Antelope Audio‘s Zenith 2, Zen Quadro, and Discrete 8 Oryx all deliver exceptional audio quality, ultra-clean preamps with up to 75dB of gain, and Antelope’s renowned real-time effects processing. The difference in which one you pick for your recording space comes down to how you work, and how ambitious your dream recording setup is. 

Choosing the right audio interface isn’t just about what you need today, it’s also about where your playing and recording might take you in the next few years. Maybe you’re recording acoustic guitar at home today but you’re already thinking about mic’ing amps, collaborating with other musicians, or building a dedicated studio in the near future.

Zenith 2: Premium Recording Without Complexity 

If you’re a solo guitarist or songwriter, the Zenith 2 offers everything you need in a compact, portable package. 

With two microphone preamps, it’s ideal for stereo recording acoustic instruments such as guitar, ukulele, banjo or acoustic bass. It also excels at recording electric guitar using a microphone and DI signal simultaneously, giving you the flexibility to rework your tone later. 

Two inputs also allow for more creative mic’ing techniques. Try pairing a dynamic microphone with a ribbon mic on your guitar cabinet: one captures the bite and attack, while the other adds warmth and low-end depth. The Zenith 2 is equally at home recording two guitarists together or a guitarist and vocalist, with separate headphone mixes so each performer can hear exactly what they need. 

Portability is another major advantage. USB-C bus power, class-compliant operation with no driver required, top-panel controls and a lightweight design make it an excellent companion for recording on the road. 

Its built-in real-time effects can even transform it into a portable headphone practice rig. With Guitar Mode and Antelope’s low-latency processing, you can play through amp and effects simulations while recording or simply practise silently whenever inspiration strikes. 

For many guitarists, the Zenith 2 is the sweet spot for simplicity, premium sound quality and size.

Zen Quadro: The Swiss Army Knife 

Need more flexibility without sacrificing portability? That’s where the Zen Quadro shines. The two additional inputs and two extra outputs make it suitable for more ambitious recording sessions.  

Electric guitarists can easily record both a DI and mic’d amplifier, preserving the clean signal for future reamping or software amp simulations. You can record acoustic guitar with multiple stereo microphone setups at once, compare different microphone combinations, or capture both close and room microphones simultaneously. 

Recording with other musicians is also far easier. Two guitarists can each record in stereo with microphone and DI combinations while enjoying independent headphone mixes. Equally, a guitarist and vocalist can work together comfortably, or you can record a full rehearsal with guitar, bass and a drummer using a minimalist drum mic setup. 

One of the Zen Quadro’s most unique features is its dual USB-C connectivity. It can exchange audio between your computer and a second device, such as a tablet or smartphone. That invites creative workflows like sending your guitar into an amp modelling app on an iPad, recording the processed sound back into your DAW, then enhancing it further with the Quadro’s onboard DSP effects.  

Content creators will also appreciate the ability to send a finished mix directly to a phone for livestreaming on platforms like Instagram or TikTok. Or you could just charge your phone! 

Despite its compact size, the Zen Quadro is surprisingly expandable. ADAT and S/PDIF connections allow you to add more inputs in the future. For example, connecting a Discrete 8 Oryx to gain eight additional microphone and instrument inputs as your studio grows. 

It also includes Antelope’s full real-time effects platform, featuring classic microphone preamps, compressors, EQs, guitar amplifiers and speaker cabinets, with additional effects available as optional expansions. 

If you want one interface that can handle almost any recording situation today while leaving plenty of room to expand tomorrow, the Zen Quadro is difficult to beat. 

Discrete 8 Oryx: Built for the Serious Studio 

The Discrete 8 Oryx is designed for guitarists who want a permanent, professional recording setup. As a large interface with eight microphone inputs, you’ve got a plethora of options for both guitar and full band setups with plenty of room to connect to other studio hardware, keyboards and synths.  

For a guitarist specifically, you can keep one amp ready to record, another cabinet mic’d differently, your acoustic guitar microphone setup ready to go, and still have inputs available for vocals or additional instruments. 

The Discrete 8 Oryx is equally suited to recording full bands. Four independent headphone outputs allow every musician to receive their own personalised monitor mix, while the built-in talkback microphone makes communication effortless if performers are recording in separate rooms. There’s even support for a remote talkback footswitch, allowing hands-free operation while engineering sessions. 

For electric guitarists, one standout feature is the inclusion of dedicated reamp outputs. Reamping allows you to record a clean DI guitar performance, then send that recording back through real amplifiers later to experiment with different tones. You can compare multiple amps using the same performance, build complex pedal chains, or even process synthesizers, keyboards or drum recordings through guitar amplifiers and stompboxes for unique textures. 

Because the Discrete 8 Oryx includes dedicated reamp outputs, you don’t need to purchase a separate reamp box, making professional reamping both simpler and more convenient. 

If you’re building a dedicated recording room, regularly recording bands, or simply want every piece of gear permanently connected and ready to capture ideas at a moment’s notice, the Discrete 8 Oryx is built for exactly that environment. 

Which Antelope interface should you choose? 

All three interfaces deliver Antelope Audio’s renowned conversion quality, ultra-low-noise preamps and powerful real-time DSP effects. The right choice depends on how you record. 

• The Zenith 2 is perfect for solo guitarists, singer-songwriters and musicians who value portability without compromising sound quality. 
• The Zen Quadro offers the greatest versatility. It’s compact enough to travel with, powerful enough for collaborative sessions, and expandable enough to grow alongside your studio. 
• The Discrete 8 Oryx is for players who want a true professional studio recording hub. With abundant inputs, multiple headphone mixes, dedicated reamping and professional workflow features, it’s designed to stay at the heart of your studio for years to come.

If you enjoyed reading this, check out our article on studio monitoring techniques featuring Antelope Audio interfaces, and our other Labs blogs! 

The post The Best Antelope Audio Interface for Guitarists: Zenith 2 vs. Zen Quadro vs. Discrete 8 Oryx  appeared first on Andertons Blog.

The Dreadnought is the quintessential acoustic guitar. If a child were asked to draw an acoustic guitar, then the chances are that they’ll draw a dreadnought, and there’s a good reason for that – dreadnoughts are the most popular guitar shape in the world.

However, the Jumbo acoustic provides an alternative for players after a bigger body and classically larger, more encompassing sound. But interestingly the bigger body doesn’t always mean greater volume. The reasons are fairly scientific and logical, though they might be surprising.

Understanding the tone equation

It would be remiss to write about the best acoustic guitar for the type of player you are  without discussing the equation that gives a guitar its sound in the first place. This ‘tone equation’ is made up of the following three ingredients that mesh to create a unique and distinct sound.

• Body Shape – The body shape gives you a platform from which to work. It’s the base of your guitar sound but it doesn’t form the whole picture. Each body shape has a different personality and physical feel which automatically means certain shapes will appeal more to certain players. For example: smaller players with smaller hands might be inclined to play a Parlour shaped guitar rather than a Jumbo, simply because it’s more comfortable!
• Tonewood – The woods used to build the guitar are another important part of the equation, though the choice of woods will often be defined by the body shape. Certain woods are denser and therefore reflect sound better than other wood types which could be described as ‘warm’. Warm woods might not give you the volume that a brighter wood does, but what it lacks in volume, it makes up in character. Tonewood adds flavour, character and definition to the body shape of your acoustic.
• The Player – The most important part of the equation: the player. How a guitarist actually plays will determine which guitar they’re best suited to. It’s almost like the guitar chooses the player rather than the other way around. This is because everyone has a different attack and feel, and different guitars respond differently depending on how they’re played. For example: A gentle fingerstyle player would be better off with a smaller-bodied guitar because it requires less energy to get sound out of the smaller body.

Dreadnought acoustic guitars

The Dreadnought has a slightly ‘boxy’ shape which gives it a subtle midrange scoop. That’s exactly where the vocals sit in the mix, so they’re great for singers. That slight mid-scoop means you get a bold, fat-sounding low-end and snappy top-mid for excellent clarity. When you think of a dreadnought, a Martin or Taylor guitar is probably what comes to mind.

Dreadnought guitars have a straighter body and don’t have the tight waist that a Jumbo does. This results in a more balanced EQ-response, unless you have a slope-shouldered Dreadnought like the Gibson J-45, which shaves off a bit of top-end for a warmer strumming sound. These are heavily favoured by singer-songwriters to support their vocals.

What type of guitarist best suits a dreadnought?

The Dreadnought shape is known as the Swiss Army Knife of acoustic guitars. It’s by and large the most versatile acoustic guitar shape around. Dreadnoughts are brilliant for flatpickers and strummers or players after a traditional acoustic sound and shape. They are widely regarded as the ultimate workhorse and will serve you in the studio, on stage whether you play solo or in a band, or even at home.

Surprisingly, it works very well for fingerpickers too as it has a very balanced tonal response so will pick up those treble notes with ease. A Dreadnought doesn’t require quite as much energy to get those big notes out that a jumbo guitar does.

Jumbo acoustic guitars

Jumbo acoustic guitars are the ‘big strummer’ in the acoustic guitar family. They’ve got the most ‘air’ inside their body. That means more energy is required to get a sound out of them, but it also means more energy can escape from the body.

A jumbo typically has a circular style body with a tight waist which is what gives it that top-end snap and presence. If it didn’t have this tighter waist, it would instead lose clarity and it would result in a rather muddy tone, making it almost unusable in any applicable musical situation.

Who is the jumbo acoustic best for?

The jumbo is the ultimate strummers guitar. It isn’t really made for fingerpickers or players with a gentle approach. Big folk, country and pop songs in a band mix sound amazing played on a jumbo and there’s a reason why they’re favoured in the Nashville music scene (home to some of the best musicians on the planet in those genres.

Jumbos have a lot of clarity and top-end jangle thanks to the tight waist, but a large amount of air in the body means that with the right approach you’ll also get tons of low-end. Singer-songwriters or rhythm guitarists will love the sounds you get from a jumbo.

Dreadnought or jumbo? A quick summary

The guitar chooses the player in the sense that you need to match your guitar playing style to the right acoustic guitar. That’s how you’ll get the best sound! Heavy strummers or rhythm players in a band should go for a jumbo guitar. If you’re after something with a bit more versatility or traditional sound, then the Dreadnought is the one to get.

If you’re on a budget, then check out Alvarez or Epiphone for unbeatable value and quality. If you’re looking to invest a little more, then perhaps Martin, Taylor or Gibson will be more up your street.

If you enjoyed this read, check out more of our Labs Articles!

The post Dreadnought vs. Jumbo Acoustic Guitar appeared first on Andertons Blog.

There are dozens upon dozens of brilliant delay pedals out there. But the Strymon TimeLine has remained one of the category’s benchmark models ever since it debuted at the 2011 NAMM Show. And 15 years later, the highly anticipated sequel is finally here — the Strymon TimeLine MX. Better late than never!

This release comes more than two years after Strymon unveiled its upgraded flagship reverb stompbox (the BigSky MX). So, we’ve been eagerly waiting for their trailblazing, top-of-the-range delay to get the same treatment.

But how do you make one of the best delay pedals ever even better? Well, you’re about to find out. We’ve put the new Strymon TimeLine MX up against the original TimeLine to help you decide whether it’s worth upgrading — or if you’re simply looking for an incredibly powerful echo workstation for your pedalboard.

Strymon TimeLine MX vs. TimeLine: comparison table

Before we take a closer look at the TimeLine MX’s mighty specs and features, here’s a quick overview of how it stacks up against the standard TimeLine pedal:

Price and availability

The Strymon TimeLine delay pedal was released back in January 2011, if you can believe it (time flies, eh?). And despite being 15 years old, it’s still one of the most popular high-end delay pedals on the market. At the time of writing, you can pick one up for around £429. The Strymon TimeLine MX landed on 7 July 2026, bringing a host of new sounds and features. Those upgrades come at a premium though, with the MX priced at £699.

Design and size

At first glance, you’d struggle to tell the two apart. Both the Strymon TimeLine and TimeLine MX have the same cool gunmetal-grey finish and are almost identical in size, with the MX measuring just a few millimetres wider. That means if you do decide to upgrade, you’ll have no trouble swapping ‘em out on your board. The footswitch layout is unchanged too, so you won’t be making any missteps when changing presets or controlling the onboard looper (more on that later).

Look a little closer though, and you’ll see what Strymon has done to make things a tad more intuitive on the MX. Most obvious is the larger OLED display, which has been moved to the middle of the front panel. Not only is it brighter and easier to read under harsh stage lights, but with a little extra real estate, you can see more info on your patch’s parameters, audio routing and the looper functions.

The controls have also had a bit of a shift around. The delay Type selector remains on the left-hand side but now sits where the display used to be, while the Value dial has moved all the way to the right to keep it close to the screen. All the other controls are now neatly laid out in a single row beneath them. So, if you’re replacing your TimeLine, you might spend the first few minutes reaching for the wrong knob — but everything should still feel familiar enough.

Sounds

Now we’re onto the part you’re probably most curious about: the sounds. We’ll kick off with a quick summary of the original TimeLine’s delay algos, then dive into the new additions that make the TimeLine MX such an exciting upgrade.

TimeLine

The Strymon TimeLine is loaded with 12 studio-quality delay engines, covering everything from pristine digital repeats and vintage, vibey echoes to huge cinematic soundscapes:

• Digital: A crystal-clear digital delay with extensive tweakability.
• Dual: Two independent delay lines that can be configured in series or parallel for complex rhythmic textures.
• Pattern: A selection of multi-tap delay patterns ranging from rhythmic and percussive to spacious and ambient.
• Reverse: Play forwards and hear your repeats played back in reverse.
• Ice: Chops up your signal and replays it with selectable pitch-shifted intervals for shimmering, otherworldly effects.
• Duck: A dynamic ducking delay with adjustable sensitivity and release controls.
• Swell: Creates automatic volume swells that are perfect for ethereal ambient sounds.
• Trem: Combines delay and tremolo effects, with a choice of triangle, square, sine, ramp and saw waveforms to vary the delay amplitude.
• Filter: Adds a synchronised filter that can be positioned before or after the delay line.
• Lo-Fi: Delivers gritty, bit-crushed repeats inspired by old radios, telephones and other low-fidelity devices.
• dTape: Strymon’s detailed recreation of classic sliding-head tape echo machines.
• dBucket: A rich and nuanced take on vintage analogue delay pedals with bucket-brigade (BBD) circuitry.

TimeLine MX

Alongside enhanced versions of Strymon’s classic TimeLine algorithms, the MX introduces four all-new delay machines and even a dedicated reverb engine:

• Spectral: Strymon’s take on granular delay. Slice your signal into fragments and manipulate them with pitch-shifting, reverse playback, time-stretching and filtering to create a montage of glitchy patterns or cool panoramas.
• MultiTap: Ideal for building complex rhythmic delays, with per-tap control over panning, level, filtering and more. You can stick with the built-in patterns or make your own from scratch.
• Oil Can: A recreation of vintage oil-can echo circuits, serving up dark, murky repeats with syrupy modulation and constantly evolving textures.
• Drum: Inspired by classic drum echo units, complete with organic warble and soft-clipped repeats. Adjust the play head spacing, level, feedback and panning to create intricate patterns.
• Reverb: Covers everything from small room sounds to vast washes with long, atmospheric decays. Combined with the delay engines, it makes the TimeLine MX a complete ambience solution in a single pedal.

Wondering where some of the old delay machines around the TimeLine MX’s Type selector have disappeared to? Don’t worry — they’re still knocking about, just organised differently. Trem now lives within the Filter engine, while Duck and Swell have been reworked into global parameters that can be used in conjunction with all delay types.

Processing power

Strymon are the Ferrari of digital guitar pedals, so it’d have been strange if they hadn’t equipped their latest flagship delay with some serious horsepower. Thankfully, they’ve done exactly that by supercharging the TimeLine MX with a tri-core 800MHz ARM processor. That’s a hefty improvement over the original TimeLine’s single 266MHz SHARC DSP.

All that extra processing power has given Strymon’s engineers far more headroom to model the nuances of vintage delays and reverbs in even greater detail. From the subtle inconsistencies of electro-mechanical units to the quirks of classic analogue and early digital designs, the TimeLine MX captures every last detail.

But perhaps the biggest advantage is what that extra grunt lets you do. Unlike the OG TimeLine, the MX can run two effects engines simultaneously. This therefore opens the door to more ambitious sound design, intricate rhythmic textures and combined delay-and-reverb presets.

You can switch between delay machines with a single button press while editing, and the bigger screen makes it easy to see whether your engines are running in Series, Parallel or Split mode. You can even pan the output of each one if you wanna get super creative with your delayed signals across the stereo field.

Built-in loopers

The 30-second stereo looper in the original Strymon TimeLine is fun and useful, but by modern standards it’s fairly limited compared to dedicated looper pedals. Strymon clearly thought the same, because the TimeLine MX boosts the looping time up to a whopping five minutes, complete with reverse and half-speed playback options.

The MX also adds selectable Multi and one-button Quick Looper modes. The latter is especially handy for fast layering and spontaneous improv, as you can access it instantly via the Tap footswitch without having to switch into the dedicated Looper mode. Or hook up a Strymon MiniSwitch and you’ll have an always-on one-button looper at your feet.

What’s more, the looper can be placed either before or after the delay effects, so you can get really experimental. Combined with the expanded routing options and clear on-screen visual feedback in the full-fat looping mode, the TimeLine MX’s looper feels like much more than just a cool bonus feature.

Strymon TimeLine MX: extra features

As if the new delay engines and upgraded looper weren’t enough, the Strymon TimeLine MX also has a few other tricks up its sleeve:

• External hardware effects loop: Like the original TimeLine, the MX features an internal FX loop for integrating external mono or stereo pedals. However, the newer model offers more routing and placement options, making it easier to build elaborate signal chains.
• USB-C connectivity: This is a welcome addition to the MX, with the USB-C port handling firmware updates, MIDI communication and connection to Strymon’s Nixie 2 editor software for deeper patch editing.
• Expanded MIDI control: In addition to traditional 5-pin DIN MIDI, the MX also supports MIDI over USB-C and TRS, giving you more ways to integrate it into modern pedalboard and studio setups.
• Discrete Class A JFET preamps: High-quality analogue input stages help preserve the dynamics, responsiveness and feel of your playing.

Is the Strymon TimeLine MX better than the TimeLine?

In terms of features and flexibility, yes — the Strymon TimeLine MX is a big step forward from the original pedal. With a more powerful processor that lets you use two effects engines at once, the MX also introduces a bigger and brighter screen, refined routing options and four brand-new delay machines on top of enhanced versions of Strymon’s classic TimeLine algorithms.

While the standard TimeLine has a useful 30-second looper alongside its huge library of delay sounds, the new TimeLine MX takes thing further by adding a versatile reverb engine and an expanded 5-minute looper with loads more control. So, it’s essentially three pedals in one!

But that’s not to say that the old TimeLine is history. It’s still an incredible bit of kit, and there’s a reason it’s been a fixture on professional pedalboards for the best part of 15 years. If you don’t fancy dual-engine processing, onboard reverb or long looping times, the standard TimeLine remains a great option. And with the arrival of the Strymon TimeLine 2, you’ll probably start seeing prices fall (especially on the second-hand market). This makes it a perfect time to bag yourself a killer delay workstation for less.

Will the Strymon TimeLine MX catch on as quickly as its predecessor? At £699, it might be more of a slow burner. But given Strymon’s track record and everything the MX brings to the table, we’d be surprised if it doesn’t become a future pedalboard fave. Only time will tell…

Strymon TimeLine MX on Andertons TV

Watch Lee and Pete take a trip through the new Strymon TimeLine MX (fortunately, no flux capacitor required):

Time to upgrade your delay?

Shop all Strymon pedals

Fancy learning more, more, more?

Our delay pedals guide is a great place to start if you’d like to go further down the delay rabbit hole. Or head over to our learn section for more in-depth gear guides, expert advice and helpful how-to articles.

The post Strymon TimeLine MX vs. TimeLine: what’s the difference? appeared first on Andertons Blog.

The Line 6 Helix changed the game for digital guitar amp modellers. A big reason why it had such an impact on the guitar world was down to the easy-to-use interface. Before the Helix, modellers took a science degree to operate – they were clunky and user unfriendly. On top of the now enjoyable process of dialling in your amp sounds, the Helix’s robust hardware and floor and rack mount designs also made it an excellent piece of gigging equipment in being so versatile and quick to set up. Most importantly, the quality of the amps, cabinets and effects has blessed it with unrivalled longevity in a scene where the shiny new thing is often the best option. 

There are currently five core versions: the original Helix Floor, the Helix Stadium, the Helix LT, the HX Stomp and the Helix Effects. Within this family tree are more models like the Stadium XL, HX Stomp XL and HX One that share the same core design principles but add a few bonus features. 

Let’s explore where each Helix excels and help find you the perfect one. 

Line 6 Helix modellers comparison chart

Line 6 Helix LT: big features, light package

The Helix LT is designed for players who wants a modelling amp on the smaller lightweight side, but one which still makes the most of all the core Line 6 guitar tones. It’s still packing the same number of guitar and bass amp models as the Helix Floor as well as all the effects, cabs and mic sounds. It’s also got stereo ins and outs that make it incredibly flexible for live use and stereo rigs, as well as the expression pedal and an expression out to add another if required. 

Where it does differ to the standard Helix is in fewer inputs and outputs to integrate with a large external pedalboard, although you can still do so with a small board and the effects loops. With that key difference and the few feature omissions listed above, the Helix LT clocks in at a significantly lower price than the original Helix Floor and will prove to be the sweet spot for most guitarists.

For the players who want:

• Industry standard amps tones and effects
• 95% of the Helix Floor features for considerably less money
• A lightweight, portable unit
• Good streamlined connectivity for gigging

Buy the Helix LT

Line 6 Helix Stadium: behemoth flagship model

The Helix Stadium is the best Line 6 can muster in a modern floor modelling amp. Its cutting-edge Agoura DSP improves picking dynamics, volume clean-up, gain textures and sag and compression, so your guitar tone even more closely resembles a real valve amp. That realism, even though the Stadium name is at odds with its best role, is actually great in a studio setting where all the smaller details matter in a final recording. On top of that, this modeller is future-proofed for years to come as amp and effects modelling keeps progressing over the next decade.

What does make the Stadium exceptional for gigging guitarists, however, is the substantial upgrade to processing power, allowing it to run more complex amp sims for multiple instruments. The large and vibrant touchscreen makes dialling in tones a breeze, and the automatic switching and extensive routing options are a real lifesaver for players who like everything planned out before a show. The Stadium is less reliable on having a laptop or PC handy thanks to the Wi-fi and Bluetooth connectivity, letting you manage and edit patches and download firmware updates.

The only omission from the Helix Stadium is a built-in expression pedal – you’ll have to get the Stadium XL for that.

For the players who want:

• The most realistic amp sounds available
• Effortless tone selections
• To run expansive live setups
• To not be reliant on PC connections for editing and updates
• Future-proofed amp modelling

Buy the Helix Stadium

Line 6 Helix Floor: the comprehensive original innovator

Thanks to continues support through firmware updates over the years, the Helix Floor remains as relevant as ever in the extremely competitive modelling amp market. Crunchy Mesa Triple Rec to glorious Fender Deluxe clean tones, Matchless 2×12 cab to Marshall 4×12 stack, and from Russian Big Muff to stereo Yamaha rotary speaker, the Helix contains the sounds you’ll want to make. It covers just about every in/out you could need like four FX loops, three expression pedal ins, a mic in and MIDI compatibility to integrate it into an existing setup or use solely to power your guitar sound. I could wax lyrical about how much this changed amp modelling like its POD predecessor, but you get the point. 

For the players who want:

• Tried and tested professional quality guitar tones
• Maximum features from the original Helix modeller generation
• Extensive effects loop and expression pedal connectivity to run multiple setups
• Super handy scribble strips to see where each preset is assigned

Buy the Helix Floor

Line 6 Helix HX Stomp: pedalboard friendly modeller

The Line 6 Helix HX Stomp is the smallest in the range is incredibly powerful for such a tiny pedal. Once again, it boasts the same 400+ effects, amp and cab models as the Helix and LT. The obvious trade-off in picking the much smaller footprint of the HX Stomp is that it leaves out a few connectivity features and it has less processing power than the Helix LT, and so is best used by just one guitarist.

The Stomp can manage up to an impressive eight amp, cab, and effect blocks, including a looper and IR loading simultaneously. The three switches have nice colour-coded LED rings for fast patch recall. Connectivity-wise, it has one set of stereo outs, a stereo FX loop and is fully MIDI compatible for seamless integration with the rest of your gear. The miniature size of it and incredible wealth of tonal options makes it a great choice to power a pedalboard amp or plug directly into a PA system to use as your entire portable guitar setup.

If you’re after a few more switching options and a more attractive LCD screen, then the larger HX Stomp XL version could be the worthwhile upgrade. 

For the players who want:

• To build an impressive pedalboard amp
• The Helix amp tones in the smallest package possible
• A modeller to integrate into an existing portable setup
• A reliable modeller to use as a standalone rig

Buy the HX Stomp

Line 6 HX Effects: the complete FX library

The HX Effects is a pure a multi-FX pedal unlike the Helix and HX Stomp, which are primarily amp and cabinet modellers. So with an HX Effects, you’ll be looking to add it to an existing amp and pedal setup to broaden your sounds with 274 effects and expand your switching capabilities. It also acts as a standalone cab simulator pedal. 

You get an expanded 9 simultaneous processing blocks to load up on sounds and accommodate for your creativity and potential to make huge soundscapes. The overdrives stack beautifully on the HX Effects and pair nicely with a driven amp. You even get legacy effects from the M series that are difficult to obtain these days.

It’s also got the ability to host 4 ‘Snapshots’, which are essentially different settings for your effects. A Snapshot allows you to hit a single button and change the settings on any or all of the possible 9 virtual pedals in one go. 

The HX Effects is incredibly adaptable to whatever setup you’ve got running. It’s got two FX loops, has stereo ins and outs and is MIDI compatible, which makes it possible to perform as a switcher when hooked up to other MIDI pedals. It’s even got an in-built tuner. You’ll want to edit all your settings on the HX Edit software for the best experience.

If the standard HX Effects is a beyond what you need from an effects processor, then the more affordable, even smaller HX One fills that gap for players with a touch more pedalboard space to spare.

For the players who want:

• Only the effects section from the Helix line-up
• To massively broaden their choice of guitar sounds
• An exceptionally detailed IR cabinet and microphone simulator
• Access to legacy sounds from the legendary Line 6 M series
• An incredible pedalboard addition to streamline your stompbox chaos

Buy the HX Effects

Quick summary

Hopefully you’ve got an idea of which Line 6 Helix, Stomp or HX would suit you best. To summarise: 

Line 6 Helix: The OG powerhouse. It has all of the features you’d need from a multi-FX, amp and cab sim unit and it’s incredibly easy to use, especially in comparison to its competitors. The Helix is as powerful in the studio as it is on stage and as a practice tool. It’s been designed to contain everything a guitarist might need in one box. 

Line 6 Helix LT: The ‘light’ version of the Helix that still contains all of the amp, effects and cab sims. It hasn’t got the uber-flexibility of the bigger Helix, but it’ll cater to the vast majority of guitar and band setups.

Line 6 Helix Stadium: The next generation of modellers for more life-like amp simulations, capturing the realism of dynamics, sag and compression, and the way different settings mix to create a unique tone. Insane processing power to run massive complex signal chains and a lovely interface to customise your tones.

Line 6 Helix HX Stomp: This sees the Helix squeezed into a pedal-style chassis. It’s got 400+ Helix amps, cabs and effects in a tiny format for your compact pedalboard amp rig. 

Line 6 Effects: Due to incredible demand from fans of the Helix, Line 6 decided to release an ‘effects only’ version of their Helix floor units. The HX captures all of their coveted effects in one unit and can serve as a pedalboard replacement pedal, or you could integrate it into an already existing setup and use it as a pure cabinet simulator.

Shop all Line 6 Helix amp modellers

Want to find out how Line 6’s Helix range compares to other amp modellers? Read our blog comparing the Helix to the Fractal Axe FX, Kemper Profiler and Atomic AmpliFIRE modelling amps. Interested in comparing more guitar gear? Check out all our Labs articles!

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The world of compact modelling amps and multi-effects processors is more competitive than ever. Players no longer have to choose between portability and professional-grade performance, with manufacturers packing incredible processing power, advanced amp modelling and studio-quality effects into pedalboard-friendly units.

Two of the most exciting releases in this category are the Neural DSP Quad Cortex Mini and the Darkglass Anagram Guitar Multi-FX. Both feature powerful DSP platforms, touchscreen interfaces and comprehensive connectivity, but they take noticeably different approaches to modern guitar processing.

So, which one deserves a place on your board?

At a glance

Neural DSP Quad Cortex Mini

The Quad Cortex Mini takes everything that made the original Quad Cortex a favourite among touring musicians and shrinks it into a significantly smaller chassis. It offers Neural DSP’s renowned modelling technology, Neural DSP capture functionality, extensive routing flexibility and complete compatibility with the wider Quad Cortex ecosystem.

Darkglass Anagram Guitar Essentials

The Darkglass Anagram Guitar Essentials, meanwhile, builds upon the hugely successful bass-focused Anagram platform and arrives loaded with the exclusive Guitar Essentials plugin, developed in collaboration with Sweetwater and Andertons Music Co. It combines Darkglass‘ innovative user experience with Neural Amp Modeler (NAM) compatibility, a growing plugin marketplace, and an exceptionally intuitive workflow.

While both units target players who want a complete rig in a compact package, their strengths appeal to slightly different users.

Sound & modelling technology

Quad Cortex Mini

The Quad Cortex Mini delivers the same modelling engine found in the full-sized Neural Quad Cortex. Out of the box, users gain access to:

• Over 90 amplifier models
• More than 100 effects
• 1,000+ cabinet IRs
• 2,000+ Neural Captures
• Full Neural Capture V1 and V2 support
• Cortex Cloud access for thousands of additional captures

Neural Capture remains one of the most impressive profiling technologies available, allowing users to create highly accurate digital replicas of amps, guitar pedals, amplifier cabinets and compressors.

Darkglass Anagram Guitar

Darkglass takes a different approach with the Anagram Guitar. The standout feature is integration with Neural Amp Modeler (NAM), giving users access to over 10,000 community-created amp and effect models.

The included Guitar Essentials plugin provides a carefully selected collection of iconic tones:

• Leonardo Deluxe: The amp that defined American clean tones. From 1960s studios to roots, country and indie stages ever since, nothing breaks up quite like a Deluxe pushed to the edge.
• Leonardo Twin: Headroom that never quits. The Twin set the standard for clean power, built for players who wanted the guitar to do the talking.
• Admiral Supreme Drive: The amp behind some of the loudest stages in history.
• Admiral JJM800: The definitive hard rock amp of the 1980s. Aggressive, focused and still the benchmark for anyone chasing that decade’s tone.
• HiWoltt 103: The foundation of clean tones. Built with military-grade components, it delivers the kind of headroom and sustain that few amps have ever matched.
• Patchless C-III Emerald: A boutique icon built on Vox® DNA and taken further. Rich, complex and touch-sensitive in ways mass-produced amps rarely achieve.
• Patchless C-III Crimson: The same platform, a different voice. Darker, more aggressive and equally uncompromising.
• Victory Deputy: A modern British amp that earned its place fast. It’s Sweetwater’s best-selling amp of the last two years, and for good reason!
• Phoebe SiSO: The one that redefined high gain and influenced every metal player that followed.
• Magner Delicacy Blue: Harmonic richness by which boutique high gain is measured.
• Magner Delicacy Red: The driven side of the Delicacy. Two channels, two personalities and a gain structure that earns its price every time.
• Imperial Triode Current: The amp that powered 1990s alternative and metal. Thick, saturated and unmistakable.

The Darkglass Anagram Guitar Essentials also includes recreations of classic overdrive pedals, including the Klon Centaur, Tube Screamer and Blues Driver-style circuits:

Winner: It depends on your workflow!

• Choose the Quad Cortex Mini if you want industry-leading capture technology and a massive ready-to-use ecosystem.
• Go for the Anagram Guitar if you prefer NAM compatibility and access to a rapidly growing community-driven model library.

User experience

Both units feature large 7-inch touchscreens, but their implementations differ:

Neural Quad Cortex Mini

Neural DSP’s interface is centred around its visual grid-based signal chain. Routing is intuitive, touch response is excellent and creating complex patches feels very simple.

New features such as Pages and Opposite Page Preview help maximise the functionality of the four onboard footswitches without increasing the unit’s size.

Darkglass Anagram Guitar

The Anagram Guitar arguably offers one of the most visually engaging interfaces currently available. Every amp and pedal features a dedicated 3D-rendered graphical interface, making it feel remarkably similar to operating physical gear.

Combined with six endless encoders and a streamlined workflow, the Anagram is super beginner-friendly while still offering deep editing capabilities.

Live performance & routing

Quad Cortex Mini

The Quad Cortex Mini is designed with professional touring environments in mind, featuring:

• Four parallel signal paths
• Up to eight blocks per row
• Preset, Scene, Stomp and Hybrid modes
• Looper X
• MIDI over USB
• Multiple output options
• Capture Out for profiling
• Touring-grade aluminium chassis

Darkglass Anagram Guitar

The Anagram supports:

• Up to 24 simultaneous processing blocks
• Parallel routing
• Stereo operation
• MIDI connectivity
• USB audio
• Bluetooth functionality
• Flexible send/return architecture

The Anagram’s six-core DSP architecture provides impressive headroom too, despite its compact size.

Recording & connectivity

Both units function as USB audio interfaces and integrate easily into modern DAW workflows. Here’s how they stack up…

Quad Cortex Mini

• 16-channel USB audio interface
• USB-C connectivity
• Wi-Fi updates and backups
• Cortex Control desktop software
• Cloud backup support

Darkglass Anagram Guitar

• USB audio interface
• USB MIDI
• Bluetooth connectivity
• Darkglass Suite integration
• Marketplace access
• USB-C Power Delivery compatibility

Ecosystem & future expansion

Neural DSP Quad Cortex Mini

The Quad Cortex Mini benefits from one of the largest and most established ecosystems in the guitar modelling world:

• Cortex Cloud
• Neural Capture sharing
• CorOS updates
• Neural plugin integration (only with the compatible Neural DSP “X” Plugins)
• Cross-device compatibility with full-size Quad Cortex units

Darkglass Anagram Guitar

The clever folks at Darkglass have focused heavily on platform growth here, with:

• NAM compatibility
• Darkglass Suite
• Preset Hub
• Plugin Marketplace
• Community-developed content (the platform’s here, let’s see what the community cooks up!)

Darkglass Anagram Guitar & Neural DSP Quad Cortex Mini comparison table

Which one should you buy?

Get the Neural DSP Quad Cortex Mini if:

• You already use a Quad Cortex, or own compatible Neural DSP “X” Plugins
• You want Neural Capture technology
• You need advanced professional routing
• You want maximum compatibility within an established ecosystem

Choose the Darkglass Anagram Guitar Essentials if:

• You prefer NAM-based modelling
• You love the included Guitar Essentials collection
• You want an incredibly intuitive visual interface
• You value Bluetooth connectivity
• You’re excited by community-driven plugins and future expansion

Final verdict

Both units deliver astonishing amounts of power in remarkably compact enclosures, but they cater to slightly different players.

The Neural DSP Quad Cortex Mini feels like a professional touring solution distilled into its most portable form. It offers proven reliability, exceptional capture technology and one of the strongest ecosystems available.

The Darkglass Anagram Guitar, meanwhile, feels like a glimpse into the future of guitar processing. Its NAM integration, plugin marketplace, innovative interface and Guitar Essentials package make it one of the most exciting new arrivals in the modeller market.

For players seeking the most mature and professional ecosystem, the Quad Cortex Mini takes the edge. For those looking for cutting-edge flexibility, community-driven expansion and a fresh approach to modelling, the Darkglass Anagram Guitar presents a compelling alternative.

Pick up a portable rig!

Shop all multi-FX units

Want to learn more?

If you’re into the latest gear gossip, our gear news page is well worth a bookmark. For proper nerdy deep dives, handy how‑to guides and cool product comparisons, head over to our learn and labs sections instead.

The post Darkglass Anagram Guitar vs. Neural DSP Quad Cortex Mini: Which Modeller is Right for You? appeared first on Andertons Blog.

Pickups are an integral part contributing to the sound of an electric guitar, as they detect string vibrations and generate electrical signals that can then be sent into an amplifier. Not only do the ‘pick up’ the sound, but they also have a huge bearing on the tonal properties that defines the sound of every type of guitar. There are two broad categories that most pickup designs can be grouped into: the single-coil and the humbucker. I’ll get to P90s later, but for now, it’s enough to know that they are a variation of a single-coil pickup with their own unique sound.

Die-hard Stratocaster or Telecaster players will wax lyrical about the dynamism of the single-coils, while Les Paul aficionados will praise the thick, articulate notes of the humbucker. Yet there is so much space in between both legendary tones, defined over decades of pickup tweaking and innovation. Each of the main pickup designs, P90s included, tend to lend their tones to certain musical genres, but there’s nothing to stop you from getting creative with what you have available and applying their unique sounds in new and exciting ways.

Single-Coil Pickups

The Single-coil guitar pickup is the reason why we are all here today as electric guitarists. It was tested and tinkered with throughout the 1910s and 20s with the aim to allow guitars to compete for volume in a big band setting. The first commercially available single-coil pickup was designed by Adolph Rickenbacker and George Beauchamp in 1931 and featured on the lap steel ‘Frying Pan’ guitar.

How single-coil pickups are made

Today, the design formula remains largely the same based on core principles, consisting of copper coil wound horizontally around vertically placed magnetic pole pieces. A base and frame (collectively known as a bobbin) stop the coil from shifting. The magnet projects a magnetic field and interacts with the coil to create a current that is connected to volume and tone pots, and then on to the output jack.

What do single-coil pickups sound like?

Single-coil pickups on the whole sound bright, articulate and a bit twangy. The classic Telecaster’s single-coils create a clankier, glassier crisper tone, with less of an emphasis on midrange frequencies. A Stratocaster’s single-coils are often a bit hotter in output and push more through the midrange.

Single-coils can cover pretty much every musical genre but are most closely related to the formative genres in which they emerged, those being rock, jazz, blues, pop, RnB, folk, and, later, indie music. You can still get excellent hard rock and metal tones with a bit of tweaking and especially with the Stratocaster single-coil, which often possesses more output and thump than their Tele counterparts. Achieving high-gain tones are often best achieved in post-production when recording where it’s possible to remove the spikier dynamics of the EQ.

If you’re turning up the gain or fuzz through your amp for live performances, consider using compression pedals to keep volume and attack consistent or a noise gate to kill unwanted sound in between notes. Some single-coils can struggle with substantial amounts of distortion dialled in on your amp. Modern “hum-cancelling” designs go some way to eliminate the unwanted feedback.

Who makes single-coil pickups?

The illustrious Leo Fender was the most successful guitar builder to market the modern instrument using single-coil pickups. In 1948, the Fender Esquire was released with one single-coil in the bridge position. A year later, the Telecaster added a second to the neck position. With these creations, he would ignite the future of guitar playing. Fender continues to equip most of their guitars with updated “noiseless” single-coils.

Other guitar companies and pickup brands have created their own single-coils, such as Gretsch with the crisp and twangy HiLo’Tron, Danelectro with the super thin sounding lipstick pickup or Seymour Duncan, Lollar and TV Jones with their own unique iterations of the famed design. Almost every major pickup brand has its own version of a single-coil, be it vintage in character, hot-rodded or even an active pickup version.

Who uses single-coil pickups?

Jimi Hendrix, Mark Knopfler, Stevie Ray Vaughan, David Gilmour and John Mayer – there is an exhaustive list of incredible world-renowned guitarists who have developed their distinct sounds with the use of single-coil pickups.

Squier Sonic Stratocaster Electric Guitar in Ultraviolet

£159.00

Squier Limited Edition Classic Vibe '60s Telecaster Thinline in Dark Olive Green

£419.00

Squier Sonic Stratocaster Electric Guitar in California Blue

£149.00

Squier Classic Vibe 50s Telecaster in Butterscotch Blonde

£399.00

Squier Classic Vibe 70s Jaguar Laurel Fingerboard Surf Green

£419.00

Fender American Vintage II 1963 Telecaster Electric Guitar in Surf Green

£1,999.00

Fender Player II Stratocaster Electric Guitar in Lavender Haze

£799.00

Fender American Professional Classic Stratocaster in 3-Colour Sunburst

£1,399.00

Humbucker Pickups

Humbucker pickups came about for one very particular reason: hum. The early single-coils were noisy – more than they are today with modern noiseless circuitry, as radio waves interfered with the guitar signal.

The first humbuckers were developed by Gibson’s Seth Lover, marked with the tag “Patent Applied For” and commonly known as PAF pickups, and Gretch’s Ray Butts with the Filter’Trons. Humbuckers went on to shape the future of blues, rock, metal, and pretty much every guitar-oriented musical genre thanks to their distinctly rounded tone and capacity for higher output.

How humbucker pickups are made

Humbuckers house two separate side-by-side coil pieces in one casing. One of the coils is wound in reverse and with opposite polarity to the other, creating and “out of phase” effect, massively reducing unwanted hum.

Gibson’s PAF pickups made use of an alnico 2 magnet, which helps to produce that vintage, buttery smooth tone. The sleek metal covers also reduces electrostatic interference. The Filter’Tron, originally made for the iconic country guitarist Chet Atkins, has a shorter distance between its police pieces than a PAF, but a much larger magnet. The result is a clearer, brighter and more airy sound, overlapping in some qualities with a single-coil.

What do humbucker pickups sound like?

A lot of blues, rock and metal players tend to gravitate towards varieties of humbucker pickups because they fill a big portion of the EQ range: they sound powerful, and bassier and more aggressive than single-coils. You’ll also see jazz, RnB, soul and fusion players.

The humbucker can handle a boisterous bluesy lead, high-output aggressive attack and big complex chords. They’re also a popular choice to be used as a clean platform for all sorts of weird effects in electronic music. Some might say humbuckers have a less dynamic or characterful tonal range than single-coils, but their adaptability and ease in sculpting quality tones with little hassle are major benefits.

When shopping for your next humbucker-equipped guitar, check the “alnico” spec. Alnico is a portmanteau – as in it smashes together the words aluminium, nickel, cobalt and copper – the elements that form the pickup’s magnet. The quantity of these elements differs based on the alnico magnet, 1 through to 9. The early humbuckers were often made using alnico 2 and 3 pickups. The introduction of the alnico 5 in 1961 allowed for outstanding versatility in shaping both old school tones and the sounds we have become accustomed to as modern guitarists. They offer more focus on midrange frequencies and are characterised by a thick, focused and defined tone.

Who makes humbucker pickups?

Humbuckers are of course synonymous with guitar giants Gibson, the iconic creators of the Les Paul, ES, SG, Firebird, Flying V, Explorer, and many more instantly recognisable guitar shapes. Gretsch guitars are an amazing choice for pure clean tones and rock drive with the Penguin, Falcon and Broadkaster models.

Seyomur Duncan, Dimarzio and Bare Knuckle are three highly popular and extremely well renowned aftermarket pickup brands. You’ll find a lot of their humbuckers in guitars from Ibanez, ESP, BC Rich, Ernie Ball Music Man and Jackson guitars. They cover a lot of ground in the metal spaces but also make models suited to more vintage tones.

Who uses humbucker pickups?

B.B. King, Jimmy Page, Slash, Eddie Van Halen, Angus Young, Prince, James Hetfield and so many other huge names in contemporary music have pioneered the humbucker sound. Humbuckers are also the main source of heat for metal bands: ceramic magnets produce far more output than even the hottest alnico magnets and get you those chunky sounds you’ll find from the likes of Slipknot and other metal bands of the late nineties/early noughties era. More modern subgenres sometimes roll back on the pure output in favour of clarity from alnico V.

Mini humbuckers are a narrower version of the original design invented by Epiphone. These lend their sound to a more articulate, brighter palette. Most often found on Firebird models, players like Johnny Winter, Scott Gorham, Neil Young and Pete Townshend have all favoured the mini powerhouse at some points in their careers.

Popular Humbucker Pickup Guitars

Squier Sonic Stratocaster HSS Electric Guitar in Black

£169.00

Jackson JS11 Dinky in Black with Amaranth Fretboard

£169.00

Squier Classic Vibe Duo-Sonic HS Electric Guitar in Lake Placid Blue

£379.00

Gretsch G5230T Electromatic Sparkle Jet FT Bigsby Guitar In Gold Sparkle, Laurel Board

£549.00

Epiphone Inspired by Gibson ES-335 Semi-Hollow Electric Guitar in Cherry

£549.00

Fender Limited Edition Player II Advanced Stratocaster Hardtail HSS In Satin Daphne Blue

£999.00

Gretsch G5422TG Electromatic Classic Hollow Body Double-Cut with Bigsby in Snowcrest White

£949.00

Gibson Les Paul Modern Studio Electric Guitar in Smokehouse Satin

£1,599.00

Gibson SG Standard '61 in Vintage Cherry

£1,699.00

Ibanez RG5320R-CSW Prestige Electric Guitar in Cosmic Shadow

£1,999.00

Gibson Les Paul Standard '50s in Heritage Cherry Sunburst

£2,499.00

P90 Pickups

Technically P90s are not its own category of pickup but more of a specialised design philosophy within the broad church of single-coils. Designed by Gibson, they were made to be the go-to pickup for all their guitars, however the introduction of the humbucker cut that plan short. The original Gibson Gold Top Les Pauls and early SGs they are most often associated with are highly sought after instruments.

How P90 pickups are made

P90s have a wider and shorter bobbin than the average single-coil pickup, meaning that the wire is wrapped closer to the poles. They’re not humbuckers because they only contain the one coil, so you’ll still find they hum like a single-coil. Other than that, they’re sometimes called either soap bar or dog ear pickups in reference to the yellow case and triangular ends of the casing.

What do P90 pickups sound like?

The P90 sits in a tonal range somewhere between the classic single-coil and the humbucker. They’re bright, clear and raspy; not quite as “clacky” as a traditional single-coil and marginally grittier, but not as controlled and direct as the classic humbucker. They’re great for rock, jazz, country and blues.

Who uses P90 pickups?

P90s have a varied history in popular music. Players like Chet Atkins, Freddie King, Tony Iommi, Frank Zappa all experimented with the nuanced P90 tone. They lost a lot of popularity during the sixties but they came back into fashion during the punk movement as their punchy potential suited the rawer style to a tee. They were often utilised in the more affordable Les Paul Junior, which met that punk aesthetic. Johnny Thunders, Mick Jones and Mike Ness got the most out of the P90s in this era, and later Billie Joe Armstrong of Green Day and Jim Adkins from Jimmy Eat World, who favoured more organic guitar tones to the processed general trends in the late nineties.

Gretsch G5210 P90 Electromatic Jet Two 90 Single Cut Electric Guitar in Cadillac Green

£499.00

Epiphone Original Casino Hollowbody Electric Guitar in Vintage Sunburst

£619.00

Gretsch G5210T P90 Electromatic Jet Two 90 Electric Guitar in Amethyst with Bigsby

£569.00

Yamaha Revstar Standard RSS02T Electric Guitar in Sunset Burst

£649.00

Fender Jim Adkins Signature JA-90 Telecaster Thinline In White

£999.00

Gibson SG Special Electric Guitar in Ebony

£1,299.00

Gibson Les Paul Standard '50s P90 Gold Top

£2,499.00

Heritage Standard II Collection H-150 P90 Electric Guitar in Midnight Blue

£2,199.00

What is the best guitar pickup?

Of course, there is no clear winner with pickups, as it all comes down to the style of music you play and your unique tone and voicing on the instrument. There are also a thousand different pickup designs all with different EQ curves and output. You’ll also find a lot of guitars mix and match their pickups: a humbucker and two single-coils is a common configuration and you might come across the odd humbucker and P90 combo. But with this general guide, you’ll now be able to identify the broader qualities associated the single-coil, humbucker and P90.

As a rule of thumb:

• Single-coil pickups are best for bright, crisp tones with lots of clarity. They add dynamics to cleans and sound light and agile with a moderate amount of gain. You really can use them for any type of music.
• Humbuckers sound big, warm and punchy depending on the alnico magnet on both clean and overdriven settings, and they provide a more precise frequency selection. Of the three pickup types here, these best handle high distortion. They’re not ideal for jangly cleans, but work well when you want a focused, hum-free full tone.
• P90s are a little more nuanced. They’re gritty and articulate, and have more rounded high frequencies than standard single-coils. They are a nice change-up for different sonic characteristics and will serve you well across all types of music, bar high gain.

If you enjoyed reading this, check out more of our Labs articles!

Shop All Guitar Pickups

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]]> https://blog.andertons.co.uk/labs/single-coil-vs-p90-vs-humbucker-pickups/feed 0 https://blog.andertons.co.uk/labs/positive-grid-reactor-vs-boss-katana https://blog.andertons.co.uk/labs/positive-grid-reactor-vs-boss-katana#respond Tue, 02 Jun 2026 07:00:00 +0000 https://blog.andertons.co.uk/?p=14483

Boss Katana amps have dominated the digital guitar amplifier market for almost a decade now, and for good reason. They sound killer, they’re super versatile, packed with effects and plenty affordable. Plus, they’re loud enough to gig with and a doddle to use. And with the latest third-gen models, you get even more tones, modern […]

The post Positive Grid Reactor vs. Boss Katana Gen 3: which amp should you buy? appeared first on Andertons Blog.

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Boss Katana amps have dominated the digital guitar amplifier market for almost a decade now, and for good reason. They sound killer, they’re super versatile, packed with effects and plenty affordable. Plus, they’re loud enough to gig with and a doddle to use. And with the latest third-gen models, you get even more tones, modern USB-C connectivity, built-in impulse response tech and loads of other great features geared towards today’s players.

So, it’s going to take something pretty special to knock the mighty Katana off its perch. The new Positive Grid Reactor amps range, though, might just be up to the task. Powered by a sound engine called ‘Amp Intelligence’, these amplifiers are designed to deliver tone the way you imagine it — quite literally. You can build a complete signal chain in seconds just by describing a sound, uploading a photo or playing a reference clip via the companion app. It’s seriously smart stuff.

If you’re in the market for a new amp, you’ve come to the right place. That’s because we’ve put the Reactor up against the Katana to help you decide which one’s right for you. To keep things fair, we’ve focused on the 50W and 100W combos from each range, as the Reactor lineup isn’t quite as extensive as the Katana series (at least not yet).

Positive Grid Reactor vs. Boss Katana: specs compared

Before we dive into this Positive Grid Reactor review and its showdown with the Boss Katana, let’s kick things off with a quick comparison table to see how they stack up on paper:

Specifications	Positive Grid Reactor 50	Positive Grid Reactor 100	Boss Katana-50 Gen 3	Boss Katana-100 Gen 3
Power amp rating	50W	100W	50W	100W
Power control	50W, 25W, 1W	100W, 25W, 1W	50W, 25W, 0.5W	100W, 25W, 0.5W
Speaker	12" custom	12" custom	12" custom	12" custom
Sound engine	Amp Intelligence	Amp Intelligence	Tube Logic	Tube Logic
Amp types	6 (Clean, Warm, Grit, Crunch, Hi-Gain, Extreme), 24 factory amps	6 (Clean, Warm, Grit, Crunch, Hi-Gain, Extreme), 24 factory amps	6 (Acoustic, Clean, Pushed, Crunch, Lead, Brown), 12 via Variation button	6 (Acoustic, Clean, Pushed, Crunch, Lead, Brown), 12 via Variation button
Effects blocks	6	6	5	5
Total effects	27	27	60+	60+
Simultaneous effects	8 (Gate, Wah/Volume, Compressor, Overdrive, Mod, Delay, EQ, Reverb)	8 (Gate, Wah/Volume, Compressor, Overdrive, Mod, Delay, EQ, Reverb)	5 (Booster, Mod, FX, Delay, Reverb)	5 (Booster, Mod, FX, Delay, Reverb)
FX loop	Yes	Yes	No	Yes
Onboard presets	8	8	4	8
Footswitchable	Yes	Yes	Yes	Yes
Built-in tuner	Yes	Yes	No	No
Power amp in	Yes	Yes	Yes	Yes
MIDI in	Yes	Yes	No	No
USB audio	Yes (via USB-C port)	Yes (via USB-C port)	Yes (via USB-C port)	Yes (via USB-C port)
Line out	Yes	Yes	No	Yes
Cab simulation	Yes	Yes	Yes	Yes
Headphone out	Yes	Yes	Yes	Yes
Companion app	Positive Grid Reactor app	Positive Grid Reactor app	Boss Tone Studio app	Boss Tone Studio app
Bluetooth audio	Yes (built-in Bluetooth 5.0)	Yes (built-in Bluetooth 5.0)	Yes (requires optional adaptor)	Yes (requires optional adaptor)
Wi-Fi + OTA updates	Yes	Yes	No	No
Dimensions	18.11 x 9.45 x 16.46 inches (460 x 240 x 418 mm)	20.87 x 9.88 x 18.5 inches (530 x 251 x 470 mm)	18.56 x 9.38 x 15.69 inches (470 x 238 x 398 mm)	20.88 x 9.81 x 17.5 inches (530 x 248 x 484 mm)
Weight	10.7 kg (23.59 lb)	13.9 kg (30.64 lb)	11.6 kg (25.10 lb)	14.8 kg (32.11 lb)

Price and availability

The Boss Katana Gen 3 amp range landed in May 2024. And at the time of writing, you can pick up the Katana-50 Gen 3 for £269 and the Katana-100 Gen 3 for £399. The Positive Grid Reactor 50 and Reactor 100 arrived on 2 June 2026, priced at £299 and £379 respectively.

In other words, they’re very close in price. That means your decision should more come down to features and tones rather than cost, which is exactly what we’re diving into next…

Onboard controls and presets

The beauty of the Boss Katana is just how easy it is to use and how quickly you can dial in a great sound. That’s a big part of why it’s become a modern classic, and right out of the box, crafting a killer tone is as simple as working your way from left to right across the top panel.

First, you choose from six amp characters that range from a glassy clean to a balls-out, EVH-inspired “brown” sound. Hit the Variation button just above the amp selector for a slightly different flavour of each, then dial in your gain, tweak your EQ and add some cool effects from the five onboard blocks — whether that’s a slapback delay or a thick ‘n’ chewy chorus (or both, or all five blocks at once). You can also switch between full power (ideal for gigs) and lower wattages for home practice.

The Positive Grid Reactor’s top panel is laid out in a very similar way. There are six amp categories that cover a comparable range of voices, but instead of a variation button, you get two switches labelled Push/Smooth and Heat. These let you shape the feel and response of the amp by adding bite, mellowing things out or shifting from a tight attack to something looser and more elastic under the fingers.

Positive Grid’s Reactor amp also has an FX section with six types that can all be run simultaneously, which is one more than the Katana. And it features a power selector too, although in this case, it’s located on the rear panel.

When it comes to saving your tones, the Katana-50 Gen 3 provides four preset slots (two banks of two), while the 100-watt model doubles that to eight (two banks of four). The Reactor 50 and 100 both offer eight presets in total, split across two banks.

Companion apps and connectivity

Even without firing up their companion apps, it’s clear that both the Boss Katana Gen 3 and Positive Grid Reactor have a huge range of tones on tap from the onboard controls alone. Basically, you can get a lot out of them without ever needing to dive deeper. But to unlock their full potential, it’s well worth downloading the apps.

Boss Tone Studio app

For the Katana Gen 3, Boss Tone Studio is the key. You can install it on your computer and connect via USB, or use the mobile version and go wireless over Bluetooth. However, to get Bluetooth up and running, you’ll need to add the optional Boss BT-Dual Bluetooth audio MIDI adaptor.

Once you’re in, Boss Tone Studio lets you play with over 60 effects, full signal chain reordering and detailed parameters that aren’t available from the amp itself. You can also organise custom setups for gigs, tweak cab and mic simulations for recording, plus access Boss Tone Exchange. This is where you can download pro-created presets and share your own with the wider Katana community.

Positive Grid Reactor app

The Reactor app is what really transforms Positive Grid’s latest amp into a game-changing bit of kit. After downloading it onto your phone, it’ll pair with your amp automatically over Bluetooth with no adaptor needed. This is a big plus for the Reactor amp, as it means you won’t have to fork out an extra 40-odd quid for an accessory.

Once connected, the app’s main Tone Page acts as a drag-and-drop workspace for your current sound. You can reorder your chain, expand up to eight effects blocks and manage an unlimited number of presets, which can be assigned to the amp or uploaded to ToneCloud — Positive Grid’s own sharing platform.

But the real magic happens in the Amp Intelligence-powered Creator Hub, which lets you craft tones from scratch in three clever ways:

• Describe it: Prompt with voice or text to describe a sound, artist or vibe you want and let the amp build a signal chain for you.
• Use a photo: Snap a photo of an amp or pedalboard and the Positive Grid Reactor app will analyse the image to turn it into a playable rig.
• Use a song: Upload or record audio and Reactor recreates the guitar sound to match with four preset options generated.

There’s also a ‘Fix My Tone’ feature, which lets you refine your sound using simple, natural language. Just ask for things like “more warmth”, “less gain” or “add some space”, and the Reactor will adjust your tone accordingly.

Sound engines: Positive Grid Amp Intelligence vs. Boss Tube Logic

The Reactor’s tone-building tech is incredibly smart, but how does it actually sound? Well, Positive Grid’s Amp Intelligence engine has analysed over 200 amp designs at circuit level, from gain stages and transformers to bias points and harmonic response. In simple terms, it’s learned what makes the world’s best electric guitar amps tick, then uses that knowledge to craft tones that behave like the real thing. That means the sounds feel dynamic, responsive and alive, reacting naturally to how you play.

Boss takes a slightly different approach with its proprietary Tube Logic tech. It recreates the complex behaviour of valve amp circuitry at a component level, with a focus on feel just as much as tone. It captures things like natural compression, sag and changing harmonics as you dig in or back off. Basically, all the nuances that make valve amps so satisfying to play!

Crucially, the Katana pairs this digital modelling with an analogue Class AB power amp stage, which interacts with the speaker in a more traditional way. The idea is to give you a playing experience that’s as close as possible to a real valve amp, even though it’s a solid-state design underneath.

Rear panels: inputs and outputs

That’s most of the under-the-hood stuff covered. But what about hooking these amps up to other gear, like your computer for recording or a PA when playing live?

Thankfully, Positive Grid and Boss have thought of pretty much everything here. The 50W and 100W versions of the Reactor and Katana Gen 3 combos all feature USB-C connectivity, so you can plug straight into your computer and record into your DAW with no need for an interface to act as your go-between. They also include headphone outputs, which means you can have a late-night jam sesh without keeping the rest of the house up.

When it comes to performing live, you’re in safe hands too. The Positive Grid Reactor 50 and 100 both have line outputs with cab simulation, making life easier for the sound engineer at your next gig. The Boss Katana-100 Gen 3 also includes a line out, although the smaller 50W model doesn’t. That said, you can still use its headphone output with a standard 1/4″ cable to connect to front of house.

While all these amps come with awesome built-in effects, you can still incorporate your own pedals (particularly modulation, delay or reverb) if you want to, with most of them featuring FX loops. The only exception is, once again, the Katana-50 Gen 3.

And if you’ve got a more advanced setup, the Reactor also offers MIDI connectivity. This allows you to control parameters and switch presets via something like a pedal switcher. Alternatively, you can opt for the dedicated Reactor Control footswitch, while the Katana range is compatible with a variety of Boss footswitches.

Which one should you buy?

If you want something familiar, reliable and gig-ready straight out of the box, the Boss Katana Gen 3 is still incredibly hard to beat. It’s easy to use, sounds great with minimal effort, and its Tube Logic design delivers an amp-like feel that’s kept players coming back time and time again. Add in its solid build, proven track record and flexible power options, and it’s clear to see why the Katana remains such a popular choice for everyone from beginners to seasoned players.

The Positive Grid Reactor amp, on the other hand, is all about pushing boundaries. Its doesn’t rely on fixed, preloaded amp models, so if you like the idea of building tones in a more creative way (whether that’s describing a sound, analysing a photo or matching a song), it offers something genuinely fresh. Its Amp Intelligence engine, cool app integration and expanded preset capabilities make it a super powerful tool, especially if you’re a player who enjoys experimenting or wants near-limitless tonal possibilities at their fingertips.

Ultimately, it comes down to how you approach your sound. If you prefer a straightforward, tried-and-tested amp that just works, go for the Katana. If you’re excited by cutting-edge tech and a more interactive way of shaping your sound, the Reactor is a compelling new contender. Either way, you’re getting a hugely capable amp that can cover everything from bedroom practice to the stage.

Positive Grid Reactor and Boss Katana amps on Andertons TV

We’ve gone into plenty of detail on these amps and their features, but the most important thing is how they sound! So, who better to put them through their paces than Lee, Pete and the Andertons crew?

Want to learn more?

If you’re into the latest gear gossip, our gear news page is well worth a bookmark. For proper nerdy deep dives, handy how‑to guides and cool product comparisons, head over to our learn and labs sections instead.

The post Positive Grid Reactor vs. Boss Katana Gen 3: which amp should you buy? appeared first on Andertons Blog.

]]> https://blog.andertons.co.uk/labs/positive-grid-reactor-vs-boss-katana/feed 0 https://blog.andertons.co.uk/labs/classical-guitar-vs-acoustic-whats-the-difference https://blog.andertons.co.uk/labs/classical-guitar-vs-acoustic-whats-the-difference#respond Wed, 27 May 2026 15:00:21 +0000 https://blog.andertons.co.uk/?p=14461

One of the most frequently asked questions by new customers, as well as one that I experienced at least once a week when I used to work as a guitar teacher, was what guitar should I get, a classical or an acoustic? In this blog, I take a look at the key differences and try […]

The post Classical Guitar vs. Acoustic: What’s the Difference? appeared first on Andertons Blog.

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One of the most frequently asked questions by new customers, as well as one that I experienced at least once a week when I used to work as a guitar teacher, was what guitar should I get, a classical or an acoustic?

In this blog, I take a look at the key differences and try to answer some of the questions you ask when first thinking about diving headfirst into the alluring world of guitar.

What is the difference between a classical guitar and a regular guitar?

When most people say “acoustic” or “regular” guitar, they are often referring to a steel-string acoustic guitar. This is the acoustic guitar you’ve heard on countless songs from many of the most well-known artists, from Bob Dylan to The Beatles, Pink Floyd, The Rolling Stones and Led Zeppelin, as well as modern artists such as Radiohead, Oasis, Coldplay, Taylor Swift and Ed Sheeran.

Although sometimes grouped into two categories, they are actually just two types of acoustic guitars. The main difference between the two is that one uses steel (metal) strings while the other uses nylon (plastic) strings.

There are a number of other, mainly constructional differences which I will get into a little later, but on the whole, they are very similar. Both have 6 strings and are generally tuned to ‘standard’ tuning (EADGBE), both feature a scale length (string length between the saddle and nut) of around 25.5”, and both usually have between 18-20 frets, depending on the specific model.

In short, anything you can play on a steel-string guitar, you can also play on a classical guitar and vice versa.

So, what are the differences?

Really, the key differences are the sound and the feel. The nylon strings on a classical guitar produce a much mellower tone, whereas steel strings are often loud, bright and present. The nylon strings can also feel softer to play.

Other key differences include…

• The Nut Width: Classical guitars generally come with a much wider 52mm nut width. This is because the modern classical guitar was developed in Spain in the late 19^th century and was primarily designed to accommodate the playing styles and techniques required for the classical musical styles of the time. Modern steel-string acoustics typically feature a much narrower 43mm nut width, which is generally better suited for more contemporary playing styles such as chordal strumming and flat-picking.
• Lighter Construction: Nylon strings produce a much lower string tension compared to those found on a steel-string. Therefore, a classical guitar can typically be built with far less internal reinforcement. A steel-strung guitar will usually have an adjustable truss rod built into the neck, which is designed to help keep the neck straight under such high amounts of strain. Classical guitars generally don’t need this.
• Internal Bracing Pattern: One of the biggest differences between a classical and a steel-string acoustic guitar is the internal bracing pattern. This is a series of wooden braces which a) support the guitar’s top from the enormous pressures of the strings at pitch, and b) tunes the top to specifically resonate and move in a way that enriches and emphasises the vibrations of the strings. Due to both having such different tones, the bracing patterns are often significantly different.
• Bridge and Tuners: Owing to the differing designs of the strings, particularly how they connect to the guitar at each end, the bridge and tuners differ slightly. On a steel-string acoustic, the strings usually feature a ‘ball end’, which is fed into the guitar’s body and held in place by a bridge pin. Because of the lighter tension and increased flexibility of a nylon string, classical strings are simply tied into place at the bridge. Also, classical guitars typically feature a slotted headstock with side-mounted (horizontal) tuners.
• The sound: Throughout this blog, I have mentioned a few times how nylon-strung classical guitars sound vastly different to steel-strung acoustic guitars. As previously described, in the most simplest terms, classical guitars typically sound warm and mellow, whereas steel-strung guitars sound bright and percussive.

Digging a little deeper, trying not to get too technical, when you hear an individual note from a musical instrument, you actually hear multiple, which sort of mould together to form one note. These are separated into the ‘fundamental’ and the ‘overtones’.

The Fundamental is the main note (pitch) of the sound and is the base sound you hear. The overtones are a whole series of higher notes and frequencies that ring out in combination with the fundamental. It’s these overtones that help form the overall timbre of the instrument. Classical guitars are designed and built to specifically capture the sound of the fundamental note, causing the sound to be more focused and warmer due to the lack of higher overtones. Steel-string guitars are often built to allow the overtones to ring more freely, creating a much brighter, resonant tone.  

Is classical guitar easier than acoustic guitar?

Yes and no. As previously mentioned, nylon strings are softer and due to their reduced string tension, playing a classical guitar can feel slightly more forgiving on your hands and fingers. This is particularly useful when you first start playing, and you have not yet developed tough calluses on your fingertips. This makes classical guitars a great tool for getting the basics down.

With that said, if your intention is to use a nylon guitar for its initial purpose – i.e., classical or Spanish music, then classical guitar certainly is not any easier than a steel-string acoustic guitar. Many of the techniques and chord voicings required for these playing styles require years of practise and dedication to master. All types of guitar playing, whether it’s acoustic, classical, electric, jazz or anything else, have techniques which are suited for beginners and others for more advance player. It’s simply a case of finding the style you want to dedicate your time towards and putting in the time.

Do you have to learn on an acoustic before progressing to an electric guitar?

This was another question I got commonly asked when teaching guitar. The answer, put simply, is no! You do not need to start your guitar journey on an acoustic if your ambition is to play an electric guitar. Yes, as stated above, classical acoustic guitars can be a bit more forgiving for the fingers when compared to a steel-string acoustic or electric guitar; however, if you have no interest in the sound of a classical guitar, then ultimately I would recommend just jumping straight into electric. Learning any new skill is hard, and in reality, there will be a period of time where you might not sound as good as you hoped, and you may feel disheartened and contemplate giving up. Trust me, we’ve all been there! You don’t want to add to this by playing an instrument that you don’t actually like the sound of. If you want to play an electric, then get an electric!

Want to learn more?

If you love staying up to date with the latest kit chatter, our gear news page is one to bookmark. For full-on nerdy deep dives and practical how‑to guides, check out the learn section.

The post Classical Guitar vs. Acoustic: What’s the Difference? appeared first on Andertons Blog.

]]> https://blog.andertons.co.uk/labs/classical-guitar-vs-acoustic-whats-the-difference/feed 0 https://blog.andertons.co.uk/labs/acoustic-piezo-vs-soundhole-pickups-whats-the-difference https://blog.andertons.co.uk/labs/acoustic-piezo-vs-soundhole-pickups-whats-the-difference#respond Fri, 19 Dec 2025 10:00:40 +0000 https://blog.andertons.co.uk/?p=3072

We all know how nice an acoustic guitar sounds when it’s strummed. Whether it’s round the campfire or on the sofa, it’s pretty darn soothing. But what about when you plug one in? In this article, we explore the main difference between the two most common acoustic pickup types: piezo and soundhole. Most people would […]

The post Acoustic Piezo vs. Soundhole Pickups – What’s the Difference? appeared first on Andertons Blog.

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We all know how nice an acoustic guitar sounds when it’s strummed. Whether it’s round the campfire or on the sofa, it’s pretty darn soothing. But what about when you plug one in?

In this article, we explore the main difference between the two most common acoustic pickup types: piezo and soundhole.

Most people would be able to hear the difference between piezo and soundhole pickups if they were played back-to-back. But we don’t all have that luxury – that’s why we thought we’d dig a little deeper and do the explaining!

Piezo Pickups

Piezo is short for piezoelectric, referring to the generation of a voltage by detecting variations in pressure (in this case, vibration). Unlike ‘traditional’ pickups or microphones, piezo systems uniquely detect vibrations from the wood of your guitar to generate sound, usually from the saddle. The material that detects these changes in pressure consists of tiny piezoelectric crystals – cool huh?