, it looks garish and the build quality is nothing to write home about, but the ability to choose via a control knob whether you want drive, distortion or a blend of the two is brilliant. 

For beginners, it’s pretty much the perfect package to help you decide whether your tonal needs are best served by drive or distortion. Credit too for the ability to power the pedal by a standard 9v battery, which isn’t a given at this price range. At this price, even when you’ve outgrown it you can keep one in your gigbag as a backup.

Best cheap distortion for rock

If you’re familiar with the Swedish band Grand Magus, then you’ll instantly picture the tones on offer from the TC Electronic Grand Magus. If not, then allow us to paint a picture. Too heavy to be called rock, but definitely not metal, Grand Magus (the band and pedal) occupies the middle ground and does it with aplomb. Think of a heavy tone, but one which still allows clarity from individual notes without becoming oversaturated. The pedal offers a simple set of controls, covering gain and volume, along with a tone control which helps shape the EQ slightly (although not a huge amount, it must be said.)

We liked the overall build quality and the fact the jack connections are at the top of the pedal – meaning it can sit nicely on top of an amp as an always-on tone sculptor without falling off. Most of all, however, we liked the price, which is peanuts for one of the more characterful pedals in the list.

Best cheap distortion for metal

As one of the granddaddies of guitar drive and distortion, the Electro Harmonix Muff series covers gains and drives of just about every flavor, but none more metallic than the Metal Muff. With the EHX Nano Metal Muff, Electro Harmonix has taken the concept and shrunk it down, without removing any of the original's penchant for heaviness. This is not, it must be said, a subtle drive pedal. It is, however, one of the most tweakable on the list, with the usual drive and volume controls and then a full 3-band EQ section to truly dial in your dirt. 

We also loved the built-in noise gate, with on-pedal control, so in the rare quiet parts of your playing, you’re not faced with a wall of interminable humming. 

Best cheap distortion for build quality

We’re big fans of JHS. The JHS 3 Series Distortion, part of the Kansas City brand's low-cost pedal line-up, was arguably the best-sounding pedal we tested, with both the levels of distortion and the overall tone-shaping functions a cut above most others on the list. The filter control, for example, functions as an entire 3-band EQ in one knob, and we found it easy to dial in a sound which sat perfectly in the context of a wider band performance.

We particularly liked the ‘gain’ switch, which took us from a roomy, open overdrive into something much more saturated. Perfect for those moments when you need to let rip, but don’t necessarily want an all-out metal pedal. 

Best for versatility

Another entry showing off the low-cost option from a high-class operator; the Walrus Fundamental Distortion is one of the simplest pedals in the Walrus stable, yet its know-how with more esoteric pedals means the company has brought something to market that combines simplicity with complexity in a fairly unique way. 

The Fundamental is simple because it has basic gain, volume and tone controls – utilizing sliders, rather than knobs – which allow you to dial in your perfect sound. But then, should you want it, there’s room to explore new sounds thanks to the three different distortion types. Dark, Si (silicone) and LED each offer a slight variation on the formula, and make this a pedal which could feasibly be at home on the pedalboards of players in a range of genres. 

Best cheap distortion pedals: Buying advice

How to choose the best cheap distortion pedal for you

Choosing the best cheap distortion pedal can be tricky. With so many variables, it can be hard to decide which pedal will suit you and your playing style best. Especially when you consider that distortion is a broad church, largely linked to the specific sub-genres of music in which they’re commonly found. Each offers a slight variation on the theme, running the range from warm saturation to shredded speaker madness. 

Typically, distortion is most at home powering heavier styles of music, like metal in all its different forms. However, even within the metal genre, you’ll find significant differences. For thrash and other technical styles of metal, you’ll want a pedal that allows you to scoop out the midrange from your sound, so a degree of EQ control is essential. Alternatively, for doom and stoner types of metal, you might want to think about how the pedal will interact with your amp’s gain, especially if you’re using a valve amp. The right distortion pedal here can make all the difference, allowing you to effectively push your amp even further while adding a bit of its own character into the mix. 

When you’re looking for a cheap distortion pedal, there are a few things to keep in mind. Not all pedals are created equal, and you often get what you pay for. There is value to be found in the cheaper pedals though. Look out for pedals with a built-in noise gate. A noise gate actively listens to your signal and only outputs a sound if it detects a loud enough signal, i.e. when you play a chord. Without that input, it engages a mute function, so you don’t get that constant low-level hum associated with higher gain pedals and amps. 

Fundamentally, distortion is one of the simplest yet most effective effects out there. The difficulty comes in finding the one that is right for you. And, whether you’re searching for your first distortion pedal, or adding an extra element to an existing pedalboard, hopefully, this guide will shine a light on some of the more inexpensive options available to you.

How we choose products

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 cheap distortion pedals 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 cheap distortion pedals 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.

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When BOSS introduced its first compact pedals in 1977 – that’s the OD-1 Over Drive, PH-1 Phaser and SP-1 Spectrum, fact fans – it revolutionized the stompbox industry.

Their vivid colors, uniform designs and player-friendly innovations quickly won guitarists over, and have remained a constant over BOSS’s four-decade-plus history. More importantly, their influence is still felt on pedalboards today, whether they feature any BOSS pedals or not.

So let’s look a little closer at how BOSS changed the guitar world, and take the magnifying glass to 10 pedal design features that altered the course of stompbox history…

Multi-Function LED

This LED comes on when your BOSS pedal is engaged and indicates that the pedal is on and working. Its other useful function is to let you know when your battery is running low on juice: if your effect is on but the LED doesn’t light up, it’s time to change the battery.

Battery Thumbscrew 

Early BOSS pedals featured a slotted version, but the thumbscrew makes quick battery changes a doddle, without the need for any additional tools. Plus, thanks to its hinged cover, you won’t even need to disconnect or remove the pedal from your ’board.

Battery Compartment 

What’s clever about a battery compartment? BOSS pedals house the battery away from the circuit board, so in the event of a leak you’re unlikely to ruin your pedal. It’s kept in position by a comfortable fit, reinforced with foam, so you won’t strain the battery clip.

Die-Cast Housing

The iconic BOSS pedal housing has remained a consistent form factor since the OD-1 was introduced in 1977. This die-cast housing is strong enough to withstand being run over – but, being aluminium, remains light enough for you to carry a ’board full of them.

Silent Switching 

BOSS was an early adopter of electronic switching, removing the problematic pops and clicks that can be introduced when operating mechanical, latching switches. What’s more, BOSS footswitches undergo a thorough 100,000‑press test using bespoke machinery to ensure they won’t let you down.

Pedal Base

Every BOSS compact pedal features a rubber-coated baseplate. Not only does this element of the design add grip and withstand drag from your cables if you’re using it without a pedalboard, but it can also keep the pedal in position up to a 60-degree angle.

Power Jack

Batteries are fine, but what if your PP3 runs out of juice mid-set? BOSS compact pedals removed this problem from the outset with the inclusion of a power supply jack, which – along with the centre-negative pin configuration – is now an industry standard.

Stepped Control Section 

Many early stompboxes were put together in flat, flush-profiled boxes. It seems obvious these days, but BOSS’s stepped control section takes the risk out of knocking (or worse, damaging) the pedal’s controls while switching with your feet.

Colour-Coding

All BOSS compact pedals adhere to the same dimensions, along with similar layouts. So, to make it easier to spot which pedal you’re about to stomp on at a glance, BOSS was one of – if not the – first to colour-code its stompers by effects type.

Switch Plate

A further, often-overlooked feature of all BOSS compact pedals is the large switch plate. This minimises the target area on a dark stage, meaning you’ll never fail to engage or bypass the pedal. It’s also covered with non-slip rubber, just to be sure.

This month, Guitarist magazine includes a free supplement dedicated to 50 Years of BOSS. Click here to download it as a digital version or here for a 'digital page-turner' on Issu.