A ground-up rebuild rather than a refresh, the Strymon TimeLine MX is an update to one of the most popular delay pedals of all time. The original TimeLine is going on 15 years old now, having debuted at NAMM in 2011, and went on to win numerous awards thanks to its philosophy of packing studio-quality delay algorithms into a pedal.

The original had a SHARC DSP processor running at 266 MHz. The new version is packing a tri-core 800 MHz ARM chip, significantly increasing the power available. It now has dual-engine operation, so you can run two algorithms at the same time in series, parallel, or split modes. Each engine can be assigned to a footswitch and has a pan control on its output.

The TimeLine MX has 11 delay algorithms and a reverb algorithm, with oil can, drum, multi-tap, and spectral being the new delay engines. Five of the original 12 have gone, with swell and duck modes now available on every engine, trem folded into the filter engine, and pattern folded into the multi-tap mode.

Some of the classic algorithms remain, and you can switch between different voices. dTape and dBucket each have a new MX voice alongside the classic TimeLine one. Digital has four different voice modes, one of which is the original TimeLine voice, too.

The looper runs for up to 5 minutes, which is a huge increase over the 30 seconds of the original. You can place it before or after the delays, and it has a one-button mode you can use without having to switch the pedal specifically into looper mode. To access reverse, undo/redo, and half speed, you’ll need to connect an additional footswitch or access via MIDI.

Every jack on the TimeLine MX is now TRS stereo, with selectable configurations for mono/stereo effects loop, wet/dry, and wet/dry/wet combinations available. It’s got a USB-C port, and it can now handle MIDI via TRS alongside the classic 5-pin DIN connectors.

Specs

• Price: $679 | £699 | €799
• Type: Stereo multi-delay workstation with onboard reverb and looper
• Controls: Type, value, time, repeats, filter, grit, speed, depth, and mix knobs; A/B footswitches plus a dedicated TAP footswitch
• Features: 11 delay engines (dTape, dBucket, Digital, Drum, Oil Can, MultiTap, Spectral, Reverse, Ice, Lo-Fi, Filter) plus a new reverb engine; dual engines routable in series, parallel or split with independent panning; five-minute stereo looper with multi or one-button modes; swell and duck available on every engine; 300 onboard preset locations
• Connectivity: Stereo TRS in/out with switchable mono, stereo effects loop, wet/dry and wet/dry/wet configurations; USB-C for MIDI, firmware updates and Nixie 2 editor software; 5-pin MIDI in/out; EXP jack for expression pedal, MultiSwitch or TRS MIDI control
• Bypass: True bypass (electromechanical relay) or buffered, switchable
• Power: 9VDC centre-negative, 500mA minimum (adaptor sold separately)
• Dimensions: 172mm W x 127mm D x 48mm H (6.87" x 5" x 1.87")
• Weight: 699g (1.76 lb)
• Contact: Strymon

Build quality

Build quality rating: ★★★★★

The footprint of the MX is nearly identical to that of the original pedal, although it is ever so slightly wider and shallower. The chassis is anodised aluminium, in the classic TimeLine grey most guitarists will recognise. It’s not particularly heavy, weighing 699g on my scales.

The screen has had a significant upgrade over the original, moving to a larger, OLED screen that’s incredibly bright and high definition. It’s more central now, with the type knob moving to the top left, and the controls in one long row running beneath the screen.

The type knob isn’t ratcheted, which goes against the trend of modern-day pedals. There’s a slight delay between when I begin turning it and when the light moves to the next engine. Turn quickly, however, and it skips through them with much more haste. The control knobs are slightly firmer in their feel than the type and value knobs, with everything feeling very well applied.

The footswitches offer a solid pressing feel, with a soft click and short travel. They feel very robust and capable of putting up with abuse, so I don’t doubt this pedal will last 15 years like the originals still going today.

Usability and features

Usability and features rating: ★★★★½

The Strymon TimeLine MX is, like its forebear, actually pretty simple to use. The value knob changes presets, with each footswitch selecting one of two in that particular bank. Pressing two of the switches down does the same move, and I can then select the A or B footswitch to determine which preset I want.

The knobs for tweaking the sounds are all within easy grasp, which makes customising presets an absolute breeze. Handily, there’s a small arrow that tells you where the knob was originally set, too, should you make changes you end up not liking. This immediacy means I don’t feel the need to install the companion app for bigger changes, because pretty much everything is right there on the front of the chassis.

There are some deeper-level settings hiding beneath the value knob, which can be accessed via a single press down. These settings are individual to each preset and include the ability to change voices, add a high-pass, change filter shapes, and adjust LFOs. It’s all well marked on the unit and very easy to navigate, even without diving into the manual.

Holding the value button for longer unlocks global parameters, which include things like switching the bypass from true to buffered, changing the input level from instrument to line, a kill dry function, spillover, plus plenty more. I can also change what the footswitches do, change the way the preset navigation works, and turn tempo from milliseconds to BPM.

Having the tap tempo with a dedicated button makes total sense here, and I can quickly tap in with my foot or finger the rhythm that I need to adjust each preset. I can also do this via the time knob, but I do find that making very precise changes here is difficult with the knob when working in milliseconds. There is a way around this, though, as once I make an adjustment with the time knob, I can then use the value knob to fine-tune it.

I already have Nixie 2 installed on my laptop from reviewing a previous Strymon pedal, but it doesn’t recognise the TimeLine MX. The next natural step is to update the firmware on the hardware itself, but this still doesn’t end up with the app recognising it. So, I head back to the Strymon site to download the latest version of Nixie 2. I’m not sure why there’s no auto-updating in Nixie 2 itself, but it would be a welcome addition.

With the editor ready to go, my first port of call is to see how incremental I can be with the timing of the delay repeats. Thankfully, there’s an easy way to type in exact BPMs, and every other function of the pedal can also be easily accessed. Dragging via the knobs is pretty imprecise on a laptop trackpad, but every value can be double-clicked in order to type in the exact value I need.

I learn from browsing the manual that I can change the tap tempo button to become a one-button looper, accessible via the global settings menu. Once this change is done, looping is accessed via a press of the furthest footswitch to the right, with another press playing back, while further presses engage overdubs. A double tap stops the loop playing, while a hold clears it entirely.

To access the full looper, I need to switch the third footswitch back to tap tempo. I can then hold down the same footswitch to access a three-button looper. It works as expected, but there’s no way to clear the loops once played in, unless you turn the pedal completely off. Features like reverse, half speed, and undo/redo need an external footswitch like the Strymon MultiSwitch to unlock these, but I didn’t have a third-party footswitch to test if you can use something you already have.

Sounds

Sounds rating: ★★★★★

Setting up the TimeLine MX so it runs stereo into my audio interface, I load up a stereo instance of Line 6’s Helix Stadium Native to test out the sounds. I've created demos of all the delay engines so you can hear them for yourself further down the page.

Playing harmonics with the Spectral engine on gives crystalline repeats that shimmer around my core tone but never overpower the original note. It’s like playing along with a set of really high-pitched violins, similar to the sound of a shimmer reverb but one that bounces in time with my playing.

Switching to a preset that utilises the dBucket algorithm, I get those classic modulated repeats behind some chord stabs and arpeggiated licks. They’re dark and warm, enveloping my playing with washy delay tails that bounce rhythmically against my core playing. The wobble on the tails is really present when I hold chords and let them ring out, a feature that adds to the rhythm of the repeat timing.

The Lo-Fi setting is really intriguing too. It sounds like ring modulation on the delay tails, giving them the feel of degraded computer noises from the early 2000s. It’s a really interesting tonality, slightly discordant but still manages to fit in nicely with the single-note licks I play that build up gradually. It occupies the space between my notes in a captivating manner, adding an extra layer of musicality to my playing.

Turning on the gain and switching to a preset that utilises the Oil Can engine (an algorithm similar but not the same as the standalone oil can-style delay Olivera pedal), I’m straight into lead lick heaven. Playing a hopeful lead line, the murky wash of the distorted delay tails adds a darkness to the sound, and with a discordant turnaround it’s something that bridges the gap between Russian Circles and Mogwai. I could go on, but needless to say, the sound quality on offer here is incredible.

The ability to pair two different engines offers some truly amazing options for tones. You can blend them together or pan them hard left and right. It adds an extra layer of creativity not found on the original, opening up the possibilities for an array of unique delay sounds. The new reverb engine is really handy as well, allowing you to feed a delay into it for a more natural feel to the delay tails.

To complete my testing, I set about trying the different voices to see if there’s a major difference between the original TimeLine and the MX voices. On dTape, the MX version feels a touch warmer and more lifelike. The variance in the repeats is a lot more obvious when I switch them back to back, which gives the MX voice more of a dynamic quality versus the original’s more linear approach to the repeats, which sounds a lot more staccato and less washy.

On dBucket, the difference in voices is much less obvious. Both have that classic modulated repeat. At a push, I’d say that the MX voice has a bit more low end, and like the dTape, a bit more of a dynamic feel to the repeats that doesn’t sound so consistent in its sound. These are really tiny differences though, and for the most part they’re very similar to my ear.

Verdict

There are those who will likely think that the TimeLine MX isn’t worth the upgrade over a used original, but I beg to differ. There’s plenty here to justify the upgrade with fresh algorithms, improved original sounds, and more options for connectivity. It improves in all the right places to make it a worthwhile purchase even for existing TimeLine users.

The only thing I could fault about it is the necessity of an additional footswitch for some of the looper functionality. It isn't a looper pedal, though, so most users probably won't care that certain functions are hidden. It's quite an investment, admittedly, but then price is relative, and you do get a lot for your money.

MusicRadar verdict: The Strymon TimeLine MX does a great job in retaining its reputation as the powerhouse of the delay pedal workstations. Despite the huge depth of choice on offer, it manages to be really easy and satisfying to use thanks to relying on physical controls and not keeping too much hidden behind menus. For a lot of players, it’s complete overkill, but for those who want great-sounding delay algorithms with plenty of options, it’s still the king.

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Hands-on videos

Sweetwater Soundcheck

Andertons Music Co

Jason Mays

Back in 1985, Rupert Neve had left Neve Electronics to set up Focusrite and was asked to design a mic preamp and EQ for the console at AIR Studios Montserrat. The result was the now-legendary ISA 110. The Focusrite ISA C8X audio interface, with its two ISA preamps, is essentially the same circuit that’s featured on some huge records.

The ISA 110 was a feature of the Focusrite Studio Console Ocean Way Studio A, with artists like Beck, Hole, Stereophonics, John Mayer, No Doubt, and more all tracking there. It’s often praised for its clarity, rather than the more coloured sound of Neve or API preamps. Word on the street is that where one of the former flatters your sources, the ISA reveals them.

The standout feature of the ISA is the switchable impedance. You can move from low at 800Ω, ISA 110 at 1.4kΩ, medium at 2.4kΩ, and high at 7kΩ. In plain English, it means that at higher settings you should get a flatter, brighter response, while lower settings bring out more of the low-mid resonance. It should also be handy for ribbon mic users, allowing you to brighten them up and get more level without cranking the input gain.

You get two of these ISA preamps to play with, instrument inputs on the front and mic inputs on the back of the unit. These both feature a fully analogue, variable soft-clip saturation circuit. An inductor-based high-frequency lift is also available on the ISA channels, modelled on the ISA 430 MkII’s air mode. The high-pass filter is also only available on the ISA channels, fixed at 75 Hz.

The manual doesn’t name the remaining six preamps, but the specs match the Focusrite Scarlett 4th Gen exactly. These also feature an all-analogue high-shelf circuit, but the distortion on these is DSP rather than analogue. The remaining six inputs are also on the back of the unit, and each of the eight inputs has a dedicated line input alongside it. There are also two send and return paths, again only available on the two ISA inputs.

There are two XLR outputs on the back, again each with a dedicated line output. The remaining 10 outputs are all line. Two headphone outputs are on the front of the unit, each with a dedicated volume control and mute button. Returning to the back of the unit, you’ve also got MIDI In/Out, optical in and out, S/PDIF in and out, and word clock in and out. The unit connects to your laptop or PC via USB-C.

Each channel features Focusrite’s auto gain functionality, regardless of whether it’s an ISA channel or not, which can be accessed from the front panel or via the Focusrite Control 2 software. It’s got a built-in monitor controller with three switchable groups, dim, mute, mono, and talkback via an internal mic. The app offers preset recall and remote control via the mobile app. It also works standalone, keeping its settings when you disconnect it.

Performance

In my home studio, I set up the ISA C8X by routing outputs 1 and 2 to my studio monitors, plugging the USB-C into my MacBook Pro, and selecting the interface in my sound settings. My laptop recognises it instantly, and I’m able to play back a track from the latest Young Knives record without any further setup.

The front panel glows a very nice sunset yellow, contrasting nicely with the blue chassis and making everything very easy to read. There are physical controls for everything, whether that’s setting the input type, impedance, selecting the insert path, engaging phantom power and low cut, as well as adding the 430 high shelf, and engaging the analogue saturation circuit via the console button.

It’s great for those who prefer to get hands-on, and most things are clearly marked enough that a semi-experienced engineer could get by without having to reach for the manual. That said, I did have to double-check what ‘430’ and ‘console’ do. I’ve also yet to meet an engineer who uses auto gain, so I’m unsure why companies persist in adding these, particularly to a high-end unit like this.

The ISA preamps feature two gain knobs, with a stepped knob going up in multiples of ten and a fine knob going in 1dB increments. It’s a nice touch, especially if you note down on the track comments what your setting is going in. Each ISA preamp has a dedicated button to switch between them, and all the settings have their own panel to show what’s engaged and what isn’t on each channel.

Moving to the ‘standard’ Focusrite preamps section, it’s a similar story, but there’s no ‘430’, ‘console’, or impedance settings here, with the first two replaced by simple ‘Air’ and ‘Drive’ buttons. Each channel has its own panel denoting what’s engaged, and its own metering. Interestingly, the meters start off blue at the lower levels before transitioning into that sunset yellow as they get past -12dB. They look like the gas flames on an old cooker.

Navigating into Pro Tools, my next check is to see whether it’s recognised here. I switch my playback engine in my project and Tools picks it up straight away, resulting in instant playback without any additional software required. I’m a big fan of using software on smaller interfaces with limited controls, but here, where there’s a button for everything, I’m happy to carry on without it.

What I do, though, is download the Focusrite Control 2 app on my laptop and my phone, so I can remotely control the unit without having to return to it physically. This is a nifty feature if you frequently record on your own, preventing you from having to move back and forth between your recording and mixing spaces if you’re lucky enough to have separate ones.

For my testing, I hook up two C414 condenser mics to the ISA inputs, position them in a Blumlein configuration, and break out my acoustic guitar. Positioned a couple of feet away, I play the same song, a DADGAD drone of mine with various settings engaged on the inputs. That means I do some with the console saturation enabled, some with the 430 air setting on, as well as all of the different impedance settings that are available.

Upon listening back, the differences in the takes aren’t what I’d call huge. They’re certainly there, and going from the low impedance setting to the high impedance setting, there’s a noticeable change in the brightness of the take. The C414 is already quite a bright microphone, and adding the high impedance into the chain makes the acoustic border on brittle versus the warmer low impedance setting.

The saturation is less noticeable on my takes. There’s definite natural compression I can just about detect, but with my signal peaking around -12dB, it’s more subtle smoothness than noticeable character. It sounds great though, and I can see on the waveform that it’s massively smoothing off the peaks versus the takes without the console saturation engaged.

Cranking the input gain up and moving closer to my mics, I start to get noticeable drive as the signal hits more into -6dB territory. The acoustic strummed hard causes breakup that makes it sound like I’ve got a distortion plugin on it. Again, the sound here is less characterful and more smooth breakup, but if you wanted to add some drive to your louder sounds on the way in, you can do that here.

Once I get to mixing my takes, I can see that the low cut has done its job. It’s gentler than I expected, so I can bring some of the low end back if I like. The overall sound of the take is pretty good though, and after taming a few of the naturally annoying frequencies acoustic guitars tend to make, I’m left with a very polished-sounding result indeed. Having the ability to process sources on the way in is the real power of the C8X, and it means you don’t have to buy any additional preamps if you’re tight on budget.

Verdict

After spending a good amount of time with the Focusrite ISA C8X, I’m overall very impressed with it. For those looking to upgrade from a desktop audio interface to something a little more pro, it’s got a lot going for it. The ISA preamps sound fantastic, and having all the functionality both on the front of the unit and within the companion software means it’ll please both kinds of users.

Using it is honestly an absolute breeze, with everything clearly labelled on the front panel. Add in the ability to use it remotely via your smartphone, and you’ve got something that will be just as at home in the home studio as it is in a dedicated one. The ability to add 16 more inputs via ADAT means you can have 24 dedicated channels (at 44.1/48kHz) should you wish.

The one thing I did find annoying is the halo-style LEDs on the hardware knobs. It’s hard to be accurate with these, and the ones for the headphone outputs don’t stay lit, so it’s easy to blow your own head off if you’ve got the volume cranked and forgot to put it back. They also default to showing the master output volume when playing back, giving you even less visibility on what they’re set to. Of course, you can set this via software more accurately, but I prefer the segmented style LEDs that give you a more definitive view of what the volume is doing.

MusicRadar verdict: If you want to step up from a desktop interface to something with more functionality, the Focusrite ISA C8X is well worth the asking price. The ISA preamps deliver superb quality recorded tones, and have plenty of extra analogue features like a high shelf and saturation circuit that can really enhance the sound of your sources. Hands-on control and app control work really well, and apart from the annoying headphone LED rings, it’s really clear what’s going on just from looking at the front panel.

Hands on videos

Alternatives

Specifications

Analogue delay pedals continue to be a popular choice for guitar players due to its ability to blend so well with guitar tone.

The latest iteration to hit our pages is the Drag from DOD, a brand that has previous form in the area with its Rubberneck pedal, which featured footswitchable performance features, including an eponymous control that gives a momentarily octave-up or -down pitch shift of the repeats.

Performance features seem to be what the Drag is all about and DOD has themed these after anime motorcycle manoeuvres, particularly the Akira-style Slide where a red motorcycle skids to a smoking, sideways halt (hence the pedal’s artwork).

Specs

• Price: $219 | £199 | €229
• Origin: China
• Type: Analogue delay pedal
• Controls: Time, Level, Feedback, Filter, Curve Tails, Drift, Friction
• Features: Delay and time stretching
• Connectivity: Input, Output, Power, FS3X jack
• Bypass: True and Buffered/Tails (switchable)
• Power: 9V DC centre-negative 120mA
• Dimensions: 121 x 71 x 38 mm
• Weight: 10.58oz/0.30kg
• Contact: Digitech

Usability and sounds

These effects – triggered by a footswitch-hold and adjusted with the Friction knob – can be the aforementioned Rubberneck, plus the SlideStop for a pitched-down effect, and Evade, which is meant to emulate a skidding sound.

Putting those effects aside for one minute, the pedal functions as a standard delay from basic doubling and slapback up to longer delays of 750ms. Alongside adjustable delay Time, Level and Feedback, there’s crucially a Filter knob to set the EQ of the repeats – roll it back to subdue the top-end.

The repeats are typically analogue in that they degrade organically and are voiced with enough top-end for them to cut through as needed, but the Filter control can really darken them up for a pleasant mushiness as they blend in.

You can add modulation to the repeats with the Drift knob. There’s a choice of four curves (Sine, Reverse Saw, Square, Random) with variation from a slight chorusing to a full-on wobble.

Verdict

Verdict: ★★★★½

While tweaking the four main knobs isn’t a chore, setting up the modulation and modes can be a faff as you keep track of LED colours to see where you are, but you can throw in a range of pitch-shift curveballs if desired.

If you like momentary off-the-wall effects, these will be right up your street, although you’ll still have to twist the Feedback knob by hand for a runaway oscillation effect unless you add the FS3X footswitch, which will also give you tap tempo.

MusicRadar verdict: The performance modes are this pedal’s unique feature and will hold an appeal for some players. But beyond the razzamatazz let’s not lose sight of the fact that, at its heart, the Drag is a decent BBD analogue delay pedal with plenty of cool modulation variation.

Hands-on videos

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• This article first appeared in Guitarist. Subscribe and save

When it comes to affordable alternatives to the Big F, you aren’t exactly short on options these days, and with parts more accessible than ever, these budget-friendly options are typically well spec’d and include plenty of modern touches. That said, one thing that is often missing from these electric guitars is a nitrocellulose finish. If you want nitro lacquer on a Fender Jazzmaster, you’re looking at the Classic ‘60s version, which retails for £989, and only the top coat is nitro. So, with this PJ-6 coming in at £689, it’s a remarkably attractive package on paper.

The model I’m looking at today would certainly give a more established brand a run for its money in terms of specs. The PJ-6 features a solid offset Paulownia body, a smooth satin-finished roasted maple neck, and a rosewood fingerboard loaded with stainless steel jumbo frets and luminous side dots. For hardware and electronics, Patina has equipped it with a vintage-style tremolo, a Tune-O-Matic-style bridge, locking tuners, a real bone nut, high-quality Alpha pots, and a pair of custom-wound Alnico V P90 pickups.

Impressive stuff indeed for a wallet-friendly guitar. But who is this new brand? Well, Patina Guitars is the official sister brand to Jet Guitars (and Spira). Both brands – alongside the modern metal-focused brand Spira Guitars are designed and engineered in Europe by the same team, but the instruments themselves are manufactured in China.

Patina offers the lightly distressed Relic option we see here, but also models without artificial aging for S and T-type guitars, P-Bass, in addition to this offset guitar.

I put this new guitar to the test and pitted it against my own nitro-finished Jazzmaster to see if it lives up to the hype and whether we’ve found the new gold standard for budget-friendly electric guitars.

Specs

• Launch price: $699/£589/€689
• Made: China
• Type: Six-string electric guitar
• Body: Paulownia
• Neck: Quarter Sawn Roasted Maple, Satin Finish Modern C
• Fingerboard / radius: Rosewood with Luminescent Side Dot Inlay / 13.75 inches
• Scale length: 25.5″ / 647mm
• Nut: Bone
• Frets: 22 jumbo stainless steel
• Hardware: Chrome Locking Tuners, Jazzmaster-style Tremolo with Tune-O-Matic-style bridge
• Electrics: Alnico V JM pickups, 3-way pickup selector, master volume, master tone
• Weight: 1.58kg/7.2 ibs
• Left-handed options: No
• Finishes: Oxblood, Sherwood Green (as reviewed), Purple
• Case: None
• Contact: Patina Guitars

Build quality

Build quality rating: ★★★★☆

I must say, out of the box, this is an undeniably pretty instrument. The dark take on Sherwood Green finish paired with the rich, caramel tones of the dark-roasted maple neck and nicely aged plastic hardware gives the PJ-6 a sophisticated, vintage-inspired aesthetic that immediately catches the eye. Thankfully, it feels robust and giggable right away, backed up by rock-solid construction throughout. Genuinely, I’m finding it hard to fault.

The big selling point here, of course, is the nitrocellulose lacquer finish – a rarity at this price point. As a self-confessed nitro snob whose own collection consists mostly of nitro lacquer-finished axes, I was particularly curious to see how Patina executed it.

In hand, the finish is extraordinarily thin and matte, almost feeling nonexistent. While some players will love how thin the coat is, I’d personally prefer a bit more substance to the nitro coat to give it that tactile gloss feel we associate with vintage instruments.

Then we come to the relicing. Factory ageing is always a polarising topic among guitarists, and the execution here is a mixed bag. In places, such as the top arm carve where your forearm naturally rests, the distressing looks surprisingly organic and is tastefully done.

In other spots, however, the wear looks a little artificial, as though it was applied too systematically in the factory. That said, aesthetics are inherently subjective, and from a couple of feet away on stage, it looks proper.

Where I think the PJ-6 truly excels is the hardware. Everything feels heavy-duty and dependable. The vintage-style tremolo operates smoothly, the Tune-O-Matic-style bridge holds firmly, and the locking tuners make string changes a breeze while ensuring solid tuning stability along with the neatly cut real bone nut.

In a world where many players choose to mod out a budget axe, Patina has done all of that for you, which is rather impressive.

Playability

Playability rating: ★★★★☆

Slipping the PJ-6 onto a guitar strap reveals a neck profile that instantly feels homey and comfortable. The satin finish on the back of the roasted maple neck is silky smooth, offering zero drag whether your hands are bone dry or sweaty under hot lights. Combined with the modern C-shape, it allows your hand to glide pretty effortlessly up and down the fretboard without any stickiness.

In keeping with the modern appointments, the PJ-6 has a contemporary 13.75″ radius fingerboard. Now, while it would be easy to write this guitar off as ultra slick and fast, the truth is, it doesn't feel all that unnatural in person. It's not a shredder. We're not quite at Ibanez 17" territory.

Sure, my own Jazzmaster has the traditional 7.25" board, and some old-school players may still prefer that retro feel, but I think this flatter radius works really well here. All told, it’s a good-feeling guitar.

The crown jewel of the neck, however, is the fretwork. Patina loaded this rosewood board with jumbo stainless steel frets, and they feel absolutely incredible under the fingers.

Vibrato is effortless, bends glide across the board like butter, and you won't have to worry about wearing grooves into them anytime soon. Luminous side dots are another thoughtful modern touch that gigging musicians will genuinely appreciate on dark stages.

Out of the box, the setup was impressively comfortable. The action is very low on my review example, measuring roughly 1.35mm on the low E and around 1.10mm on the high E. Despite such low action, fret buzz was nonexistent. It’s a fun guitar to navigate.

That said, if there's one physical gripe to report, it comes down to weight distribution. Because the offset Paulownia body is pretty lightweight on this test example, at only 7.2 lbs, the guitar unfortunately has a noticeable tendency toward neck dive.

When standing with a basic nylon strap, the headstock definitely wants to dip toward the floor if you take your hands off the neck. It’s certainly not a dealbreaker, and switching to a wider suede or leather strap would keep it more anchored in place, but it’s something to keep in mind.

Sounds

Sounds rating: ★★★★☆

I’m a big fan of the Jazzmaster. I’ve owned a few, and still have my ‘64 reissue. I genuinely think it’s a guitar that doesn't really sound like anything else, so I have high hopes that this budget offset will produce that wide, bright, and chimey tone they are so known for.

Comparing it side-by-side with my own Fender Jazzmaster, the PJ-6 clearly pushes more output and brings a meatier midrange to the table. Where classic offset pickups can sometimes sound overly scooped or hollow in the middle, this guitar packs plenty of growl and body while retaining sweet highs and punchy lows. Honestly, it’s just a well-rounded tone that even managed to cut through at my punk band practice without sounding shrill or muddy.

Clean tones from my trusty Fender Twin have plenty of sparkle and chime, and sound even better with an ungodly amount of spring reverb for surf riffs. Step on a dirt pedal, and the PJ-6 transforms into an alt-rock machine.

The pickups handle medium-to-high-gain styles surprisingly well, maintaining decent string clarity even under heavier distortion.

To really put it through its paces, I stomped on my beloved Electro-Harmonix Big Muff to see if it could tackle classic J Mascis-esque noodling.

The PJ-6 handled the wall of fuzz with absolute ease, producing massive, singing sustain and thick, harmonic richness without collapsing into mush. It’s a versatile set of pickups for sure, and to be honest, a rather great-sounding guitar.

The only issue I can find from a sound point of view is that the sympathetic resonance behind the bridge is rather noticeable. Like, very noticeable. If this were my guitar, I’d pop a piece of foam behind the bridge to mute the strings from ringing, otherwise, it would drive me nuts.

Verdict

Taking everything into account, the Patina PJ-6 represents a seriously compelling package for players seeking that coveted offset charm without the steep price tag typically associated with nitrocellulose-finished instruments.

I think Patina has smartly prioritised performance where it matters most with this guitar. The neck, frets, and hardware are outstanding, leaving you literally nothing left to upgrade.

Tone-wise, it hits all the right notes for me. The sound is full, balanced, and immensely versatile. Okay, the model isn't without its minor flaws, of course.

The factory relicing will always be a matter of personal taste, and the lightweight body does create a slight headstock dip that requires a grippy leather strap to keep it upright. But when weighed against the overall quality, premium feature list, and modest £589 price tag (and I've seen it even lower online), these minor gripes quickly fade into the background.

Ultimately, Patina has delivered a stylish, rock-solid, and gig-ready offset guitar that offers tremendous value for money and is an absolute blast to play.

MusicRadar verdict: I genuinely think the Patina PJ-6 punches far above what its £589 asking price might suggest. While the relic treatment won't tickle everyone's fancy and the slightly head-heavy balance requires a decent strap, it delivers an authentic offset experience with modern perks like stainless steel frets and a rock-solid roasted maple neck. If you want a nitro aesthetic and classic offset chime without breaking the bank, this guitar deserves a very close look.

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Hands-on videos

John Nathan Cordy

Having owned an HX Stomp for many years now and been a big user of Helix Native, I jumped at the opportunity to review the latest iteration of Line 6’s software offering in Helix Stadium Native. Arriving not too long after the hardware units, it promises some serious upgrades over the old one and, somewhat unusually for the world we live in, stays at the same price.

However, $/£399.99 is a lot to pay for software. Admittedly, I got the original for £99 as a Helix hardware user, and to be totally honest, I don’t think I’d have paid full price. It is often available at a discount, however, so if you’re willing to wait for a sale, then you can sometimes get it for half price. It’s definitely a steep entry point, although for some it will be worth it thanks to the huge number of amp and effects models included, and the regular updates the original received.

New to Helix Stadium Native is the ability to load Proxy Clones, Line 6’s version of amp and effects capture. It supports up to 48 clones per preset. Cab IRs now run at 32-bit float, and every cab block now has the option for dual sounds. You can place effects between linked amps and cabs, and sidechain dynamics and certain filter blocks.

The UI has had an upgrade with higher-resolution graphics, with a graphic control of mic placement and EQ, plus a graphic view of impulse response curves. You can now search the plugin for presets or blocks, DAW integration is improved with clear names in the automation lanes, and the tuner has been improved upon.

You can import your old presets from Helix Native, but they won’t go the other way. Ditto with trying to use presets from Stadium Native on non-Stadium hardware. The minimum requirements have also changed, with Stadium Native requiring 8GB of RAM and 1GB of hard drive space, where the previous version needed 4GB of RAM and just 100MB of disk space.

If you’re unsure about committing such a huge amount of cash, Line 6 offers an Intro version you can download for free. It’s got 5 Agoura amp models and 16 effects you can sample, as well as the ability to load four Proxy Clones per preset.

Specs

• Launch price: $399.99 ($99.99 upgrade for existing Helix Native and Stadium hardware users available)
• Type: Amp modeller and effects plugin.
• OS: macOS v14 Sonoma, 64-bit (Intel and Apple Silicon processor types are supported); Windows 11 64-bit
• Amps: 27 Agoura, 111 HX, 46 cabs
• Effects: 274
• System requirements: Intel i5 or M1 2.50GHz processor or higher, 8GB of RAM, 1GB of free disk space. An Internet connection is required for initial license authorisation and for using the 15-Day Trial version.
• Plugin Formats: On Mac, 64-bit AAX Native, Audio Units version 2 (AUv2), VST3. On Windows, 64-bit AAX Native or VST3. Available on up to 4 different computers.
• Contact: Line 6

Usability and features

Usability and features rating: ★★★★½

Installing Helix Stadium Native on my laptop is a breeze. I activate it via the code on the Line 6 site, download the software, and follow the installation process. I then head to my DAW of choice, Pro Tools, sign in, and I’m ready to go immediately. It pops into my plugin folder under ‘Instruments’ alongside my previous version of the software; no need to search for the raw files and put them in the correct folder.

I plug a HSS Sire S-type into my audio interface, set my levels, load an instance of the plugin on a stereo channel, and I get a sound immediately. So far, so good. It looks remarkably similar to the previous version, but everything is much higher definition. It’s a noticeable change, with sharper blocks and bolder text, but overall it looks very similar, and I’ve got no issues getting stuck into moving things around the signal path.

The window is resizable, which is good as there are so many amps and effects in the lists at the bottom half of the window, and it remembers the size I set it at when clicking back and forth between the mix window of my DAW and the plugin itself.

New for this version is ‘Focus View’, accessible via a click of the aperture icon on certain amps and cabs. It unlocks a fresh graphic mode, and on the amp models allows you to drag a red circle around to quickly dial in sounds. This mode is also available on many of the effect blocks, making quick overall changes very simple. On a cab block, this function lets you move the mic further or closer to the amp, or closer or further away from the centre of the cone.

Continuing through the presets, I come across one called ‘Brit MegaGuitar’, with a lot of blocks in it. Activating all 16 blocks, I’m amazed that I’m able to run it with my audio interface at 32 samples, even with a pitch block in there, which is notoriously DSP-heavy. There are no pops or clicks as I run through some Oasis-inspired leads, as per its namesake.

As I start getting into recording some demos, which you’ll find further down the page, I start to notice that it takes a second or two for the Helix Stadium Native plugin instance to load when I click it.

When recording, I’m often moving between the mix, edit, and plugin windows, and I keep thinking that I’ve misclicked when, in fact, it just takes a while to load up. It’s something I get used to, and it could also be a Pro Tools-specific issue, but it would be great if it loaded a bit quicker to speed up the workflow when I’m in the midst of inspiration.

Another thing that irks me is that the button to activate the blocks is absolutely tiny. When a block is deactivated, it's quite faded, so hitting that button accurately every time becomes a problem for me. A better workflow might be to double-click to activate; either that or make the button a bit more obvious, as there’s plenty of space for it.

These small niggles aside, it’s just as easy to use as the previous version. The dragging and dropping of blocks will be intuitive for all sorts of players, and even things like loading the Proxy captures are easy enough thanks to the ‘Show Finder’ button in the appropriate window. Some may call it outdated, but I think the workflow is great for recording guitarists who want to quickly be able to move stuff around in the signal path and get to a good result quickly.

Sounds

Sounds rating: ★★★★½

With such a huge number of sounds contained within, it’s difficult to get across the length and breadth of it in just this review. I’ve added some sound samples for you further down the page if you want to get hands-on, but I also highly recommend trying the free tier to hear it for yourself. I test it by running through the presets to see what’s on offer, and the first to catch my ear is the aforementioned Brit MegaGuitar, which is based on the Marshall Super Bass amp.

On its own, it’s warmer and cleaner than the more popular Plexi, making it a great platform for ladling on the various effects in the preset. When I stack a fuzz, clean boost, and overdrive into the front end, it retains its clarity and continues to do so as I add three delay blocks and two reverbs into what is a rather busy signal path. It sounds awesome, and I’m immediately impressed with the quality of the presets that have clearly had some attention paid to them.

Next up is the Callisto Chatter preset, which takes a Fender Deluxe Reverb model as its clean base, and adds a shedload of delay blocks into the signal path. It results in a self-oscillating tone that absolutely could be the communication of satellites in orbit. Without the effects, the Agoura amp model recreates the sound of a black panel Fender remarkably well, clean and clear with that mid scoop and a touch of breakup when I really dig in with my pick.

The dual Twin Reverbs from the Double Double preset are next, with each amp panned hard left and right for some glorious stereo sounds. Here I want a little more, so I set each amp using the focus control, with the left one to get it a bit more present in the overall balance. Again, the sounds of the Agoura amps are incredibly lifelike, reacting beautifully to my picking dynamics, and responding realistically when I stick a Klon clone block in front of it.

The incredibly fun Knife Fight follows, again with two amps panned hard left and right. In this instance, it’s an Agoura Ampeg SVT and an Agoura Soldano Slo-100, perfect for some hard rock riffs. I add in a fuzz based on the Zvex Fuzz Factory for the Ampeg and a modded DS-1 model for an absolutely titanic rhythm sound that keeps me playing for a good half an hour.

I also land on the Orange Rockerverb 100 Agoura emulation, which is a relative of my own tube amp, the Rocker 32. It’s got that classic Orange midrange punch in spades, with plenty of oomph in the low end and a smooth overdrive sound. Again, I find the focus view really useful here for dialling in a quick sound, which I can then perfect with the individual controls. It’s the mark of a good tone when I can keep having fun playing despite the fact that I’m sitting in front of a laptop rather than a full-blown tube stack.

Verdict

With such a huge array of sounds on offer, Helix Stadium Native delivers any sound a guitarist can ask for. It’s really easy to set up and use if you already know your way around a DAW, and for the most part, the UI is very intuitive. Changes to the signal path happen quickly, and there’s a huge number of options for sidechaining and signal splitting, as well as clearly marked automation options if you want to get really in-depth.

It is very expensive, though, especially if you consider things like Universal Audio’s Paradise Guitar Studio, which retails at half the price and can often be found cheaper on sale. The UA option isn’t as complete as this, though, and offers much less flexibility with signal routing and tweaking the cabs. Some users will also bemoan that there’s no standalone option if you just want to quickly play while plugged into your interface.

MusicRadar verdict: For non-hardware users, it’s a pricey option, but if you want a huge amount of choice and flexibility in a self-contained unit, it’s hard to look past Line 6 Helix Stadium Native. The sheer number of amps and effects on offer make it one of the most complete guitar plugins out there, and the quality of sounds is such that you won’t be disappointed when it comes time to mix your recordings. The lack of a standalone version might put some users off, but if you’re already using a DAW, this could well be the amp simulator to rule them all.

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Hands-on videos

Jason Sadites

Signal Theory

Ben Hartwell

Despite proudly displaying ‘Nu:Tekt Synthesizer’ along its bottom edge, the latest addition to Korg’s range of build-it-yourself gadgets is not another sound-generating device. Rather, the NTS-4 is a compact desktop mixer designed to act as a hub for synths, drum machines and modular gear.

The NTS-4 fits into the same lineage of cheap and fun music making devices as Korg’s Volcas and Monotrons. It’s small, lightweight and easy-to-use, trading some of the depth and flexibility of higher-end mixers for an emphasis on accessibility and hands-on creativity.

That said, there’s a surprising level of versatility crammed into a device with a footprint roughly the size of a DVD case. It features six input channels, four of which are stereo and two mono with individual pan controls, each fed by a 3.5mm input jack. Its rear panel has a stereo pair of 6.3mm jacks as a main output – the only ‘full sized’ connection on the whole device – joined by a USB-C port used for power, audio and MIDI.

On the top panel are further connections providing a headphone output, MIDI out and stereo send and return connections – all via 3.5mm jack.

Each mixer channel comes equipped with a level control, mute, cue and send rotary. As well as its external effects loop, the NTS-4 has a digital effect engine that can apply processing to both the send/return and master output.

Pricing

Launch price: £199 / $249 / €219

Performance

Like other Nu:Tekt devices, the NTS-4 ships as a simple kit that users piece together themselves. This DIY aspect is mostly a novelty; the pieces clip and screw together in a matter of minutes with no soldiering required, meaning that the process provides no real insight into the electronics under-the-hood. There is something pleasantly therapeutic about the process though, and it arguably creates an increased sense of ownership. In any case, the finished product feels reassuringly solid inside its robust metal enclosure.

The NTS-4 isn’t Korg’s first attempt at a desktop mixer. Back in 2018 the company released the Volca Mix as a companion to its popular synth and drum machine range. That mixer had a few neat Volca-centric tricks up its sleeve – namely the ability to power and sync multiple Volcas from a single hub – but its fiddly controls and lack of MIDI or USB connectivity left it feeling like something of a missed opportunity.

Although it’s not pitched a part of that same range, in several ways the NTS-4 comes across like a more successful attempt at achieving what the Volca Mix tried to do. Obviously those Volca-specific features are gone, but in their place are functions that more broadly suit the cheap-but-creative desktop music making ethos that the range epitomises.

That emphasis on 'desktop' gear – ie compact synths, drum machines, samplers, Eurorack rigs – is evident in the NTS-4's choice of inputs, all of which are line/modular level, with no options for mics or instruments. While that results in a lack of flexibility, it also makes the NTS-4 feel more focused on its target demographic.

Perhaps the most useful aspect of the mixer in this regard is its USB-C connection, which can be used simultaneously for power, MIDI and audio streaming. Although hardly revolutionary on a device like this, those simple interface capabilities mean that the NTS-4 can act as an incredibly useful bridge between your DAW and a small scale hardware setup.

The effect routing capabilities are a major plus point on this front too. While the range of internal effects is neither the most extensive or most characterful you’ll find in a hardware mixer, they generally sound great – particularly the reverbs – and provide plenty of functionality for manipulating or mixing sounds.

More exciting is the inclusion of a fully stereo send and return loop, which makes the NTS-4 great for pairing with hardware effects, Eurorack modules or running sounds through the audio input of your favourite hardware synth.

The DJ-style cue functionality is a nice touch too. Thanks to those effect capabilities, it’s not hard to image the NTS-4 as a neat little hub for live performance. By having the option to cue channels via the headphone output, separate from the main outputs, it gives performers the ability to configure, shape and adjust sounds before bringing them into the main mix.

A few of the issues we had with the Volca Mix do remain though. The most significant is the fiddly controls. While some of the NTS-4’s rotaries benefit from sizable, solid-feeling caps, others – most notably those controlling send levels – are the same pokey controls found across the Volca range. It’s a bit of a shame when it comes to the effect sends, as these are the mixer elements you’re most likely to ‘play’ expressively when performing with or recording sounds.

It’s also worth bearing in mind that the NTS-4’s use of a single 3.5mm input on each channel, for both the mono and stereo tracks, is likely to require the use of a fair few adapters or stereo splitter cables in order to properly interface with the rest of your synths and drum machines.

Verdict

In the grand scheme of mixers and interfaces, there’s a lot that the NTS-4 doesn’t do – there are no preamps, mics or instrument inputs, no channel EQs, limited analogue outputs, only one stereo channel of audio streaming via USB. In short, it’s unlikely to replace your 32-input rack interface any time soon. Neither is it the cheapest option, if you’re simply in the market for something compact with a few input channels there are plenty of cheaper, more basic mixers out there.

But for a device that’s small enough to stash into a pocket of your laptop bag, Korg’s mini mixer is surprisingly capable. What’s more, the functionality that is included here feels perfectly pitched at the sort of casual, hands-on production setups that this mixer would slot right into. Now if only Korg would release a few new Volcas to go with it…

Hands-on demos

Soma Laboratory

Alternatives

Specifications

Following on from its successful second-generation Ampero floorboard, Hotone has released the Ampero II Stage.

It includes a streamlined back panel and new features enabled by Bluetooth and a companion app. Aimed at live players, it pairs twice as many footswitches with the same dynamic UI and large touchscreen.

Specs

• Price: $559 | £699 | €599
• Type: Multi effect and amp modeller
• Controls: Volume, Menu, 3 parameter rotary encoders, 8 LED footswitches, Lock button
• Features: 8-in/8-out audio interface with 460+ effects, amps and models
• Connectivity: Stereo in/out, FX send/return, 1/8" aux In, 2x expression In, 1x XLR in, 2x balanced out, ground lift, MIDI in/out/thru, USB-C
• Bypass: Buffered
• Power: 9-18V Power supply (included)
• Dimensions: 301mm x 58mm x 180mm
• Weight: 1895g
• Contact: Hotone

Build quality

Build quality rating: ★★★★★

Like you'd expect from any flagship floorboard, the Stage is solidly built, with good attention to detail. Unlike the first efforts at touchscreens on floorboards, the Stage's doesn't feel fragile or slow to respond.

Instead, it's intuitive, and means I don't need to reach for the manual at any point to dial in some great-sounding patches.

Compared to the Ampero II floorboard, there's space for another expansion footswitch. However, that's in exchange for the loss of the built-in expression pedal.

Usability and features

Usability and features rating: ★★★★★

The audio engine is the same as that found in the Ampero II which has already been available for some time. The main differences are in build and control functionality. On the build side, the Stage has some major usability improvements.

The Ampero II relies on a touchscreen and two rotary controls, whereas the Stage has three mini rotary encoders underneath the screen. On top of that, there's the same 2 large rotary encoders, and eight LED footswitches versus the original 4. Although it seems initially a bit pointless, the metering bar LED is very useful, especially when using the Stage as an audio interface.

One of the big selling points of the Stage is Bluetooth and app control, but it's unclear how many players are crying out for these features.

I've always suspected that most prefer user experience improvements in hardware or firmware rather than external software, which can feel distracting or gimmicky.

Like the Ampero II, the Stage has stereo input and output, and it's straightforward to make wet/dry or stereo patches.

Sounds

Sounds rating: ★★★★½

The stock patches are surprisingly good as starting points. There's the standard 'clean' options, as well as EVH 5150 patches, 80s metal, grunge, and specific presets that nod to bands like Tool, Pink Floyd and A Perfect Circle.

With a trusty pair of AKG reference headphones it's easy to dial in a modern rock sound and knock out some riffs, rhythm parts, and leads. Moving to a patch with more gain finds decent chug on tap with higher-output Ibanez pickups.

True 'djent' or modern progressive metal requires more tweaking, and some careful EQing. Tele and Les Paul single coils and 'buckers, meanwhile, sound as you'd expect from Fender-style cleans, all the way to Peavey high gain. As standard, many of the patches don't filter low-end rumble, and on most, I end up throwing on a gentle high-pass at around 70Hz to tame the low end.

The headphone experience carries over straightforwardly to audio interface use. Helpfully, there's a USB-C cable in the box with an appropriate USB-A adaptor. Even if you already have a drawer full of cables at home, it's still a nice touch for a flagship unit.

There's the ability to load IRs externally, or import them from user-uploaded IRs, but IR option paralysis finds me mainly using the stock IRs or the included Celestion cab models. I'm a sucker for a closed-back 2x12, and the models do not disappoint.

Should you want to use NAM A2 captures – and you probably should - then there's a firmware patch to support loading these on the Stage. There's 30 slots available, and you can import directly via the software editor or the Tone3000 library. Due to the processing overhead, you can only run a single NAM capture, but there's no noticeable latency, and they respond well to the other effects.

Moving to a real tube amp results in a fair bit of wrangling, as you'd expect. Plugging directly in to the front panel means disabling all the models and re-EQ'ing at a minimum. Still, I generally prefer this to using the effects return. After all, we own the amps we do because we like the sound of them!

Into a Marshall half-stack, the Ampero has enough gain to kick it into greater saturation, but the most satisfying results come from gain pedals within the pedal. The Tube Screamer and Klon sound as you'd expect, though there's something not quite right about the Rat model to my ear. The Guv'nor, on the other hand, sounds great, and is nearly indistinguishable from the real thing.

Running in a hybrid setup with 'real' pedals, the Stage stacks well with other overdrives. However, it is likely to be at the end of the chain, making this less useful unless you play around with the send-return options. As my rig isn't completely set up around the Stage, I find myself mainly using it for EQ, delay, mod and the amp blocks, with my drives, wah, and pitch-shifters in front.

On the effects front, the Ampero is a generation beyond the original Line 6 Helix units that threw at least a few token weird effects into the mix. Of course the standard effects are present, with excellent BBD, TC 2290, and tape delay emulations.

However, there's also a glitch delay that recalls the Red Panda Particle, and pitch-shifted ducking delay pedals that veer into weirdo, boutique territory. Going as far back as the old BOSS floorboards and VOX ToneLab, it's these little hidden weird settings that tend to deliver the most unexpected, creative moments.

The Stage makes it easy to access the Looper, and it has one of my favourite features, reverse, always-accessible via footswitch, as well as half-time playback. These are two of my favourite things about the usability of the Ditto X2, and it's great to see them here.

Finally, it's a minor thing but the ability to bypass the whole board is super useful when you're practicing with a real amp. You have to hold to bypass, so I don't know how useful this is live, but I ended up using it while jamming to change to a totally clean guitar tone. In a practice space, I'm sure my bandmates would thank me for doing that at the end of a heavier song.

Verdict

For its price point, it's hard to fault the Ampero II Stage. Like most modern modellers it's indistinguishable from a real amp, especially when recorded, and the Stage is a big user experience improvement over the original Ampero II. That is, unless you needed a built-in expression pedal.

Though perhaps modelling units are well into the territory of marginal gains at this point, it's still satisfying to see a solid unit coming out at an accessible price-point.

MusicRadar verdict: Obviously the amps and IRs are the star of the show, and NAM A2 support pushes this to the next level. Even so, if you have a decent amp, there's enough variety and depth of effects in the Stage to justify integrating it into an existing rig.

Also try

Hands-on videos

Hotone Audio

John Nathan Cordy

Leon Todd

• Best amp modellers 2025: High-tech tone solutions for all guitarists

In the studio world, Eventide is a famous name for its rack-mount gear. The Eventide H9 Harmonizer Gen 2 takes all of those world-famous algorithms and shrinks them down into a teeny tiny form factor that you can take on the go, whether you’re a producer working remotely or a guitarist who wants top-quality effects on your pedalboard.

The question I asked myself immediately upon receiving the H9 Gen 2 was: why would I pick this versus a used H9 Max or splurging on a H90? For the former, the H9 Gen 2 blows the H9 Max away when it comes to specs. It has all of the same effects as the H9 Max, as well as the same effects as those found on the H90. It doesn’t run two at the same time, though, so you’ll need to spend a lot more on the H90 to add that to your arsenal.

The H9 Gen 2 also has far more presets than the H9 Max, with over 1,000 available. The Gen 2 also features the same ARM processor as the H90, which is the same one found in the H9000 rack unit. The screen has been upgraded from the 6-character LED version, and the micro-USB is now modernised with a USB-C connector. It’s also got a separate expression pedal and control jacks for added flexibility.

There are multiple power options available, so although it comes with a 12V, 1A power supply in the box, you can use a pedalboard power supply at 9V, 400mA if you’re board-mounting it. It’s got stereo ins and outs, which make it usable with a wide variety of instruments, and it solves one of the big problems of the H9 Max with the addition of spillover.

Specs

• Launch price: $599 | £599 | €694
• Type: Multi-effects pedal
• Controls: 4 knobs, 4 button pads for menu navigation, 2 programmable footswitches, 2 contextual LED buttons
• Features: 74 algorithms spanning the complete H90 and H9 Max libraries, 1,000+ factory presets, SIFT polyphonic pitch-shifting, built-in tuner, Select/Bank/Perform modes, full parameter control with no companion app required
• Connectivity: 2x 1/4" TS inputs, 2x 1/4" TS outputs, USB-C (Eventide Control app), 5-pin MIDI I/O, expression pedal input, aux switch input, Bluetooth (Mac/iPad, via Eventide Control)
• Bypass: Flexible wet/dry and pre/post routing; footswitches control preset/bypass
• Power: 9-12V DC, 300 mA @ 12V / 400 mA @ 9V, 12V 1A power supply (included)
• Dimensions: 133 x 127 x 69mm (5.25 x 5 x 2.7 inches)
• Weight: 0.6 kg (23.36 lbs)
• Options: Harmonizer+ Suite vocal processing available with Mixing Link (sold separately)
• Contact: Eventide

Build quality

Build quality rating: ★★★★½

As far as multi-effects pedals go, the Eventide H9 Gen 2 is comparatively small. It’s just shy of two Boss stompboxes side by side, and not quite as tall. It means it will fit on a pedalboard pretty easily, and ditto if you’re using it on a studio desk. It's just north of half a kilo, making it about the same weight as the aforementioned Boss stompbox, and is wedge-shaped for easy stomping.

One thing I noticed when plugging it in is that the ins and outs are very close together. It means you’ll need a bunch of straight guitar cables or some very slimline patch cables in order to use the stereo configurations. I had to go hunting in my box of spares to find a combination that would fit together.

The front of the chassis is constructed from hard plastic, while the underside is made of metal. It doesn’t come with rubber feet, so it can be installed straight onto a pedalboard without having to remove anything.

The knobs all provide a firm, smooth travel, doubling as buttons when I press them in. The master encoder is stepped, giving me some tactile feedback when I turn it. There are four additional buttons that offer quiet operation, firm when pressed down without any audible clicking. Overall, it feels very robust, but the contextual LED lights that double as buttons feel a touch flimsy.

Usability and features

Usability and features rating: ★★★★½

I demo the H9 Gen 2 alongside my Universal Audio audio interface and my number one Telecaster as the other end. On the surface, navigating the pedal is fairly simple. The large encoder selects presets, and a push in is required to confirm my selection. The three knobs below the screen have parameters already assigned, while the left footswitch changes presets in one direction, with the right footswitch engaging the effect.

While this surface-level navigation is easy enough for me to decipher, getting deeper than that requires some research. The LED button on the right changes colour without any discernible change, while the left-hand one does the same functionality as the footswitch, engaging or disengaging the effect. The four buttons are fairly self-explanatory, but I cave, and eventually grab the manual from the Eventide site.

It turns out the LED switch that was changing colour is to change the direction of preset scrolling. When it’s red, it moves upwards. When it’s blue, it moves downwards. The ‘Params’ button allows for deeper editing of the presets, unlocking the full set of controls to tweak the sounds, while global settings and tempo settings are accessed by pressing the Select and Perform buttons together.

The Perform button allows me to change what the footswitches do, and it can be set up however I want it. This could be assigning tap tempo or changing between momentary and latching operation. There’s also ‘HotSwitches’ which let me sculpt multiple parameter changes at the push of a button. This could be timings, effects changes, mix amount, or any combination of the multitude of parameters available for each effect.

To be totally honest, when getting into this level of depth, I’d much rather do this in software than with the hardware controls. The Eventide Control App works much better for the deeper level stuff, and I find having it open on my laptop is a much better workflow for changing the presets to my liking or creating fresh sounds.

It is, however, quite noisy with this setup. With the pedal connected via USB-C to my MacBook, as well as feeding stereo outs into my interface connected via Thunderbolt to my MacBook, there is a fair bit of noticeable interference, particularly when played clean. It's bordering on unusable, and I end up recording takes after disconnecting the pedal via USB-C to get a clean take.

There’s a cure in the works for this, as Eventide will update the H9 Gen 2 with Bluetooth in the near future. This means you’ll have the ability to use the companion app on your phone or wirelessly with a compatible laptop, negating the need for a cable connection.

The app itself is really great, though. I love the ability to set a tempo for each preset individually, and create fresh banks of user presets. Handily, it asks me if I want to save changes if I click off the preset I’m working on, which was much appreciated when I’d spent half an hour getting a sound exactly how I wanted it without committing the changes.

There’s a massive amount of depth of tweaking available, too. I can set LFO rates from 1/64th all the way to a full 16 bars. These timings can be set differently on either side for stereo effects, making the depth on offer really incredible. There are far too many settings to go into here, but rest assured that for both guitar players who love tweaking and studio users who require depth, there’s enough on offer to ensure complete control of the final result.

Sounds

Sounds rating: ★★★★★

For the sound testing portion of my review, I begin with the H910 algorithm. It’s a recreation of the famed studio rack unit, and although the sound is subtle, it’s one of those things that I immediately notice once switched off. It was famously used by Eddie Van Halen, and as I play some of my favourite guitar licks, it's easy to see why, as it transforms my guitar tone into a fuller and fatter version of itself.

It’s a similar sound to the MicroPitch effect, with its slightly offset tunings that make it sound like multiple instruments at the same time. It’s super effective at thickening up the tone of a single guitar, like a chorus pedal but with a level of control that far surpasses any single stompbox I’ve come across.

For those who want to add some space to their sounds, the Blackhole reverb algorithm is perfect when paired with some moody chord work. It’s brilliant at adding a sense of space to the sound without drowning it out completely, and easy to see why it got its own reverb pedal as I start playing lead guitar with more complex runs.

Moving onto some pitch effects, I test the Polyphony algorithm. It tracks incredibly well set to fifths by default, and doesn’t seem to mind how complex the piece I play is. The accuracy is really incredible, and even when bending my guitar strings, it manages to stay in tune.

There are far too many effects to go into great detail here, but alongside the wacky tones there’s plenty of more purposeful effects like overdrive, fuzz, flanger, phaser, as well as shorter room reverbs. You also get a great selection of delay effects with huge customisation on offer, making this a pedal that can work in pretty much any genre.

Verdict

This pedal bucks the trend of recent multi-effects pedals that like to offer a do-it-all solution with amp and effects modelling, but I love that the Eventide H9 Harmonizer Gen 2 is a multi-FX in the traditional sense. It delivers incredible quality sounds without the added complication of amp and cab models, doing its one job very well indeed.

It’s not the easiest to use, admittedly. The surface-level stuff is accessible, but as soon as you get beneath that, you’ll need to head for the manual and be prepared to spend some time getting to know it. Those with the patience to do this will be greatly rewarded, though, as there’s a huge amount of depth on offer.

It’s not cheap either, but the quality of the sounds makes it totally worth it for me. If you’re a power user, then you’re likely better off spending more on the H90 and opening up the dual effects chains, but for guitar players this will be more than enough to replace a multitude of pedals on their existing ‘boards.

MusicRadar verdict: With some of the best quality effects algorithms I’ve ever heard in a compact form factor, the Eventide H9 Harmonizer Gen 2 is an incredibly versatile bit of kit. I’ve tested a lot of multi-effects pedals, and the sounds here are a real standout. You will need to dig in to get the best out of it, but the level of tweakability is huge, and although aimed at guitarists, it can do the job on any instrument you can think of.

Also try

Hands-on videos

Loopop

Guitar Center

Leon Todd

Go:Mixer Studio is a desktop and tripod-mountable digital mixer with an integrated 12-in / 6-out USB audio interface, recording up to 24-bit / 192kHz. It joins Roland’s growing range of Go: badged portable products, which includes keyboards, pianos and mixers.

Go:Mixer Studio is designed for both standalone use and via USB, and is supported by both desktop and smartphone software apps: Go:Mixer Editor desktop (Mac OS and Windows), Go:Mixer Cam (iOS) and Camcorder for Go:Mixer (Android). The unit can be powered directly via the main USB-C interface connector, but you also have an additional USB-C power connector, which is helpful for mobile device use or if you want to use it as a standalone mixer. The box includes a regular 1.5m USB-C to USB-C cable but no further adapters, so factor that in if you want to use it with USB-A or Lightning-equipped devices.

The Go:Mixer Studio has a good selection of physical connectors on the back and side panels. On the back you get two XLR mic/line inputs with individually selectable 48V phantom power, two ¼” jack line outputs, MIDI in and out on 3.5mm mini jacks (breakout cables not included) and two USB-C ports (power and USB).

On the left is a dedicated instrument impedance input ¼” jack and also two headphone connectors, ¼” and 3.5mm mini jack, which you can use simultaneously. The headphone mini jack is also the TRRS type, providing access to the headset mic on combined devices. Finally, on the right there are two ¼” line inputs and a 3.5mm TRRS-style auxiliary connection for stereo input and mono output with suitably equipped devices.

The top panel combines physical controls with a colour display. The top three knobs are continuous rotaries with push-button action. Below these are two dedicated output levels for Phones and Line Out. Rounding things off are menu and navigation buttons.

Performance

Go:Mixer Studio is designed to be straightforward to use. You’ll find the screen system is easy to navigate, with parameters aligned with the three rotaries, while deeper options are accessed via the push button. In addition to the basics such as gain and phantom power, there is excellent functionality across the inputs, including 3-band EQ, compression and reverb as well as input stereo linking, pan and mute. There’s also independent control over input assignment to headphones and the line outputs.

Further options include independent level settings for the headphones, routing of the auxiliary input (line out or headphones) and source select for the USB audio outputs (direct, pre-fader, and post-fader). In typical mixer fashion, this last setting lets you control the recording level with the input gain and the fader (in this case, the corresponding rotary controller), or use only the analogue input gain, which you’ll find in the channel parameters. Overall, we found setting up inputs, setting levels and adding processing very simple. That said, there are some limitations to the processing options at higher sampling rates (96kHz and 192khz), where you’ll find the compressor and reverb become unavailable on some inputs.

If you choose to use the Go:Mixer in tandem with the desktop Editor app, all these options become even easier, with each channel’s Setup page providing quick editing and excellent visual feedback. There’s also a full mixer page for analogue inputs, USB inputs and analogue outputs. If you’re using the mobile app, options are more limited in terms of control, as the app is designed primarily as a video and audio recorder. However, there is control of input fader levels and the app also records the Go:Mixer Studio audio in a multitrack manner to individual tracks. Formats are limited to 48kHz WAV or AAC (64 to 320kbps), but you can export the recorded tracks as individual audio files, which is very handy.

Verdict

Go:Mixer Studio is a highly flexible compact mixer and USB interface that’s perfect for desktop recording and live performance. Even fader fans will find the screen based system easy to navigate, and the onboard effects provide the icing on the cake.

Hands-on demos

RolandChannel

Alternatives

Specifications

Launched in 1995, Millenium Drums is one of several in-house brands belonging to retail giant Thomann. Producing both acoustic and electronic drums, the German drum builder has a reputation for budget-friendly gear, particularly ideal for beginners but also catering for drummers further along their journey.

The MPS-350 is the latest addition to Millenium’s MPS e-kit range, which also includes the MPS-150, 450, 750, 850 and 1000 models. As you might imagine, the model numbers increase proportionately to the size and features of each kit. The MPS-150 represents the most compact and entry-level option, retailing for £225. In contrast, the MPS-1000 (£869) deploys full-size wooden shells, while the kit’s sound module boasts a wide array of features. The new MPS-350 sits toward the lower end of the overall range and retails for £311, making it the second most affordable in the current lineup.

The eight-piece kit features an 8” bass drum pad plus an included pedal, an 8” dual-zone (head and rim) snare drum pad with a separate cross-stick zone, three single-zone 7” tom pads and three 10.5” cymbal pads for crash, ride and hi-hats. The crash and ride are dual-zone, which allows separate bow and edge triggering, plus they can also be choked by squeezing the edge of the cymbal pads. If one crash cymbal isn’t enough, an extra trigger input on the MPS-350 module allows the kit to be expanded with a second crash pad (available separately from Thomann).

Each of the drum pads (including the bass drum) uses mesh heads rather than the rubber pads found on many beginner kits. This promises a more realistic playing experience and is also easier on the hands during prolonged practice sessions.

The sound module features 25 preset kits and a total of 500 individual samples. There are 35 inbuilt play-along songs, a metronome, aux audio input, USB MIDI and Bluetooth audio for wireless connection of playback devices.

It’s worth noting that there is no seat included. You’ll also need to consider headphones or some form of amplification, neither of which are included. It does however comes with a pair of sticks and even a little holster style stick holder which clamps to the frame, keeping sticks in convenient reach.

Performance

The four-poster rack is fairly straightforward to assemble and feels sturdy once levelled correctly. An L-rod is supplied for the snare, which gives extra control over positioning. The toms, however, slot directly into the brackets on the horizontal bars of the rack, which restricts them from tilting left or right but still allows them to be angled up or down. The fairly compact rack lends itself to keeping the pads quite tightly packed together, making for an ideal child’s setup. There is, however, some room to spread the pads out for growing youngsters or even adults. The rack is also height adjustable, allowing adjustment to a comfortable level for drummers of essentially any size. There are very few wing bolts in sight, though, so you'll need to keep a drum key handy for the vast majority of rack adjustments.

The snare and tom pads are solidly built and the mesh heads feel much closer to a ‘real’ drum head than the rubber playing surface found on most kits of this price point. They are also a fair bit quieter under-stick compared with rubber alternatives. Each mesh head can be tensioned in the same way you would an acoustic drum, allowing the feel of each pad to be tailored to personal preference.

The cymbal pads are quite firm by comparison and their thickness combined with a small diameter doesn’t allow much in the way of flexibility. The dual-zone response is a welcome addition, though, and makes for another feature not always found on kits at this price. Aside from the standard bow and edge sounds of the ride, it is also possible to produce a bell sound by striking the bow of the cymbal more firmly. Maybe not quite as good as having three completely separate zones, but that’s not something we’d ever expect to see on a £300 kit, so we’ll take this as a close second.

The snare pad does actually offer three independent zones – head, rim and a special cross-stick section on the upper portion of the rim. In theory, this is a great idea but doesn’t always work flawlessly. There’s something inherently awkward about playing cross-stick on an 8” pad anyway and it doesn’t always react perfectly, needing a fairly firm strike to work.

Finally, on the pad front, the bass drum pad feels sturdy thanks to its extendable spurs and also benefits from being compatible with double bass drum pedals due to its 8” mesh playing surface.

The MPS-350 sound module is simple in its appearance but is fairly capable under the surface. A large rotary dial allows navigation through menus on the small LCD screen and physical volume faders offer convenient control over the mix of the kit. Some elements are sub-grouped on the faders, such as the toms and cymbals, which means some diving into the settings menu is required to adjust the volume between the crash and ride, for instance. A small gripe but worth noting, as the crash is notably louder than the ride on many of the kit presets.

The pads connect to the module via a cable loom which uses a single serial input on the bottom. Each of the pads is then connected to the loom via jack cables which are labelled accordingly. There is one additional trigger input on the rear of the module labelled “crash 2”. This allows an additional crash to be run alongside the existing trigger inputs on the loom.

USB connectivity allows the kit to be used as a MIDI controller. This broadens the options for sounds significantly, allowing VST software such as Superior Drummer or Steven Slate Drums etc to be used as an alternative to the internal module sounds.

The Millenium samples themselves are a bit of a mixed bag in terms of quality but generally perfectly usable, particularly for beginners. The 25 presets range from pop and rock to metal, jazz, funk, reggae, a handful of electronic kits and some percussion. There are no additional slots for custom kits, but individual samples can be swapped out for others from the total of 500 in-built samples. There is also pitch control, equalisation and a reverb unit, so you can make the kits a little more your own.

The 35 in-built play-along tracks are a little underwhelming and the basic MIDI sound makes them feel quite dated. Thankfully, the Bluetooth connection allows us to connect a phone wirelessly to the module and play our own songs or backing tracks. There’s also the option to use the physical mini-jack aux input for external playback sources.

The triggering isn’t necessarily the most balanced straight out of the box but can be improved with a little refining of some settings. For beginners, this will likely be nothing to worry about, but for the more discerning player or people who like to take a deeper dive, settings include sensitivity, threshold, scan time and cross-talk. These help to give a deeper level of customisation over the responsiveness and overall playability of the kit, although they aren’t always the easiest to find.

Verdict

It’s hard to argue with the amount of features on offer here for such an affordable price. Mesh heads, dual-zone pads and Bluetooth audio are a few features we wouldn’t necessarily expect to see here. The clip-on stick holder is a nice touch and who doesn't love a free pair of sticks thrown in for good measure?

Hands-on demos

Millenium Drums

Alternatives

Specifications

Part Firebird, part Gretsch, and part Telecaster, with a little dash of 12-string thrown in for good measure, the Telstar is something of a Griffin in the affordable guitar space, and one that is most definitely trying to stand out from the crowd.

For those not in the know, Shergold is a British brand that built rather well-liked guitars through the ‘70s and ‘80s, and despite having a fair few famous names who used them, like Genesis axeman Mike Rutherford, it never quite became as legendary as some of its peers.

After falling into relative obscurity, UK distributor Barnes & Mullins, you know, the company behind Faith acoustic guitars, re-launched Shergold with a slate of new designs thought up by UK guitar maker Patrick James Eggle.

Today, I’m looking at a 12-string version of the 2023 model, the Telstar. Like the original, this updated version features a poplar body, a maple neck, and a laurel fingerboard. As for the hardware, we’ve got a 12-way adjustable bridge, where six of the strings are strung through the body, while the others are strung top-loaded through the bridge. At the peghead, we have two rows of closed-gear machine heads and a synthetic bone nut.

A pair of FilterSonic humbuckers handles the tone, with a single volume and tone control and a Les Paul-esque three-way selector switch. The model comes in a high-gloss solid Champagne Gold or Black finish and costs a smidge over £400.

On paper, it’s certainly an attractive little package, but how does it perform in reality, and can Telstar hang with the big guns that it calls its inspiration? Well, let’s find out.

Specs

• Launch price: £409 / $519 / €480
• Made: China
• Type: 12-string electric guitar
• Body: Solid Poplar
• Neck: Solid Maple
• Fingerboard: Laurel
• Scale length: 25.5" / 648 mm
• Nut/width: Synthetic Bone / 44 mm
• Frets: 22 frets, Medium-Jumbo, Hard Nickel
• Hardware: Chrome; closed gear 6-a-side tuners; fixed bridge (6-string through-body / 6-string through-bridge) with 12 individually adjustable saddles
• Electrics: 2 x Page FilterSonic Humbuckers (bridge and neck); controls: 1 x Volume (A500K), 1 x Tone (A500K), 3-way toggle switch
• Weight: 8 lbs / 3.6 kg
• Finishes: Champagne Gold or Black
• Case: None
• Contact: Shergold

Build quality

Build quality rating: ★★★★☆

If ever there was an electric guitar styled especially to my tastes, it would probably be the Telstar. I’m lucky enough to have a Firebird, Telecaster, and Gretsch in my personal collection, so combining all three most definitely appeals to me.

It’s a good-looking guitar that looks classic while still feeling fresh and new. The gilded Champagne Gold is also rather nice, too. So, a job well done by Shergold on aesthetics.

Running my eye over the body of the guitar, everything looks good from a finishing point of view. No overspray, dings or scuffs to speak of. That said, I did spot a small issue with the pickup routes. They seem too large for the pickups themselves. So much so, I can fit more than two plectrums between the FilterSonic humbucker and the body of the guitar.

It’s not the biggest issue, sure, but one that perhaps shows the limitations of such a budget build.

Flipping the model over reveals a nicely rounded heel, with neck screws sitting in recessed cupped washers. The neck pocket is plenty tight too. It’s very neat and tidy and very well put together.

Now, with a 12-string, the machine heads are one of the most important details, as no one wants to deal with a dozen strings that won’t stay in tune. I’m happy to say that, while the Shergold machine heads don’t look particularly special, they do hold strong and turn smoothly.

Overall, it’s an impressively made guitar. Sure, the pickup routes could be better, but that’s a small issue with what is otherwise a tidy guitar that feels nice in hand.

Playability

Playability rating: ★★★★½

Right, we all know that 12-string guitars can feel a little overwhelming, cumbersome, and, well, awkward at times, but thankfully this Telstar is none of those things. This is actually a rather inviting guitar to play – thanks in part to the nicely rolled edges of the fingerboard.

As you’d expect, the neck is wider than normal to accommodate the extra strings, but it feels pretty comfortable to me. The 25.5" scale length is naturally familiar, and the 14" radius feels flat and, despite its look, fairly modern. I like it.

The action is set nicely from the factory, too. It’s a little higher than you’d want for a standard electric at 1.65mm on the low-E, but I think it’s more than serviceable for a 12-string. It keeps the strings ringing out proudly, and let's face it, you’re not going to be shredding on this thing unless you have fingers like Arnold Schwarzenegger’s arms.

With such a large headstock, it would be easy to think this guitar would be unbalanced, but it sits comfortably on a strap or my lap with no neck dive to speak of, and that’s no mean feat.

Sounds

Sounds rating: ★★★★☆

With a set of faux Filter'Trons installed, I’m expecting the sound of the Telstar to be bright, edgy, and with plenty of chime. It may be unfair to pit the Telstar against my Gretsch Doublecut Falcon, but to my surprise, this budget Shergold does a respectable job trying to replicate those classic Gretsch sounds.

Plugged into a Fender Twin, the real Gretsch is certainly more lively and responsive, but the Telstar holds its own in terms of chime with a pleasant top end that perhaps sounds more like a slightly brighter voiced humbucker than a true Filter'Tron.

That said, it’s a nice tone and one that complements the 12-string format. There is enough jangle here without sounding too harsh or brittle.

The neck position is noticeably warmer and rounded, as expected, and turning down the tone control makes it even woollier, perfect for faux acoustic strumming.

​Kicking on my JHS Angry Charlie, these pickups prove they can handle some gain, too. There’s a throaty nature to the bright pickup in particular that makes me want to play octave single-note riffs.

​What’s genuinely impressive is the guitar’s ability to produce a nice range of tones that really brings out the best qualities of a 12-string. Whether strumming open chords, picking arpeggios, or riffing, there’s decent clarity here and pleasant presence that just sounds good.

Verdict

Personally, I think the Shergold Telstar ST14 12-String is a refreshing entry to the world of affordable 12-string electrics. It manages to combine three well-known guitar styles cues into one that looks like it could’ve easily been thought up in 1960.

For the price, the build quality is impressive for the most part, with the only minor flaw being oversized pickup routes, but I don’t think that’s enough to detract from the overall experience I had with this lovely guitar.

To me, it’s a very approachable guitar to play, even for those new to 12-strings, and sonically, the Telstar delivers plenty of bright and chiming tones, with enough versatility to move from lush cleans to rockin’ overdrive.

I genuinely think it more than holds its own within its price bracket and offers a compelling alternative for players seeking something different. So, whether you’re looking to add new textures to your recordings, looking for a quirky songwriting partner, or you’re simply searching for an eye-catching alternative to mainstream brands, the Telstar delivers much more than its modest price would suggest.

Also try

Hands-on videos

Shergold Guitars

It feels like the original Positive Grid Spark was launched a lifetime ago, but really, the amplifier was only announced in October 2019 and began shipping to customers in early 2020, making it a little over 6 years since the smart amp burst onto the scene and changed the practice amp game entirely.

Since then, the San Diego-based amp titan has expanded the Spark line with countless variations, from the pint-sized Spark Mini and portable Spark Go to live options like the Live and Cab. The latest offering takes a slightly different direction, with a three-button floor unit that aims to deliver all the power of the Spark in a much smaller, pedalboard-friendly package.

Running on Positive Grid's acclaimed HD Tone Engine, which is the same DSP architecture housed inside the latest Spark 2 practice amp, you get a whopping 33 amp models, 43 effects, and access to thousands of tones through the online ToneCloud.

The Spark Pedal is mainly positioned as a gig-ready unit, but it has a few other use cases. Of course, as expected, it can also be used as a stand-alone all-in-one option for live use or as a traditional multi-effects pedal to run into an amplifier if you bypass the amp modelling, but it can also serve as an audio interface for desktop recording or a silent headphones rig for quiet at-home practice.

There’s also built-in Bluetooth audio, so you can jam along to your favourite tracks, a handy 60-second looper and, of course, a free companion app that helps you dive deeper into tone creation.

Specs

• Launch price: $199 | €209 | £179
• Type: Multi-effects/amp modeller
• Controls: Footswitches, Multi-function Control Knob, Drive/Gain, Mod/Bass, Delay/Mid, Reverb/Treble
• Features: All Spark features including effects, amp modelling, looper, and practice tools via the Spark app
• Connectivity: 1/4" input, 2 x 1/4" output, 1/4" expression in, USB-C, MIDI in & out and 1/8" headphone output
• Bypass: True bypass
• Power: USB-C/rechargable bettery
• Dimensions: . 180 x 100 x 50mm
• Weight: 1.4 lbs
• Contact: Positive Grid

Build quality

Build quality rating: ★★★★☆

After stepping away from its classic gold-and-black branding for the new Reactor amp a few months ago, it's nice to see the Spark Pedal return to something that just works so well for Positive Grid. Sure, it’s nothing groundbreaking, but it’s a good-looking pedal, and one that most definitely fits into the greater, now pretty stacked, Spark line.

In terms of the build, it’s another thing that is classically PG. It feels sturdy and robust, and since this is designed to be put on a pedalboard and toured, it does really need to live up to some serious strain and abuse, and it really feels like it could handle it with no problems.

Connectivity-wise, everything you need is on the rear of the pedal, easily accessible and logically laid out. With a single input, stereo outs, expression in, MIDI functionality and even a headphone out, this pedal really has everything covered.

It is worth noting that the unit comes with an internal rechargeable battery and is charged via a USB-C port. Ideally, I’d have liked the option to power it with a standard 9V pedalboard power supply. Since it’s intended to go on a pedalboard, it would make sense to be able to power it this way.

I don’t particularly like the idea of having to charge the pedal before a show, or carry an extra USB charger in my gigbag for this one pedal. It would be far more convenient if it could tap into the power supply already tucked away under my board.

I reached out to Positive Grid about this, and a representative said the brand “deliberately chose USB-C because of how it integrates into various scenarios.”

Of course, the unit can be used while charging, and many modern pedalboard power supplies now have USB outputs, which should be fine for most players, but if you want to run it on your old power brick, you may need to factor in an upgrade.

That said, really, there’s nothing too big to fault here. The Spark Pedal is a well-made unit that feels as robust as I’ve come to expect from Positive Grid.

Usability and features

Usability and features rating: ★★★★☆

I’ve been using and reviewing Spark products since they launched, so I’d like to think I know how to navigate them pretty well, but the Spark Pedal could use a few usability tweaks.

I think the Spark Pedal is mostly intuitive to use, and it doesn’t take long to get a usable sound out of the device, but with the dials all having secondary functions, it’s easy to get lost and end up adjusting the wrong parameter – especially mid-song.

The central control knob is the perfect example. This one dial is the main control point for the entire pedal, letting you adjust the pedal's volume, switch between FX Mode and Amp Mode, turn the Cab Simulator on and off, and even activate the tuner. Honestly, I think it’s too much to put into a single control.

The other four dials also have secondary functions. In FX Mode (Green LED), they select your effect and adjust its level, while in Amp Mode (Red LED), they shape your tone with Gain, Bass, Mid, and Treble.

I totally understand that laying the dials out like this saves space and keeps the unit compact, but personally I’d rather have a slightly bulkier pedal with more knobs if it means better usability. Perhaps a screen would solve the problem. It would certainly make it more obvious what you were adjusting, without trying to remember what the LED colours mean.

That said, the unit runs on the same ecosystem as other Spark products and shares the same app, so you can adjust it more easily from your phone if you’d prefer. Here you can tweak until your heart is content, from switching out the pedals to trying different amp voices, and if you’re not terrified of AI, you can also use Positive Grid’s Text To Tone feature to generate any guitar sound you can imagine, or, well, describe.

The unit pairs well with the app, and if you have time, adjusting the parameters on the hardware is also pretty easy, but as this unit is being marketed as a gig-able solution as well as a practice tool, it needs to be looked at from that point of view, and in my opinion, it feels a little impractical.

In an effort to keep things streamlined and sleek, I think Positive Grid has forgotten the working musician who needs to make small tweaks to their tone throughout a live show.

Sounds

Sounds rating: ★★★★½

To test the sound of the new Spark Pedal, I ran my Gibson Les Paul into the pedal and directly into a DAW. This way I can hear all the amp modelling and effects in great detail through a flat set of studio monitors.

So, if you know anything about Positive Grid, you know it is known for its incredibly polished clutch of tones, and thankfully Spark Pedal is no different.

We’ve got sparkling Fender Twin-like cleans to Soldano-esque high-gain tones, and so much more. Honestly, the tonal palette on tap here is huge – and it only gets better once you connect to the app. That said, I could do without delay on almost every preset. I like delay as much as the next guy, but not, like, all the time.

Now, I have noted before that I think Positive Grid presets are a touch too bassy for my tastes, and again, it’s the same story with the Spark Pedal – well, that is to be expected, it’s the same tone engine after all.

Moving on to the effects, and there’s everything you’d ever need. We’ve got a variety of different delay options, plenty of verb, and a slew of modulation sounds. Thankfully, they all sound perfectly lush. Like all PG products, there’s a sense of depth and space that makes noodling around on this thing flat-out addictive. I’ve always loved a good ambient reverb wash or a swirling chorus, and the Spark Pedal absolutely delivers on that front.

Yes, the Spark Pedal doesn’t exactly bring anything new to the table in terms of sounds, especially for existing Spark users, but these are the core tones we’ve come to expect from Positive Grid, and well, if it ain't broke, why fix it, right?

Below are a few sound clips I recorded directly from the pedal, straight into Pro Tools, using a Gibson Les Paul Standard loaded with Burstbucker Pro pickups. All amp sounds, effects, and EQ come from the pedal; even the bass on the full-band track is played through the Spark. The only post-processing done is a small amount of master bus compression to level out the volume between the sounds.

Verdict

Since the launch of the Positive Grid Spark, fans have wanted an easy way to use the sounds live, and this may be the most convenient way yet. But the Spark Pedal goes far beyond just a pedalboard rig, and instead, we get a stomp that can be a practice rig with headphones and Bluetooth, a clever recording interface, and a live amp-sim and effects pedal all in one.

It’s hard to deny that what Positive Grid has packed into this tiny floor unit is impressive, but it can feel a little overstuffed at times.

If I’m honest, I’m not totally convinced it needs all the practice aids and features. The Spark 2 or Mini is arguably a better option for practising at home, since you get a speaker without losing any functionality, so it might have been better if Positive Grid paired the Spark Pedal back slightly and focused on making it the very best live unit it could be, with slightly better usability.

That said, I think Positive Grid has nailed the sounds. I am a fan of the tones on offer in all the Spark amps, and the Pedal is no different. It presents a versatile collection of sounds that cover a surprisingly broad range of genres and styles.

Overall, this is a welcome addition to the Spark family, and if you are in the market for a way to bridge the gap between your at-home practice rig and your stage setup, then it is undoubtedly a convenient little package.

MusicRadar verdict: The Spark Pedal puts the power of the famed practice amp into a convenient, capable floor unit, and it's also pretty competitively priced. While I fully understand why the controls are laid out the way they are, I still think navigation could be improved to make the pedal easier to use in a live setting.

Also try

Hands-on videos

Positive Grid

Walrus Audio makes stylish pedals on the premium end, catering mostly to the ambient guitarist (fans of Knobs on YouTube assemble!).

With the beautiful spacey ARP-87 delay pedal a mainstay on my board, I've been an interested party since I first came across the brand during a Youtube video of Julien Baker’s pedalboard.

The video gave a rundown of Walrus Audio’s Fathom and Descent reverb pedals; Two beautiful reverb pedals with very different and unique qualities used for layering ambient texture into your guitar sound.

The Lüm Texture Engine is built from the fundamental pieces of three other existing, well-loved Walrus pedals: it uses the reverb engine from the revered Slö Multi-Texture Reverb pedal, the reverse-reverb character of the Lore, and the granular soundscape generation of the Fable.

The result is three unique granular and textural reverb modes, a moment button which we’ll get into, and three preset slots. At a price point sitting slightly higher than just one of those pedals, it feels like an experimental distillation of what made them so damn fun to play around with.

And the good news is that you certainly don’t feel as though you’re getting the abridged version of the three, as you’re in for an limitless sonic experience.

The Lüm Texture Engine originally launched as a 600-unit limited run, returning as a permanent addition to Walrus’s lineup due to popular demand (it sold out fast). It’s now available in two new colourways; the Guava Gloss unit I'm testing, plus a new Matte Black option.

Specs

• Launch price: $293 | £263 | €299
• Type: Granular/textural reverb pedal
• Controls: Mix, Decay, Filter, X, Stretch, 3-way Mode toggle, Moment switch
• Features: Momentary automation (Moment Control), Ramp (glide time: 10ms/1000ms/5000ms), Stretch Engine (0.5x–2x sample rate), 3 onboard presets with crossfade, selectable Trails/Instant Cut bypass
• Connectivity: 1x 1/4" TS input, 1x 1/4" TS output. 
• Bypass: Buffered, Trails or Instant Cut selectable.
• Power: 9V DC 100mA min (not included)
• Dimensions: 121 x 66 x 35mm
• Weight: 0.35kg (needs checking)
• Options: Guava Gloss, Matte Black. 
• Contact: Walrus Audio  

Build quality

Build quality rating: ★★★★☆

The Lüm is genuinely a compact marvel for all that it packs in. It boasts a smaller form-factor, requiring only a 100ma power feed compared with the 300ma requirements for the Lore and Fable pedals that it draws inspiration from.

In Walrus's usual fun die-cast enclosure, this thing also just looks undeniably cool on your pedalboard, whether you’re into the shiny Guava-Pink or more muted colour tones.

As you’d expect from a pedal on the higher end, the knobs are smooth and satisfying to operate, and the little metal Mode/Ramping switch that sits in the middle is satisfying to click between, if not a little small.

This begins to touch on my main gripe with the pedal. Whilst the pedal’s size saves crucial board space, some may find it makes the sheer scale of what you can do with the pedal a little physically fiddly to access at times.

It’s more permissible as a bedroom ambient guitarist where you might be sat with it, but live performances in a band would mean you’d need to be a little more meticulous in making sure it’s set up to the desired settings (with how much you can do with this thing, you and your listeners will know straight away if it isn’t!).

I also find that the Bypass footswitch doesn’t always register when clicking it, and feels perhaps a little loose. It doesn’t seem to be an issue with the grub screw, which is tight, but the switch itself feels a little flimsy and loose in its socket.

The footswitches themselves have multiple purposes, so this is a little annoying as it occasionally takes a bit of clicking around with it to get to the desired settings, such as accessing the three preset settings.

Usability and features

Usability and features rating: ★★★★½

Three modes give the Lüm Texture Engine a whole lot of range for you to experiment with; Grain Cloud, Grain Verb and Forward/Reverse Verb.

The Grain Cloud mode gives you a granular texture built from dual taps reading off a feedback delay line; the X knob crucially controls our grain size, from a fine misty spray into large and looping stuttery effects.

The Grain Verb has the same dual-tap granular approach, but reads from a reverb algorithm's delay memory instead. It gives a washed-out, ambient result.

Forward/Reverse Verb combines forward and reverse reverb algorithms for rhythmic, evolving reflections from the Lore pedal.

The Moment switch lets you automate any one of the five knobs; hold it down and the assigned parameter glides toward the target you set. The Ramp control (accessed by holding down the Bypass switch whilst adjusting the Mode toggle) sets how fast that glide happens, from a speedy 10ms to a 5-second swell.

I have the most fun using this with the Stretch knob, but there is endless experimenting to be done with these in combination with the three modes- And that’s not even yet getting into using the pedal in combination with other pedals.

The wonderful news for the technophobes amongst us that love ambient soundscaping, is that Lüm will let you save three presets (denoted by a red, green or blue light). If you like what you’re hearing, these are easy to save and return to.

This is something particularly useful for, say, live performance, but also just for the less technically-minded musician. You don’t need to know what you’re doing when you’re changing up settings, as you can simply save your favourite noises and recall them at will!

Another neat little feature is that it has a selectable Trails mode, allowing you to crossfade between your preset settings, so there’s no need to ruin the zen, ambient state you’ll no doubt be in. If you don’t care for zen, don’t worry as you can also select an Instant Cut.

Whilst the sheer scale of settings and choices may make it technically less user-friendly, I don’t think it would be right to mark this pedal down for its complexity. It’s a bit of a wonder in that it is basically the best bits of three other pedals smooshed into one smaller body. I will mention again, however, that this smaller form-factor does cause some fiddly-ness in its operation, mitigated somewhat by the ability to recall presets

Sounds

Sounds rating: ★★★★★

Something I look for in a pedal is one I can sit down with and always discover something new, and the Lüm satisfies this to no end. Time melts away with this on my board. There are endless combinations of settings and board placements to keep the ambient guitarist fed for hours.

Paired with the Walrus ARP-87 delay, it's one of the most fun and interesting combinations I've run this year. Forget Interstellar, if you want to know what being sucked into a black hole might sonically sound like, this is the pedal for you. The most fun is integrating a loop pedal into the mix, layering looped ambient swells and atmosphere using the Lüm's granular textures.

You can also spend literally forever experimenting with 'board placement and using it in combo with other pedals, which will drastically change your output. Putting the Lüm before a fuzz or distortion pedal and I'm hearing lo-fi shoegazer-y texture and guitar noise. Moving it to the end of the chain, right before a reverb pedal, and you’re transported to space.

I’m primarily testing this out at home on an Orange CR60C amp, as well as through my PC and a pair of Yamaha HS7 monitors. This lil’ guy also doesn’t sound half bad cranked through a small Roland Cube practice amp either.

I am impressed at how much detail and grain the Lum can output. Despite how wide and expanded it can make your audio feel, part of me wishes that it featured a stereo output too – although this is just splitting hairs at this point, for all the other features it boasts.

To further stress-test just how far it can go, I tried pairing it up with the Enzo, a silly pedal by Meris Audio that essentially turns your guitar into a polyphonic synth. This is ultimately the point that is worth hammering home, and what I keep landing on with this thing. This is a pedal that you really can have endless fun and experimentation with and always get interesting results!

Verdict

One thing worth stressing is, as I’m sure you’ve realised, this is no like-for-like replacement for a conventional reverb.

Judging it as one will no doubt disappoint, as it is at its best used in tandem with one. Reviewing it as what it really is, a granular texture engine? It's a technical, pioneering, feature-packed joy of a pedal, making a solid case for a permanent stay on your board.

If you're someone who loves to make ambient music at home (or in a studio) and loves to push the limits of their rig beyond just a plug and play experience, then consider the Lüm.

Whether you’re interested with subtle ambient swells or grain textures that sit behind your main guitar sound, or if you want to know what stardust sounds like, the Lüm is so incredibly versatile and appropriate.

It doesn’t sit at a cheap price, but considering you’re getting a 3-in-1 experience with a great form-factor and you possibly won't notice or regret not owning the Walrus Audio pedals it’s based on, this is a bargain of the century.

There’s a strong argument here for getting this and it actually satisfying your ambient sound creation itch. Its size and 100ma power draw feels crazy for the sound it unlocks. It allows for so much versatility, too, in what you choose to combine it with on your board. Making these a permanent fixture of Walrus Audio’s lineup beyond the initial run was such a good move.

MusicRadar verdict: The Lüm Texture Engine takes the signature DNA of the Slö, Lore and Fable pedals and fractures them into something new and insanely expansive: a granular reverb texture engine that can transform your sound in a seemingly endless number of ways. This is no replacement for a vanilla reverb pedal, but a pedal that will lift your tunes into the next dimension. Endless fun.

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Walrus Audio

The Guitar Geek

Get Offset

• Walrus Audio Slöer Stereo Ambient Reverb pedal review

By 1962, Fender's Jazz Bass had been out for a couple of years and, although it was generally well-liked, the innovative stacked controls hadn't been such a hit.

At the tail end of ‘61, the Jazz's electrics had been redesigned and simplified; Fender had, in fact, just hit upon the blueprint that would remain basically unchanged for decades to follow. Now, the ‘62 Jazz is one of the world's most desirable bass guitars – still the benchmark for many players.

Not everyone can afford one, of course, but Fender, Squier and countless others are happy to provide an early ‘60s-spec Jazz that looks and sounds the part. And then there's Harley Benton.

Titanic German music retailer Thomann's in-house guitar and bass brand, Harley Benton has been gathering a serious head of steam in the affordable bass and guitar markets with its accomplished design and build quality, and its astonishing value for money.

And, among many other things, the line-up includes a delightful ‘62-style Jazz model, available in various classic hues aping Fender's old ‘custom colour’ chart. Called, transparently enough, the JB-62CC, it’s available for a scarcely believable £145 new.

That bass is the starting point for today's subject. Launched alongside its P-bass-inspired sibling, it forms part of the brand’s Aged Series, Harley Benton's attack on the relic-finish bass market – available with Light, or Heavy Aged wear ’n tear – and a spec sheet that (at least on paper) out-punches its pricetag.

Specs

• Price: $238 | £214 | €249
• Type: Four-string electric bass
• Body: American alder
• Neck: ‘Lightly caramelised’ Canadian maple, C shape
• Fingerboard material/radius: Laurel, 305mm
• Scale length: 34”/864mm
• Nut/width: Graphite, 38mm
• Frets: 20, medium jumbo nickel silver
• Hardware: Aged chrome - CB01-CR machine heads, B401 bridge with brass saddles, string retainer
• String spacing at bridge: 20mm
• Electrics: 2x Isola VT-JB Alnico 5 single-coils, Bridge volume, Neck volume, Tone
• Weight: 8.8lb/4.0kg
• Options: Light Aged finishes available at the same price.
• Left-handed options: None
• Finishes: Lake Placid Blue over Sunburst (as reviewed), Three-Tone Sunburst
• Case: None
• Contact: Harley Benton

Build quality

Build quality rating: ★★★★☆

This JB-62LA comes to us in the Heavy Aged guise, finished in an iconic Fender favourite, Lake Placid Blue, but as well as this, the aging reveals a three-colour sunburst underneath.

This is an altogether more ambitious relic job than a single colour and, it must be said, it's not entirely successful. The patches of wear are very deliberate-looking, with distinct edges to every spot where the blue has been scraped away, and highlighted somewhat by the sunburst finish beneath. It's not going to frighten the guitar punishers at the Fender Custom Shop, put it that way.

That said, the wear has been executed nicely on the neck and the hardware – it looks natural, even understated, in a way that the body finish fails to.

The rest of the build quality holds up; featuring American alder at the body and a caramelised Canadian maple neck, along with impressively solid componentry.

The exception is the fretwork, which is notably worse; there are numerous sharp fret ends to be found, especially higher up the laurel ‘board. It's a very cheap bass, yes, but it’s not something you really want to put up with at any price.

Playability

Playability rating: ★★★★½

From the box, the setup is very good. Only minor tweaks to the saddle heights were required to get the JB playing well, with a comfortable action and no buzz (other than the excitable zing of the fresh strings).

The neck is a pretty classic Jazz-style profile, with the requisite 38mm nut and a medium-sized, rounded carve. The fret ends do certainly temper the enjoyment somewhat, undermining the otherwise smooth and comfortable neck.

That said, the balance and overall ergonomics are just as you'd expect from any other Jazz Bass, and the weight isn't excessive either – despite this being, again, an alder body instead of the cheaper, lighter-weight poplar that Squier now favours.

Sounds

Sounds rating: ★★★½☆

The pickups are Isola-branded Alnico 5 single-coils in the traditional Jazz configuration.

I happen to own a Harley Benton J-style bass already; a Shell Pink MV4-JB, with similar Alnico V pickups, and so I made a point of comparing the two basses quite extensively. The Aged Series instrument is fairly equal to my bass in output, once the pickups are adjusted to similar heights.

With both pickups on full, the JB-62HA displays the classic Jazz Bass scooped midrange, with a solid low end and clear, defined treble.

Winding back the neck pickup a little pushes the growling midrange of the bridge pickup to the forefront, although it also robs some low-frequency punch. I found the JB-62HA to work best with both pickups dimed.

I’d say that this Harley Benton has a slightly more characterful and authentic Jazz Bass tone than some of the more expensive Jazz-a-likes I’ve tried – although it would be even better with a punchier set of pickups.

Verdict

It’s easy to lose sight of just how inexpensive these Harley Bentons are – regardless of which model you plump for, the value proposition is staggering.

This example of the JB-62HA certainly needs some attention to the fretwork, and the Heavy Aged finish isn't likely to fool anyone as to its origins under closer inspection.

But, its build and component quality is miles ahead of any other new instrument at this price; it feels substantial and plays really well, and sounds more than acceptable for the money – crucially, it feels like an instrument that is genuinely worth upgrading if you fancy some new pickups. The Heavy Aged option certainly wouldn’t be my choice, but the bass underneath it feels like an instrument you can trust, for a bargain price.

MusicRadar verdict: Harley Benton’s take on a ‘Heavy Aged’ finish rather over-eggs the pudding as far as aesthetics are concerned but, again, we’ve a good bass underneath. The sounds get the Jazz Bass job done, and its fundamental solidity is commendable for such a low price.

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Harley Benton

Jake Leigh Guitar

• Best Harley Benton guitars 2025: Cheap and reliable electric and acoustic models

Donner’s next-generation Hush travel guitar series, the Hush X Pro, takes things up a notch. Recent years have seen the travel guitar market boom as players crave compact guitars – be they foldable or just downright pocket-sized – that they can take with them wherever they go.

Chinese budget brand Donner’s Hush guitars, though, do things a little differently. They build on a silhouette that’s less James Bond gadget and more Steinberger, with detachable frame wings and a headless design that keep it ultra-tiny. At an average weight of 5 lbs, it’s about half a Les Paul.

Its mahogany neck-through design delivers a high-grade, roasted maple fingerboard on the White models and HPL on Black versions, each with 22 jumbo stainless steel frets, a bone nut, and a wheel-style dual-action truss rod. With a 25.5” scale length, it’s designed to feel familiar, even if it doesn’t particularly look like it. But it’s what’s under the hood where it gets interesting.

Two Donner-branded Alnico V pickups – a humbucker in the bridge, and a single coil in the neck – are hooked up to what is designed to be a catch-all amp and effects suite for all your travelling needs. Its Tone Sim feature can also emulate seven classic guitar sounds, from Strats and Teles to Les Pauls and OM acoustic guitars, with 19 built-in amp sims, 30 effects, and an effects loop for those wanting to plug into tangible pedalboards.

Connectivity-wise, it offers headphone monitoring, traditional output jack for use with a guitar amp, on-the-go mobile connectivity, Bluetooth input for jamming along to songs, and an audio interface. And it all packs into a thin case that easily fits in the overhead lockers of trains and planes.

As the quality of budget gear grows, Donner is bidding to stay well ahead of the travel-guitar curve by giving players everything they could need for their next jam session in the mountains. But is it all too good to be true, or has it pulled off a blinder for just under £500?

Specs

• Launch price: £475 / $659 / €699
• Made: China
• Type: Six-string electric guitar
• Body: Mahogany
• Neck: Mahogany, Slim C-profile
• Fingerboard: Roasted maple, circle dot inlays, 305mm - 406mm (12” - 16”) compound radius
• Scale length: 648mm (25.5”)
• Nut/width: Bone, 42mm (1.65”)
• Frets: 22, jumbo stainless steel
• Hardware: Donner Headless Tuning System and Headless Bridge
• String spacing at bridge: 52mm
• Electrics: Lab Custom Alnico V humbucker (bridge) and single coil (neck), three-way switch, double-stacked Tone/Volume control, built-in amp modeller with 19 amp sims, 30 effects, and Tone Sim feature
• Weight: 5.31lbs/2.44kg
• Options: Black, Midnight Glow, and White Luxe finishes, all with HPL fretboards
• Left-handed options: No
• Case: Two-tier soft case
• Contact: Donner

Build quality

Build quality rating: ★★★★☆

The case the Hush X Pro fits into is extremely compact. And it’s very thin, looking more like a violin or a pool cue case than one housing an electric guitar, and that solves one big travel conundrum.

The case has two layers: one holds the guitar, which fits snugly and securely, and the top layer holds everything else, including the metal-frame wings, jack and USB-C cables, a strap, picks, headphones, and a string-cleaning cloth. The guitar body itself weighs 5.38lbs (2.44kg), just over the 5lbs it’s billed as. The frames add 1.1 lbs (.5kg) to that. It’s very light.

Assembly was intuitive enough that I didn’t need the instructions, although there is a bit of a knack to locking the frames into the guitar, and sometimes it takes me a few goes. I also noticed some wear and tear around the frame inserts, which will only worsen over time. The white finish is very unforgiving.

On top of that, it feels a little limited in how it sits on my lap, given the short treble-side frame. And it wobbles a little while playing.

Being headless, The strings are, like the now-familiar Strandberg setup, locked in at the bridge with an Allen key, with the ball end at the bridge end. It’s a reliable locking bridge system with decent quality for the price.

Beyond that, there are some notable blemishes. There’s a chip on the fretboard near the truss rod wheel, and the effect block dial is also chipped. It’s unclear whether this happened before it left the factory, but it’s disappointing to have it arrive at my house looking a little worse for wear.

The guitar packs a lot of features, and its design is well thought out. A few minor niggles keep it from full marks.

Playability

Playability rating: ★★★½

While I find the guitar to be a pleasant enough player, it isn’t great for my posture. And its plastic-y neck will divide opinion. It’s got a matte finish that feels pretty thick, and for those who prefer a more natural-feeling neck, this will certainly be a sticking point.

It’s a shame, really, because the neck has a nice speed-friendly profile, meaning even faster passages can feel like a hot knife through butter. Personally, I’m fine with it, but it won’t please everyone.

Posture issues affect me most. I find myself hunched over it because it’s so small, and there’s only one spot on my leg it can rest on, due to the size and shape of the treble-side frame. So it’s quite limited. It’s a standard scale-length, but it feels much more compact. From a transportability standpoint, that is a positive. From a playing point of view, I feel like Quasimodo.

Outside of that, it is a delight to play. Once I get down to it, nothing about it feels too cheap or gimmicky.

Tuning stability is very robust, especially if it’s going to travel through temperature fluctuations regularly. Its lightweight nature is a big plus, and there’s no neck dive because there’s no headstock to cause concern.

The maple fretboard is nice to touch and feels more premium than the HPL (high-pressure laminate) alternatives, especially given the neck. So that feels like a big upgrade over other current and previous models.

Most controls are on the top of the guitar, including the screen, Bluetooth, Tap Tempo/Tuner, effects block, and Value buttons and dials. Occasionally, the frame obscures the screen, so I need to crane my neck a bit, but scanning through the amps and effects and tweaking as I go is intuitive and welcoming.

The biggest downside, is how close its other controls are. The Volume/Tone knob (oddly double-stacked, but I don’t hate it) and the three-way pickup switch (which feels a little cheap) are frustratingly close. Changing pickup position on the fly becomes a game of Russian roulette, considering how many times I roll my volume off in the process. But this isn’t an issue exclusive to this guitar. Of course, Donner is trying to be clever with the limited floor space it has to play with, but this element misses for me.

On the plus side, the preset selector dial, placed alongside those two, is easy to access on the fly. That means, if I’m playing a song with a tone change (as I have done a lot with this guitar), I can even move up or down two presets without missing a beat. The fact that the Tap Tempo button is both tiny and remains on the top, though, feels far less practical.

So we have a mixed bag. Playing the guitar – and operating it for the most part – is a more positive than negative experience. It plays great, even if its diminutive size hunches me up and the neck finish is questionable. Tone tweaking is easy enough, but I wish some of the spacing and button/dial locations were a little more performance-friendly.

Sounds

Sounds rating: ★★★★

Despite packing many bells and whistles under its ice-white hood, the Hush X Pro can still be a guitar in the traditional sense. When I plug it straight into my DAW and run it through a variety of Neural DSP, Mixwave, and Universal Audio guitar plugins, I find it’s not the warmest-sounding guitar. It’s by no means bad, but the combination of its treble-forward humbuckers and the single coil in the neck means it’s more bite than cuddle.

As a guitar unto itself, it’s of a decent quality, but it’s all the gizmos that augment the pickups that really take the guitar into its own sphere.

So next, before getting into the weeds of building my own presets, I spend some time exploring the ones baked in, and the bar is higher than expected. The Fender Twin – a cleaner-than-clean tone – feels pretty faithful. It isn’t brittle, and the pickups actually feel well-rounded and higher quality than I previously thought here.

Preset B1 is another clean tone, but this time shimmering with a little chorus, and it instantly gives me Alex Lifeson vibes.

Its stock metal rhythm uses a Mesa Mark V with everything set to 12 o’clock and no effects, then injects a meatier warmth into my veins. Ironically, I feel a little more treble, and mids are needed here. But what it shows is just how different the guitar can sound from preset to preset.

Elsewhere, the Soldano SLO-100 Lead amp feels a little woolly out of the box, but with a variety of overdrive, EQ, and pickup-tweaking options, nothing that doesn’t sit in that ‘Goldilocks’ space right off the bat means it’s game over.

One exciting concept is the Tone Sim feature, which emulates different guitar sounds. If I want to jam along to different songs, I can easily go a little more Les Paul or Telecaster on the fly. It’s the kind of innovation that could, on paper at least, make this a dark horse in the studio.

What’s even greater is that there’s a Blend feature. So, if I’ve got a fat rock guitar tone and want a little Tele or Strat spank, or I want to make a clean tone sound fuller with some acoustic charm, I can dial them in to taste. Going dreadnought acoustic with a high-gain amp isn’t exactly advisable, but it isn’t the worst thing in the world, to my surprise. Mainly, I use it for subtle touches here and there and find it very effective. It’s a great feature for really getting the most out of every setting.

The effects are good enough for the most part. The fuzz is thick and Velcro-y; there are enough character differences between the overdrives to make a difference. The chorus and analogue delays are pleasing to my ear, too. The Hush X Pro is a travel guitar; it’s not built for headlining stadiums, so to my ear, it meets the bar well beyond what’s needed.

But the lo-fi delay is littered with digital artefacts, and the phaser is a real damp squib. With everything cranked, I still question whether it was even on.

Notably, with held notes, the pickups randomly conk out after around six seconds. There’s no subtle fade-out; they just stop picking up sound with a very sudden drop-off. Parisienne Walkways denied.

Verdict

Looking at the guitar for what it is meant to be, it’s very close to nailing the brief. It’s an easy-to-carry travel guitar with everything I’ll need for a practice session in a forest or a hotel room, or a jam with friends. When you're away from your main rig, the Donner Hush X Pro more than fills a void.

The quality and playability of the guitar – despite those back-aching posture issues, which are unfortunately going to be a real issue for most players – are impressive. Its bank of sounds, from its amps and effects to its nifty guitar-voice emulator, covers the basics for many genres and makes it a versatile, enjoyable experience to tweak. Many people will enjoy this.

But of course, no guitar is perfect, and such lofty ambitions are always going to come with a few niggles. Its neck finish is sure to divide; the Tone/Volume knob being so close to the pickup switch is very impractical, and the strange sustain-killing after around six seconds is a little off-putting. So is the placement of the Tap Tempo, but I understand the surface-area constraints.

MusicRadar verdict: As a purebred travel guitar, it’s certainly king of the mountain, with minor drawbacks not doing enough to take the fun out of it. Nearly every facet is smartly designed, and there are some marked improvements from previous generations. The recipe keeps getting better.

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DragonForce

Matt Franceschini

The significance of the Prophet-5 synthesizer, in the evolution of commercial music and production cannot be overstated. Where the Minimoog brought pseudo-affordable synthesis to the masses, the Prophet-5 picked up the torch and single-handedly reinvented synth production, with real musicians in mind. All of this was courtesy of Dave Smith and his company Sequential Circuits Inc (now just known as Sequential).

Initially released in 1978, the Prophet provided 5-note polyphony, coupled with the ability to save and recall patches. This was a revelation for keyboard players, alongside a five-octave keyboard and the immediacy of hands-on control, thanks to the beautiful control panel. As one successful UK session keyboardist commented to us recently, “it was the only synth you needed!”. That might not be quite true today, but it certainly was back in 1978, with little choice or competition.

After three major revisions of the original instrument, production ceased in 1984. Dave Smith released several other synthesizers with a slight nod to the Prophet moniker, but it wasn’t until 2020 that he revisited the original format, with the release of Version 4, in both five- and ten-voice iterations.

There have been many software versions of this legendary machine since the dawn of the plugin era, but we have had to wait until now for synth behemoth GForce to offer its own model on the original. Impressively, its Prophet-5 is the only example with official endorsement from Sequential.

Performance

GForce has included all the usual plugin formats, as well as a standalone version. With its scalable interface, this allows you to get lost in the programming by blowing it up to the full size of your computer screen, and just playing… and playing!

We are fortunate to have a hardware Prophet v4 in our studio, which allowed us to place the two against each other for direct comparison. The software also includes all of the original patches, which are present without any additional layer of effects, so this was the perfect place for us to start.

We probably shouldn't be surprised by what we heard, given GForce’s amazing reputation. The attention at the sonic level is exceptionally good. The behaviour of the pots is a little different; the software pots tend to offer a greater level of detailing and accuracy, particularly with the lower values, which is just where you want the fine-tuning. By comparison, the hardware offers conventional, equally-measured operation from 0 to 10.

Reducing both synths to their basic waveforms equally provided no clues in our attempts to separate the two, in our blind testing. Maybe the filter section would reveal differences between the two? No! In fact, much like the v4 hardware, GForce has included the original Mk1/2 SSM filter, alongside the Mk3 Curtis chip filter, and other than a difference in pot position, there is nothing to choose between the two, sonically.

In fact, despite keeping our own hardware in V.4 territory (which should be very stable), our own hardware had a tendency to wander in terms of its pitch stability. A Vintage pot was introduced to allow users of the hardware to engineer how stable they would like their Prophet to be, and in a nice touch, GForce has included this pot, not that you will want the instability of a v1 Prophet-5!

More notes good

Despite the revelation of five voices in 1978, later polys did attempt to address the problem of note stealing, for more grandiose synth pads with long release tails. This is not going to be an issue here, as the software allows 10-voice operation, effectively like the Prophet-10. Where GForce goes further is with the ability to stack voices into layers, with both layers offering full 10-voice operation.

If we add this to the exceptionally good effects section, we can't be surprised that the overall stature of the effected output is stunning, and all of this with the ability to control parameters on screen, or using automation within the DAW. Like other GForce products, the mapping of modulations or control through MIDI CC is very simple. There are several hardwired modulation paths, just like the original instrument, but one of the most eye-catching is the inclusion of the XLFO and XADSR sections, which offer more flexible, capable and advanced sources for modulation. Assigning these elements is as simple as selecting the modulation destination and adjusting the settings in the ‘X’ section. We were even able to modulate the Vintage pot in this way, although it might be more useful to generate pulses and gates in the direction of the filter.

If working within a DAW, a dedicated CC button allows the assignment of MIDI CC to pretty much any parameter, and certainly all the ones you need.

The other Poly

One element which we have to pay particular attention to, is the Poly-Mod section. This was always a unique form of cross modulation, which quickly became part of the Prophet sound, allowing the generation of metallic tones and thunderous effects. Experience tells us that this can be very difficult to capture in software, but GForce has really nailed it. It is every bit as effective as it always was, but if anything, offers a greater degree of control, thanks to its software domain.

Located down in the performance control area, there are a number of other tasty tidbits that were never available on the original instrument. Firstly, the original Prophet only ever offered a mono audio output. Thanks to a pan mode, with spread amount, you can quickly generate stereo depth, before using the onboard effects.

There is also the addition of chord memory and the exceptionally useful arpeggiator. In standalone mode, the latter really does allow you to get lost in the sound, particularly when used alongside the hold control.

Verdict

We have to conclude that this is a pretty special release. Firstly, the Prophet-5 holds a very special place in people’s hearts as the first machine of its kind, and GForce has really looked after its legacy beautifully. If you are a purist and just want an original machine in software, you are firmly in luck. You can dial back any of the additional elements, and just use this like an original Prophet-5.

However, for more contemporary or stylised work, the software has an incredible amount to offer. With over 420 new patches, alongside the original 38 factory patches, the programming team has taken full advantage of everything this new iteration has to offer while truly respecting its heritage. The subtle detuning of the oscillators, with the greater control of the envelope section, means that you have the sound of an original, with extraordinary levels of control and greater depth of modulation. It is undoubtedly the best of all Prophet worlds, and an enormous testimony to the original machine and the brilliance of GForce for looking after the details in software.

Hands-on demos

GForce Software

Alternatives

Specifications

UDO's Super Gemini is one of our favourite synths of the last couple of years, so we obviously have sky-high expectations for the company's new DMNO, or Domino, another double-timbre beast with a massive amount of onboard tweaking. This time, though, you get less polyphony in favour of more interaction between these engines, and a fabulous screen to help peel back the synth's many layers.

As with Gemini, DMNO is double the synth fun, but the end result is different enough to make it another ridiculously characterful UDO synth, and one aimed fair and square at proper 'synthusiasts'.

UDO is one of the most exciting synth brands around – and we’re not just saying that because (like us) it is British. The company has an obvious passion for creating cutting-edge synths that might sometimes borrow the best bits from the odd synth icon, but always deliver something completely new and without compromise, and machines that often feel alive and unpredictable – traits again shared with their vintage forebears.

Gemini, which we reviewed a couple of years ago, is a prime example: two synths in one, a nod to the Yamaha CS80, and with a signal flow between both engines that can create an all-new and awe-inspiring sound. The company’s new DMNO follows a similar path: two independent 4-voice synths, this time with design cues from the Oberheim 2-voice, but again resulting in a synth that delivers sound design options in spades.

Unlike Gemini, DMNO has a superb screen to help you navigate around the all-important signal flow, which is all about the interaction between those two synth engines. DMNO also allows you to shift between eight different Play modes for extra performance versatility, but it still delivers a similar Gemini user experience where things might not always go according to plan, but they do always seem to go right.

And while DMNO lacks the polyphony of Gemini – four binaural/eight mono compared to 10 and 20 respectively on Gemini – it’s another gert lush synth from our local Bristolian neighbours which looks like succeeding in extracting cash from our bank account. But will it do the same to yours?

Performance

You can think of DMNO as two synths in one because that is exactly what it is: DMNO 1 and 2 have almost identical controls, sitting side-by-side on the front panel, and they each have their own effects, arpeggiators and modulation setups.

The hybrid workflow starts with two FPGA Digital Oscillators per voice, before going into an all-new analogue, dynamic multi-core analogue filter with parallel, series and stereo connection modes.

The digital FPGA-based 'super-waveform' oscillators deliver classic analogue waveforms and user selectable wavetables. They also feature six of what UDO call ‘sister oscillators' which come into play in ‘super mode’ where you can pretty much 'super trance' up any of your supplied waveforms, of which there are plenty.

With Osc 1 you get six basic waveforms and you can load in another six wavetables from 32 options. It's a similar story for oscillator 2, but here you only get three additional slots rather than six, as the other three are taken by Osc 2's 'keyboard off' options. This is where the oscillator can operate in LF mode as a sub or, handily, as an LFO and modulation source. And while DMNO is not a wavetable synth per se, you can morph between waveforms, upload your own, and generally tinker with your core ingredients beyond what you'd expect.

The filter section is pretty incredible with parallel, series and stereo modes, each with several filter setups to choose from. And with a dozen LP, HP, BP, all pass, and phase shifter filter types available – most with selectable poles plus two resonance choices for LP – there is a lot to choose from.

The all-pass mode is particularly worth auditioning, where resonance becomes the main operating parameter, driving certain sounds in a more unpredictable way, and great fun at extreme settings.

DMNO's screen is a real bonus, and while we didn't miss one on Gemini – with that synth it almost helped not having one as you focused on your hands-on tweaking – the one on DMNO kind of shows you what your were missing. It combines brilliantly with the four rotaries beneath, and certain parameters go brighter as you select them, very useful, especially great when modulating, as we'll see.

To the left of this is a mixer for the synth layers, with panning and effect sends to overall reverb and delay for your mix. There are other drive, chorus and EQ insert effects plus reverb and delay send effects within each layer. You can tweak up to four effect parameters at a time with those rotaries beneath the screen, and again the screen is a highlight, indicating graphical changes like EQ.

Extra performances

With DMNO's ingredients, then, you're already starting with something different, but it's the interaction between DMNO 1 and 2 where things start going on a tangent, and it's a path you will gladly follow – just make sure you have a few hours to pass, because this thing will eat your spare time, albeit richly rewarding you along the way.

Chief among these workflow extras are the eight play modes which we'll list simply because they tell you all you need to know, and reveal an insight of the leftfield thinking behind the synth. Single, Dual and Split are the most obvious. The first allows you to play either DMNO with maximum 8-voice (mono) polyphony; Dual plays both synth layers together, each with the polyphony halved; while Split simply puts each synth on a selectable range of the keyboard, as you might expect.

Fourth mode One-Two allows you to play the first synth with your first four notes of polyphony but switches to DMNO 2 for the rest; Cycle alternates between each engine, so press one note for DMNO 1 and the next plays DMNO2, then swaps back and so on. Random alternates between the layers randomly based on user definable probabilities; Chaos is Random plus random pitch changes (by octave, fifths etc); and finally Series is where the audio of DMNO 1 can be routed into 2.

Whether you'll use all of these modes is, of course, debatable – some might be a little too out there for you – but we love anything that adds performance variation, and particularly like Chaos mode, especially combined with the arpeggiator, as you can keep things relatively in control while sounding off-beat and a much more interesting player than (in our case) you might well be.

Modulation

Each DMNO layer has two LFOs, although, as we said above, Osc 2 can additionally be used as one in LF mode and one of the envelopes can be looped to act as an LFO – this doubling up of functions across DMNO is very 'on brand', if you think about it. Similarly there are two envelopes with a not-so-hidden third able to shape the VCA.

To the left of the keyboard there's a dedicated block for more performance/keyboard based modulation, and one other feature well worth picking out is the envelope follower. Here you can modulate with an external signal, a bit like side-chaining with a kick through a compressor, and it's yet another small addition with big dividends.

There's a lot of modulation to delve into here, and like Gemini, DMNO can be incredibly hands-on and instant, but its screen again adds another dimension. You'll be switching between fat, detuned super waves (not just saws) by way of several three-way switches to select more obvious sources and destinations, and the screen acts beautifully here, highlighting each options as you shift.

However, the display comes into its own when offering more complex modulations that can be set up by way of the modulation matrix, with seven slots, 10 sources, 15 destinations, and levels all controlled with the four rotaries beneath. Easy and plentiful.

Verdict

All of these features add up to a synth with a very big and layered sound, which is particularly suited to sound designers and, really, those after something a little different. Sure you can get huge, analogue-style leads, basses, sequences and the like, but it's really what happens when you combine your Dominos using either the play modes or straight audio routing.

Here DMNO stands out and, like Gemini, it seems to be another synth designed from the question, 'what can we make that would be really cool?' rather than 'what can we make that will sell?'. That's not to say it won't sell – it certainly deserves to – but this isn't yet another analogue synth, another wavetable or another wacky hybrid. We have enough amazing synths that fit the bill in all three of those categories, but DMNO tends to forge its own path around and through all of them.

In that sense it very much has its own character, but perhaps makes it a harder sell, especially if you are after the huge pads that we love about Gemini. For those, you might find DMNO's polyphony lacking – you're only getting the full eight voices in mono mode – but if you think of DMNO as a massively souped up dual mono synth or a twisted paraphonic, you certainly won't be disappointed.

So where Gemini is all about rich, massive and expressive walls of sound, DMNO is more like its rather unruly nephew – less to say, a massive attitude, probably a chip on its shoulder, but it talks the talk and you listen when it does.

Hands-on demos

UDO Audio

Alternatives

Specifications

The history of commercial music is littered with instances where a new technology has inspired creativity to go in a different direction: acoustic to electric guitars, acoustic to electric pianos, drum machines and, of course, synthesizers.

While synths took a little while to take hold of the mainstream, there were moments of backlash, with the '90s being an example, through bands such as Oasis. But it was in 1997 that Roland released a hardware synth called the JP-8000 that would notably change the sound of commercial music forever. This initial influence was evident through the style of electronic music known as trance, but quickly infiltrated other styles, remaining incredibly fashionable in today’s commercial production landscape.

The JP-8000 introduced the concept of the supersaw waveform to the world; it was a sawtooth wave, but with clones of itself that could be detuned in a controlled way, giving rise to the enormous-sounding synth pads that were popularised in trance. It also influenced other commercial synth products, with the Virus range of machines, from Access, being notable supersaw ambassadors.

These sounds are fully omnipresent in pop and commercial culture, with a majority of synths providing some form of capacity to embrace the sound. It is, however, sometimes difficult to get the exact sound you want, so wouldn't it be great to have a specific software instrument that embraces this technical trait and stamps its endorsement on the name of the product?

Performance

Super*Saw (pronounced as SuperStarSaw) is a new plugin from Native Instruments, designed in collaboration with critically acclaimed producer AG Cook. If you are unfamiliar with his work, search out his album Britpop, or his work with Charlie XCX, and you'll hear plenty of evidence of supersaw usage.

Apart from integrating seamlessly with other NI products, such as Komplete Kontrol and Maschine, Cook has supplied many of the patches, while the visual aspect of the plugin includes design elements from his longtime visual collaborator, Simon Whybray. It is very striking in its appearance, albeit in green and pink!

The new Super Star

Upon loading Super*Saw for the first time, there is a degree of familiarity, which begins with the oscillator section on the left-hand side. To be honest, this rather undersells the concept, as we will quickly discover!

Super*Swarm is equipped with two partial sound sources, which are identifiable by a pink and green dot, located on the top left-hand side. Each of these sources is identical, but they are described within the context of the instrument as Swarms. Each Swarm is equipped with its own set of parameters, which begins with the number of audible sawtooth oscillators, which can then be detuned. You can't start with a single oscillator, but what's the point of that in this context, particularly when you can increase the Swarm up to 16 saws per partial? You can see how many are in play from the square graphic located on the top left-hand side of the Swarm section. Once you have selected your Swarm level, you can then de-tune and spread the oscillators across the stereo field. Even with only one Swarm in operation, it sounds gigantic!

In the lower half of the Swarm section are a host of modulation elements. Changing parameters is simple enough, once you get the hang of it, but requires the movement of the mouse over a particular parameter, at which point a value will appear, allowing you to increase or decrease with the mouse. Your connection with this interface may just depend on what you are used to. It is an elegant and simplistic piece of design, but as with all levels of minimalism, sometimes things aren't as obvious as you might hope! Like anything, once you know how it works, you quickly get used to its modus operandi.

Mix it up

Moving to the central part of the instrument (and with previous thoughts on the design ringing in our ears) you definitely have to do some experimentation.

Located at the top in the centre is a mix control, which indicates levels between the pink and green Swarm layers, as a circle. This fills or depletes with each click and drag. It's elegant, but you have to get used to it. This is also where you can change the tuning of each Swarm layer, with the ability to transpose up or down two octaves, either side of the core note.

This central section is described as the Morpher, as it allows you to take a snapshot, using the target icon, located in each corner. Much like an X/Y pad, it then allows you to seamlessly shift between the snapshots, and does so very smoothly indeed.

At the bottom of this section, icons relating to amplitude envelope and filter quickly reveal a host of control elements related to each menu category. To be honest, this felt a little bit fiddly, as a lot of information is displayed in a relatively small space, and while the elegance is maintained, a larger display area would certainly be beneficial here. The filter itself is very in keeping, stylistically speaking, with the genre intended for a synth of this kind. You can switch between 2- and 4-pole filters, with lo, band and hi-pass filters being available.

The central display is also switchable to Voice Control mode, which allows the engineering of a host of different elements, particularly relating to control of polyphonic playback. Here you can engineer all sorts of glides and bends, which can be particularly useful for creating risers or quirky synth sounds.

FX and more

The section on the far right is switchable between the effects section, which provides chorus, delay and reverb, and further modulation sources, which include LFO and two ADSR envelopes.

Verdict

It becomes very clear, very quickly, that Super*Saw is an immensely powerful sound source, as long as you don't mind starting with a sawtooth as your main constituent component. No problem there, because that's the whole point, right?

In order to get you going, there are a considerable number of presets, all placed in categories to guide your path. It doesn't take long to hear how complex sounds can quickly become, and we have to admit that despite our admiration for the concept, we felt like we only scratched the surface with its capabilities. A large part of this is because of the hieroglyphic and graphical nature of the interface, which is really fun to use, but does find you scratching your head occasionally. Of course, in an ideal world, you would work with the synth to fully understand its operational elements, and make no bones about it: if you have a requirement for huge-sounding saw-based pads, this is a fantastic synth which is going to reward you continually, but you’ll need to have the manual on hand to get the absolute most from the instrument.

Hands-on demos

Native Instruments

Alternatives

Specifications

Although it feels like it's only really broken onto the scene in the past few years, Beetronics have been going for at least a decade. The brand has only really broken into the mainstream in the past few years, with a distinctive look that stands out a mile from all the other pedals in a heaving marketplace. Today’s review fodder, the Beetronics Seabee Lite, represents a different path for the brand, simplifying an existing pedal down to something more user-friendly.

The chorus pedal that preceded this one was all busy fascia, haphazardly named controls, and hidden secondary functions. There’s a case that the full-fat Seabee Harmochorus was, at times, a lesson in form over function. The Seabee Lite is looking to change that, delivering a much more usable interface that will appeal to more traditional pedal users.

The pedal has essentially been split in half, with all of the ‘Harmochorus’ functions gone. No arp, mod, or dual modes, and no chord-based arpeggios. The three dual purpose three main knobs on the Harmochorus are still three, but they’re now just single functions that will be familiar to most modulation users. Feedback, rate, and depth give control over the modulation you set with the switches below.

These also still number three, but have been simplified. The left switch is an EQ with flat, bandpass, and high-pass filters. The middle switch changes the modes from classic, ‘flangee’, and ‘wobblee’. The last switch moves between chorus and ‘vibee’ modes. All done to match the simpler knobs and fewer features.

The two footswitches have been repurposed, too. The left switch controls tap tempo, and when you hold it down ramps the rate upwards. The right switch bypasses the pedal when you click it, and sets the depth to maximum when you hold it down. Pressing both together lets you select savable presets. It’s capable of stereo output and has a 1/4-inch connection for MIDI or an expression pedal.

Specs

• Launch price: $249 | £229 | €259
• Type: Analogue BBD chorus/vibrato pedal
• Controls: Feedback, Rate, Depth, Mix; mode selector (Classic / Flangee / Wobblee); Chorus/Vibee toggle; Filter toggle
• Features: 16 onboard presets, tap tempo, MIDI control, depth-boost function on held footswitch
• Connectivity: MIDI, expression pedal input, stereo outputs
• Bypass: Buffered
• Power: 9V DC, centre-negative, 250mA
• Dimensions: 140 x 84 x 64mm (5.5 x 3.3 x 2.5")
• Weight: 0.4kg (0.9lb)
• Options: Available in Cream and Pink Violet finishes
• Contact: Beetronics

Build quality

Build quality rating: ★★★★★

As is a Beetronics calling card, the Seabee Lite is certainly distinctive-looking, with the sage green knobs and low-resolution text labels. The colours are actually fairly muted by typical Beetronics fare, with the control panel featuring a plastic cover on its top third while the rest of the pedal is pure chrome. It’s actually quite different to the other pedals in the range, but I don’t mind it.

The chassis is wedge-shaped and feels very durable in my hands. It doesn’t weigh much at just shy of half a kilo, but it definitely feels like it can put up with abuse. The footswitches are solid, with huge hex nuts attaching them to the front face of the pedal. They’re soft-click due to the multi-function operation. The knobs offer a very firm travel and feel well attached to the pedal front. The switches are quite small and fiddly, but flick into place solidly enough.

Usability and features

Usability and features rating: ★★★★½

If you’ve ever used a modulation pedal before, you’re not likely to need a manual for most of the features here. I begin my testing alongside some other pedals I’m reviewing, running the Seabee Lite second in the chain after a boutique fuzz, and before an Eventide multi-effects pedal.

I was initially confused by the labels near the jack inputs. The left label reads ‘tap/hold’ which made me think it was an expression output. On closer inspection, the small arrow makes it clearer, and I realise this writing is for the footswitch below rather than the 1/4-inch output. It’s a small niggle, but the label being so far away from the thing it controls means it’s not immediately obvious what it does.

With that hurdle navigated, I have no issues getting stuck into the pedal's controls, and I’m soon crafting sounds unfettered. I love having preset compatibility not hidden behind MIDI, especially in a pedal where so many different sounds are available. It’s not crystal clear that this is available, though, and I only discover it once I start perusing the brightly coloured and engaging manual.

It’s accessible by pressing the two footswitches together, and it gives you a generous four banks with four presets each. A two-second press of both footswitches accesses presets; then I can tap each footswitch to move left or right between the presets, then hit both footswitches again to engage. It’s also possible to set a favourite preset which loads every time you turn the pedal on.

To help you remember which preset is which, the line of four LEDs changes colour depending on which bank you’ve got engaged. These light up red, yellow, orange, and green so you know what bank you’re on. The pedal ships with eight factory presets and eight blank presets, but it’s possible to overwrite any preset on the pedal.

MIDI is accessed via the same multi-jack that you plug the expression pedal into. It needs to be engaged via the global pedal settings, and once that’s done, you can sync it to a MIDI clock, or control any of the parameters on the front face of the pedal.

Sounds

Sounds rating: ★★★★½

I start my testing on the clean channel of my Orange Rocker 32 tube amp and my trusty Telecaster with all the pedal settings at 12, EQ off, Classic mode engaged, and the third switch set to chorus. Unsurprisingly, it’s a classic chorus sound I get in return. Turning down the rate gives that watery Come As You Are tone, and it’s got a nice warble to it that thickens up the tone and adds some movement.

Turning up the knobs gives a very seasick sound, and here I realise it’s a mix of wet and dry tones rather than an outright colored setting. To my ear, it sounds pretty much a 50/50 mix. To get it wetter, flicking the third switch from chorus to Vibee unlocks a fully wet mode, making the modulation sound much more intense and obvious.

Changing to Wobblee mode, things get a little more chaotic. It doesn’t bounce around as evenly as the classic setting, making it super fun for more out-there tone hunters. It makes my tone feel off-balance, bouncing around in ways that I don’t expect. The Seabee Lite can get really extreme when I push the settings, delivering some truly wild sounds.

Moving to Flangee, turning the rate down and the feedback up gives that classic metallic flange sound. It’s not quite as even as a traditional flanger; there’s a little offset to the rhythm of it that means it doesn’t quite land where you’d expect, but it’s the closest to a traditional flanger sound I can get. On the 50/50 chorus mode, it’s quite subtle even when I add a drive pedal to the front of the amp, but switching to vibee makes it much more pronounced.

The dual footswitches are really handy for live players. The ability to ramp the rate or depth at will makes for a great way to end your songs or certain passages with a spiralling craziness. The left footswitch does the rate setting, echoed in the two flashing LEDs on the front of the pedal. The right switch maxes out the depth, great for hitting a note then stomping on to let some auditory carnage ensue.

Verdict

If you’re looking for a chorus pedal that can get weird, the Beetronics Seabee Lite pedal is a great option. There are some traditional tones available here, but honestly, that would be a waste of its potential. From wacky laser beam noises to nausea-inducing modulation effects, this pedal delivers a lot of different tones despite being simplified from its forebear.

There’s a lot of functionality here, not all of it immediately clear just by looking at the fascia. If you want a simple chorus pedal, I’d look elsewhere, but for those who like to tweak and don’t mind some manual diving, this pedal is a great shout. The manual is extremely clear, and there’s a lot of functionality to unlock from the pedal that goes beneath the surface-level control.

MusicRadar verdict: Despite quite literally being half the pedal the Seabee Harmochorus is, the Beetronics Seabee Lite is a great chorus pedal that treads its own path. The arrhythmic modulation helps it stand on its own versus the more traditional vintage chorus pedals, but it still has enough flexibility to play both roles. Having presets unobscured by MIDI is a real winner, while MIDI and expression connectivity make it a very flexible addition to a pedalboard indeed.

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