What is it?

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

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

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

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

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

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

Specs

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

Build quality

Build quality rating: ★★★★☆½

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

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

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

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

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

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

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

Usability

Usability rating: ★★★★★

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

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

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

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

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

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

Sounds

Sounds rating: ★★★★½

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

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

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

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

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

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

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

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

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

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

Verdict

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

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

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

Also try

Hands-on videos

Blackstar Amplification

Noisegate

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

What is it?

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

FRFR stands for Full Range, Flat Response. Full range in that they cover the whole spectrum of human hearing, and flat response in that they don’t color your tone. It’s on this second part that I need to add a little caveat.

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

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

Along with this driver, it also sports a one-inch LaVoce compression driver (just like the other models in the range) that handles the higher frequencies. These speakers, in combination, should accurately amplify those presets we all labor over.

Specs

• Launch price: $730/£399/€549
• Type: FRFR guitar cabinet
• Origin: China
• Output: 250W RMS
• Speaker: 1 x 10” main speaker, 1” compression driver
• Features: Full range, flat response, two cab emulations, direct out, Bluetooth audio connectivity
• IO: One combo input, ¼” Aux input, XLR out
• Weight: 28.8lbs/13.1kg
• Dimensions: 575x420x355mm/22.6”x16.5”x14”
• Contact: Laney

Build quality

Build quality rating: ★★★★½

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

The chunky carrying handles on the top panel feel rock solid and are helpful in shifting its 13.1kg of mass. This weight is initially a little surprising given the speaker's compact nature, but it is about on par with other FRFR's; for example, the Fender FR-12 is around 12.5kg. However, bear in mind that it is a 12" speaker in the Fender, and the weight increase is likely due to the Laney being of MDF construction rather than plywood.

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

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

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

Usability

Usability rating: ★★★★½

FRFR speakers can often include a bunch of bells and whistles, such as user-loaded IRs, presets, MIDI connectivity, and associated apps - the IK Multimedia Tonex Cab being one such example. The Laney LFR-110, however, is much more streamlined. There is the aforementioned Bluetooth for audio streaming and the choice of two cabinet emulations, but aside from that, it is simply a box that lends your modeler some volume.

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

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

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

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

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

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

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

We also have two cabinet emulations on board, simulating a 1x12" Celestion G12H loaded Laney LT112, or a 4x12" HH loaded Laney GS412IS. In using these, you would mute the emulation on your modeler and rely on the Laney’s pre-loaded ones. These are mirrored on the D.I out when engaged too.

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

Sounds

Sounds rating: ★★★★☆

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

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

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

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

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

Moving on to the emulations, the 2x12 is a little harsh, and the 4x12 is too muddy. Here is where that High Trim control makes sense. It mitigates the harsh high end of the 2x12 and boosts some clarity within the 4x12, making for two decent cabinet emulation options.

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

Verdict

Evaluating the sonic merits of an FRFR cabinet is always a little tricky, as they will all inevitably have a subtle effect on your tone, despite aiming at being completely transparent. This is true of studio monitors, headphones, and P.A speaker’s alike, so it is difficult to assess which is the most transparent one.

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

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

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

Also try

Hands-on videos

Sweetwater/Jack Gardiner

Laney

Leigh Fuge

• Best FRFR speakers for guitarists

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

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

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

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

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

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

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

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

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

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

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

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

See Blackstar for more.

What is it?

We’ve all been in the position where we have had to load our gear into a venue from what feels like miles away or up multiple flights of never-ending stairs. Thankfully, digital amp modeling and profiling technology from the likes of the Line 6 Helix Stadium XL, Neural DSP Quad Cortex, Kemper Profiler and more –– as well as myriad pedal preamps –– have replaced the amplifier and cabinet in many a guitar rig in favor of digital versions, making this job at least a little less backbreaking for the guitar player.

However, this type of rig does require some rethink of your monitoring, and some of us still miss the sound of a real guitar speaker in a room. This is exactly the issue Line 6 is looking to solve with its Powercab CL 112 and 212 powered speaker cabs, and Line 6 sent me the CL 112 to review.

So, this is just another FRFR speaker, right? Well, to be blunt, no. For the uninitiated, an FRFR speaker is designed to take the output from your digital modeler and allow for it to be heard on stage while coloring the tone as little as possible. Products like the Fender Tone Master FR-12, Laney FRFR-12, the IK Multimedia Tonex Cab, and the first Line 6 Powercab do a great job of this, and for a lot of guitar players, this is the perfect solution.

This relative transparency makes the FRFR cabinet fundamentally different from a real guitar speaker, which does color your tone. In fact, it’s a pretty essential part of its job; just turn the cabinet emulation off on your modeler of choice to hear the difference it makes.

What’s more is that cabinet emulations by definition are filtered through the microphone that captured them, further removing them from the sound of a real cab and nudging the tone towards a studio-like sheen.

Enter the Powercab CL. It’s an actual guitar speaker and cab, built to take your digital amp model with cabinet emulation turned off, and provide you with that amp-in-the-room type feel.

However, it would not be Line 6 without a couple of twists, and the Powercab CL does have a few. It has a three-band EQ to allow you to tune the cab to the room, just like a 'real' amp.

There's a speaker-emulated output so that you can send audio straight to a PA and as well as the default sound of the physical speaker, there are six different voicing options you can apply - Crisp (Roland JC120 Speaker), Jarvis (Jensen P12Q), Jetson (Jensen C12K), Essex (Celestion Alnico Blue), Green (Celestion G12M Greenback), and Vintage (Celestion Vintage 30). Plus, there's MIDI control too.

It’s important to reiterate that these voices are not cabinet emulations, but rather tweaks to the sound of a real speaker to reflect the tone of the iconic speakers the voices are inspired by.

In short, if the Powercab CL delivers everything it promises, it could fill in the gap for those of us who want to use modelers but miss the sound and feel of air being moved.

Specs

• Launch price: $449/£439/€499
• Type: Powered guitar cabinet
• Origin: Malaysia
• Output: 100w
• Speaker: 12", Line 6 HC 100 custom-designed speaker
• Features: 6 voices modeled on iconic speakers, three-band EQ emulated XLR out, MIDI control
• Controls: Voice, Volume, Low, Mid, High
• Connectivity: 1 x combined input (XLR/jack), speaker-emulated XLR out
• Weight: 31.9lbs/14.5kg
• Dimensions: 564 x 488 x 262mm
• Contact: Line 6

Build quality

Build quality rating: ★★★★½

The first thing I notice as I take the Powercab CL 112 out of its box is how light it is. Considering that it is a powered cabinet, I would generally expect it to be a bit heavier than its 14.5kg. A common reason for the switch to digital gear from a big pedalboard and heavy amplifier is the extra portability, so keeping the cab lightweight is important.

Its black, wooden sides and grey baffle make for a somewhat minimal look, but in a way that, in my opinion, lends the Powercab CL aesthetic a certain amount of class, as do the sleek stylings of the control knobs and top panel.

Those controls have a reassuring resistance, but the little notch when set at zero (i.e, when the EQ is not adding or subtracting anything) could do with being a little more prominent.

Its open-backed construction feels generally sturdy, and the thick rubber handle gives the impression that it will withstand a significant amount of abuse, but the plastic bracings on the corners feel slightly cheap.

Overall, it’s a solid build and, despite a few minor complaints, there’s nothing here that would make me worry about chucking this into the back of a van and dragging it round countless venues. I do, however, miss the legs that allowed the original Powercab to tilt backwards.

If you haven’t tried tilting your amp when you're playing live, give it a go! Rather than the sound getting blasted at your knees, it gets directed towards your head, making it much easier to hear yourself. It’s a feature I appreciated on the original Powercab, and I feel it’s a shame that it did not get carried over to the CL.

Usability

Usability rating: ★★★★★

Who really wants to read a manual? Thankfully, for the most part, there’s no need to do so with the Powercab CL. Plug your modeler into the input, choose the speaker voice, play with the three-band EQ if you feel the need, turn the volume up, and you're done. Easy.

What makes this process so straightforward is that the five knobs - Voice, Low, Mid, High, and Volume - are all neatly displayed in a self-explanatory fashion alongside the Input, which is situated on top of the cabinet, just like any guitar amplifier. The fact that the Powercab CL really wants to see an input without cabinet emulation from the modeler may require some routing depending on your setup, but that’s on the modeler. It’s worth noting here that this routing is easy to do from the Line 6 Helix Floor I’m using to test the Powercab CL.

On top of that panel, there are also two little buttons, both of which feature an LED. One to switch the speaker voice on and another to change the impulse response assigned to the XLR output on the back of the cab.

The LED on the first of those buttons not only indicates whether the Voice control is on or off, but also handily flashes red when the input signal is too hot. The second changes color to show which IR is selected for the XLR output. White for an IR that reflects the chosen voice, pink for the user-loaded IRs (six slots available, selected via the voice knob), and blue for the default IR modeled on the real speaker without any tweaks from the voice control.

Speaking of user IR’s, the Powercab CL app is the means by which we load them in. It's a drag-and-drop interface with Hi Cut, Lo Cut, and Level controls. No complications here, just a simple interface getting you straight to the controls you need.

Around the back sits that aforementioned XLR, a USB-B port, and a MIDI input. I would rather see the more ubiquitous USB-C here, as we are all more likely to have a USB-C cable to hand. The MIDI is a nice touch, though. It provides the ability to change the Voice for the speaker and IR for the XLR out as you change amps on your modeler, which - since we’re not emulating cabs on our modeler - is something some may indeed want to do.

There are also two switches, one to bypass the speaker voice and EQ, and another that provides a ground lift. To my ears, having the speaker voice turned off and the EQ set flat does exactly the same thing as bypassing them, so I can’t help but feel that the bypass switch is a little superfluous, but if you want it flat and need to make sure you don’t accidentally move anything, it’s not a bad thing to have as an option.

Sounds

Sounds rating: ★★★★½

Making some noise, I have seven options in front of me courtesy of the Voice control. I can leave it as is and use the speaker's natural sound, or activate one of the six voices that tweak the tone to approximate the sound of the iconic speakers.

Using my Line 6 Helix Floor and a preset that I frequently use live featuring the Grammatico GSG amp model, I deactivate the cabinet emulation and run straight into the Powercab CL.

To get an impression of the difference a real speaker makes, I set up the Powercab CL alongside an FRFR (I am using a Tonex Cab here) and A/B it with the modeler’s cabinet emulation turned on for the Tonex Cab and off for the Powercab via some routing on the Helix. In short, the FRFR is more focused and produced, whereas the real speaker in the Powercab feels open and smooth.

I would usually spend a bit of time tweaking mic settings on cabinet emulations, getting a high-cut in the right place, and so on, but there’s no need to do that with the Powercab CL. This tracks with using a real speaker compared to an emulation or IR via an FRFR cab. Therefore, first impressions are that the Powercab CL is doing exactly as promised.

Focusing on the Powercab CL, I find the default speaker setting (Voice control off) to be quite prominent in the low mids, which is a little muddy, but still enjoyable, as it keeps things feeling smooth when playing at volume. The real fun, and the sounds I find myself preferring for the most part, is in turning on the Voice control and playing with those six additional voicing options.

The Vintage voice immediately makes things feel more full-range with a less pronounced mid frequency and more detailed highs. The Green setting sounds similar but brings some of those mids back in, and the Essex by comparison adds a little more high with a pleasing jangle.

With the Jetson, we are back into mid-forward territory, but in a much clearer place than the natural sound of the speaker. Onto the Jarvis, and things are sounding more full-range again with a Fender-y mid scoop.

Finally, there’s the Crisp setting, and this is the only one I don’t like. There’s a lot of high-end here, and it sounds a bit thin to my ears. But the fact that it is named “Crisp” is a fair warning of this, and it is useful for amplifying darker sounds - just like the speaker it's based on.

As with a traditional guitar amp, the voice you are going to want to use will vary depending on the digital amp you are running into it. Having said that, I find myself really enjoying the Jarvis’s smooth scoop-y character, and it pairs particularly well with the mid-humped amp models I tend to lean towards when I am going digital. So, I am happy to go on record saying that this is my favorite of the bunch.

The EQ is particularly powerful, which means you need to be careful so as not to ruin a good tone when making changes, but it does allow for tweaking the cabinet to any room.

The options don’t stop here, however, as there's also a set of IR’s on the XLR output to explore. Built to run straight to an interface/P.A, it defaults to an IR modeled on the natural sound of the Powercab's speaker. It can be set to one of six IR’s that are paired to match and change with the speaker's Voice selection, or user-loaded IRs.

I find that the IR’s paired with the speaker voices reflect the tonal changes from one voice to the other, but all sound thin and harsh by comparison. They can be tweaked via the app, but I would suggest staying away from these. However, the default IR modeled on the base tone of the speaker is a hidden gem.

As I mentioned earlier, the speaker has a lot of low mid information and sounds quite thick, if lacking a little clarity. Therefore, having an IR that thins it out works in its favor. It feels rounded and responsive, making it a lot of fun to play.

Verdict

While it’s tempting to shoot-out the Powercab CL against FRFR speakers, I would argue that this misses the point of what Line 6 is trying to do here. Sure, both approaches are designed to get you some on-stage volume, but the problems they are solving are fundamentally different.

If you are looking to faithfully amplify your digital guitar rig in full, then an FRFR with its relatively color-free representation of your sound is the way to go. But, if you would rather ditch your modeler's cabinet emulation in favor of a real speaker that becomes part of your rig, this is what the Powercab CL is built to do.

The benefit of this is that it gives us more of that real guitar speaker feel because, well, it is a real guitar speaker. But that doesn’t mean that there isn’t something to be said for the studio-like sheen that cabinet emulation with its modeled microphone gives us.

Really, it depends on figuring out which method works best for you. Either way, it’s great to have the choice, and the Line 6 Powecab CL 112 is a very capable choice at that.

Guitar World verdict: Along with some Line 6-style extras, the Powercab CL 112 brings the benefits of a real guitar speaker to the modeling world, because that is exactly what it is. For those who miss the sound of an actual amp on stage, this may well make digital modeling a more viable, and authentic option.

Also try

Hands-on videos

Line 6

John Nathan Cordy

Steve Sterlacci

[Editors' Note – An earlier version of this article mistakenly referred to the Line 6 Powercab CL cabs as Full Range, Flat Response speakers. The Powercab CL 112 and 212 are not FRFR speakers.]

Line 6 has reconfigured its hybrid Powercab speaker cabinets by unveiling the Powercab CL multi-voice guitar speaker systems, designed to provide "exceptional amplification for all modelers and even compact amp-simulation pedals".

The Californian firm was one of the earliest adopters of digital gear, with the POD helping kickstart the djent movement and sparking an amp sim trend which currently dominates the market.

Here, its doubling down on that investment with “exceptional amplification” that builds on a release that was well-received when it first launched in 2018. It now arrives in open-back form with a voicing mode to enhance its versatility.

Notably, the Powercab CL cabs are not FRFR speakers. They are optimized for amp modelers and and amp sim pedals, but come loaded with traditional guitar speakers and offer the choice of operating with or without speaker modeling.

“Unlike FRFR cabs, they are loaded with custom-designed guitar speakers, providing a playing experience more like plugging into a guitar amplifier with a traditional open-back cabinet,” explains Senior Director of Products, Rick Gagliano.

With 200 watts of power, the CL 212 has two 12” speakers, with the 100 watt CL 112 slimmed down to one. Lightweight for easy transportation, they come with a three-band room EQ (Low, Mid, High), and a High boost-cut.

MIDI and USB connectivity helps integrate them into modern-minded live rigs, a six-Way Voice encoder selects the speaker voicings, and they also have a 1/4" XLR input jack, and an XLR output with IR loading.

Things get interesting when looking at its two operation modes. A Speaker Voicing mode delivers six speaker voicings inspired by six classic speakers, and with Power Amp In mode “it functions as a high-quality powered guitar cab.”

Both modes support the use of impulse responses going direct to the front-of-house mixer and audio interfaces for virtual cabs. External IRs are also supported, and IRs can also be bypassed on its XLR output.

“No matter how you use them, Powercab CL speaker systems deliver consistent tone and feel at any volume,” says Line 6.

The Powercab CL 212 is priced at $549.99, and the Powercab CL 112 is $449.99.

Head to Line 6 for more.

Earlier this year, Line 6 unveiled its next-gen amp modeler, the Helix Stadium. Promising “a new benchmark for authentic sound” with its new Agoura modelling tech, and impressive features that can help replace laptops in live rigs for a more streamlined setup. The release sees the firm trying to regain control of an ultra-competitive modeler market.

ToneX out-sold the competition last year, and with the rise of the Quad Cortex and Kemper pushing its own next-gen release in recent months, Line 6 has gone big. The Powercab looks to expand its empire in new ways, too.

As the popularity and presence of digital amp modelers continues to skyrocket in the guitar world, the importance of selecting a full range, flat response speaker cab that can truly cater to your specific needs is becoming ever greater.

For those players who rely on the Neural DSP Quad Cortex, Line 6 Helix, Kemper Profiler, Boss GT-1000 or any other amp modeler, the lack of having a physical amp onstage that can ‘push air’ can sometimes lead to a less-than-ideal playing and monitoring experience.

That’s where FRFR cabs – which work to project your dialed-in digital tones without coloring them in any way whatsoever – come in. And if you’re in need of a cab that can level-up your amp-less rig, you’d be hard pressed to find something better suited than Laney’s own line of FRFRs.

The range comprises four iterations: the LFR-112, LFR-212, LFR-412, and the newly launched LFR-110, which offers a more compact and affordable solution to guitarists on the go.

Offering 250 watts of power, this 1x10 cab boasts a custom 10” driver as well as a 1” LaVoce compression driver, and comes equipped with all the bells and whistles you’d ever need from a portable FRFR cab.

Capable of working alongside any digital modeler, it offers XLR/jack combi sockets, MP3/Aux In for music streaming, and Bluetooth connectivity for streaming backing tracks direct to the LFR-110, and for pairing two units together for a more complete setup.

There are also onboard level and HF controls for fine-tuning tones and tailoring high-end response, and, at just 20.7lbs, the LFR-110 weighs in as one of the lightest FRFR cabs currently on the market.

There is also a cab-emulated XLR DI output, which offers either a true FRFR response, or cab emulations of a 1x12” Celestion G12H-loaded Laney LT112 or a 4x12” HH-loaded Laney GS412IS

Pair all that with best in class tonal projection and some expansive features designed specifically for the gigging guitarist, and you have yourself a seriously powerful companion for your amp modeler, and an FRFR that truly feels and sounds like a genuine cab.

“These captivating FRFR powered cabinets are redefining the standard that players should expect from their digital rigs,” Laney justly writes. “They truly are Best In Class.”

Already, Laney FRFR cabs have become the go-to rig solution for many standout players, from Guthrie Govan and Jack Gardiner to Devin Townsend and Per Nilsson.

“Man! This sounds absolutely killer!” Gardiner notes of Laney’s FRFR speaker.

The Laney LFR-110 will be available for $729.

Visit Laney for more.

The tube amp versus amp modeler debate is a particularly hot topic of conversation right now, and while the general trend seems to suggest a large portion of players are moving to the digital ranks – IK Multimedia's game-changing TONEX ONE was 2024’s biggest-selling pedal, according to Reverb – there are still those who may be skeptical of the field.

Such skepticism usually centres around one simple fact: playing through a modeler simply feels different to playing through an amp, and while tones of modelers (the TONEX ONE especially) are never in doubt, the phenomenon of ditching a combo that ‘pushes air’ for something that only goes through front-of-house or studio monitor speakers can be too much to entertain for some.

Further still, those who do make the switch are sometimes doing so without optimizing their new rig, which results in a strange in-between setup that can leave players feeling underwhelmed.

That’s where the FRFR cab can make such a difference, and with the TONEX Cab, IK Multimedia has sought to deliver the ultimate solution to your modeler needs, from rehearsing to gigging and everything in between.

Full-range, flat-response speakers are ideal companions for modelers, purely for the fact they can be used to monitor and project the authentic tones of your digital rig without coloring them in any way whatsoever.

For casual players, they’re the perfect solution for projecting the fine-tuned tones you may have spent hours dialling in, and for active performers, they’re the ideal way to ensure what you’re hearing on stage is the same as what the audience is hearing out in the crowd. Plus, you get the ‘moving air’ phenomenon back.

As we’ve already put on record, IK Multimedia’s flagship TONEX Cab – designed to go along with a TONEX Pedal, TONEX ONE, or any modeler, for that matter – is one of the best pieces of kit modeler fans can buy.

Without an FRFR (as this writer can attest, having first made the switch to an ampless setup sans FRFR) you can leave yourself hamstrung, and with the lack of stage volume feeding back what is coming out front-of-house, it can result in a rather unfavourable playing experience.

It can be jarring, but the feature-packed TONEX Cab solves any such problem – but it goes above and beyond the standard functions of a regular FRFR. Powerful enough for any venue, it boasts 350 W RMS / 700 W Peak, with a unique AMP TONE dial that lets you roll between full-range response to traditional amp-in-the-room realism.

Specifically, the ‘Live’ setting enhances the mid-range focus for cutting through a mix. It can also affect how the TONEX Cab disperses sound, further adding to the ‘real amp’ feel of the powered speaker.

Other specs include LF, MF and HF controls for fine-tuning tones depending on space, custom drivers courtesy of a custom 12” Celestion speaker and 1” HF compression driver for superior sound quality, and comprehensive connectivity that comes via XLR /1/4" combo jack, AUX, MIDI, USB and more.

Not only that, it’s lightweight, compact, easy to transport and is optimized for the stage, with integrated side flip-out legs for angled projection. Therefore, those who may have ditched amps purely for logistic reasons and weight concerns need not be worried about the TONEX Cab, which can seamlessly be integrated into a setup.

With multiple EQ controls and IR loading capabilities, the TONEX Cab is one of the most powerful and feature-packed FRFR solutions available.

“For those looking to amplify a modeler of the slimmed-down, pedalboard-friendly ilk, the feature-packed TONEX Cab offers a lot of extra scope in a compact, intuitive and pleasingly loud FRFR package,” Guitar World’s Pete Emery wrote in his review of the Cab.

“Where the TONEX Cab shines is through in the AMP TONE feature and extending the capabilities of smaller, pedalboard-friendly modelers.”

Head over to IK Multimedia to find out more.

What is it?

It's no secret that multi-effects and amp modelers are becoming increasingly diverse and popular. And most of us play guitar and bass at home. So why has nobody done the logical thing to connect the two and made a small desktop FRFR powered speaker specifically for using with modelers? Well if it's taken a while, at least Headrush has now taken on the task.

The UK company has been developing both multi-fx pedals and powered cabs for them long before the competition like Kemper and IK Multimedia got on board. So it's logical Headrush is ahead of the curve here too and we're pleased to welcome the FRFR-Go's arrival.

But let's reverse the van a little first. What is this FRFR thing?

Full-range flat-response powered speakers mean the sound you're hearing back isn't coloured by anything other than the source – in this case a modeling and multi-fx unit with its own impulse responses that model mic'd traditional guitar cabs.

The FRFR cab's output is clean, neutral and reliant on the source as it faithfully reproduces the modeler's audio signals across the frequency range. They can work with any instrument too - including keyboards and bass.

However as 'flat' as they try to be, FRFR powered cabs aren't all the same – the speaker type, size, angle can all play their part in slight variations. But not nearly as much as a traditional guitar cab. These tend to offer more choices in size, speaker type and configuration and open / closed back options that affect the character and response.

Traditional guitar cabs also tend to be passive and powered by an amp head to drive them rather than having an independent power supply like FRFR cabs.

Specs

• Launch price: $149/£149
• Type: Full-range flat-response powered speaker
• Origin: China
• Output: 30 watts (2x15W) via mains power, 25 watts (2x12W) via battery power
• Speaker: 2 x 3" custom designed
• Controls: Bass, Treble, Input Volume, Main Volum, Bluetooth pairing button
• Connectivity: 1/4-inch input, stereo 3.5mm aux in, 3.5mm stereo headphone out ((22Ω impedance), Bluetooth 5.0 (up to 13 hours battery life for streaming), headphone input
• Weight: 7.4 lbs/3.35kg
• Power: C7 power cable (45-watt power consumption), rechargeable lithium-ion battery
• Dimensions: WxDxH 320 x 150 x 184 mm
• Contact: Headrush

Build quality

Build quality rating: ★★★★★

I've already encountered Headrush's build standards on previous FRFR models and here it's maintained at a smaller scale. There's a durable rubber handle in place of its larger siblings' integrated design, an enclosure of vinyl-wrapped MDF, a sturdy grille and Marshall-esque gold-topped metal control knobs with a satisfyingly smooth and measured taper.

The cab feels solid and tidy with the dimensions around a fifth smaller than a Positive Grid Spark 2 despite the FRFR-Go's speakers being an inch larger. You may need to clear some superfluous items from your desk to give it the space it needs, but it won't look out of place.

A black and gold color scheme certainly never harmed that aforementioned UK amp brand, and it doesn't here.

Usability

Usability rating: ★★★★½

No apps, no manual required: The FRFR-Go is simplicity defined… mostly. Juggling levels will be something familiar to anyone who's skipped between presets on multi-effects and amp modelers – as well as the gritted teeth of sound engineers at gigs. The input volume control here is important to set up in conjunction with your modeler's own output level to avoid clipping, but it's a pretty straightforward process by ear.

The onboard tonestack via the Bass and Treble controls are an excellent means to finetune sound to taste without altering your original presets, but some players may prefer a completely uncoloured experience – leaving that side to their modeler. Those players can roll teh Treble and Bass off but I liked bringing them in according to the modeling source I was using.

User case will also affect how important the battery option here is, but I really think it opens a lot of possibilities – especially for Nano Cortex users who can run their unit on a battery pack for a fully mobile capture rig (street musicians take note!). But a lot of amp pedals don't have that option, but while they're tied to the power supply it's nice to know your speaker doesn't have to be and you can position it with added flexibility because of that. And for music playback it's equally handy.

I also like that I can charge the battery while plugged into the mains and using the FRFR-Go for uninterrupted use. It may seem like a small thing, but in day-to-day playing it's one less thing to worry about. Bravo, Headrush.

The Bluetooth side is excellent in my experience too, though there's no separate volume control on the cab, so you'll have to do that via the source e.g smartphone. Once paired reconnection is very efficient. So much so you can forget and suddenly hear your Spotify playlist coming out of the FRFR Go – which is what happened to me when I took the unit in for its review photoshoot!

I found that the only potential source of frustration might be the power switch on the rear, which isn't ideal on a desktop speaker but unless you have the FRFR-Go up on a shelf permanently, I think it will be less of an issue.

A 3.5mm aux-in may seem a bit antiquated in this age of wireless streaming but here it serves a different purpose for modelers, if players want it to. I used my own TRS cable with a 3.5mm adapter for the cab input to use the Nano Cortex's stereo outs and take advantage of the stereo aux-in on the FRFR-Go.

Now, the distance between these 3" speakers obviously limits the panning effects for delays and reverbs, but some players won't want to go back once they've tried it. It brings a fresh sonic girth to the FRFR-Go experience that belies the small cab. Again, it's good to have the option.

Sounds

Sounds rating: ★★★★★

It was interesting for me to switch to the FRFR-Go from using small modeling amps like the Positive Grid Spark in a flat mode with all modeling turned off. Beyond the choice of using the onboard tonestack, there's no digital processing here so what you're hearing is based on the source. And what really hit me was just how much more detail I was getting compared to my previous small amp workarounds.

Finally, I had a home version of my much larger Line 6 Powercab 112 and with something like a UAFX Dream '65 that can equate to a tabletop Deluxe Reverb, or a mini Mesa/Boogie with a C+ capture via a Neural unit. And it's a treat to behold.

I was impressed at how much low-end the FRFR-Go can handle and enjoyed switching to my Squier P-Bass with it. The maximum SPL of 109db is easily loud enough for the home too – playing with a drummer not so much. But that isn't what this is designed for.

If anything home users are frequently heading in the opposite direction – how quiet can you play and still sound good? This is where modeling can really benefit the home environment; simulating cooking valves at family-friendly levels. Yes, I know it doesn't sound very rock n' roll, but in the suburban realities a lot of guitarists find themselves in, the FRFR-Go more than earns its outlay. Just run a UAFX Lion '68 amp pedal through this and tell me a mini Plexi isn't a great idea!

Verdict

The FRFR-Go is difficult to fault as a release with a huge practical appeal, so why bother? It fills a mystifying gap in the guitar market and it does it very well. A different approach to stereo integration or a designated XLR input would likely raise the price, especially when the former can still be achieved fairly easily and the latter doesn't really feel like a home cab feature anyway. So at it stands, I highly recommend this.

It won't be loud enough for anything but intimate small live performances, and maybe some street musician scenarios but this is a cab designed for the home, and it really offers excellent clarity and detail for your amp and cab modeling sounds that may give you some a new appreciation for them when you're hearing them so close.

I actually ended up tweaking the go-to preset on my Dream '65 pedal after testing, so it could be a great way to audition and edit your tones before heading to the rehearsal room, stage or recording scenario and playing with a larger cab or direct.

Headrush saw a big gap in the modeling market for a little cab and have delivered in a big way for players here with the FRFR-Go. This seems like the missing link for anyone who uses an amp modeler at home

Guitar World verdict: The FRFR-Go accomplishes exactly what it sets out to do, and it does it very well. If you need a desktop cab for your amp modeler with the flexibility to go anywhere with you, this is an excellent option at a good price.

Hands-on videos

American Music Supply

Andertons

• Best FRFR speakers

Guitarists wishing their guitar cabinets could be more in keeping with their living room cupboards will be excited by the launch of Sonoforma, a new brand of high-end guitar gear with the aesthetics of fine furniture.

Gear-as-furniture is a growing trend, with Fender's line of walnut-finished guitar amp stands, On-Stage's wooden Guitar Workstation, and Taylor's mahogany cabinets for the Circa '74 amp range all pointing towards a growing interest in merging gear with the world of luxury furniture. Sonoforma, however, is even more ambitious in terms of size and function.

At launch, Sonoforma offers the Serenada cabinet. This builds a 1x12 cabinet, equipped with a Celestion Vintage 30 speaker, into a cupboard inspired by 1970s hi-fi consoles. A long drawer can store a guitar, while a cupboard beside the speaker can hold anything you like, as long as it can tolerate the sound levels.

All the products are made from FSC-certified teak hardwood and made in Nicaragua. There's no self-assembly; the Serenada ships fully assembled.

The Serenada is available in Claro, Oscuro, and Rosado stains, which correspond to natural, walnut, and mahogany-style colors. Whichever you choose, the cabinet will set you back $3,999, plus a flat $200 shipping fee.

For now the Serenada is the only Sonoforma product on sale, but it will soon be joined by the Rhapsody, a smaller cabinet with just one 17.5" x 14" drawer, and the Cadence, a hardwood pedalboard with electrosocket jacks. Both will be available with the same finish options as the Serenada.

Sonoforma founder Mike Nopper previously launched the Implicit Audio line of flatpack guitar cabinets and, according to Sonoforma's publicity materials, is head of engineering for an American furniture brand.

Head over to Sonoforma to find out more.

If you're interested in hardwood cabinets, check out our guide to wood's impact on cabinet tone. On the other hand, if you want to play guitar in your living room, Celestion's new quiet speaker might help you get your valve amp into the sweet spot without breaking windows or fraying tempers.

What is it?

Tube amps vs digital. A debate that elicits a strong response from many a guitarist and frequently sets forums alight with lengthy threads, often passionately highlighting the pros and cons of either. Whatever your opinion, the digital realm is undeniably growing in appeal, with many players of both professional and hobbyist circles using ampless, digital rigs, and a growing FRFR speaker market to meet demand.

Inevitably, we now have several viable monitoring solutions including the Laney LFR 112/412, Line 6 Powercab, Headrush FRFR and the Fender Tone Master FR-12 that can deliver our carefully crafted digital tones at stage levels. Now Ik Multimedia is entering the fray with the Tonex Cab.

As we have come to expect from the Italian brand – it comes with extra features here that, if they work as intended, might make the Tonex Cab a strong contender in the market – despite a comparatively premium price point.

The Tonex cab is currently available for pre-order at a reduced price, with pre-orders ending 15 April

Following the success of the Tonex Pedal, which expanded from IK's Tonex plugin software, the Tonex Cab is the company's first FRFR (Full Range, Flat Response) speaker cabinet. The intention here is to provide amplification to those who want to reap the benefits of digital alogorithms, without missing out on the joy of playing guitar with some real stage volume.

It may seem a little strange to go ampless only to replace said amp with something that looks like, and takes up roughly the same stage room as, well, a guitar amp. The benefits here are in the other upsides of digital modeling and similar technologies, such as the ability to go straight to the desk, consistency in sound and amp modeler-ficussed extra features whilst trying to mitigate the downsides of the compromised amp feel and lack of a speaker "pushing air around".

And this isn't reserved for users of the Tonex line of pedals either. For better or for worse depending on your ownership and expectations, the Tonex Cab can potentially work equally well with other non-Tonex modelers that are paired with the feature-set here. Although the completist within me greatly appreciates having a pedal that matches the cab.

Specs

• Pre-order price (shipping April 2025): $699/£699/€699
• Type: Powered full range cabinet (FRFR)
• Output: 350w RMS 700w peak
• Speaker: 12" Custom Celestion speaker, 1" Lavoc compression driver
• Controls: 3-band EQ, Amp tone control, volume
• Features: Amp Tone Control (changes mid character and audio dispersion), IR loading. 3-band EQ, Post/Pre EQ switch for output to desk, midi programmable, eight presets, interchangeable front baffle,
• Connectivity: 2x combo XLR/ 1/4 inch inputs, midi in/out, XLR out, USB B
• Weight: 28lbs (12.7kg)
• Dimensions: 546mm x 432mm x 230mm
• Contact: IK Multimedia

Build quality

Build quality rating: ★★★★☆

First impressions are great. The faux leather handle looks good and feels sturdy when lifting the relatively light 12.7kg of mass, and it is nice and compact, saving valuable real estate on stage. The wooden construction is hefty enough that I wouldn't be worrying about any hasty tear-down mishaps come the end of a gig either.

The pros for the working musician are furthered by the inclusion of legs that allow the cab to tilt back, directing the sound at the player's ears rather than blasting past their knees and melting the ears of those in the front row.

However, an issue worth mentioning here is that the legs rub against the sides of the cab a little as they are being deployed. Whilst there were no signs of marks appearing during testing, I do have concerns that repeated use over an extended period may eventually mark up the cab's sides.

Moving around to the front, I find one of the features that set the Tonex Cab apart - a removable and changeable baffle. The test model includes the black grill with the other options being a Gold or Silver, all of which hark back to more traditional amplifiers and make the Tonex Cab look completely at home on stage.

The removal of the baffle is easy to figure out and facilitated by a tag at the bottom right. A tag that is bright red. In my opinion, it draws the eye a bit too much. I would rather see it sporting the same colour as the baffles or sides so that it blends into the rest of the cab better. In general though, the cab is well put together and has clearly been designed with the gigging musician in mind.

Usability

Usability rating: ★★★★★

Plug in the cab, connect your modeler, turn it up and go. Easy. It’s always a good sign when a user can get a unit up and running in its basic function without having to refer to the manual, and that is certainly the case here.

The EQ controls are notched at the point at which they are set flat - a small but appreciated touch when looking to preserve our painstakingly created preset tones. Easy too is the saving and recalling of presets as the method for doing so is clearly displayed alongside the relevant controls without the need for any form of digital display or menu diving. No danger of clipping the input either as the eight LED preset lights double up as an easy-to-read input meter.

In terms of the I/O , there are two combo input jacks, one for guitar and another for aux, and an XLR out, which can be fed straight to the desk. Alongside the XLR out, we have a pre/post slider switch which allows us to choose whether we want to send out EQ changes on the cab to the sound desk.

This function is superfluous for those who can route different EQs to different outputs from something like a Line 6 Helix or Neural DSP Quad Cortex, however, a valuable inclusion if you're using a modeler without these routing options.

Getting into the deeper functions, I find myself with an app to get my head around. Having previously taken some criticism for the difficulty of using the apps associated with the Tonex Pedal, IK Multimedia has taken heed with the Tonex Cab app, and I found it very intuitive and easy to use.

The app allows for the building of presets from your PC or Mac and more importantly, is also the method through which IRs are loaded into the presets. Additionally (separate from the app), we also have MIDI capability, facilitating the preset changes over Program Change messages. The value of these features will certainly depend on your needs and modeler capabilities.

It's fair to say users of capable, fully featured floorboards such as the Line 6 Helix might find better value in more affordable FRFR's without these extras, as a lot of the added functionality of the Tonex Cab may already be found in the multi-fx pedal / amp modeler.

That's not to say there isn't a place for the Tonex cab. The added functionality it boasts comes into its own when used in conjunction with a more streamlined pedalboard-friendly style of modeler, such as the UA amp pedals and IK's own Tonex Pedal line – which makes sense.

In this context, the Tonex Cab helps extend the facility available in live situations through an intuitive, user-friendly experience. And proves to be useful where multiple units are being used, providing a way to apply changes in IR's and EQ presets globally without repeating the same changes on each unit.

Sounds

Sounds rating: ★★★★★

If this is your first foray into the world of FRFR cabs, you would be forgiven for assuming that full-range flat-response speakers would all replicate your tones in pretty much the same way. This is what flat response means, right? Flat. However, there are differences in tone often caused by the speaker selection and cabinet construction.

The good news for the Tonex Cab is that it sounds fantastic. Testing through both my Tonex Pedal and Line 6 Helix Floor, the high end is clear without any sense of brittleness, the mid frequencies are well represented and the lows are nice and full in a way that is mightily impressive considering the 12” speaker here.

And it is loud. Standing in a mid-sized studio, I gradually pushed the volume up to see how far the cab would go before it started to complain. My ears threw in the towel before the cab did.

Compared to some other offerings, the 350-watt RMS/750-watt peak does not seem like much on paper, but don't let that fool you. Wattage is not a one-to-one relationship with volume, there is plenty of that here to easily keep up with even the most obnoxious of loud drummers and more yet beyond that.

But with great volume comes great responsibility, and a 3-band EQ gives you easy-access tone-shaping. The sweep for both the Bass and Mid controls is reasonable, enough to make adjustments for a room without any risk of overdoing it, whilst the treble control had a broader but still completely useable range.

Having played many gigs on temporary stages being shaken by the low end from the monitors sitting atop it, the ability to easily cut the bass from the cab whilst sending unaffected audio to the desk is very appealing to me.

Providing a little more than just EQ, a particularly interesting feature is the Amp Tone control. In IK’s words, “When you turn the Amp Tone knob towards the Live setting, it enhances the mid-range focus, which is crucial for making your guitar shine in a band context - on stage and beyond - especially at high volumes. Additionally, it affects how Tonex Cab disperses sound in the surrounding space. All of this is designed to give you the feeling of playing through a real guitar amp rather than an FRFR speaker.”

From a player's perspective, the change in mid-range is something akin to what can be expected if we were to add a nice room mic to the tone. It also gave the cab a slightly different feel beyond just an EQ tweak, and was indeed a little more reminiscent of playing through a real amp.

I'm not about to proclaim this to be the death of tube amps, but it does help an already good modeling tone get that little bit closer in terms of feel. In just having some fun with the unit, I found myself leaving the Amp Tone control set halfway between the live and amp setting on both my Tonex Pedal and my Line 6 Helix, which is a testament in itself.

Verdict

The pricing of the Tonex Cab sits above most of its competitors, which is perhaps not surprising given the wider range of features on offer. However, these features are not going to be of use to everybody as users of full-sized floorboards may find equal functionality at their feet.

Where the Tonex Cab shines is through the Amp Tone feature and extending the capabilities of smaller modelers like IK's own Tonex line of pedals or products like the Blackstar Amped and UAFX amp pedals. In this context, it furthers what is available to us, allowing valuable and easily accessible features in the heat of performing live music.

Guitar World verdict: For those looking to amplify a modeler of the slimmed-down, pedalboard-friendly ilk, the feature-packed Tonex Cab offers a lot of extra scope in a compact, intuitive and pleasingly loud FRFR package.

Also try

Hands-on videos

Ola Englund

The Studio Rats

ToneJunkie TV

• Best FRFR speakers for multi-effects and amp modelers

NAMM 2025: Speaker manufacturer Celestion has released the Peacekeeper, a new loudspeaker designed to let players find their amp’s “sweet spot” at lower volumes.

Tube amps shine brightest when pushed hard, often excelling at ear-piercing volumes, but are shadows of their selves when the volume knob is rolled back. For players averse to headphone jamming, the Peacekeeper offers a valuable alternative that will keep their neighbors happy, too.

“The Peacekeeper disrupts the conventional limitation of great amplifiers,” Celestion says, “with its unique dual voice coil design.”

Its in-built attenuating technology works to “significantly reduce output sensitivity,” so amps can be driven hard, without the volume blaring out of the speaker cones rising in tandem.

Moreover, tone is said to be achieved “organically through the natural operation of the loudspeaker,” without any extraneous tonal coloring, while its standard 12” sizing and 8Ω impedance – with a maximum power rating of 50W – means it is compatible with a fairly wide range of amplifiers.

“Until today, many guitar players have been limited by the volume constraints of their environment, whether it’s avoiding disturbing someone else in their household, or keeping the peace with neighbors,” says Nigel Wood, managing director at Celestion. “The Peacekeeper empowers guitarists to unlock the true sonic potential of their amplifiers without worrying about the volume.”

Notably, Celestion talks of “modest,” and “manageable,” volumes which is a fairly vague parameter, but the concept is intriguing and could provide a worthy solution to an age-old issue.

The 50-watt limitation does rule out a decent chunk of the amp market, but the arrival of the Peacekeeper represents a fresh approach to an old headache.

The rise of amp modelers and headphone amps has previously offered one such alternative and it’s increasingly commonplace for modern tube amps to offer built-in attenuation, but Celestion is now coming to the aid of those who don't want to ditch their beloved vintage noise-makers.

What’s more, while we’ve not yet confirmed the price, it seems highly likely that the Peacekeeper will offer a less costly – albeit less flexible – alternative to the home or studio player than a traditional loadbox.

When it comes to loadboxes, for instance, even the relatively affordable offerings such as the recently announced Boss Waza Tube Amp Expander Core come in at $699.99, whereas a good quality speaker tends to cost a half or a quarter of that amount.

Visit Celestion for more.

NAMM 2025: IK Multimedia is continuing its takeover of the amp modeler market by unveiling the TONEX Cab – a new FRFR speaker that positions itself as the ultimate floorboard modeler companion.

It’s fair to say that IK Multimedia has catapulted itself to the very front of the amp modeler arms race in recent years, having slowly but surely amassed an ecosystem of innovative pedals that have changed the face of the digital amp scene.

First, there was the TONEX – which introduced the firm’s celebrated AI-based amp modeling tech – and then there was the TONEX One, which was announced by Reverb as 2024’s best-selling effects pedal, despite arriving halfway through the year.

It’s been a tremendous achievement, going toe-to-toe with companies such as Line 6 and Neural DSP, but now IK Multimedia has taken the initiative in a bid to put some distance between itself and the rest of the pack by dropping a dedicated FRFR speaker.

The TONEX Cab is a lightweight 12” power cab, with audiophile-grade power amps and “advanced DSP control” in order to deliver “the ultimate authentic tone and feel of a real amp”. In practice, that means the TONEX Cab won’t color and influence the tone coming from your modeler – it will let your digital algorithms and IRs shine through unadulterated.

What is perhaps most telling about the marketing surrounding the release, though, is the way IK Multimedia has badged it as the ultimate companion for any modeler user regardless of which brand they’re loyal to.

Indeed, rather than appealing to TONEX users directly, the firm has opened its arms to “any modeler or capture system”, enticing players into the ToneX eco-system and, perhaps, winning them over in the process.

To help the firm do this, the TONEX Cab has an exclusive “Amp Tone” control that “stands apart from any other FRFR in the market today”. Essentially, it allows players to dial in the perfect amount of “real amp feel” depending on what room you’re playing in.

Not only that, it is apparently the most compact 12” power cab on the market, weighs only 28lbs, and offers a programmable three-band EQ, as well as a custom IR loader with eight onboard presets for those digital signal chains that deal exclusively with amp sims.

Finishing touches include a balanced audio output and pre– or post-EQ/IR for cab linking or sending to front of house, MIDI I/Os for preset control, and an Aux In for monitoring and backing track purposes.

It’s a seismic move from IK Multimedia, which is clearly trying to take the opportunity to edge its way in front of Line 6 and Neural DSP as the go-to amp modeler gear supplier for players.

To that end, with the continually growing popularity of amp modelers, don’t be surprised when you see more FRFR cab options hit the market.

Line 6 already has an FRFR to its name, but it doesn’t boast quite the same features as the TONEX Cab, and is a tad more expensive. Fender also partnered its Tone Master Pro with some appropriate FRFRs, but Neural DSP is yet to stretch its wings to speakers. 2025 could yet be another interesting year for modeler fans...

The ToneX Cab is available now for preorder from $699.

Head over to IK Multimedia for more.

NAMM 2025: HeadRush might just have changed the amp modeler game by unveiling one of the world’s smallest and most affordable FRFR speakers yet.

With the rapid rise of modelers comes the increasing need for cabs and speakers that can help project their tone without coloring them in any way.

To that end, Full Range Flat Response (FRFR) speakers are designed for a neutral output, meaning they won't distort or re-shape player-dialed tones in modeler amp sims. We’ve already seen Laney and Devin Townsend produce the world’s most powerful FRFR speaker, but HeadRush has now taken the polar opposite approach.

Seemingly inspired by the sheer portability of many market-leading amp modelers – including the Neural DSP Quad Cortex, Fender Tone Master Pro, and IK Multimedia ToneX One – HeadRush has just dropped a teeny FRFR speaker that, at $149, looks to be one of the smallest and cheapest speakers of its kind.

The lightweight 30-watt speaker promises “true-to-life, color-free tone” for modeler-using electric guitar players. Two three-inch speakers do the heavy lifting, accurately projecting the chosen guitar amp and cabinet emulations, while Bluetooth streaming and Aux inputs offer additional flexibility.

Its rechargeable battery can withstand 13 hours of riffing, with Bass and Treble EQs to help players adjust the speaker’s output to each room, from home practice to studio sessions and busking.

There’s even a carry handle for the speaker – which measures just 12.6” x 7.2” x 5.9”, and weighs 7.4 lbs – for easy transportation. It’s a solid spec list that makes a welcome addition to the ever-growing FRFR market and one that also hugely bolsters the affordable end.

Line 6’s Powercab (approx $849) and Friedman's ASM-12 ($1,399) represent the higher end of the scale, but before the FRFR-GO came along, Positive Grid’s Spark Cab, which weighs in at around $399, was one of the most affordable speakers of its kind readily available.

Then you have Fender's Tone Master FR speakers, but they too start from $499 and are far more substantially sized. As such, the sheer affordability and portability of the FRFR-GO could make it a hit among modeler users who want a cheap, no-nonsense cab to project their tones.

“Stylish and portable, the FRFR-GO is the perfect companion for musicians seeking flexibility and authentic tone without compromise,” says Headrush.

The HeadRush FRFR-GO is available now for $149.

Jump to HeadRush to learn more.

Prestigious speaker maker Celestion has announced its debut series of signature impulse responses, with heavy metal godfather Tony Iommi’s collection marking a key expansion of its digital collection.

For the uninitiated, impulse responses capture the essence of a guitar cabinet – typically mic'd up in a room – to bestow that same feel to digital amps that have no cabinet. It's a way of faking the power of a 4x12 stack for digital amp users.

Celestion speakers sit in amps of all shapes, sizes, and budgets, from almighty tube amps to travel-friendly combos and beyond, and, moving with the times, it has been steadily producing IR versions of some of its famed speaker cones. But, until now, the company has never worked on a signature release.

The project sees Celestion teaming up with the Black Sabbath riffsmith for “a collection of IRs that faithfully capture the tones of two iconic closed-back cabinets that have been used extensively by Tony Iommi,” across Sabbath’s history.

The IRs can be used in any digital format, whether that’s powering plugins, amp modelers, and beyond, placing the guitarist’s iconic Laney tones within reach of all.

The collection traces his game-changing career. There’s the “‘60’s grind of a cranked LA100 BL 100W head,” which has been boosted with a modified Arbiter Dallas Rangemaster for extra heaviness, and a capture of his signature GH 100 TI head through a TI412S cabinet, which encapsulates his ‘90s tones.

While the two IRs might seem small for a collection, they are a true reflection of the speakers that have defined Iommi’s body of work in Sabbath and beyond.

He used four 12” Green label Goodmans speakers from 1969 through to the early ‘80s, while the four 12” Celestion G12H speakers partnered with his signature head was the sound of Sabbath’s latter era.

The capturing process saw three different microphones used in six positions, alongside room mics totaling 12 configurations.

Both cabinets are available individually, at £18.98 (approx. $24) each, or for a combined collection price of £22.49 (approx. $29).

Head to Celestion Plus for the full details.

The release follows Iommi's reveal that he has been using Kemper captures of his favorite Laney amps as he continues to work on his new solo album. He has been impressed by their likeness, saying it “can be hard to tell the difference” between the tube and digital versions.

Iommi has released two singles, Deified and Scent of the Dark, this year (and a signature fragrance). However, he's confirmed that those tracks will not feature on the upcoming LP.

The digital amp modeler has transformed our relationship with the electric guitar, presenting players with hundreds, if not thousands, of sounds to work with, but the fundamental truth remains that part of the appeal of the instrument is experiential – hitting the strings and pushing air out of the speaker.

Volume was front and center of Laney’s thinking when desinging the LFR Active guitar cabinet series, a groundbreaking range headlined by LFR-412, the world’s first 4x12 FRFR guitar cabinet, which, at 2,600-watts, is also the most powerful of its kind in the world.

Laney had fun with the launch, noting that LFR-412 is almost as loud as a jetplane at takeoff. Lee Wrathe, head of marketing, at Laney, admits this feat of audio engineering presented its own problems when introducing it to the world.

“It is capable of being terrifyingly loud,” he says. “When we launched the product at NAMM 2024 we couldn’t turn it up beyond 2 on the volume dial for fear of being shut down by the noise police. On the last day, we asked our good friend Mr Shred of Masters of Shred fame to turn it up to 6 and we had to go downwind and warn all of the other booths.”

Analog die-hards are taking notice. This is part of Laney’s thinking. Whether you used a floor-based modeller or plugins, the LFR series is designed to give your digital rig lungs, to take that “in-the-box” sound and make something physical of it, to make it behave like a quote/unquote real amp and cabinet.

“Let’s say someone has a Neural Quad Cortex and they have created their entire signal path, effects, amp, Impulse Response etc in a single patch that they simply want to amplify,” says Wrathe. “Running that into a tube amp would drastically color the tone, so that’s not a great option.

“Secondly, running the signal into a standard PA with a monitor on stage doesn’t allow the player any interaction with a key part of their live tone… The feel of a real guitar cabinet.”

Feel is everything. This is why Guthrie Govan gave the LFR series his seal of approval, using them with his Fractals onstage with the Aristocrats. “Once he had an opportunity to try a pair of LFR cabs whilst on tour in Japan, he was blown away and exclaimed, ‘At last! Real feedback!’” says Wrathe.

Laney’s approach started with the speaker, and it was clear from the outset that it had to design something new. An off-the-shelf driver would not be able to articulate the tone of the guitar itself and the frequency response of a digitally emulated speaker cabinet.

“The challenge was to design a driver that was perfectly balanced to deliver both outcomes,” says Wrathe. “We designed the driver from the ground up. At Laney HQ we are truly blessed with a wealth of experience in the design and production team.

“One of our top boffins worked at Celestion and was involved in the design of some of the iconic drivers we all know and love. He absolutely pours over every detail of the acoustics of both the drivers and the cabinet construction.”

Leaning on its onsite expertise and that of its sister company, HH Acoustics, Laney’s design team developed the HH Black Series professional 12” woofer, complementing them with the LaVoce compression driver. These could faithfully articulate all the frequency information in even the most complex digital signal, all the nuances that contribute to the feel of your rig.

Laney had help from artists, too. Devin Townsend was an early adopter and sounding board. The sweeping dynamics of his progressive metal guitar tone made the perfect crash test dummy. He uses a pair of 1x12 LFR-112 cabs “for ambient tones”, and the 800-watt LFR-212, but was particularly excited by the prospect of a 4x12.

“It’s just an iconic part of any player's rig and nothing moves the air quite like it and it was something he missed when using a digital rig,” says Wrathe.

Townsend subjected it to “brutal testing” and ultimately designed two IRs that ship with the LFR-412. Which brings us to the LFR’s ace in the hole: IR-handling.

Not only can you store IRs on the cab, you can split them, sending one through the PA, another through the speaker, so there is no compromising between onstage tone and PA mix. The LFR Active guitar speakers might be real but they can still do the unreal.

Visit Laney to find out more.

Fender has teamed up with German speaker manufacturer Teufel for the Rockster, a series of new Bluetooth speakers. 

In recent years, a host of amp brands have put more attention into their home audio speaker wings. Orange, for example, has the Pyramid Audio System and the Orange Box to its name. For Marshall, amp sales accounted for just 5% of the Marshall Group’s revenues in 2023, dwarfed instead by its home audio earnings.

Now, Fender has continued its own home audio activities in a bid to hold a greater presence in a market that is becoming increasingly popular for amp firms.

It's not the first time it's created home audio products. The maple-adorned portable Riff speaker turned heads at NAMM 2023, but this new collaboration places fresh emphasis on its desire to succeed in a different kind of speaker market. 

Teufel has been designing audio products since 1979, so it’s well-placed to guide these new designs. The series launches with a trio of speakers and their designs focus on portability, party-friendly features, and practicality.

Each speaker has been designed to meet different audio needs – be it at home or on-the-go – and they come in at varying price points. 

At $599.99, the Rockster Air 2 “premium party speaker” is the priciest of the bunch. Made for “live events and the stage,” it looks to go beyond the bedroom with a high-capacity battery that promises hours of playback even when turned up to 11.

It also offers high-resolution audio powerful enough to entertain an 80-person part in stereo configuration.

The Rockster Cross ($249.99) is your mid-priced option and aims to balance portability and audio quality. It’s also water-resistant (so it should withstand pool parties and beer spillages all the same) and comes loaded with Teufel’s signature Dynamore audio system for a wide soundstage. A fast-charging battery is also a handy addition.

For the budget end of the scale, the Rockster Go 2 ($129.99) “comes outfitted with everything a true adventurer needs,” namely durable housing and Teufel’s top-notch Dynamore tech. A hardy little speaker, it is IP67 rated for dust and water-proofing.

“The Rockster series is designed for audio lovers, and we know the fans and customers will truly hear the difference in sound quality,” says Teufel Managing Director Sascha Mallah. “Paired with Fender's innovation and design input, it really stands apart.”

“Fender and Teufel is a fantastic cooperation because both companies are in love with great sound,” adds Fender’s Justin Norvell. “When we’re going to put the Fender brand on something we really need to believe in it and make sure that it sounds great, and we partnered with Teufel because the audio is amazing and the products are top notch.”

In other Fender news – and there’s been a lot this week – the firm has given its Affinity guitars series a major expansion, entered the wireless guitar system market with the nifty-looking Telepath, and added the ‘59 Bassman to its Tone Master amp series. 

Fender has also released a range of Road Worn Stratocaster and Telecaster bodies for modders wanting that relic'd look.  

Head to Teufel to learn more about the Rockster series of speakers. 

While it might not grab the spotlight like a whacky pedal reissue or a shiny new guitar, the cabinet is a crucial element in your bass rig that shouldn't be underestimated. Truth is, the best bass cabinets have the power to elevate your tone, setting you apart from the crowd. Moreover, owning your own cabinet ensures a totally consistent tone at every gig. It's high time to bid farewell to the worn-out, battered cabinets that lurk in the darkness at every local venue (we've all had our share of those, haven't we?).

Although your amplifier lays the groundwork for your electrified sound, it's the cabinet that channels and delivers all that tonal goodness to your ears. With this power comes a great responsibility – hence, selecting the right cabinet option is crucial. This prompts a few thoughts: What speaker set-up works best for me? What power handling do I need? And do I truly need yet another bass guitar? Well, maybe skip the last one – let's face it, you can never have too many guitars! But when it comes to your bass cabinet, it's no laughing matter.

So today, we’re going to help you out and bring you the best bass cabinets currently on the market. From Aguilar to Fender, and circling back to Ampeg, whether you're seeking an 8 x 10" powerhouse or craving the latest innovations, rest assured there's a bass cabinet here that will truly elevate your bass tone.

Best bass cabinets: Quick list

Best bass cabinets available today 

Best overall

If you’ve spent just 30 seconds searching for bass amplification online, chances are you’ll already be familiar with Ampeg. With over 75 years of bass amplification history, Ampeg is the real deal. Inspired by the infamous ‘60s Ampeg B-15 amplifier, the Portaflex PF-115HE emerges as our best overall choice for bass cabinets.

The PF-115HE delivers exactly what you need from a working musician’s bass cabinet; a commanding, tight low-end that gives you plenty of control. The 1” HF compression driver is equipped with 3-way attenuation for when you need to dial in a bit more sizzle or want to cut out particular frequencies. Capable of handling 450 watts of power, this thing will shake a few windows if need be and will manage medium-to-large venues with ease.

Ampeg’s B-15 is one of music’s most popular bass amplifiers, so it’s no surprise that the iconic silver grille cloth and its ‘flip-top’ design have been pinched for this cabinet. The flip-top is primarily designed to work in collaboration with a Portaflex head, however, it also opens up to reveal ideal storage space for any cables, pedals or other gigging paraphernalia you may need to hide.

Okay, this cab isn’t exactly dead weight, but it would have been more handy to have the carry handles mounted to the side as opposed to the top. However, this isn’t a dealbreaker as the built-in casters are lifesavers for moving it around.

Best for portability

Let’s face it, gigging can be an energy drain and the older you get, the less it agrees with your body. So, if you’re looking for a bass cabinet to make gigging easier on your back, check out the Traveler 102P from Markbass.

This rectangular little wonder may be small in stature, but don’t let that fool you. It’s capable of handling 400 watts of power with two 10-inch neodymium speakers that deliver punchy, articulate bass. The adjustable piezo tweeter allows you to fine-tune it to your liking, preventing the high-end from being overly dominant or too overwhelming in the mix.

Sometimes whilst gigging local venues, space can be a problem, so being able to use the Traveler both horizontally and vertically is a useful feature. Also handy for surviving local venues is this cab’s robustness. The cab's sturdy multi-ply poplar construction is shielded by a durable carpet-like covering, complete with thick plastic corner reinforcements. Trust us, it's built tough.

Weighing just under 15kg, your back will thank you, especially if you're used to lugging around an old 8 x 10" Ampeg. Although pleasingly portable, having only one side handle gives your bandmates an easy get-out-of-carrying card. So be prepared to shoulder this burden alone.

Best value

TC Electronic is king of budget musical equipment and the BC208 cab has rightfully earned the crown of best value bass cabinet on our list. Firstly, this thing is rugged. The hard plywood construction has been coated in an anti-skid material, keeping it firmly rooted in place while on the stage. Meanwhile, the stylish heavy-duty metal grille protects the two 8-inch custom drivers found underneath.

As expected with 8-inch speakers, this cab is going to give you a tight, focussed sound. It does a very impressive job of delivering every detail of your sound without distorting too quickly, even at higher volumes. Although there isn’t a tweeter present, mid and high-range frequencies are handled pretty well and the cab punches well above its speaker configuration and small price tag.

Hearing our bassist play through two of these, it's impressive how the BC208 projects sound. Pound for pound, there aren't many that match its performance. While it handles 200 watts, ideal for smaller venues, linking two for mid-size capacity places might be necessary. Robust, lightweight and affordable, there isn’t really much to dislike here.

Best for volume

There aren’t many bass cabinets as familiar with arena stages as the Ampeg SVT-810E. Used by bassists like Bill Wyman, Cliff Williams and Krist Novoselic, the SVT has had many famous advocates, and as the adage goes, if it’s good enough for them, it’s probably too good for us.

Ampeg’s SVT amplifier series debuted in '69 with much aplomb. This mammoth cabinet utilizes the same design techniques and speakers as its famous predecessor. You may be thinking that eight ten-inch speakers are overkill, and you possibly have a point, but when you stand in front of them and feel the air pushed into your face, you’ll immediately understand the excess. The low-end is absolutely massive and the volume this cabinet is capable of is insane.

With such powerful bass, the low and midrange frequencies need to cut through and we’re pleased to report the SVT-810E does this pleasingly well. The headroom and clarity on offer is next to none, even at incredibly high volumes the cabinet behaves impeccably well. Although it takes a bit of pushing, when naturally overdriven, the cabinet truly sings. However, this may only be achievable in larger venues.

If you sign up for a cabinet that’s affectionately known as ‘the fridge’, you’ll not be surprised to discover that it’s pretty darn heavy, 140lbs to be exact. However, the weight is intrinsic to the cabinet's soul; it's essential for embodying the true SVT tone and the combination of the aforementioned speakers and the birch wood cabinet cannot be substituted.

Best midrange punch

When people think of Darkglass, thoughts of heavy music usually follow. However, the DG212NE cabinet is proving that the Finnish company shouldn’t so easily be pigeonholed into one particular category.

This cabinet is capable of a plethora of very musical tones. This is largely thanks to its two 12-inch custom-designed Eminence neodymium speakers that utilize a bi-amp design with 500 watts per side. It provides a superb clean platform for your preferred head and the midrange punch is very pleasing. Rest assured, with 500 watts per speaker, this thing can blow your head off, so if you’re competing with a particularly rambunctious drummer you’ll have all the power you need.

Don’t get us wrong, the DG212NE will still provide you with Darkglass’ iconic distorted, chunky bass when you need it, but equally pleasing is the cabinet’s crystalline response and overall versatile performance. The 1” P Audio HF driver tweeter takes care of the high-range frequencies, freeing up the 12” Eminence speakers to do the heavy lifting of the low end. Therefore, the cabinet is very well balanced.

As well as versatility, this cabinet has been constructed with carbon fiber Tolex which sports the distinctive, sleek Darkglass look. Not only does it turn heads, but it's also pretty lightweight for a cabinet this size, weighing in at 19.7kg. Combine that versatility with its weight, and Darkglass has just aced the gigging cabinet game.

Best for beginners

The Fender Rumble series is the go-to option for fresh-faced bassists who are relatively new to the game. However, the series isn’t just home to 15-watt practice combos. Nowadays, the Californian giants are creating giggable bass cabinets for those after a straightforward and affordable option. Enter the Fender Rumble 210.

True to its name, you've got a pair of 10-inch Eminence ceramic magnet speakers handling the lows, while the switchable compression driver takes charge of the highs. The result is a powerfully articulate low end with Fender’s infamous transparent mids and pretty clear highs thanks to the compression driver. There is a slight vintage character which is low and thick, so this cab should please old-heads.

The ported plywood enclosure is as sturdy as it gets and this cab has been designed to stack others on top without flinching. At 16.8kg it’s one of the lightest cabinets on our list, so if you’re looking for a gigging buddy, there’s plenty of appeal here. Capable of handling 700 watts of bass power, this humble cab can shift plenty of air but its biggest appeal is the simple set-up and plug-in and play capabilities. No fuss, zero hassle.

More options...

Aguilar is slightly younger than heritage brands like Ampeg and Fender. However, don’t be deterred by its comparative youth as, since its inception in the mid-’90s, the New York company has risen to international acclaim in the bass community. With a well-earned pedigree, you can expect fantastic quality when it comes to its equipment – and the SL 112 bass cabinet is no exception.

The SL series is Aguilar’s lightweight cab range that packs a punch without compromising on tone. The SL 112 utilizes a 12-inch cast-frame neodymium driver and a phenolic tweeter with an integral phase plug. On offer is a beautiful woody, vintage bass tone with a silky low-end. It’s definitely not a neutral response, but the color it adds to your bass tone is incredibly musical with tasty vintage flavorings dripping all over.

Although 250 watts of handling power isn’t the juiciest on our list, the volume on offer here is surprising. These custom-designed crossovers work wonders, directing frequencies to the right speakers for a serious boost in sound projection. We’re not recommending this for huge capacity venues, but for those smaller pub gigs, the SL 112 will have you covered.

So, we know this is not the choice for purists or vintage tone seekers, but if you've committed to using a digital modeling floor unit live, then this FRFR (full range, flat response) cabinet could be the missing link in your rig.

Offering a respectable 140 watts of power, this cab will seriously improve the low-end capabilities of any Spark amplifier or multi-effects unit, but it's worth noting that this speaker will not work with a traditional amp head.

In our glowing 4-star review, we praised this cab's lightweight and sleek design, punchy sound and modest price tag.

Read our full Positive Grid Spark Cab review

Best bass cabinets: Buying advice

What do I need to know about bass cabinets? 

Just like a guitar cabinet, a bass cabinet is pivotal in any amplification set-up. Unlike a combination amp which houses both the amplifier and speakers in one contained unit, if you're using a separate amplifier head, you'll need a corresponding cabinet. Essentially, a cabinet is a box, often wooden, that houses the speakers. The amplifier head delivers the power while the cabinet serves as the speaker hub for your booming bass tone. Simple enough, right?

Matching the cabinet with your amp's power

Ensuring your cabinet's power matches that of your amplifier is critical. If your amp exceeds your cabinet's capacity, you risk damaging the speakers by overdriving them – an expensive mishap you'll want to avoid. Thankfully, it's a simple process to get it right. Amplifier load is expressed in impedance (ohms), usually 4, 8, or 16 ohms. Just match the amp's ohms to the cabinet's, and you'll be good to go without any worries. Although this sounds pretty straightforward, there is a cabinet graveyard out there with a number of fried speakers, so make sure you pay close attention.

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 bass cabinets available right now, we combine our hands-on experience, user reviews and testimonies and engage in lengthy discussions with our editorial colleagues to reach a consensus about the top products in any given category.

First and foremost, we are guitarists, and we want other players to find the right product for them. So we take into careful consideration everything from budget to feature set, ease of use and durability to come up with a list of what we can safely say are the best bass cabinets 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.

Related buyer's guides

• Best bass guitars: long and short-scale options for beginners to pros
• Best bass amps for practice: top combos for chopping it up at home
• Best budget bass amps: punchy low-end for a low price
  

After recently reviving its ReValver amp sim software, HeadRush has now turned its attention to amplifying its modeling units with the release of two new FRFR speakers.

Short for full range, flat response, FRFR units are specifically designed to be used alongside amp modelers, and work to uncompromisingly amplify digital amp and cab sounds without coloring the tone through its components.

This, naturally, is the aim of the game for both the HeadRush FRFR MKII 108 and MKII 112 powered speaker cabs, which are all about delivering “powerful, professional sound output and convenient connectivity options for the modern performer”.

As expected, they are the same speakers, just with different power levels: 108 has an 8” woofer and offers 2,000 watts of power, while 112 is loaded with a 12” woofer and provides 2,500 watts of power. Both have a 1” high frequency compression drive.

By their very nature, FRFR speakers are pretty simple beasts, but HeadRush has given its own updated powered cabs extra allure by treating them to Bluetooth connectivity.

That Bluetooth option, HeadRush says, can be used to connect the FRFR speakers to a mobile device for streaming music during rehearsals, set breaks or if you just fancy listening to some music. We imagine it would be useful for buskers, too.

The wireless option is joined by two combo XLR and 1/4” jack inputs, and an XLR output, which are responsible for the heavy lifting.

Through those input connections (which have their own independent volume controls), the FRFR MKII cabs can be connected to HeadRush multi-effects pedals – these cabs have been “precision-designed to get the most out of your modeler” – while the XLR out allows for the signal to be sent to a front of house mix, or for chaining multiple speakers together.

In practice, both updated units seek to “deliver a transparent sound that projects the character of your pedal, rather than the speaker”. This goal is helped by the presence of High Pass Filter cut and ground lift switches that remove troublesome frequencies and unwanted hum.

While they don’t have the classic amp aesthetics of some other FRFR cabs – most notably Fender’s recently unveiled Tone Master FR cabs – they do look to be immensely practical and convenient options for modeler users.

Their ergonomics make them easy to carry and position, while built-in mounts mean they can be used as classic wedge monitors or pole-mounted speakers. They’re also pretty affordable: the 108 and 112 units are available for preorder for $299 and $399, respectively.

Our one reservation is the look, which is still very much akin to a traditional PA speaker, as opposed to Fender's recent guitar cab-esque Tone Master FRFR models.

HeadRush is in the midst of a significant leveling up of its multi-effects and amp modeler game. In March, the brand unveiled its Prime multi-FX, which was dubbed “the most powerful, versatile and realistic-sounding floorboard FX processor ever”. This was followed by the Auto-Tune-loaded Core FX processor.

More recently, the company revived the once-Peavey-owned cult classic ReValver, introducing seamless plugin and pedalboard integration.

Visit HeadRush to find out more.

Fender’s Tone Master Pro amp modeling floorboard is a significant new product from the company that practically invented the guitar amp, underlining the steadily increasing dominance of digital technology in the amplification market. The arrival of digital modelling floorboards brought with it another conundrum – how to amplify them?

At the upper end of the market, where many bands are using in-ear monitors with dedicated monitor mixes and the front-of-house PA system takes care of the rest, there’s no real need for conventional backline any more.

However, many players still prefer the convenience of an onstage loudspeaker that they have some measure of control over, while at grassroots level it’s still common for many bands to use a vocal PA and rely on backline to amplify their instruments.

With all of that in mind, Fender has introduced two new full range flat response (FRFR) powered speaker cabinets, primarily to partner the Tone Master Pro but more than capable of handling any input that needs a small self-contained PA. We’re taking a look at the larger one of the pair here, the FR-12.

At first glance, the FR-12 could easily be mistaken for Fender’s Hot Rod Deluxe, with similar dimensions and cosmetics. The silver sparkle grille and black Tolex combine for a classic look that’s instantly recognizable around the world. Move a little closer, though, and the differences become more obvious.

There’s a top-facing control panel with knobs for Volume, Treble, Middle and Bass, together with a Cut knob that reduces high frequencies as you turn it up. The other three EQ controls are active, providing up to 6dB of cut and boost at their center frequencies.

On the rear panel is a combi jack/XLR input socket and a balanced XLR output with its own ground lift switch for onward connection to PA consoles. The speaker grille is secured by industrial Velcro; removing it gives access to the 12-inch loudspeaker and compression driver, which sit on a ply baffle with two circular ports to project and smooth out the lows.

The rear baffle is completely sealed, while Fender’s traditional tilt-back legs help optimize projection. The FR-12 looks substantial – and it is – but special lightweight plywood and clever loudspeaker design have helped to keep the weight down to just 12.5kg. There’s nothing lightweight about the FR-12’s sonic capabilities, though, with a Class D power stage delivering a whopping 1,000 watts of power and a maximum SPL of 130dB.

In Use & Sounds

Thanks to its portability, the FR-12 is easy to deploy and set up, with its tilt-back legs neatly taking the place of cumbersome amp stands. It’s very easy to dial in, too, working from a flat response starting point with the tone controls in the centre detent position and the Cut control at zero. From here, you can quickly dial in EQ changes to suit any room, large or small.

As for volume, the FR-12’s 1,000-watt power stage ensures everything is heard with exceptional clarity, right down to the subtlest nuance. It’s this huge power reserve that lends weight and authority to the Tone Master Pro’s modeled amp dynamics, providing uncanny valve-like feel and ensuring everything is heard clearly, all the way to full-on powerchords and wailing solos.

The rear-panel XLR output is a useful extra that neatly side steps the problem of mic’ing up a multi-speaker cabinet, perfect for connection to front-of-house or recording consoles.

Verdict

There’s no doubt that if you own a modelling floorboard and you want to amplify it, then FRFR is where it’s at – and Fender’s FR-12 is a great solution, combining classic good looks with prodigious power and clarity. It’s relatively affordable, and if you need it there’s a more compact FR-10 cabinet with a 10-inch driver, which shaves a few inches off and loses a little weight, while retaining the same output power.

Like the Tone Master Pro modeling floorboard that it’s intended to partner, the FR-12 is aimed at professional and serious amateur players, so we like the simple yet effective tone controls as they make it quick and easy to dial in for any environment. And since the price is quite affordable, we can also see lots of these being sold as multi-purpose PA speakers for grassroots bands and performers.

Specs

• PRICE: £519/$549
• ORIGIN: Designed in USA, made in China
• OUTPUT: 1,000W
• TYPE: Powered full-range cabinet
• DIMENSIONS: 597 (w) x 250 (d) x 460mm (h)
• WEIGHT (kg/lb): 11.5/28
• CABINET: Lightweight plywood
• CONTROLS: Volume, bass, middle, treble, cut
• CONNECTIONS: Combi jack/XLR input, XLR output
• ADDITIONAL FEATURES: Tilt-back legs
• OPTIONS: None
• RANGE OPTIONS: FR-10 (£469) features a 10-inch driver and slightly smaller dimensions with identical controls and output power
• CONTACT: Fender

Over the last few years, Positive Grid's focus seemed to be on creating smaller and smaller versions of their beloved Spark desktop amp. Units such as the Spark Mini and Spark GO distilled the essence of the original practice amp down into a smaller format, giving guitarists the ability to take their tone anywhere with them. 

In a move we didn't see coming – mind you, the amps couldn't get any smaller – Positive Grid has launched a new product that looks to transform your practice setup into the ultimate live rig – introducing the new Spark CAB. 

While this 140-watt Class D powered FRFR cabinet is compatible with all three of the Spark models, it's also designed to work perfectly well with non-Positive Grid products, becoming the ideal platform for modern amp modelers and multi-effects pedals. 

Design & build quality

Like the previous offerings from Positive Grid, this new cabinet has a quiet elegance to it. The gold and black aesthetic certainly put us in mind of a rather legendary British amp maker while also looking fresh and modern. This trademark style has become a cornerstone of the entire Positive Grid line, and it's nice to see it continue here – so it's a 10/10 in the looks department from us. 

In fact, once the cab is topped with the original Spark 40, it looks exactly like a traditional head and cab setup – albeit a shrunken-down version. It even looks passable with the Spark Mini sat on top. However, it does fall down when it's paired with the smallest of the family, the Spark GO. The sheer size difference between the two units leads to a rather silly-looking rig, so we can't see anyone rocking up to a gig with this as their main setup. 

While we are on the subject of the Spark GO, unfortunately, we encountered a minor but annoying problem when using the two units together – the amp does not want to sit still on top of the cab. Unfortunately, the weight of the guitar cable is enough for the GO to topple over, and this means the pint-sized amp has a tendency to fall off the cab if you were to move around – not ideal in a live scenario. 

Perhaps Positive Grid could add a recess into the top of the cab to act as a sort of port that would hold the GO in place, solving this pesky issue. 

Overall, the Spark Cab feels very sturdy and well put together – not that we'd expect anything less from the practice amp innovators. It certainly feels as though it would stand up to the harsh conditions of the road, and it's lightweight enough that it shouldn't be a problem for anyone to carry from venue to venue. 

Features & sound

On the rear of the cabinet, you'll find a plethora of inputs and outputs, as well as a few handy features to ensure you get the best sound possible – regardless of the piece of gear you're using. 

As well as a dedicated input for Spark amps, there are dual stereo combo inputs that offer both XLR and TRS connections, meaning you can easily hook up your favorite multi-effects unit or amp modeler – so if you're a fan of the Kemper, Helix or Quad Cortex you'll be able to use this FRFR speaker. 

Better yet, Positive Grid has also included a balanced XLR output, which allows you to send the signal off to the front-of-house desk or a recording device. What's more, there is also a very useful ground lift switch to reduce unwanted hum or noise – very handy indeed. 

Spark users will be delighted to know there's both a USB-C and DC power output located on the back, which can be used to power your amp, phone, or tablet. 

Okay, that brings us to the sound of the new Spark Cab. At a blistering 140 watts, this cabinet is loud, very loud. It will most definitely compete with a heavy-handed drummer at a rehearsal or gig, although you may want to elevate it off the floor. 

The 10" woofer and duo of high-frequency tweeters do a great job of providing clarity and punch, and there's plenty of detail in the top end. That said, it is a little bass-heavy. We found ourselves rolling off the bass on our favorite Spark presets and even doing the same when using a third-party multi-effects unit. 

It's worth noting that there is a "contour" switch on the back, which is used to emphasize low and high frequencies with a view of giving you a more balanced sound at lower volumes. Now, we actually didn't feel like we needed this switch at all, as there was plenty of bass already – even at home practice levels. 

Final verdict 

Positive Grid proves once again why they are front runners in this space. The Spark CAB is not only a brilliant addition to the rig of existing Spark users, but it's also the ideal unit for modern players looking for a cost-effective FRFR cab for running their favorite digital modeler or multi-effects pedal. 

Yes, we had a slight issue when pairing the new cab with the pocket-sized Spark GO and you do need to tweak your presets to better suit the EQ curve of the speaker, but overall, it was an enjoyable experience using this well-made and innovative cabinet. 

If you are keen to use your bespoke Spark presets in a live setting – or you just want to seriously up your recording game – the new Spark CAB is a must-have addition to your Positive Grid rig. 

Specifications

• Frequency Range: 45-20,000Hz
• SPL: 117dB (RMS), 120dB (Peak)
• Power Amp: 140 Watt Class D Amplifier
• Speakers: 1x10-inch woofer, 2x1-inch (25mm) tweeter
• Impedance: 4 ohms
• Controls: Input Selector - Switch between the 3.5 mm Spark Input and the two mono XLR/TRS Combo Inputs, Speaker Volume, Line Out Volume, Ground Lift Switch, Contour Switch - Boosts low and high frequencies to improve balance at low volumes
• Connections: 1 x 1/8" dedicated stereo Input for Spark Amp, 2 x mono XLR/TRS combo inputs, 1 x mono XLR balanced output
• Dimensions: 492.5 x 399.8 x 255 mm (with rubber feet) (19.39 x 15.74 x 10.04 in)
• Weight: 13.5 kg/29.76 lbs
• Contact: Positive Grid

Fender is on something of a hot streak right now, having just today (October 3) expanded its Tone Master family of digital amps to include the Tone Master Pro – the company’s first-ever fully fledged amp modeling multi-effects pedal.

Well, that game-changing stompbox isn’t alone, and has been joined by another first for Fender: two all-new Tone Master FRFR cabinets.

FRFR speakers – which is short for Full Range, Flat Response – work to eradicate the tonal characteristics that are introduced by the speakers of regular cabs, and instead seek to let the nuances of digital amp, cab and effects models shine through without compromise.

As was the case with the Tone Master Pro, Fender has attached some fairly ambitious claims to its two Full Range Flat Response cabs, labeling both units as “the ideal solution for players who use modelers at home or on stage”.

Not only that, the cabs promise to be the perfect partners for all digital guitar amp modelers and profilers, and, as per Fender's words, “deliver clear and accurate sound reproduction and perfectly replicate every detail of the amp and effect models.”

The Tone Master FR-10 and FR-12 are, as the names imply, equipped with either a 10” or 12” Special Design speaker, but aside from the speaker differences, both cabs otherwise share a spec sheet. 

That means the FR-10 and FR-12 both have two-way active speakers, a 1,000 watt Class-D power amp for generous headroom, a 1” Wide Dispersion High Frequency Driver, and an onboard three-band active EQ with High Frequency Cut Control.

In keeping with the rest of the Tone Master range, both FR speakers flash a traditional Fender aesthetic, composed from a lightweight plywood enclosure, with integrated tilt-back legs and a fancy jewel light to boot.

They look the part, they promise to sound the part, and they weigh the part, too. Since modeler loyalists are all about transportable, downsized rigs, the Tone Master FR cabs look to provide this convenience by weighing in at under 28 lbs a piece.

Specifically, the FR-10 is 25.6 lbs (12.5kg), and the FR-12 is 27.6 lbs (11.6kg).

It’s a significant day for Fender, what with the release of both these FR speakers and the Tone Master Pro. A clear precedent has certainly been set for the company’s digital future, and Fender’s commitment to the technological advancement of its product line through the Tone Master medium has been reaffirmed. All we’re saying is, expect dual-speaker FRFR cabs in the future…

Price-wise, the FR-10 and FR-12 are available now for $499 and $549, respectively.

Head over to Fender to find out more.

We’ve all seen big stages where drum kits are flanked by walls of cabs, full stacks lined up as if to create a musical Stonehenge where we can worship the gods of rock. But is there any point to a 4x12 in today’s musical world? Does it just look cool? Has its time been and gone?

By now, you should have noticed that the size and weight of equipment, especially guitar amps and guitar cabinets, has been decreasing, and although some compromises have been made along the way, it’s largely true that we’re getting great sounds in much more practical packages today. 

I’ll hold my hands up now: my first cab was a white model 1984A Marshall 4x12. I used it with a Marshall JCM800 head (non-master volume) and although it was massively impractical, it sounded great and, at least in my mind, got me one step closer to my heroes in Iron Maiden, Guns N’ Roses and all-time greats like Jimi Hendrix. It wasn’t just arena rock bands, though. 

I’ll never forget the first time I opened Blur’s 1997 self-titled album (featuring Song 2) and saw a picture of Graham Coxon sat next to two Marshall amp half-stacks. I thought that setup looked so beautifully elegant. The width to height and depth, along with the lines and profiled edges of these cabs, looked as powerful as it must have felt to be stood in front of them.

4x12s came to life in the early 60s when amp builders (in this case, Jim Marshall) needed to increase the power handling of their cabs due to the increasingly powerful amps of the day. The restriction of guitar speakers not advancing at an equal rate resulted in the use of larger speakers – and more of them. 

The first 8x12s were reportedly built for Pete Townshend of The Who, and although they looked great (before getting smashed by a guitar), complaints from roadies resulted in a pair of 4x12s being used to split the weight. As a side note, if you think 4x12s are impractical now, notice on old photos how a lot of 4x12s had strap handles on top, rather than today’s panel/side handles. No wonder the 8x12s got the chop.

It’s clear that I find old Marshall 4x12s beautiful. But it’s the sound we should be talking about – and how they’re built is a large part of that. Nearly all 4x12s are closed back. While some of this is undoubtedly due to convention, the main reason is that closed backs generally give a more direct sound with more focus or control on the low-end (bass frequencies). 

The increased ambience of open-back cabs is generally not as desirable in a live situation, or possibly something to sacrifice in favour of a bigger sound, at least not to the predominantly rock audience who use 4x12s. This, along with the increased movement of air from four speakers, holds a certain weight to the sound that’s hard to replicate in smaller cabs with fewer speakers. It is possible to come close, but to truly replicate a quality 4x12 involves some snake oil.

How we hear 4x12s is a little different, too. It’s not hard to find conversations online about an uneven spread of sound and encountering phasing issues in 4x12s – the top speakers in an angled 4x12 will sound more aggressive than the bottom two. But for most of us, it’s unlikely that we’d notice these issues in a real-world situation. After all, if you’ve taken a 4x12 to a gig, you’re probably ready to rock.

I believe that the physical size, large depth and internal pressures created in a 4x12 make for a great-sounding cab. True, these are all features that in turn make them impractical for a lot of guitarists, but if you can put up with the weight and awkward shape, I find the movement of air and fullness of sound are a great return. 

Of course, a great player will sound good on nearly any piece of kit, and combos and open-back cabs sound awesome in many situations. Plus, not everyone needs or even wants the qualities that I have described as admirable here. But, for me, there are few pieces of equipment that can put a smile on my face more quickly than a quality 4x12.  

A 1968 Fender Dual Showman 2x15 guitar cabinet used by Jimi Hendrix at – among other performances – his set at the 1969 Newport Pop Festival, is going up for auction.

The cabinet – along with high-profile items like a Kurt Cobain stage-smashed Fender Stratocaster – is one of the headliners of the latest Julien's Music Iconssale.

Packed with a pair of 15-inch JBL 130 speakers, rather than its original stock Fender speakers, the Dual Showman was acquired by the guitar hero prior to his 1968 American tour with the Jimi Hendrix Experience due to his need for more onstage firepower.

According to Julien's, Hendrix originally used the cabinet – along with five other Dual Showmans – in its stock form (with Fender speakers) for a handful of performances in February 1968. However, it broke down during a performance at the Anaheim Convention Center in Anaheim, California. 

At some point, the cabinet was fitted with JBL speakers that were better-equipped to handle the volume levels Hendrix needed for the larger venues he and the Experience were performing in.

The cabinet, and its Dual Showman siblings, can be seen behind Hendrix in the below video of his performance at the 1969 Newport Pop Festival.

The cabinet's value is estimated at between $60,000 and $80,000, with a long-since-eclipsed minimum bid of $15,000. It's set to go under the hammer on May 19.

The Hendrix-played Dual Showman is dressed in black tolex, with Fender and JBL badges on its grille. Photos of Hendrix with the cabinet at the 1969 Newport Pop Festival, and its original black vinyl Fender slip cover, will be included with purchase.

For more info on the cab, visit Julien's Auctions.

The auctioning off of the cabinet comes just weeks after Hendrix's 1964 Fender Jazzmaster – used by the guitarist during his early days as a sideman to the likes of the Isley Brothers and Little Richard – was purchased for an undisclosed sum by Indianapolis Colts owner and noted guitar collector Jim Irsay.

Budget gear specialist Harley Benton has unveiled a new line of guitar cabinets, the G-Plus series.

The G-Plus units all feature birch plywood construction, are wrapped in black tolex with white piping, and boast a black grill cloth. 

There are 16 G-Plus cabs in total, which can be sub-divided into five categories – G112Plus, G112Plus Thiele, G212Plus, G212Plus Vertical and G412Plus. We'll take you through each of the models below.

G112Plus

The G112Plus cabs feature a semi-open back design, and can be fitted with UK-made, 12-inch Celestion G12M-65 Creamback or G12M-25 Greenback speakers. An unloaded version of the G112Plus is also available.

The Harley Benton G112Plus Creamback, Greenback and unloaded cabs are available now – for $219, $210, and $90, respectively.

G112Plus Thiele

Designed – with front-ported speakers and closed backs – to put forth a slightly punchier sound than their standard G112Plus counterparts, the G112Plus Thiele cabs also come with a choice of UK-made, 12-inch Celestion G12M-65 Creamback or G12M-25 Greenback speakers. There's also an unloaded version of the model.

The Harley Benton G112Plus Thiele Creamback, Greenback and unloaded cabs are available now – for $228, $219, and $109, respectively.

G212Plus

Available with the option of an open or closed back, and the same choice of Creamback or Greenback Celestion speakers as the G112Plus ranges, the G212Plus line also features an unloaded model, and a model sporting a combination of Celestion Creamback and Vintage 30 speakers.

The Harley Benton G212Plus Creamback, Greenback and unloaded models are available now – for $393, $366, and $145, respectively. The G212Plus V30/Creamback also rings up at $366.

G212Plus Vertical 

These, save for their vertical inclinations, are identical to their horizontal G212Plus counterparts, absent the availability of unloaded and Creamback/Vintage 30 combo options.

The Creamback and Greenback Harley Benton G212Plus Vertical cabinets are available now for $393 and $366, respectively.

G412 Plus

Last but certainly not least are the G412Plus models, available with an open or closed back, and a choice of four Celestion Creambacks, four Celestion Greenbacks or a combination of Celestion Greenbacks and Vintage 30s. There's also an unloaded option.

The Harley Benton G412Plus Creamback rings up at $733, while the G412Plus Greenback sells for $685. The G412Plus V30/Greenback is available for $639, with the unloaded model going for $228.

For more info on all 16 of Harley Benton's new G-Plus guitar cabinet models, visit the company's website.

Over the years, we’ve come across our fair share of guitar-themed YouTube videos that see content creators flex their creative nous and conduct all sorts of wild experiments, builds and performances.

The ones that particularly come to mind include any of Burls Art’s creations – such as his six-strings made from skateboards and epoxy resin – as well as Bernth Brodträger’s recent experiment that saw him flood his acoustic’s soundhole with water.

If there’s one thing we can conclude from the above list, it’s that electric guitars and acoustic guitars receive all the love from YouTubers, and as such guitar amps and guitar cabs usually fly under the radar.

That is until now, though, after Bold and Brash Crafts showcased their most recent guitar-inspired creation: a 4x10 Marshall cab, made almost entirely out of Lego.

We say almost entirely, because, well, it would be impossible to construct the necessary electronic components a cab requires out of nothing but interlocking plastic bricks. Having said that, everything that could be made out of Lego, was made out of Lego.

As you can probably imagine, building a Lego Marshall cab was a fairly mammoth undertaking – one that involved an extensive design phase comprising numerous CAD designs, meticulous measurements and massive bulk order of yellow, green, blue and red Lego bricks.

After a test build, the bricks were then super-glued together to form the top, bottom and sides of the cab, which were further reinforced with wooden slabs and a wooden front plate, appointed in an effort to accommodate the four Celestion VT Jr. speakers and support the weight of any top-mounted amp head.

Once the speakers and side handles were all in place, the Lego cab was treated to the final touches: a fully wired jack panel, a Marshall-style grille cloth and a Marshall logo made out of – yes, you guessed it – more Lego.

For our two cents, it looks like a far more complex build than that Lego Stratocaster that Fender released a while back. Still, when paired with a Carvin amp head, it projects just as you’d expect, so not only does it sound the part, it looks pretty rad as well.

Now it just needs to be paired with Burls Art’s 2,000-piece Lego bass guitar for the ultimate Lego rig...

Mesa/Boogie has lifted the lid on a full series of new and revamped cabinet designs.

The firm reports that all the new Boogie cabinets will be built in its California facility from premium materials, including marine-grade Baltic birch plywood, UK-made Celestion speakers and coated jute grilles that (MESA insists) create a sweeter top-end response. 

Among the new designs are two 10” speaker cabinets: a 2x10 and 4x10 – both of which feature open-back designs for a broad, vintage-style response. The full range includes...

1x10 Boogie 14 ($449)

This open back cab is aimed at traditional rock, blues and R&B-style players. It's recommended as a pairing for smaller Mesa guitar amps, such as the Mark Five: 25.

1x10 Boogie 16 ($449)

This is based on the 14, but offers a more generous low end response and is said to pair well with the likes of the firm’s California Tweed amps.

1x12 Boogie Thiele Front Ported Cabinet ($549)

A compact closed-back build, the Thiele is all about offering some additional low-end thump and thud to your rig, whether it’s a combo or head and cab.

1x12 Boogie 19 ($529)

The ‘classic’ Boogie cab, initially created to partner with the 12” Mark I combo, it has become renowned for its versatility. As with the two cabs above, it’s an open-back build.

1x12 Boogie 23 ($499)

This is based on the Boogie 19 build, but offers a more expansive take on its tone, as such, it can play well with some of the heftier amps in the MB line-up, such as the Badlander and Triple Crown heads.

2x10 Boogie 23 ($529)

This 2x10” cab configuration uses Celestion G10 Creamback speakers (as opposed to the C90s in the 12” builds) and is said to play equally well with combos or standalone heads.

4x10 Boogie Open Back cabinet ($799)

This new 180-watt 4x10” configuration is reportedly more compact and lighter than previous offerings – shaving a couple of inches and a healthy 10 pounds off the Lone Star 4x10, for example. 

For more information on the Boogie Cabinet range, head to MESA/Boogie’s site.

If you’ve been playing for a little while, then you’ll know that the core sound of your rig is down to your amplifier. However, a lot of guitarists underestimate how the best guitar cabinets will allow you to expand upon your core tone, providing a three-dimensional element to your guitar work as well as helping to increase the volume on stage and in the rehearsal space. 

Here, we’ll detail all the best guitar cabinets available today, from 1x12 extension cabinets all the way to the mighty 4x12 half stack. No matter your playing style, there’s a cab that will help you expand upon your sound.

We've included some in-depth buying advice at the end of this guide, so if you'd like to read more about the best guitar cabinets, click the link. If you'd rather get to the products, keep scrolling.

Best guitar cabinets: Guitar World’s choice

It just had to be, didn’t it? The Marshall 1960AV 4x12 Angled Guitar Cabinet is the original, and still the best, guitar cabinet for a huge variety of styles. Packing four Celestion G12 vintage-voiced guitar speakers, there’s not a thing this awesome bit of kit can’t do for your guitar’s tone. Crank the volume on this beast and you’ll feel it right in your chest.

We don’t all have space for a 4x12 cabinet so running the classic Marshall a close second is the Orange PPC212OB 2x12 Open Back Cabinet. With two Celestion Vintage 30 speakers for a tight response, the open back of this cab helps create a spacious, three-dimensional guitar sound.

Best guitar cabinets: Product guide

The image of Marshall stacks adorning stages all over the world has seeped into the very fabric of modern culture, even if you don’t know what a guitar cabinet is. This particular Marshall cab features ’80s sonic characteristics, with that original iconic ’60s styling.

Four 12-inch Celestion G12 Vintage speakers make this cab capable of delivering everything from pristine cleans to high gain lead tones and it does so with balance and power. With chime-like highs and a metric ton of low end that never gets muddy, this cab is pure rock power personified.

It comes with casters already installed, which you’ll need because this thing is seriously heavy! The birch cabinet has the top two speakers angled upwards for a better spread of your sound.

Orange cabinets are rapidly becoming some of the most popular cabs you’ll find, thanks to their fantastic build quality, sound, and of course those distinctive-looking orange Tolex wraps.

The Orange PPC212OB features two Celestion Vintage 30 speakers – a classic combo in guitar cabinet construction. They deliver a very mid-range heavy sound with no booming lows or harsh highs. Thanks to the open-back cab design and diagonally positioned speakers, there’s a distinctly airy quality that fills a room well.

Orange’s trademark skid runners take the place of your typical feet that you'll find on most guitar cabinets. They acoustically couple the cabinet to whichever surface you place it on, ensuring excellent sound delivery and controlled low end.

The EVH 5150 4x12 cabinet is perfect for rock and metal players looking to amplify their tone. It features custom-voiced Celestion speakers and is designed specifically for the EVH 5150 III 100W and 50W heads, although it will work with pretty much any kind of amp head.

Sonically this is a very smooth-sounding cabinet, very organic with a silky feel to the high end. The speakers are voiced for high gain and perform extremely well in these kinds of settings, delivering a warm tone without any harshness in the high end.

It’s an incredibly well-built cabinet with large-radius, rounded metal corners and recessed handles that allow for relatively easy transportation. The side effect of this great build quality is made clear in its weight, so be prepared to get some help if you need to take this cabinet upstairs.

Designed as an extension cabinet for the classic Hot Rod Deluxe and Blues Deluxe combo amplifiers, this lovely little box from Fender helps you double up on your tone with spacious, room-filling sounds.

Unsurprisingly the sound of this cab is well suited to Fender amps, but it adds a lot of low end to the typically treble-heavy Fender amp tone. Despite its small size, it does add a significant amount of volume when you crank your amplifier's gain channel.

It’s a closed-back cabinet construction, so you get a tighter low end that’s lovely and punchy. The cabinet feels extremely solid and you can remove the feet if you want to add another cabinet to your rig and stack them.

Mesa Boogie is the gold standard in rock and metal tone, so it’s no surprise to find that their guitar cabinet excels in this area too. Designed to be paired with the Dual and Triple Rectifier amp heads, this is an oversized cabinet for monster guitar tones.

Even at the highest gain settings, the Mesa Boogie 4x12 remains clear and articulate, really allowing your amp's natural tone to shine through. On the lighter side of things, it performs admirably too, great for arpeggiated clean passages and swathes of delay and reverb-soaked chord work.

The cabinet is extremely well built and will put up with plenty of abuse from load in and load out. It’s a Marine-grade Baltic birch construction so you’re assured of the best quality sound that will stand the test of time.

The Orange PPC412 4x12 guitar cabinet is an incredibly powerful piece of guitar gear that will make any guitar amp head sing. It’s an incredibly stable-sounding cabinet thanks to its sturdy construction and lack of wheels which tie it to the surface it sits on.

The Celestion Vintage 30 speakers deliver an incredibly punchy guitar tone that’s incredibly well balanced. You get lovely shimmery highs and solid low end, without going too much in either direction. It’ll do shimmery cleans just as well as it handles high gain, making it one of the most versatile guitar cabinets available.

The construction is typical Orange-fare: rugged and steadfast, it will put up with anything you throw out. There are no casters here, so be prepared to have someone help you move it over long distances because this thing is heavy!

The Marshall Origin ORI212A is designed to be paired with Marshall Origin amp heads, but will easily suit a variety of smaller-scale amp heads. You can fit a full-size amp head onto this cabinet, but it will overhang on each side a little.

The vertical configuration of the speakers means this cabinet may sound a little alien at first, especially if you’re used to a regular 2x12 or 4x12 cabinet. However once this effect wears off, you’ll quickly discover a bright, punchy tone that works well with a variety of amp heads.

The angled cabinet gives you a great presence on noisy stages and the closed-back design ensures that your low end remains punchy and articulate. It’s lightweight enough to move on your own and will easily fit up the narrow staircases of any venue.

The Engl E412VG Pro Guitar Cabinet is designed for rock and metal players, marrying huge guitar sound with German engineering for a powerful combination. It’s a highly robust guitar cabinet that will suit heavier styles and extended-range guitars.

Even when chugging on that low string you’ll find the bass response of this cabinet never feels ‘flabby’, staying tight and articulate. On higher gain settings it sounds absolutely phenomenal, delivering a punch that hits you right in the chest and never abates.

It’s an incredibly well-built unit, so as you’d expect it weighs a ton. Thankfully the addition of recessed handles and casters means you can move it around relatively easily, safe in the knowledge it will put up with any knocks it takes along the way.

1x12 cabinets have a tendency to sound boxy and can often lack low-end, but that’s not the case with this brilliant bit of kit. The Friedman Runt 112 is designed to be paired with the 20W and 50W amp heads of the same name, but it’ll do a lot for the majority of lower-powered heads and combos.

It’s a huge-sounding cab despite its smaller size thanks to its front-ported design, something you would normally find in bass cabs to enhance the low end. It sounds just as great in the upper and mid ranges too, with a throaty voice that sounds just as good with clean picking as it does on the gain channel.

It’s a lightweight cabinet so it's easy to get around whether you’re gigging or hitting the studio. The Baltic Birch still feels absolutely rock solid, so you’ll have no qualms about whether it can put up with the rigors of the road.

The Bogner 212 Guitar Cabinet does an admirable job of giving some 4x12 cabinets a run for their money when it comes to volume. Front-loaded speakers assist with this, enhancing the clarity and openness of this cab’s sound.

You get a great bass response with this cabinet but it’s always focused and never overpowering. The punchiness in the mid-range is complemented by smooth highs that never get close to sounding harsh or fizzy.

It’s an oversized cabinet, so larger than most 2x12s you’ll come across, the price to pay for that extra volume. As with the majority of cabinets, it's a birch construction that will be more than adequate enough to put up with the burden of regular gigging.

Best guitar cabinets: Buying advice

What should I know about the best guitar cabinets?

When it comes down to it, guitar cabs are just wooden housings for speakers. A guitar cabinet won’t work on its own, so you’ll need an amplifier to drive it. The majority of guitar cabinets will feature 12-inch speakers because that size helps translate the full dynamic range of your guitar tone.

What size guitar cab do I need?

There are three main types of guitar cabinets that you can look at in today’s market. 1x12 cabinets are the smallest available but will still pack a punch. Due to their smaller size, they tend to accentuate the mids and highs and are great for helping expand the tone of smaller wattage combos and heads. The 2x12 is the next step up, bridging the gap between a classic combo and a half stack in terms of both sound and size. It will sound more focused than a 4x12, but will still pair well with high wattage amplifiers. 

Lastly, we have the 4x12 guitar cabinet, which is the go-to for any guitarist seeking more volume. You will notice two main types of 4x12, straight and angled. Most guitar players prefer an angled cabinet, and this is because two of the speakers are tilted at an angle, which provides a better projection of your guitar sound, filling the space more efficiently.

Matching your cab's power to your head

One of the key factors you’ll need to look into is whether your amp output matches that of the speaker cabinet you’re plugging into. Getting this wrong can result in overdriving of your speakers, which will damage them in the long run. Impedance is expressed as Ω (ohms) and for the most part, a cabinet will either be 4 ohms or 8 ohms. If you look on the back of your combo amp or head, it will most likely tell you what kind of cabinet you can connect to, so be sure to check this before purchasing. 

A lot of modern amplifiers can detect the impedance of the cabinet they are matched to and automatically adjust the power delivery, and if you’re still not sure, a perusal of the amp manual should see you right.

Related buying guides

• On a budget? These are the best budget guitar amps under $500
• Go all-analog with the best tube amps
• Bring the blues with the best blues amps
• Take a look at the best lunchbox amps
• Keep it compact with the best desktop amps
• Upgrade your practice routine with the best practice amps
• You'll need to plug in one of the best electric guitars
• Lose your head in the best headless guitars

Tallahassee, FL-based audio firm Eminent Technology has debuted the Model Twenty – a slim guitar cabinet that saves on weight and space, while offering an expanded frequency range.

The classic guitar speaker cabinet has not changed much in the 70 odd-years since the invention of the electric guitar. Indeed, the technology of those early 12” speaker cones is still found, pretty much unaltered, in many of today’s high-end amp builds. 

Players these days do seem to have a greater awareness of the importance of speakers in their tone, but when it comes to cabinet-based innovation, progress has mostly been limited to advances in the worlds of IR, digital modellers and cab-sim pedals.

Eminent Technology’s 8-ohm Model Twenty looks to offer something genuinely different – an open-backed, flat-panel cab that expands the frequency response of a traditional cabinet and delivers significant space and weight savings.

At 21lbs and just 2.5” thick, the Model Twenty comes in at less than a quarter of the weight of a traditional 4x12, yet offers the same speaker cone diaphragm area via the use of electromagnetic actuators.

In addition, Eminent says it offers less distortion, less compression and much better dispersion of signal compared with a traditional cabinet (ie, your full tone will reach a wider range of listeners in different positions). It promises to handle tones an octave higher and lower than a regular cab, too.

Reportedly, the patented design has applications beyond the guitar, with three switches on the back panel offering bass cut, clean and lead tunings. Eminent suggests you might, for instance, use the bass cut and lead toggles as a lead player, but opt for the full range as a keyboardist.

Naturally, the slim width means you'll have a hard time sticking a head on top, but for players who use pedal amps and amp modelers, it could be a space-efficient – not to mention back-friendly – solution. A built-in kick stand should help to aim the sound at your head rather than your legs, too.

There are no demo videos just yet, but we'll be keeping a very close eye on this one.

The Model Twenty is built in the US and carries a price of $2,600 per cabinet.

Head to Eminent Technology’s dedicated Model Twenty site for more information.

There’s plenty of talk about how speakers affect your guitar tone – now it’s time to examine a few aspects of the guitar cabinet into which the speakers are loaded.

It might seem self-indulgent for a cabinet designer to think anyone would care about the thickness of a baffle, how it’s mounted or how an amplifier’s need to displace heat leads to limitations in backboard design. 

But these are all aspects of a build that determine how an amplifier and cabinet will react when you plug into it. There are also a few useful signs that can help the initiated more easily shape or use a sound to their benefit.

Here, we’ll talk about backboard design. More simply put: open versus closed back. This straightforward aspect of a cabinet can often determine whether or not you’ll like how it sounds or, more subtly, whether it will be suitable for the task you want it to perform.

It’s ironic that when choosing a cab we first look at the front, which in most cases tells us very little about the important features of that cab. It’s the back we should look to first!

The crude difference between the two types of back is how they project sound. An open back projects soundwaves from both the front and rear of the cabinet, with the waves leaving the back usually bouncing off walls, reaching the player later and introducing slight phase differences.

This tends to result in a more ambient, subtle and less-focused sound, lending itself well to cleaner players through to lower-gain rock. I like to think of open back as having a certain element of natural reverb with more nuance. 

In contrast, the closed-back cab will kick the vast majority of its soundwaves out from the front of the cabinet, hitting the player more directly and seeming more focused, tighter but more directional. It’s this focus and control – especially of the lower frequencies – that are favourable to heavier players who prefer higher levels of gain.

In all cabs, when the speaker cone has extended forward it must recoil, pushing air inside the cab away from the front. In the case of the open-back cab this will radiate out of the rear and bounce around the room, causing less air resistance on the cone during its return. In a closed-back cab these soundwaves will reflect off the inside rear of the cab, hitting the speaker.

Having a closed back also allows for the baffle to be braced against the backboard using a block of wood running adjacent to both the baffle and back, connecting the two. 

This stiffening of the baffle results in a more rigid cab and allows the energy converted into sound to more easily leave the front of the cab, again leading to a more focused, controlled sound. 

This effect is even more important in 4x12s with angled-top speakers as they’re made using two pieces of wood joined at the centre, giving them an inherent weakness at this point. Without getting too technical, basically, the closed back inadvertently allows us to stiffen the cab and do more of what a closed back does: sound focused.

It’s rare that we get the chance to play a cab in both open- and closed-back configurations, which is a shame because it’s sometimes hard to hear exactly which you prefer. After all, it may be other aspects of the cabinet’s construction that you like.

Next time, we’ll look at three-piece and oval-ported backs, as well as how the size of the panels makes a difference. We’ll also take a look at what playing styles work best with which. So far this is just a rough guide to help you down the path in getting your sound, and the open/closed-back debate is a definite fork in the road.  

The guitar cab emulation experts at Two Notes Audio Engineering have joined forces with guitar amp guru Dave Friedman for a new collection of virtual cabs.

The Friedman collection consists of five cabs, each captured (at Sunset Sound in Los Angeles) from 4x12” cabinets outfitted with Celestion drivers. These are the Friedman Vintage 412 Black, Vintage 412 G12, 412 Green, 412 Vint and 412 Vint 6402.

You can learn more about each of the cabs, and hear them in action, below.

The Friedman Vintage 412 Black is inspired by a vintage 4x12” Marshall slant cabinet with a checkered grill cloth, and features Celestion G12H-30 “Black Back” 55Hz 30W speakers. These speakers are said to be darker than their 75Hz counterparts, making this cabinet – Two Notes says – perfect for hard rock.

The Vintage 412 G12 features a late '70s era G12-65 speaker with a warmer, fatter sound and a powerful low end. Two Notes says that this cabinet also works well for hard rock-oriented guitarists, particularly ones looking to add an '80s-esque punch to their tone.

Captured from a Friedman 4x12” cab boasting Celestion Greenback Speakers, the 412 Green – with a scooped midrange and "airy" top – takes after classic British cabinets. Taken from a Friedman 4x12” featuring Celestion V30 speakers, the 412 Vint, meanwhile, also emulates the great British cabinets of yore, with an aggressive midrange that Two Notes claims produces the "perfect blend of power, depth and uncompromising articulation."

Finally, there's the Friedman 412 Vint 6402, which captures the "naked" cabinet that has sat in Friedman’s workshop for decades. According to Two Notes, its nakedness comes from its lack of tolex, which reportedly allows the amp's bare wood to resonate more. The cabinet boasts four early '90s era Greenback speakers, said to be slightly smoother than more modern Greenbacks.

The Two Notes Dave Friedman collection is available now in a $39 package, with individual cabs ringing up at $10.

For more info, head on over to Two Notes.

Harley Benton has released the G112A-FR – a super-compact, 1x12” version of its 2x12” G212A-FR Full-Range Flat-Response guitar amp cabinet.

As the name suggests, the downsized offering houses a single, custom-voiced 12-inch woofer that works in tandem with a one-inch HF compression driver – a pairing that promises to provide “absolute sonic clarity”.

The active guitar cabinet has been dubbed by the brand as the ideal modelling companion, and vows to faithfully reproduce your digital guitar tones.

Harley Benton has also seriously streamlined the G112A-FR’s control layout. The G212A-FR was already fairly bare bones – only six knobs adorned the top – but its smaller sibling arrives with only three parameters.

Volume, Resonance and Presence knobs are the only controls to be found on the G112A-FR, save the flush Mute button and LED. This lines up alongside further LEDs for Signal and Peak, which let users keep an eye on their signal levels.

It’s immensely simple, but, as per Harley Benton, it’s said to be all you need to give your digital modeled tones a “final polish”.

In terms of the nitty gritty, the amp offers a frequency range of 100Hz to 20kHz, and features balanced XLR and 6.35-inch TRS jack input connections. 

As a neat little extra, the active cabinet’s rear has been angled slightly, meaning it can be tilted and used as a wedge monitor if desired.

The G112A-FR is available now for $222.

To find out more, visit Harley Benton.

It’s been a hectic start to 2022 for Harley Benton so far. Not only has it unveiled the $148 double-bound TE-62DB, it's also lifted the curtains on its none-more-metal ST-20HH Active SBK, which rings up at just $143.

Barefaced have built up an enviable reputation for their bass cabs over the last 13 years, particularly among a new generation of younger, tech-savvy players.

This success has largely been driven by the many positive reviews, and comments from the owners and players themselves, via online forums and social media platforms.

Here, we're looking at the company's latest design: the ultra-compact One10T.

Build Quality

At first glance, the One10T cab looks as if it could have been made at any time within the past 60 years. The black tolex covering, chrome hardware and black cloth grille with its white piping have a classic aesthetic; silver cloth and black steel grilles are also available.

The new logo badge, which looks almost comically outsized on such a small cab, has the Barefaced name in a similar font to that of the old Fender Bassman amp heads, reinforcing the vintage vibe. However, under its vinyl skin, the Barefaced cab is anything but old-fashioned.

The tuned ‘hybrid resonator’ enclosure is made from relatively thin 1/3” (9mm) dual-density ply which, in itself, isn’t the strongest of materials, but here the cabinet is built around an internal structure of interlocking panels. This not only makes the whole thing super-rigid, but also incredibly light. It’s designed to dampen the mid-bass frequencies and fatten the deep lows with two controlled resonances working in unison. 

This complex internal design also optimizes the efficiency of the custom-designed 10CR Eminence speaker, while increasing the bandwidth. The 250-watt 10” driver is designed specifically for the cab by engineer Alex Claber and the guys at Eminence speakers.

Baffle-mounted above the speaker is a high quality, low distortion tweeter: this and the driver are fed from a crossover designed specifically for the purpose in-house at Barefaced. 

Sounds and Playability

With the One10T hooked up to an 800-watt Class D amp and a passive Mike Lull five-string plugged in, the sound is immediate and focused, and the wide, flat bandwidth gives an accurate recreation of the bass. It sounds huge – and comparing what you’re hearing with the tiny black box that you’re looking at just doesn’t compute! 

Turning the cab on its side gives you a subtly different tonal delivery, with an even smoother, extended low end noticeable at higher volumes. Pushing the little rig too hard would have upset the neighbors, so the next stop was into the trunk of the car for that night’s gig – an open-air festival stage with a jazz big band for which I was using both electric and double bass.

The tiny Barefaced One10T performed perfectly. No – that’s not fair. It exceeded every expectation, confounding what should have been possible on a gig where I was just a few feet away from the drummer – and his wedge monitor.

Even when listening a little off-axis, the perfectly rendered sound was a real revelation: I’ve rarely heard my double bass sound so good through an amp and speaker. It’s freakishly loud, with no discernible distortion. 

If you’re using your backline purely for onstage sound or personal monitoring, or if most of your gigs are in small, intimate venues at relatively low volumes, it’s hard to imagine a scenario that one or possibly two Barefaced One10Ts wouldn’t completely dominate. It really is that good.

Conclusion

The ‘standard’ 110 cab – in other words, without the high-frequency unit – doesn’t have the accuracy of some of the Barefaced range, but this gives it a unique tonal character that always made it the best choice for acoustic instruments or double bass. 

It reminds me of those classic little BBC LS3/5A hifi monitors – tiny speakers that were designed to make a specific sound, the human voice in the case of radio, as realistic as possible. The standard One10’s suitability for acoustic and double bass still holds true, but for me the tonal accuracy of the cab means that with a good quality pickup and perhaps a tiny bit of EQ, the One10T is even better. 

With the increasing popularity of bassists using in-ear monitors on larger stages, small, lightweight bass speakers for backline are making more and more sense. If you want the smallest, lightest, and best-sounding bass cabs available today, you really should check out these and the rest of the Barefaced range. 

Specs

• PRICE: $730 (fitted cover and silver grille cloth available at extra cost) 
• SPEAKER: 1x10” 250w custom Eminence 
• CROSSOVER: Custom Barefaced
• CONNECTIONS: 2 x 1/4” + SpeakON combi jacks (parallel)
• POWER: 250w RMS (500w clean)
• FREQUENCY RANGE: 30hz to 20khz
• MAX OUTPUT: -119db 
• IMPEDANCE: Nominal 8 ohms
• DIMENSIONS: HxWxD: 15” x 11.4” X 11”
• WEIGHT: 17lbs
• CONTACT: Barefaced Audio

Kemper has announced a new-and-improved build for its guitar amp speaker cabinets in 2022. Among the main selling points of the Kabinet (not to be confused with the active Power Kabinet) are a new speaker and the fact that it weighs in at just 23lb (approx. 10kg). 

The design sheds a few pounds thanks to the incorporated Kemper Kone Neo neodymium loudspeaker, which has been designed in collaboration with Celestion and employs lightweight neodymium magnets.

The 12” speaker is housed in an enclosure that measures roughly 16.5” tall, 23.6” wide and 9” deep, and can handle up to 200W of power with an impedance of 4 ohms. It’s finished in the brand’s preferred green and comes with a dust cover.

As with its predecessor, when used in conjunction with a Kemper Profiler (using the Monitor CabOff function), the Kemper Kone Neo can activate a Speaker Imprint mode, emulating one of 19 classic speaker cabinets.

The Kemper Kabinet requires either a powered Profiler PowerHead or PowerRack, or a separate solid-state power amp. Alternatively, the Power Kabinet offers a powered build with the same Kemper Kone Neo speaker.

In addition, Kemper has reported that the Kone Neo will eventually be available as a separate replacement speaker for cabinets down the line. However, issues with the supply chain are holding up production for the time being.

The Kemper Kabinet carries a price of $540 and is available now from Kemper.

Continuing Aguilar’s range of limited case and cabinet colors, this season’s Special Edition has a distinctly aquatic flavor – Poseidon Green, if you please. 

The NYC-based manufacturers’ original 1x12 cabinets led the way for small, portable bass cabinets with extensive tonal capabilities, and the Neo-equipped SL range has made these small enclosures even more enticing, especially to players who didn’t need the reinforcement of larger cabinet design. 

They also benefit those of us who needed to travel light with a small setup. This current revision still blazes a trail, resplendent in its leafy livery.

Build Quality

Constructed using 12mm plywood and finished in the usual tough and rugged vinyl covering, this cab is an easy one-handed lift. A solidly-attached rubber carry handle has been placed on the side of the cabinet, so when you’re carrying the SL112, the longer top panel sits sideways, distributing the weight dimensions a little better for the player. The cab can be positioned in one of two ways: Either way, it doesn’t command a sizeable footprint.

Metal corners have been used to offer the cabinet corners some protection, which will be particularly useful in gigging situations. A quick look at the rear panel shows a rear port for enhanced bass response, an adjustable tweeter control, a pair of ¼” jack sockets for linking cabinets and a single Speakon socket. 

One concern I have with these limited color finishes is that, while they look great and are very pleasing to the eye, the lighter colors will lose their lustre over time as they become marked, particularly in playing scenarios. If they are being kept in one place and position and not being transported from show to show, this isn’t an issue – but regular gigging will see the lighter coverings taking on the rigors of the road.

Sounds

Unlike other cabinets in Aguilar’s SL range, this is the only model that doesn’t come in a 4-ohm variant, so if you require a louder cabinet setup with wider dispersal, add an additional cabinet to your setup. However, rated at 250 watts at 8ohms, this SL112 is certainly loud while maintaining a strong midrange fundamental. 

The additional tweeter provides a pleasing level of crispness that slappers and tappers will appreciate, while the low end is capably handled. If you feel the need to improve the bass frequency performance without adding copious amounts of low-end EQ from your bass guitar or bass amp, you can implement the age-old corner/wall trick to accentuate the reflection of the bass frequencies.

Using an Aguilar AG700 amp set flat, two passive bass guitars, and a selection of active instruments, I’m rewarded with a robust delivery and a warm, vibrant tone. With a frequency response between 37Hz and 16kHz, the cabinet conveys the throaty, woody tones of the passive instruments with ease, essentially allowing them to breathe. 

With a tighter delivery compared to a 15” speaker and a rounder tone compared to a 10, this is the perfect midway point. Calling the tweeter into play provides varying degrees of clarity and articulation, as you might expect, which pick players will find beneficial.

The active instruments, by the nature of their preamp circuitry, have their own characteristics, and all of them display a degree of active punch that makes their respective tones stand out. Thankfully, the individual tonality of each bass is conveyed well: There is a definite midrange bias, but this is a plus point as I see it. 

The physically small nature of the enclosure is one thing, and you can’t change physics, but the sonic display is solid, with significant bass levels and enough clarity to stand out. Lovers of five and six-string basses won’t be disappointed in any way, although pushing the cabinet to its limits leads to a natural compression, manifesting itself as you push the volume up or flood the cabinet with bass EQ.

Specs

• PRICE: $849 / £745
• MADE IN: USA
• COLOR: Poseidon Green
• POWER: 250 watts @ 8 ohms
• IMPEDENCE: 8 ohms 
• SPEAKERS: 1 x 12” custom designed Neodymium driver and 1 x phenolic tweeter with integral phase plug; custom crossover with variable tweeter control
• CONNECTIONS: 1 x Speakon socket, 2 x 0.25” jack sockets
• DIMENSIONS: 385mm (H) x 488mm (W) x 462mm (D) / 15.2” (H) x 19.2” (W) x 18.2”(D)
• WEIGHT: 25 lbs
• CONTACT: Aguilar

Two Notes Audio Engineering is currently on something of a hot streak, having recently teamed up with LA producer Michael Nielsen to release its Steve Vai-inspired Hidden Gem series of virtual cabs. 

Now, the DynIR specialist has returned with another release, this time partnering with guitar amp behemoth Laney for an all-new Laney Collection of virtual electric guitar and bass guitar cabinets.

And, as well as providing a total of five bass cabs and 10 guitar cabs, the pair have also designed virtual versions of cabs owned and used by Black Sabbath icon Tony Iommi and Killswitch Engage.

Each cab in the Laney Collection was meticulously captured at Hop Pole studio in Manchester, England, with the collection ultimately promising “an uncompromising capture of some of the industry’s most revered guitar and bass cabinets."

All sounds in the collection were recorded using an exhaustive range of industry standard microphones, including the Shure SM57, Sennheiser MD421, Royer R121, AKG C414, Neuman KM184, Beyerdynamic M160, Shure Beta 52A and many more.

To hear the cabs in action, check out the video above.

Highlights, of course, include the Iommi and Killswitch Engage-inspired cabs. First up is the Laney Original LA412, modeled after the late ‘69/’70 closed back cabinet – which featured four green label Goodmans – that Iommi used to record early Black Sabbath material.

A second Sabbath-inspired cab – the Celestion G12H 75 M-equipped Laney TI412S – also makes the cut, and aims to offer up the faithful ‘90s-era tones that Iommi used extensively on the stage and in the studio.

The LA412 is joined by Killswitch Engage’s closed back Laney LT212, which sported Celestion G12H 70th anniversary speakers.

Elsewhere, the guitar cabinet collection is stacked with the Laney Cub121 and Cub212 – complete with 12” open back H/H speakers and Woofer H1265 – and the LA412, which captures the cab’s original Celestion G12H 75 speakers.

As for bass cabs, the collection includes the Laney DBV212 and DBV410 – both featuring H/H Black Series speakers and arriving in Tweeter-mic’d versions – and the DBV 810.

The Complete Laney Collection is available now for $99, though you can also purchase the individual Bass Cabinets Collection and Guitar Cabinets Collection for $39 and $65, respectively.

To find out more, visit Two Notes Audio Engineering.

Two Notes Audio Engineering has teamed up with LA producer Michael Nielsen for a new set of DynIR virtual cabs, the Hidden Gem Collection, based on a model previously owned and used by Steve Vai.

The cab in question was used extensively by Vai between 1986 and 1993, both on the road with former Van Halen frontman David Lee Roth on his Eat 'Em and Smile and Skyscraper tours, as well as his own Sex & Religion trek.

Three virtual cabs are included in the Hidden Gem Collection: the Alien White '86, which captures the amp with its original Celestion V30-loaded spec; the Alien Black '87, which swaps out the V30s for 30W G12H speakers; and the Alien Green '93, which incorporates 20W Celestion Greenbacks, Nielsen's personal favorite.

Each virtual guitar cabinet has been captured using eight industry standard microphones – a Blue Dragonfly, Shure Unidyne III 545, Heil Sound PR30, Sennheiser MD409, Shure SM57, Coles Electroacoustics 4038, Beyerdynamic M160 and a Royer R-121 – at Nielsen's Ninja Tracks studio in Los Angeles.

All three Hidden Gem Collection DynIR cabs are compatible with Two Notes' DynIR-enabled Torpedo hardware – including the Captor X and CAB M+ – as well as the Torpedo Wall of Sound v4 digital plugin, which is included free with any Hidden Gem purchase.

The Alien White '86, Alien Black '87 and Alien Green '93 are available now, either individually for $10, or $27 as part of the entire Hidden Gem Collection. For more information, head to Two Notes Audio Engineering.

Lyndon Laney started producing bass amps back in 1967, and some 54 years later, this new Digbeth-branded range celebrates the company’s beginnings and heritage. 

With two amplifiers, three cabinets, and several FX pedals on offer, there’s something to suit most budgets and playing requirements. We’ve matched the more powerful of the two amps with the new 2x12 cabinet for a portable partnership that should suit more or less any working bassist.

Build Quality

The cab is covered with a rugged black vinyl and white piping, finished off with a tough cloth grille to protect the speakers: the same material has been used on the amp for a uniform visual. The amp is well-proportioned, making it easy to carry and transport without being overly heavy, weighing in at 15.7 pounds. 

A securely attached rubber carry handle is situated on the top of the amp and there is venting on the underside and rear. Deeply recessed carry handles have been incorporated into the speaker design and the ‘high instead of wide’ cabinet design makes carrying the cabinet a more comfortable prospect.

Be aware that although this cabinet isn’t ‘old-school’ heavy, at 63 pounds it isn’t ultra-light either – so portability in tight spaces may be an issue. In terms of features and functions, the cabinet has two rear vents and two function switches – one to call the tweeter into play and the other to select between half and full operation: there’s nothing too complicated going on there.

The Speakon socket is also of the ‘combi’ variety, allowing a 1/4-inch jack connection if required. The amp is a fully-featured box of tricks, offering a full 500-watt output and two channels featuring FET and valve preamps. These are footswitchable, although a footswitch isn’t included. The controls are all securely attached and turn smoothly, while the switches give a significant clunk as you change settings.

The two preamps are quite different tonally: whether you want a clean delivery or the more richly colored sounds that the valve section can offer is at your discretion, and there’s the option of mixing them together as well. The three-band EQ incorporates a mid-section with four individually voiced presets, all of which sound quite different from each other, so there is scope for some tonal tinkering in that department.

The Tilt control has a similar effect to adding presence to your signal, making it spikier and more pronounced. The rear control panel features all the usual inputs and outputs that you would expect to see on an amp of this calibre, and it’s pleasing to see level controls added to the headphone output and auxiliary input for external media connection.

Sounds

Armed with several active and passive basses, with a five-string among them, my first line of investigation is to determine the performance of the FET stage. With the EQ on the amp set flat, the amp provides a clean and powerful response, with a very solid bottom end.

The throaty character of the passive basses is projected well, with the 2x12 speaker format conveying a fine mix of lows and mids. The highs are a little restrained until the horn is brought into play, which gives a more articulate display in the upper register.

The active basses benefit from the extra range afforded by the horn, and the mid-EQ presets on the amp are very useful, offering a defined character with each setting. The five-string bass demonstrates how well the FET stage conveys the low-end performance, particularly when entering the extended range of the low B string.

The cabinet also puts in an impressive display, offering a defined response without sounding woolly or flappy. Switching over to the tube preamp, the tone changes, and suddenly valve drive and warmth are the order of the day.

There’s no disputing the quality of the tone coloration on offer, and the passive basses benefit from the grit and drive – so grab a pick and dive in. The Tilt control comes into its own with the passive basses, making the tone pronounced, with a degree of clank, should you require it.

One of the active basses gained a very impressive rasp and grind to its tonal character when running through the valve stage: this was carried through when combining the valve and FET stages, giving that bass a fine mix from both channels. This setup has a lot to offer and will appeal to players of all styles.

For those players who prefer clean tones but occasionally need to throw some valve grind into the mix, this amp will offer a suitable solution.

Any slappers and tappers who frown upon such sounds may dismiss this amp out of hand, but I strongly suggest that they audition it before settling on that opinion. This combination of amp and cabinet will suit a lot of players, and it is capable of covering all your gigging needs without incurring physical transportation injuries.

Conclusion

There is much to recommend this setup. Laney have come up with a well-featured amp that delivers a considerable amount of tonal flexibility, giving the player real options. 

The cabinet is no slouch either, and offers a midway point between a 2x10 and a 4x10 – but with the added roundedness and heft offered by two 12-inch speakers. Well worth checking out. 

Specs

Laney Digbeth DB500H

• PRICE: $749 / £449
• MADE IN: China
• POWER:  500 watts @ 4 ohms (minimum load 4 Ohms)
• FEATURES: Input, FET volume, FET/Tube selector switch, Tube Drive, Tube Volume (push/pull for FET Mix), Bass, four preshape Mid selector, Mid, Treble, Tilt, Run/Mute selector switch, Speakon/jack combi output socket, Tuner output, Remote input, Send/Return sockets, FX loop level switch, 3.5mm Aux In and level control, Headphone output and level control, Line Out level, Emulated output/DI output selector, Balanced XLR DI output socket, Ground/Lift switch, pre/source/post EQ output switch
• DIMENSIONS: 8” (H) x 16.5” (W) x 8.7” (D)
• WEIGHT: 15.7 lbs

Laney Digbeth DBV212-4 cabinet

• PRICE: $749 / £499
• MADE IN: China
• POWER: 500 watts @ 4 ohms Impedance 4 ohms
• SPEAKERS: 2 x 12-inch HH Black Label ceramic drivers, 1 x LaVoce DF10 compression driver (with Horn on/off/Half/Full selector switches)
• CONNECTIONS: 1 x 1/4-inch Speakon/jack combi socket
• DIMENSIONS:  28.3” (H) x 19.7” (W) x 15.4” (D)
• WEIGHT: 63 lbs
• CONTACT: Laney

Two Notes Audio Engineering has had a whirlwind few months. After partnering with Victory and Ashdown for two separate ranges of virtual cab simulations, the French emulation expert then teamed up with electric guitar legend George Lynch for the Mr. Scary cab collection.

Now, the boutique modeling brand has further expanded its artist range of virtual cab offerings with the release of the Phil X DynIR range.

Phil X, who has been Bon Jovi’s lead guitarist since 2011, has also also played with a string of music industry heavyweights, including Chris Cornell, Avril Lavigne and Alice Cooper.

Arriving in the form of five individual cab sims, the Phil X DynIR range aims to faithfully recreate the sounds and tones the session legend has used throughout his prolific career.

As per the rest of the artist range, the cabs are available on Dynamic Impulse Responses format, and were meticulously created using eight studio microphones through vintage Neve 1061 preamps at Ocean Way Studios in Nashville and Pop Machine in Indianapolis.

At Ocean Way Studios, the virtual cab curation session was helmed by multi-platinum Grammy Award-winning producer and engineer, Ben Fowler.

Two Marshall closed back-inspired sims, the Phil X Mars 412 and 212, are included in the range. While the 412 was recreated from Phil’s 1960B Celestion G12-75-equipped 4x12”, the 212 is based on his G12-65 Celestion-equipped 2x12”.

Elsewhere, the Magnatone 1x8”-based Phil X Master of Tone and closed-back MLC-style Phil X MLC line up alongside the Supro 1x8” Phil X Super 108.

Each cab is compatible with Two Notes’ Torpedo hardware and software.

“Every once in a while a technology comes around, I’m like, ‘No way!’” commented Phil X. “Now that I have my very own five favorite cabs in the system, it’s fantastic! I’ll be using them on tour, too.”

Said Guillaume Pille, Two Notes Audio Engineering CEO, “I am excited to welcome Phil X’s personal collection to our library of DynIR virtual cabinets.

“People who know Phil understand that he would never settle for anything less than perfection. He loves tone, so he loves the gear that will provide that tone in any situation.

“This is what the artist series is about: bringing to the whole Two Notes community the experience of renowned musicians who devoted their lives to tone chasing.”

The entire Phil X Collection is available now for $39, with individual packs available for $10.

For more information, head over to Two Notes.

A Kurt Cobain-owned and -played Marshall guitar cabinet, which featured in Nirvana’s Live and Loud video recorded at Pier 48 in 1993, has been sold by Iconic Auctions for a huge sum of $93,274.

Cobain’s cab, which has been heavily photo and video matched, comes equipped with Celestion V30 speakers and is adorned by faint “Kurt” and stenciled “K3 Music Bank – Vintage” lettering on the back.

The iconic piece of music memorabilia was sold as part of the auction house’s Amazing Music Auction (Vol. 1), alongside an array of other items, including a blue Stinger Strat-style six-string, which sports the signatures of each Nirvana member, and a handful of Cobain’s hair.

That’s right – six strands of Kurt Cobain’s hair, provided by the woman who cut it in 1989, went up for auction, and fetched a cool $14,145. That’s over $2,000 per hair.

The original listing for the hair read, “This one-of-a-kind artifact is entirely fresh-to-market and is accompanied by an impeccable lineage of provenance including photos of Kurt posing with the woman who cut his hair, scissors in hand, and a fantastic shot of the hair actually being cut.“

In the guitar department, the Kurt Cobain-, Dave Grohl- and Krist Novoselic-signed axe, which came with a letter of authenticity from James Spence Authentication, was also sold, fetching a grand total of $62,183.

Eric Clapton’s Slowhand at 70 and 2014 World Tour Custom Shop Stratocaster recently hit the auction block, with Iconic Auctions selling the sunburst six-string for over $200,000.

Two Notes Audio Engineering have teamed up with British bass amp maker Ashdown for a new range of virtual bass cabinets.

Comprising 10 virtual cabs in total, the range includes captures of Ashdown's ABM-810H-EVO IV, ABM-410H-EVO IV, ABM-210H-EVO IV, ABM-115-EVO IV, RM-212-EVO II and CL-310-DH, which was designed for Pink Floyd/David Gilmour bassist Guy Pratt. Four of the cabs have been captured with their tweeters dialed high.

The cabs have also been captured using eight industry-standard microphones, including a Neumann U47, Royer 121 Ribbon, AKG D112, Shure SM57, Sennheiser 421, Aston Element, Audix D6 and an Electro-Voice RE20.

Says Guillaume Pille, CEO of Two Notes, “I am delighted to welcome Ashdown Engineering in our library of DynIR virtual cabinets, available now from the Two Notes Store. These 10 incredible new bass cabinets deliver tonal flexibility, power, and response – all that Ashdown are known and respected for.”

“The new range of DynIR cabs in conjunction with the brands Torpedo products are a great step in the right direction,” adds Ashdown Managing Director Dan Gooday.

“They enables us to gauge the reaction from our core fans and Ashdown users as well as opening up the Ashdown brand to more who might never have the space or inclination to purchase one of our physical products.”

All virtual cabs in the range are available now for $10. The full collection is available for a limited time for $48 (usual price $69). For more information, head to Two Notes Audio Engineering.

Kemper unveiled its impressive Kabinet last year, and now the company is back with a powered version of its revolutionary Profiler guitar amp monitoring solution, the Power Kabinet.

The Power Kabinet features a 200-watt power amp, the Kemper Kone speaker and a choice of 19 classic guitar speaker imprints.

The Kemper Kone speaker is controlled and driven by the Profiler’s DSP for a versatile guitar monitoring system. The 19 included speaker imprints offer choices of well-known models from Celestion and other classic brands for best-in-class “amp-in-room” sound.

There’s also an ultra-linear full-range mode and “Sweetening“ and “Directivity“ parameters for detailed personal and location-dependent adjustment.

The new offering is designed to pair with unpowered Kemper Profilers (Head, Rack, and Stage), and various bundles will be made available.

The Power Kabinet is available for $789 and comes with a power cord, dust cover and built-in speaker stand for slanted setup. Stereo setups are supported as well.

For more information, head to Kemper Amps.

Bergantino Audio Systems has launched its line of bass cabs, the NXV Series.

Comprising four speaker configurations – 1x12”, 2x10, 2x12”, and 4x10” – the NXV cabs boast new Neo-Xtreme-Technology drivers with a ported Italian poplar plywood and Baltic birch housing and durable Bronco tolex covering.

Further visual touches include a hard-wearing grill cloth and chrome metal cab corners.

Each amp in the series is lightweight, too: NXV-112, NXV-210, NXV-212 and NXV-410 weigh 29lbs, 35lbs, 49lbs and 59lbs, respectively.

All cabs in the NXV Series are available from March 2021 for £799, £999, £1,299 and £1,599, respectively. For more information, head over to Bergantino Audio Systems.

It’s slightly embarrassing that it took a bassist to rethink guitar cabs so they produce a really big sound from a small, lightweight box – but such are life’s little ironies. 

Alex Claber is the founder of Barefaced Audio, a Brighton-based company producing some of the most innovative and intriguing guitar cabinets we’ve seen for a while.  

Cleverly designed internals mean the company’s pint-sized Upsetter 110 cabinet, which weighs less than a guitar in its case, produces a room-filling, expansive sound that’s remarkable for such a compact design. 

Paired with a small lunchbox head, such as Victory’s V30 The Countess, it forms a rig that can be carried in one trip from the car to the stage without breaking a sweat – yet sounds as big as a hefty combo. It doesn’t rely on neodymium speakers to achieve that light weight, either (though you can have them fitted if you wish), but comes loaded with a Celestion G10 Vintage driver as standard.  

The secret to this sonic sorcery is the application of science, says Alex, a bass-playing engineer with a fascination for the more arcane aspects of how sound waves travel from source to ear. His company, Barefaced Audio, began as a kind of serious hobby that blossomed first into a cottage industry and then a thriving business.  

Alex cut his teeth in cab design while trying to build himself a better bass cab for his band. Fed up with poor monitoring on stage that meant he could scarcely hear himself play, he decided to investigate new cab designs that would generate a stage-filling sound that could handle the diverse repertoire of music he played, ranging from metal to reggae, without breaking up or losing definition. 

“I was basically doing all the things that made bass rigs go ‘Aarggh!’,” he says, wryly. The innovative multi-speaker designs that resulted from his private research proved a hit with the bass-forum members he was sharing ideas with and things grew from there. 

One of the unusual design features he trialled in his early bass cabs was using guitar speakers alongside more traditional bass drivers. This initial dalliance with the world of guitar tone led him to investigate guitar cabinets, too – and he was surprised by the apparent lack of innovation in that world, compared with bass rigs. 

“Loads of other companies kept bringing out new cabs, saying, ‘This is the latest, greatest and best yet,’” Alex recalls. “But I kept looking at them and thinking it was just ‘More salt, less salt; more chilli, less chilli…’ They were all variations on an established theme. So I had an idea for a guitar cab that worked better,” he says. 

One of the main problems that Alex identified with traditional guitar cabinets is that their typical shape – which is low and wide – was, theoretically, exactly the opposite of what was likely to produce an ideal sound on stage. 

“Ideally, you want speaker cabinets to be tall and skinny,” he says. “Because as soon as you make a cabinet wide it narrows the lateral dispersion [spread] of its sound. That’s why all PA stacks are like that these days.” 

In other words, the wider the cab, the more narrowly directional its sound is likely to be. 

“Most venues are much wider than they are tall,” he explains. “Meanwhile, everyone’s ears are 5ft to 6ft off the ground. So, from the perspective of height, there’s quite a narrow zone where you really need to get sound out. Width wise, it’s a different story: nearly everyone in the audience – and probably the guitarist themself – is standing to the left or right of the cab. So you’ve really got to get the cabinet to spread sound laterally.” 

This problem with directionality is made worse by the standard sizes that guitar speakers come in, as Alex explains.

“One of the fundamental issues with guitar cabs is that good guitar tone relies on everything running through a relatively big speaker. If you run a guitar through a [small] hi-fi speaker, it sounds terrible. That’s why you don’t generally get speakers much smaller than 10 inches for electric guitar, because the colouration that larger speakers lend to the tone makes guitars sound nicer. They take off all the sharp edges and harshness and warm things up.

“But the inherent problem with that is that a big speaker has limited dispersion [sound-spreading ability] because the dispersion of any wave, of any sort, relates to the size of the wave versus the size of the source. Basically, if you’ve got a small wave coming from a big wave source, it goes in a straight line. This is why radio telescope dishes are so big – so they can focus a very tight beam.”

So Alex set out to solve this twofold problem of directionality. Tall and thin guitar cabs should, from an engineering point of view, have provided the best answer – raising the speakers nearer to ear level and permitting the amplified sound to spread laterally as much as possible. The problem was few guitarists would be prepared to accept how they looked. 

“Tall, skinny cabs look really stupid – after all, you’ve got to put an amp on the top of them,” Alex admits. “At the end of the day, no-one says, ‘I’ve gone to listen to a band,’ they all say, ‘I’ve gone to see a band,’ so there’s definitely a big visual element to it.” 

Realising this was likely a dead end, Alex decided to look elsewhere for a solution. He’d long been interested in the ideas of the influential audio expert Siegfried Linkwitz and some of his ideas gave Alex a starting point for a new kind of cab design. 

“He was quite an advocate of open-baffle speakers,” Alex explains. “With an open-baffle speaker, you’re not trying contain the sound off the back of it inside a box, because that has its own issues. His idea was like, ‘Well, let the sound out and then do something useful with it.’” 

Starting with the problem of the inherent directionality of guitar speakers, Alex decided to see if changing the internal structure of the cab could help guide sound waves coming out the rear of an open-back cab and spread them wider than traditional cab designs could manage.

“I had this idea that if I had a slot on the back of the cab and some [carefully placed] panels, it’d act like a horn,” he says. “Essentially, it’d be an open-back cab with a form of rear waveguide. The design process started off in 2015 with a speaker clamped in a Workmate and two bits of plywood and me waving them about to see how it affected the sound.

“It was just really interesting. If the gap was too wide it just behaved like an open-backed cab. If I made the gap too narrow, all the treble vanished. It was really weird!

“The mids came through but suddenly the treble was blocked by some kind of acoustic inductance. If I moved the outer ends of the panels closer together and made the angle between the panels too narrow, too much like a horn, it went all honky and horrible-sounding. But if I made the angle too wide, the panels did very little to help the sound coming through the slot.

“I discovered there was a sweet spot for the angle to maximise output and dispersion and minimise colouration so it sounded like the output from the front of the speaker. 

“So I started sort of messing around with these ideas and I ended up making this prototype cab, which had a 10-inch guitar speaker on one side and a high-efficiency bass 10 on the other. It also had a rotary switch with a crossover [circuit for routing specific frequency ranges to different speakers], the idea being that you could set it to be optimal for the room and style of music you were playing. If you were in a small room, you would just use the guitar 10, and if you were in a bigger room, you’d bring in some extra-low midrange weight and oomph from the bass 10, because they would crossover quite a bit.” 

Alex soon realised that this approach resulted in a highly flexible cabinet – but potentially the concept was too elaborate for everyday needs. He needed to keep the big, expansive sound of his waveguide design but make the unit simpler and lighter and compatible with a wider range of guitar speakers. 

“At some point, I was pondering this and I thought, ‘Hang on, the side that has got the guitar speaker in it… what would happen if I sealed that, so that that slot with the waveguide in it is basically a weirdly shaped bass reflex port, as well as being this thing that lets mids and highs through?’ So I just started making some more prototypes at that point.” 

After a few years of experimentation Alex hit upon what has become the basis of his current guitar cabinets. Looked at from above, the internal layout of Barefaced Audio’s guitar cabs features a V-shaped array of two panels behind the speaker, placed so as to form a slot-shaped aperture where they (almost) meet, a design he has dubbed AVD. 

This worked strikingly well in producing an expansive sound that also sounded natural and familiar to guitarists. A useful side effect of this was that the AVD structurally stiffened the plywood cabinet, much like the bracing inside Barefaced’s bass cabs. 

The larger guitar cabs follow Barefaced’s bass cab designs in having more bracing and reinforcement as needed to be gig-tough, while weighing far less than traditional cabinets.

“People have been asking us for a guitar cab for years, but it was always bass players saying, ‘Oh, our band’s guitarist is amazed my bass cab is so light. Can you make him a lightweight guitar cab?’ But I always said, ‘Well, I don’t want to just make a lightweight guitar cab because there’s this fundamental problem with guitar cabs to solve first, which is that you can’t hear them properly unless you’re standing in the right place in the room, particularly if they’re closed-back ones.’ It was really a case of, ‘How can I solve that first?’ So that’s the path the design went in primarily.”

Alex gave us the chance to try two of the resulting guitar-cab designs offered by Barefaced, the Upsetter 110 and the Reformer 112, and testing them over a few days we found them to be a real ear-opener.

Starting with the little Upsetter, we were surprised by a markedly wider spread of sound than expected from such a compact cube – as well as more ‘air’ in the amplified tone than we were expecting. The single-speaker Upsetter produced a less dense, directed sound than that of our 2x10 Dr Z combo but retained plenty of punch and clarity. It also felt harder to instinctively place where the cab was in the room.

Moving up to the 112 Reformer, we discovered the same spatially expansive qualities but in greater, fuller measure. Both cabs were impressive sonically and, when combined with the AVD design’s secondary qualities of compactness and light weight, made a very compelling case for any guitarist still lucky enough to be lugging gear to gigs.

We would, however, add that the feel and sound of both cabs is a little different from the norm – and some guitarists might either need a moment or two to adjust or decide to stick with tradition, warts and all. Barefaced offers a one-month trial period on new cabs within Europe, though, so deciding for yourself is risk-free.

With the standard models we tested, we felt there was slightly more emphasis on sparkling treble and clearly defined bass than mids, as compared with our test amp’s own speakers and cab. Put another way, the Barefaced cabs made our Fender-inspired Dr Z Jaz 20/40 sound more like a pristine, high-headroom Fender combo than it previously did with its own 210 cabinet.

Note, however, that both Barefaced cabs feature a bass-cut switch that lets you shelve off bass in the same way that good preamp-derived pedals such as Xotic’s EP Booster will do. An excess of bass frequencies is sometimes an impediment to your tone breaking through effectively in a mix, so having that option on a cab will be a welcome feature for many guitarists.

And while we enjoyed the 112 Reformer, our thoughts kept returning to how potent yet compact a rig that combined the 110 Upsetter with a little lunchbox head would be – the ultimate ‘pocket rocket’ setup for small stages or a corner of the living room.

If you get a chance to try either cab, we strongly urge you to do so – it’s richly refreshing to try something new, effective and progressive in a field that’s stood surprisingly still for many years.

Victory has announced two new virtual cab collections in collaboration with Two Notes Audio Engineering and its DynIR amp modeling software.

The all-new Duchess and Kraken packs capture their namesake Victory guitar amps, and follow the existing Sheriff and Copper collections.

Both come in two versions – Classic or Boutique – allowing users to choose between the range of virtual microphones at their disposal. The Classic pack offers eight industry standard mics – including a Shure SM57 and a Sennheiser MD421 – while the Boutique pack is made up of more "influential" and "exclusive" studio mics, including a Neumann U87.

Says Martin Kidd, Victory's chief designer, "These Two Notes Victory DynIR Virtual Cabinets have been captured by Two Notes' most experienced Capture Master – Adam Steel of Hop Pole Studios. [He's used] the highest quality outboard equipment to ensure that the captured tones are identical to the feeling of being in the room with a perfectly matched Victory head and cabinet."

Echoing Kidd's sentiment, Two Notes CEO Guillaume Pille chimes in. "Once again, working with Victory Amps shows that we are 100 percent committed to one thing only, bringing awesome tone to our customers - these Victory captures are amazing, Adam has nailed the tone and response of each perfectly."

The Duchess and Kraken virtual cabinets are available exclusively via the Two Notes store. Each cab is priced at €10 and can be bought as part of a pack for a discount. For more information, head to Victory Amps.

Victory Amplification has collaborated with Two Notes on the Victory Official DynIR Virtual Cabinets, boasting 20 guitar amp speaker captures that are available individually or within six packs.

The new offering captures two Victory models, the Copper and Sheriff. Both ranges come in two versions, Classic or Boutique, with the classic offering the choice of eight industry-standard performance microphones, including 57 and 421 models.

The boutique range, meanwhile, captures "more nuanced and iconic studio microphones,” including the U87.

The cabs were captured for Two Notes by Adam Steel of HopPole Studios, utilizing the highest-quality outboard equipment “to ensure that the captured tones are identical to the feeling of being in the room with a perfectly matched Victory head and cabinet.”

The Victory DynIR Virtual guitar cabinets are available for $10 for a single cab, or as part of larger packs.

For more information, head to Two Notes.

Harley Benton continues its seemingly unstoppable roll of super-affordable gear announcements, this time with the new G212A-FR active guitar cabinet for use with amp modelers.

Touted as a “perfect companion” for digital floorboards, multi-effects or modeling guitar amp heads, the G212A-FR boasts 200 watts RMS and features a full range flat response active open back cabinet for modern digital guitar setup, a wedge / tilt-back floor monitor design, custom voiced 2x12" woofers and 2 x 1” HF compressions drivers.

There’s also a Mute switch with an LED indicator, an XLR output for sending signals direct to a PA or mixer and a mono/stereo switch. Both A and B channels feature independent volume, resonance and presence controls.

The G212A-FR boasts a frequency range of 90Hz – 20kHz and weighs in at 22.5 kg.

You can learn more at Harley Benton, or pick one up for just $303 at Thomann Music.

In view of the impressive strides that Epifani has made in the amplifier space, one might overlook the fact that founder Nick Epifani first made his bones in cabinets. 

In fact, he launched Epifani back in 1994 after failing to find a reliably-constructed bass cab that offered state-of-the-art engineering, gig-sized power and economy of design. The DIST2 is a redesign of the company's DIST line, boasting a new dual voice-coil speaker design and some interesting new electronics. Immediately, you'll notice the cabinet’s weight. 

Like the UL 901, the DIST2 is astonishingly light. Weighing in at a mere 42 pounds, it'll make you feel like Superman as you effortlessly swing it in and out of your practice room with nary a grunt. Thankfully, the cab’s lower back-friendly portability factor does not come at the expense of power. 

Plugging in and thumping down on the E-string, the room fills with a booming potency throughout a range of mids and highs. Testing out a five-string, the low B pours cleanly from the cab, without any discernible rattle or humming.

In line with Epifani’s premium on design, the DIST2 avoids any unnecessary frills and the back panel is a study in efficiency. Beneath the Input and Output jacks, a small red switch - the only visible feature that’s not black or yellow - allows the player to select an impedance of either 4 or 8 Ohm.

This means that if you’re rocking a single cab, you can set the impedance to 4 Ohms, and you’re good to go. However, if you add a second cab, simply toggle to 8 Ohm, which will result in a total impedance of 4 Ohms.

The crossover automatically sends the right frequencies to the tweeters and woofers, so the player literally has only the one choice to make. Even if you push this amp into neighbor-bothering volumes, or muddy things up a bit, the tone remains clear and powerful.

Also available in a 1x12 configuration, the stylish design looks good on stage and the build quality is solid. All things considered, this cabinet really doesn't have a sonic Achilles heel.

Our verdict: while it’s not cheap, the serious or professional player will find much to love in the DIST2.

Specs

• Price: $999 
• Made In: USA
  Features: 2 x 10” 250+ Watt Epifani Neodymium Dual Voice-Coil drivers, 1 x 1” compression tweeter with adjustable control, user switchable between 4 Ohms and 8 Ohms, recessed steel handles, Lite-Ply Italian Poplar with Dado joint construction
• Power: 500+ Watts RMS 
• Response: 40Hz-16kHz 
• Sensitivity: 103dB (1W@1m) 
• Dimensions: 469mm x 584mm x 450mm (18.5” x 23” x 17.75”) 
• Weight: 42 lbs 
• Connections: 2 x Combination Neutrik Speakon and ¼” input/output connectors
• Contact: Epifani

Dusky Electronics has introduced the Beryllium Cab, a new 15-inch guitar amp speaker cabinet. 

The portable, lightweight cabinet features pine construction and an open back design, and is loaded with a single Eminence Wheelhouse 200 speaker.

The Beryllium boasts 200 watts of max power and an 8 ohm impedance, and the Eminence has a lightweight neodymium magnet and hemp speaker cone.

For more information on the Beryllium, which comes in an eye-catching blue-orange-white color scheme, head to Dusky Amp.

What do you get the amp modeler that has everything? Why, a companion stereo guitar cabinet with onboard speaker modeling, of course! Line 6 has upped the powered speaker cabinet ante by offering the Line 6 Powercab 212 Plus, a 500-watt active stereo guitar speaker system that’s tailor-made for guitarists who rely on professional amp modelers and, more specifically, Line 6 Helix users.

The challenge for guitarists who use modelers has always been reproducing their preset tones live without coloration when running through traditional amplifiers, PAs and speaker systems. Here, the Powercab 212 Plus is not only transparent when it’s set in Flat mode, but delivers a full-range, flat response (FRFR) that preserves the tonal integrity of your sound.

Its custom coaxial speakers with lightweight neodymium magnets and high-frequency compression drivers dish out the same dynamics and gutsy response of guitar speakers.

Powercab has wood construction with rear ports, foldout kickstands for angled placement, and is lightweight (47 pounds). It has all the essential connections and connectivity, a bright LCD display, illuminated volume and select knobs, and home and save buttons for on-the-fly tweaking.

One of its highlights is Speaker Modeling, which isn’t the same as cabinet modeling or impulse responses (IRs), but something entirely new in a guitar cab. By simply bypassing the cab model in your modeler’s preset, and switching to Speaker Modeling mode on the Powercab, you can access 12 onboard vintage and modern speaker models for more authentic response. 

You can even mix and match different combinations to create your own mixed speaker preset. Third-party IRs can also be saved and loaded into any of the Powercab’s 128 presets.

A standout feature is the Powercab’s Stereo Width setting, which allows you to increase or decrease the cabinet’s stereo field. At its maximum, it presents an ultra-wide stereo experience that makes ping-pong delays and spacious reverbs sound endlessly vast. And if panning is part of your ensemble, the overall effect at full-tilt stereo is quite hypnotic.

You also can set up Powercab in a dual-mono configuration to audition two separate amps (from your modeler) on either side of the Powercab, and add Speaker Modeling to each amp - like a Vox AC30 with a Greenback on one side and a Fender Deluxe with a Blue Bell on the other.

Features

• Choice of Flat (FRFR) or Speaker Modeling modes
• Choice of 12 onboard Speaker Models
• Impulse response (IR) loading
• Stereo Width control for extended stereo field
• 500-watt stereo amplifier (2 x 250 watts) delivers up to 131dB SPL
• Lightweight 12" neodymium coaxial speakers with high-frequency compression drivers and robust 2" voice coils
• 70Hz-20kHz neutral frequency response in Flat mode
• 128 Presets configurable for Flat, Speaker Modeling, or IR mode
• MIDI In/Out, AES/EBU I/O, L6 LINK, USB audio interface

For more information, head to Line 6.

Kemper has unveiled two new cab options for its Profiler guitar amp – the Kemper Kabinet and Kemper Kone replacement speaker.

The Kabinet and Kone offer guitarists the choice of 19 different speaker imprints, for use with Kemper Profiler PowerRack and PowerHead amps.

The Kabinet combines the Kone loudspeaker and Kemper-developed speaker tone mining technology, making it possible to digitally “imprint” various speaker characteristics onto one single cabinet.

The Kone, meanwhile, is a 12-inch speaker designed in conjunction with Celestion, and features a full-range sound that “carries a distinct guitar speaker character.” There are also Sweetening and Directivity parameters for detailed adjustment. 

The 19 imprints offer classic speaker sounds from Celestion and other brands, with the potential for more imprints included in future software updates.

The Kabinet can be driven by a Profiler PowerHead or PowerRack, as well as via an external power amp. In the latter configuration, two Kabinets can be driven in stereo.

Additionally, the Kone is available as a replacement speaker for existing guitar cabinets, as a single unit and two- and four-speaker sets for 2x12 and 4x12 cabs.

The Kabinet is available for $480 and the Kone for $180. For more information, head to Kemper.