Nobody wants to witness that awkward flash of disappointment when their Christmas gift misses the mark. “Thanks, it’s… great!” they’ll say behind a forced smile, which really means, “I would have preferred the cash instead.” Secretly, we’ve all been there.

Guitarists want something useful to make music with, not a throwaway novelty item. But don’t fret, we’ve done the hard work for you by rounding up the worst, tackiest guitar-related prezzies you should avoid at all costs, followed by some genuinely great guitar accessories and other gifts you can grab instead for around the same price.

Don’t buy: a guitar pick puncher

Do buy: actual guitar picks

Guitarists lose plectrums all the time. And when their stash starts running low, they’re far more likely to go rummaging down the back of the sofa than reach for a gimmicky pick puncher. Honestly, the plectrums you make from old loyalty cards with one of these feel awful and sound even worse!

You’re much better off buying a pack of tried-and-tested guitar picks you know they’ll use, rather than this flimsy excuse for a Christmas present. Most decent plectrums have the brand and thickness printed on them, so just take a quick peek at what they already use and you’ll have a pretty good idea of what to buy.

Pick & mix

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Don’t buy: a guitar toilet handle

Do buy: a mini guitar pedal

Yup, for the price of a tacky guitar-shaped toilet handle, you could get the guitarist in your life a wicked new guitar pedal. That’s something that’s actually fun, gives them a fresh new sound and, most importantly, helps them make music. There’s a busted flush joke in here somewhere…

There’s a surprising amount of choice too. Mini guitar pedals from the likes of Tone City and Landlord FX are a great shout, with plenty of options available for under £50 a pop. They take up hardly any space, are great fun to experiment with and will get far more use than a novelty toilet handle ever will.

Stocking-friendly stompboxes

Shop all mini guitar pedals

Don’t buy: a guitar spatula

Do buy: patch cables

Unless they’re a keen cook (and let’s face it, they probably wouldn’t use a guitar-shaped spatula anyway), a guitarist is far more likely to spend their free time in front of an amp and pedalboard than in the kitchen.

So, flip the spatula and get them some patch cables for connecting their guitar pedals together instead. Guitarists will always appreciate spare cables, because sooner or later, the old ones are bound to give up the ghost. And if they’re gigging on the reg, backups are practically essential. Most players are also likely to add a couple of new guitar pedals to their setup every year. So, even if they don’t need the cables right away, they’ll almost certainly come in handy before long.

Cables for Crimbo

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Don’t buy: a guitar-shaped backpack

Do buy: a real acoustic guitar

On the one hand, you could buy them a leather bag shaped like a guitar, which looks pretty daft. On the other, you could buy ‘em a brand-new acoustic guitar that’ll provide years of musical enjoyment. The choice is pretty obvious, right?

Now, acoustic guitars from brands like Alvarez and EastCoast don’t exactly fall into stocking filler territory. But they’re brilliant value for money, especially if you’re looking to spoil a budding guitarist this Christmas. You can even pick up a beginner-friendly model for under £100, which really puts the price of that novelty backpack into perspective!

Strum up some cheer

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Don’t buy: a guitar tie

Do buy: a guitar strap

The novelty of a guitar tie wears off long before you’ve had a chance to parade it around the office Christmas party. And let’s be honest, that’s probably the only occasion you’d get away with wearing one.

Rather than gifting this fashion crime, treat your loved one to a guitar strap that’s much cooler looking and far more useful. It’ll help them play comfortably while standing up and might even coax them off the couch this Christmas. We stock loads of guitar straps in different colours, patterns and materials, so we’re sure you’ll find one to match their style.

Wrap up a new strap

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Don’t buy: a guitar-shaped lunchbox

Do buy: a gig bag

If you’re lucky enough to have your other half make your lunches, you might not feel quite so smug when you have to carry your sarnies into the office in one of these. It’s an awkward shape. You can’t fit it in the dishwasher. And it just looks ridiculous.

Instead, why not gift them a gig bag? That way, they can protect their beloved instrument from the elements when they’re on the move. Starting from under £20, our gig bags help keep guitars clean, safe and easy to transport. Plus, they’re super handy for storing picks, guitar cables and other bits and bobs.

Bag a better gift!

Shop all guitar gig bags

Crackers for more Christmas content?

Head over to our website and check out our dedicated Christmas page for even more gift ideas and shopping advice for musicians.

Our Christmas gift guide for electric guitarists is packed with recommendations that’ll strike the right chord, from compact guitar headphone amps to essential guitar care products. Or, if you’re shopping on a tighter budget, take a look at our blog featuring the best affordable Christmas gifts for guitarists instead.

The post What NOT to buy guitarists for Christmas (2026) appeared first on Andertons Blog.

You’ve already seen our top 5 epic gaming and guitar collabs, which included a monstrous crossover in the form of the Jackson Diablo IV Kelly. But with Halloween creeping up, we thought it’d be fun to compile a list of axes specifically designed to shiver spines, rattle nerves and raise hell.

These blood-curdling electric guitars aren’t for the faint of heart. But if you’re feeling brave enough, we dare you to take a peek below…

5. B.C. Rich x Stranger Things Warlock

In 2022, the hit Netflix sci-fi horror drama Stranger Things returned for its fourth season and took a much darker turn. The kids had grown up, main antagonist Vecna finally emerged, and by the end of the series, a huge “earthquake” ripped through Hawkins.

To put it mildly, a lot of s*** went down. But most people remember Stranger Things 4 for one reason: Eddie Munson. Portrayed by Joseph Quinn, this (spoiler alert) short-lived character was a D&D-obsessed, guitar-playing metalhead who brought a lot of heart and levity to an otherwise bleak, terrifying series.

His tragic death in the season finale almost broke the internet. But boy, did he go out with a bang. Brandishing a crackle-finished B.C. Rich Warlock atop his trailer in the Upside Down, Eddie shredded through Metallica’s “Master of Puppets” to lure evil bats away from his friends so they could escape, even if it ultimately cost him his life. If only he’d made use of the guitar’s sharp points and swung at them instead.

To honour his selfless sacrifice, Netflix and B.C. Rich joined forces to launch a limited-edition replica guitar — just like the one wielded by the Hellfire Club’s fearless leader. RIP, Eddie.

Shop all B.C. Rich guitars

4. Ibanez H.R. Giger Series

In the mid-2000s, Ibanez launched a line of guitars wrapped in striking biomechanical graphics by the late H.R. Giger. Never heard of him? Let’s just say the Xenomorph in Alien wouldn’t be nearly as horrifying without his iconic artwork. It inspired the creature’s nightmarish appearance, and Giger himself also had a hand in the film’s set design.

Several models made up the collection, including Ibanez’s iconic RG, S Series, Iceman and SR Bass shapes. But they didn’t make loads of ‘em. Only a limited number were produced before the range disappeared into the void after 2008.

As a huge fan of the Alien franchise, I get serious FOMO every time one of these models randomly pops up on my Insta feed. I’m old enough to remember when they were available, but as a broke teenager, owning one was completely out of reach.

So naturally, I’m crossing everything for Ibanez to bring this wicked collab back. Second-hand examples are getting pretty spenny. And you’ve gotta stay frosty too, because tracking one down feels a bit like a bug hunt. Personally, I reckon the Alpha Series would look particularly menacing dressed in Giger’s graphics (wink-wink, Ibanez).

Shop all Ibanez guitars

3. Dean Doyle Annihilator X

C’mon, if your stage name is Doyle Wolfgang Von Frankenstein, you’re practically guaranteed a spot on a list like this. Best known as the guitarist in horror punk legends the Misfits, Doyle has spent decades looking like he stepped straight out of a classic monster movie.

And as you’d expect, his signature Dean guitar is anything but ordinary. In fact, it looks like something Lucius Fox would’ve built for Batman if he’d aspired to become a guitar hero instead.

Every inch of the Dean Annihilator X is sharp, from its insanely bevelled body to the custom bat inlays stalking their way up the fingerboard. And with 27 frets, a Floyd Rose trem and a lightning-fast neck profile, it’s built for players who like their riffs heavy and their solos downright terrifying.

It’s certainly not the sort of guitar you’d bring to a polite jazz gig. But if your idea of a good night involves horror films, face paint and enough gain to raise the dead, the Annihilator X might just be your perfect weapon of choice.

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2. ESP USA Eclipse Nosferatu

ESP are no strangers to weird and wacky crossovers. They’ve done a few over the years, with the Stream-Miku-Custom signature model for virtual idol Hatsune Miku springing to mind. Plus, a range of Sonic the Hedgehog guitars spec’d to play just as fast as the blue blur can sprint. But an axe celebrating the centenary of F.W. Murnau’s classic silent horror, Nosferatu? Back in 2022, they made it happen.

This limited-run, USA custom shop Eclipse featured detailed pyrographic art from Dumitru “Dino” Muradian, with Count Orlok’s vampiric face quite literally burned into the guitar’s top. It also came equipped with hand-wound Seymour Duncan Custom Shop Black Winter pickups (very apt), stainless-steel frets, Sperzel Trim-Lok locking tuners and a beautiful neck carved to ESP’s Thin ‘U’ profile.

The precise pyrographic artwork was all done by hand and, as you can imagine, probably took a good while. That explains why only 15 of these were ever made. You’d have had to be as rich as the count to afford one too, with the ESP Eclipse Nosferatu carrying a monstrous £12,000 price tag at launch.

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1. Schecter Al Jourgensen Triton

Nope, it’s not a broomstick. But it bloody well looks like a witch could hop on this thing and try to jumpstart it. All I know is that it’s definitely cursed…

Nearly a decade ago, Schecter unleashed the not-so-subtle Triton signature guitar for Ministry frontman Al Jourgensen. With a body made up of three pikes, it looked like a Flying V that had sprouted an extra point straight down the middle.

Beauty is in the eye of the beholder, as they say, and maybe Al genuinely loved the design. But my theory is that he got fed up with stage invaders and wanted a weapon-like guitar to keep them at bay.

Needless to say, it didn’t stick around for long. And these days, you’d probably have more luck finding the Blair Witch than one of these in the wild.

Shop all Schecter guitars

Dying to know more?

Don’t ghost us just yet! The scariest guitars on our list might have you spooked, but there are plenty more treats waiting in our learn section — from handy how-to guides to expert gear advice. And if you fancy digging up the latest guitar and music tech gossip, our gear news page is well worth a haunt.

Monstrous machines

Why Add Samples to an Acoustic Drum Kit?

Acoustic drums are one of the most expressive instruments you can play. There is something uniquely satisfying about sitting behind a real kit, feeling the impact of every hit and being able to shape a performance simply by changing how hard, where and when you play.

But what happens when the sound in your head isn’t something an acoustic drum can produce?
Modern music is full of sounds that sit somewhere between acoustic and electronic. A huge processed kick might be layered underneath a real drum. A snare might have an electronic clap hiding underneath it. A drummer might need to reproduce a sound from a record, trigger an 808 or even play a section of a famous drum break.

This is where hybrid drumming comes in. By combining an acoustic kit with triggers, electronic pads and a drum module or sampler, you can keep the feel of playing acoustic drums while opening up a completely new range of sounds and possibilities, and importantly, it isn’t just about making your drums sound bigger. It can fundamentally change what you are capable of playing.

What is Hybrid Drumming?

Hybrid drumming is essentially the combination of acoustic and electronic elements within the same drum setup.

That could be as simple as putting a trigger on your kick drum and using it to play an additional sample whenever you hit the drum. It could also be a much more elaborate setup involving multiple triggers, electronic pads, a sample pad, a V-Drums module and a computer running Ableton Live.

The principle is the same: your physical performance controls electronic sounds.

Hit your acoustic snare and you could hear the acoustic snare through the microphones, an electronic snare sample from your module, or both at the same time. This means electronics don’t necessarily replace your acoustic drums. Instead, they can sit alongside them.

Why Add Samples to Your Acoustic Kit?

There are plenty of reasons to introduce samples into an acoustic setup, but perhaps the biggest is simple: you can make sounds that wouldn’t otherwise be possible with your kit.

Make Your Drums Sound Bigger

One of the most common uses for triggers is layering.

You might love the sound and feel of your acoustic snare but want a little more attack. Or perhaps your kick sounds great in the room but needs more low-end weight when it reaches a large venue. Rather than replacing the acoustic drum, you can trigger a sample at the same time and blend the two sounds together. This can give your engineer far more control over the sound coming through the PA, while still retaining the natural dynamics and character of the acoustic drum.

Simon Kobler of Hillsong UNITED uses this approach with triggers on his acoustic kit, blending kick and snare samples with his acoustic sounds. Kobler has described the aim as creating a richer, more complete sound than he could achieve with a drum and microphone alone. The result doesn’t have to sound electronic. In fact, the audience might not even realise that a sample is being used.

Recreate the Sound of the Record

There’s another reason hybrid setups have become increasingly popular: records aren’t always made using just the instruments you see on stage.

A studio drum sound might contain several layered samples, effects and electronic sounds. If you’re playing those songs live, reproducing the exact production can be difficult with an acoustic kit alone.

Triggers allow you to bring some of those studio sounds onto the stage. That’s exactly what Roger Taylor has done with Queen. Taylor has used a combination of his Tama acoustic kit, V-Drums and samples taken directly from the album recordings, allowing him to trigger original recorded sounds as part of his live performance.

Ben Barter used a similar approach when touring with Lorde. He described using Roland SPD-S units and triggers on his kick and snare to add electronic samples to his acoustic drums, helping the live drums get closer to the sound of the production.

In other words, you aren’t simply playing the song live. You’re bringing some of the recording itself into the performance.

It Doesn’t Have to be a Drum Sound

When you hear the word “drum trigger”, it’s easy to assume that the only thing you can trigger is another drum sound. That’s not the case.

A trigger or electronic pad can be used to play virtually any suitable sample. That could mean:

• 808 kicks and electronic percussion
• Claps and snaps
• Synth hits
• Bass sounds
• Vocal samples
• Sound effects
• Loops
• Atmospheric sounds
• One-shot samples
• Recorded instruments
• Samples taken from your own music

This means a drummer can become another source of electronic instrumentation within the band.

Imagine hitting your floor tom and triggering a huge synth impact. Hit a pad next to your hi-hat to play a vocal sample. Use a kick trigger to bring in an 808 underneath your acoustic kick.

Suddenly, your drum kit isn’t just a collection of drums and cymbals. It’s a performance controller for your entire sound palette.

When a Drum Break Becomes Part of the Performance

One of the best examples of this comes from drum & bass.

Wilkinson’s live setup combines acoustic and electronic drums, with triggers being used to reproduce parts of heavily processed drum breaks. The setup allows drummer Alex Todd to trigger samples of the famous Amen break while still performing the rest of the drum part acoustically.

Why not just put the drum break on a backing track?

Because the drummer would then be playing over the break rather than performing it. Using triggers means the sample responds to the drummer’s playing. The timing, dynamics and interaction remain part of the performance. That distinction is important; a backing track plays a part for you. A trigger lets you play the part yourself.

Taking the Studio on Stage

One of the most interesting examples of hybrid drumming comes from Chase & Status and their live drummer, Andy Gangadeen.

Chase & Status’ music is built around programmed drums, samples and electronic production, so putting an acoustic drummer on stage could seem like an unusual choice. But Gangadeen’s role isn’t simply to play the drum parts from the records. His job is to translate a heavily programmed production into something that can be performed live.

Gangadeen has spent much of his career working with electronic and hybrid setups, using technology to reproduce sounds and tones from studio recordings in a live environment. With Chase & Status, that approach becomes particularly important: as he explains, the challenge is to play what the duo programmed in the studio, but live.

That’s where samples and electronic triggers become more than just an effect.

The acoustic drums provide the physicality, dynamics and human feel of a live drummer, while electronic elements allow Gangadeen to perform sounds that originated inside the production itself. The result sits somewhere between a traditional drum performance and an electronic drum machine, and that’s the real appeal of a hybrid setup.

You don’t have to choose between the precision and possibilities of programmed music and the feel of an acoustic drummer. You can combine the two, for a band like Chase & Status, that means the live show can retain the huge, tightly produced sound of the records while still having a drummer physically performing on stage. Gangadeen becomes part of the production rather than simply playing alongside it.

It’s a great example of how hybrid drumming can bridge the gap between the studio and the stage.

Layering, Replacing and Expanding

There are three useful ways to think about adding samples to an acoustic kit.

Layering

The acoustic drum and sample play together.

• Acoustic kick + 808
• Acoustic snare + electronic snare
• Acoustic snare + clap

This is probably the easiest place to start and one of the most common applications.

Replacing

The acoustic drum triggers an electronic sound instead.

You could still physically play your acoustic kit, but the sound coming through the PA might be a completely different sample.

This can be useful when you need a highly consistent sound from night to night or want to reproduce a very specific studio sound.

Expanding

This is where hybrid drumming becomes a much more creative instrument.

Instead of triggering another drum, your kit can trigger something completely different.

• A tom could trigger a synth hit.
• A pad could trigger a vocal sample.
• A kick could trigger an 808.
• A cymbal pad could trigger an effect.

You’re no longer just enhancing your drum sound. You’re adding new instruments to your setup.

You Don’t Need to Replace Your Kit

One of the biggest misconceptions about electronic drums is that you need to choose between an acoustic kit and a V-Drums setup. You don’t. A hybrid setup can be incredibly simple.

You could start with:

• Acoustic kit → trigger → drum module → PA
• Acoustic kit + trigger → sample pad → PA

From there, you can gradually expand the system with more triggers, additional pads, different modules or even a computer running your own samples. This is part of what makes hybrid drumming so appealing. You can build the setup around the music you’re actually playing.

You don’t need eight pads and a rack full of electronics just because someone else has them.

What Could You Add to Your Kit?

There’s no single “correct” hybrid drum setup. But some genre examples could look like this.

• Rock? You might only need a trigger on the kick and snare to reinforce the acoustic kit.
• Pop? You might want several triggers and pads for electronic percussion, claps and samples from the original production.
• Drum & Bass? You could use triggers to perform sections of a break or trigger heavily processed kick and snare sounds.
• Covers Band? Samples can give you access to sounds from multiple recordings without needing a different acoustic kit for every song.

How Does It Actually Work?

The technology behind all of this is relatively straightforward.

An acoustic trigger detects when you hit a drum and sends that information to a drum module or sampler; you then hear the sound you’ve chosen. It’s no different to using a MIDI keyboard to play different sounds from your computer.

So when you hit your acoustic snare, the signal can travel through the system:

Acoustic Snare → Trigger → Drum Module/Sampler → Sample → PA

Start Small

If you’ve never used triggers or samples before, there’s no reason to build a complicated rig straight away. In fact, starting with one sound can be a great way to understand what hybrid drumming can add to your playing. Try putting a trigger on your kick and layering an electronic kick underneath it, or put one on your snare and experiment with different samples.

You might discover that a subtle layer is all your kit needs. Or you might find yourself wanting to trigger synths, vocal samples and entire drum breaks. Simon Kobler recommends exactly this kind of approach, suggesting that drummers start with one sample on either the kick or snare and become comfortable with it before adding more.

There’s no need to turn your acoustic kit into a spaceship overnight. The Acoustic Kit Isn’t Going Anywhere: hybrid drumming isn’t about making acoustic drums obsolete; it’s about giving drummers more options.

Your Next Hybrid Kit

The physical response of an acoustic kit, the interaction between drummer and instrument and the subtle changes in dynamics are all things that make live drumming exciting; electronics simply give you another layer of control.

Whether you’re using a single kick trigger to reinforce an 808, reproducing samples from your band’s latest record, triggering an Amen break or building an entire electronic performance around your acoustic kit, the idea is the same:

Play the sound you want to hear. Your acoustic kit provides the feel. The samples provide the possibilities, and somewhere between the two is a whole new way to play drums.

The post V-Drums: How To Add Samples To Your Kit appeared first on Andertons Blog.

Studio monitors play a huge role in the recording, mixing and mastering process. From bedroom studios to world-class facilities, you’re bound to see monitors in one form or another. So what is it that sets them apart from their home audio counterparts?

Whether you’re listening through traditional hi-fi speakers, a home cinema system, or one of today’s smart and Bluetooth-enabled speakers, consumer audio is generally designed to make listening enjoyable and convenient. Studio monitors have a different job. They’re designed for critical listening, giving you a clear and accurate representation of your audio so you can hear the details, imperfections and balance of a recording as objectively as possible. Bluetooth can also introduce compression and latency, which can affect both the quality and timing of what you hear. In a studio environment, where small sonic differences can make a big difference to the finished result, that accuracy is essential. Don’t worry – in this article, we’ll dig a little deeper…

Studio Monitors – Why do I need them?

Studio monitors are designed to give you the clearest possible picture of what’s happening in your music. When you’re recording, producing, mixing or mastering, it’s important to hear your audio as accurately as possible rather than through speakers that deliberately colour the sound. A flat, uncoloured response helps you make decisions based on what is actually in the recording, rather than what your speakers are adding or taking away.

This level of detail can reveal subtle problems that might otherwise be masked, from unwanted resonances and background noise to harsh frequencies, muddy low end or an uneven balance between instruments. The more accurately you can hear these details, the more confidently you can shape your mix and make informed production decisions.

That accuracy is also essential when you want your music to translate beyond your own studio. A mix that sounds great on one pair of speakers but falls apart on headphones, in the car or on a domestic system probably isn’t doing its job. Studio monitors give you a reliable reference point, helping you create mixes you can trust and that stand up to professional, industry-standard expectations.

Studio Monitors for Guitarists & Keys Players – Not just for producers!

Studio monitors aren’t just for producers and recording engineers. They’re becoming an increasingly popular choice for guitarists too, particularly those moving away from traditional amplifiers and towards amp simulation. Pair a guitar with an amp sim pedal, modeller or software, and studio monitors can become the ultimate modern practice rig, giving you a detailed and convincing representation of your chosen guitar tone without needing to turn up a full-sized amp.

They’re particularly useful when dialling in studio-grade guitar tones. Because studio monitors are designed to provide a clear, uncoloured response, you can hear your amp and cab simulations much more accurately and build confidence that the tone you’re creating will translate when recorded or played through a larger system. They can also sound great at lower volumes, making them an especially practical choice for home practice.

Keyboard players can benefit in much the same way. Studio monitors make an excellent alternative to a dedicated keyboard amp for home use, offering excellent clarity and detail in a relatively compact package. Their lower noise floor can also make them a more practical choice for quieter environments than some amps or PA systems, while still giving you an accurate and enjoyable representation of your instrument.

Studio monitors vs studio headphones

Studio headphones are an extension of the studio monitor concept. What we mean by this is that they offer a flat, precise response that gives you a more accurate impression of your mix. Unlike many domestic or commercial headphones, which may be tuned to emphasise bass, treble or other parts of the frequency range, studio headphones are designed to give you a more honest representation of what’s actually in your recording.

That doesn’t mean you should choose between studio monitors and headphones, though. The two are best used together, as each gives you a different perspective on your mix. Monitors let you hear how your music interacts with the room and provide a more natural stereo image, while headphones can reveal fine details that might be harder to spot through speakers. Switching between the two can help you identify problems and make sure your mix translates well across different listening environments.

As with Bluetooth speakers, Bluetooth headphones can introduce audio compression and latency, which can affect both what you hear and when you hear it. For critical monitoring, wired studio headphones are therefore generally the safer choice.

Studio speaker versatility

One of the great things about studio monitors is that you don’t need to be making music to get the most out of them. Their detailed, accurate sound makes them a fantastic choice for video editing, gaming and general listening, giving you a level of clarity that can bring out details you may have never noticed in your favourite tracks.

For video editors, that extra detail can help with everything from dialogue and sound effects to balancing a soundtrack. For gamers, it can make subtle environmental sounds, dialogue and directional audio easier to pick out. And when it’s time to simply sit back and listen to music, you may find yourself hearing elements of familiar songs that were previously masked or simply passed you by.

In other words, studio monitors can be a seriously versatile addition to your setup, whether you’re creating, editing, playing or just listening.

So, do you need studio monitors?

You don’t need to be a professional producer to benefit from studio monitors. Whether you’re a guitarist building a modern amp-free rig, a keyboard player practising at home, a video editor, a gamer or simply someone who wants to get more from their music, studio monitors can offer a level of clarity and detail that’s difficult to match.

They may have started life as a tool for the studio, but today’s monitors are far more versatile than that. If you want to hear what’s really in your audio, rather than what your speakers think you should hear, studio monitors are well worth considering.

More info

Enjoyed reading this piece? Check out our other Learn content while you’re here. If you’d like know more about our monitor selection, head over to our site for Kali Audio, Yamaha, Adam Audio and many more. Alternatively, check out our full studio monitor range & full studio headphone range!

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The post Studio Monitors Vs Speakers: What’s the Difference? appeared first on Andertons Blog.

There are a few ways to go about recording a guitar into a digital audio workstation (DAW) at home, and you certainly don’t need to be in a professional studio in front of a huge mixing desk to get great tones. The method you choose will come down to the specific type of guitar you’re recording, the sound you want to achieve and how you want to play – different styles and musical genres require different approaches after all. Let’s dive into your main options and the bits of gear you may need.

Choosing your audio interface

Before we get stuck into the specific methods of recording, a vital piece of gear you’ll need to bridge the gap between your guitar/amp and your PC is an audio interface. We’ve covered everything you need to know about audio interfaces in our complete guide, so head over there if you’d like some more info on how they work and what they can do. All you need to know here is that they convert your analogue guitar signal into a digital signal to record in your DAW.

Any affordable unit that accommodates either an instrument jack or XLR cable will do the trick.

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Recording guitar with plug-ins

Recording electric guitars using plug-ins is the optimal way for most of us to achieve quality sounding tracks with little fuss. The process is accessible, affordable without sacrificing the great tones, which many professional musicians incorporate into their own music.

Even though some guitarists swear by the real hardware providing a more natural sound and playing response, the vast majority of listeners wouldn’t be able to tell the difference between plug-ins and a real amp in a head-to-head, especially once the guitar has been mixed into a song.

Plug-ins work as add-ons within your DAW, processing your dry guitar signal through virtual amps, cab simulation, and effects like reverb, overdrive and delay. The beauty of it is that you can record your guitar part once and experiment with endless tone variations afterwards – there’s no need to commit to a sound during tracking.

Guitar plug-in signal chain

• Electric guitar
• Guitar cable (and patch cables if you’re using effects pedals)
• Audio interface
• PC/tablet/smartphone with a DAW
• Amp, cabinet and effects plug-ins

What are the best guitar plug-ins for recording?

Neural DSP

The industry favourite, Neural DSP options include stunningly authentic amp profile suites and their renowned ‘Archetype’ series, giving you professional tones from top artists like Tim Henson (Polyphia), Misha Mansoor (Periphery), John Petrucci (Dream Theater), Cory Wong (Vulfpeck), Plini, Tom Morello (Rage Against the Machine, Audioslave), Tosin Abasi (Animals as Leaders), and Gojira. Plus, their X series plug-ins now integrate with the Quad Cortex hardware for seamless studio-to-stage workflow.

Positive Grid Bias FX 2 and Bias X

Positive Grid Bias FX 2 remains a comprehensive, reliable option for high-quality guitar tones that’s tried and trusted. The revolutionary Bias X uses “agentic AI” to generate complete guitar rigs from text prompts or by analysing reference audio tracks.

Line 6 Helix Native

The same amp, cabinet, and effects models as the Line 6 Helix hardware units. It provides top tier sound quality and is incredibly flexible, with a dazzling amount of sound tweaking possibility. If you want to dial in every minute detail of your tone, this is the pick for you.

Native Instruments Guitar Rig Pro 7

A trusted option with an exceptionally intuitive, welcoming interface. There is also a stripped-back version that’s completely free to download, making it a great choice for dipping your toes into the plugin world.

IK Multimedia Amplitube 5

IK Multimedia have made huge strides in competing with the very best modelling amps and plug-ins, assembling a comprehensive, refreshed amp and effect library.

Recording a guitar amplifier

This is the original and favoured way of many producers to capture the sounds of an electric guitar. The result is a crisp, fully authentic, full-range dynamic recording for any use of the guitar within any genre. However, it’s also the easiest recording to ‘get wrong’ and end up with a sound you’re not fully satisfied with. Many a producer has poured hours over the right guitar amp and speaker cabinet combination, the perfect microphone placement and the ideal preamps and compressors.

To get you started at home, let’s keep things as simple as possible.

Microphone recording signal chain

• Electric guitar
• Guitar cable
• Guitar amp
• Speaker cabinet (not required if you have a combo amp)
• Microphone (dynamic, condenser or ribbon – the choice is yours. For beginners I would recommend the dynamic Shure SM57)
• XLR cable
• Audio interface
• DAW

Optional extras include outboard gear like a compressor placed after the audio interface, but for a generally more affordable approach you can get this and different microphone preamps in plug-in form.

What’s the best type of microphone for recording a guitar amp?

In the context of recording guitar, you can sort microphones into three main groups:

• Dynamic – durable, directional microphones that are great for close-mic’ing
• Condenser – more sensitive, great for picking up more detail, require phantom power (every modern audio interface supplies this)
• Ribbon – great for detail without being too sensitive, also good for close-mic’ing

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The ideal guitar amp volume for recording

To get started, set up your guitar as you would if you were playing at home. Adjust your volume to around 90 to 110 dB, which is considered the golden zone. Any quieter and your amp will sound a bit weedy, any louder and you could exceed your microphone’s sound pressure level (SPL) or audio interface’s preamp limits, leading to clipping distortion or unwanted high compression. There will be an indicator like a red light on your audio interface if you exceed the gain levels your interface can handle.

Valve amp attenuation

With valve amps, recording volume is particularly important as they’re widely perceived to sound better at high volumes because the valves are pushed harder, resulting in a hotter, more responsive sound. If you want cranked, rich tones at lower volumes without disturbing the neighbours or exceeding mic SPL, you can use an amp attenuator/loadbox which absorbs power from your amp and reduces your volume without compromising your tone.

How to mic up a speaker cabinet

Microphone positioning is an artform, and the way you place a mic in front of a speaker will change the way the sound is captured.

Keep the mic between 1-2 inches from the speaker grill for a very direct, present sound. Shuffling it back to 3-5 inches is ideal if you’re using a condenser mic because their capsules are more sensitive to pressure. Back again to 6-8 inches adds brightness and a little room noise as the sound waves bounce off any furniture and walls. Moving it away any further will bring full room ambience for a very particular type of guitar tone.

Moving the mic towards the middle of the speaker will get you a sharper, more treble-heavy tone. Pointing it towards the rim will make your sound darker and bassier. The sweet spot for most amps and mics is usually close the rim of the centre cone, but it’ll always depend on your gear and the sound you like.

Recording with multiple microphones

Different microphones produce drastically different characteristics. Producers like to blend the sound of two or even three mics, often a combination of dynamic and condenser/ribbon mics in front of a speaker to get thicker, richer guitar tones.

Most audio interfaces have at least two inputs, so if you’ve got two microphones and want to try out this technique, mic up the speaker (if you’ve got a 2x or 4x cab you can place one in front of each speaker) and make sure they’re placed the same distance away from the cone to make sure they’re not out of phase. You can also flip the polarity on one mic if they do sound thin or hollow. Adjust the levels in your DAW to get your ideal blend and make sure they’re panned together in the same direction.

Pressing record

Once your mic placement and input levels are optimised, simply arm the track in your DAW, hit record, play your part and arrange and edit to your taste through a good pair of headphones or studio monitors. The thing about recording with a mic setup is that once the track is recorded, that’s it. There’s no way to strip it back to a blank slate and apply different settings without re-recording the part, unless you’re also carrying out a technique called re-amping. Make sure you’ve got the guitar tone dialled in the way you like, experiment plenty, and work out the sound before you go ahead and nail that part.

What is re-amping?

Do you feel the guitar isn’t sitting right in the mix? Perhaps your track has significantly changed style as it’s developed? Re-amping is when you take your dry, unaffected audio track and send it through another amplifier, modeller or plug-in, allowing you to customise your sound even after you’ve recorded it. It means you’re not committed to any one tone and you can keep working with the settings until you nail the right vibe.

Reamping is common when recording with plug-ins, but you can also re-amp your dry stems with physical amps or effects too. You’ll need to use a reamp/DI box to split the signal into two from the guitar, so you have one signal running through the amp and another directly into the audio interface to get a completely clean signal to work with if you choose.

Recording an acoustic guitar

Mic’ing an acoustic guitar is a tricky but satisfying endeavour. A microphone placed a few inches out of position might have you fiddling around in post wondering what you could have done better, but when you know you’ve got it perfect, you’ll have a sparkling, harmonically rich tone.

Use condenser or ribbon microphones

Small diaphragm condenser or ribbon microphones are considered the stronger choices for recording acoustics because they have greater dynamic range than dynamic mics but a very focused directional response, which suits capturing the details – something you’ll benefit from when acoustic playing techniques are usually more delicate and nuanced than playing an electric guitar. Not that you can’t use a dynamic mic of course if that’s all you have to hand!

Acoustic guitar microphone placement

The most consistent sweet spot for a microphone is about 6-8 inches away from the guitar pointed at the 12th fret, or where the body meets the neck. This gives you the best of the bass EQ produced by the soundhole and the treble and details ringing from the fretboard. If you’re just one singer-songwriter with one microphone, then it’s best to opt for this method. If you’re going to record warmer rhythm parts as part of an ensemble, then try lowering a touch towards the lower bout of the guitar and point it towards bridge to dampen the string brightness.

Keep in mind that you’ll move slightly as you play an acoustic guitar. Bringing the instrument closer and further away from the mic will change the volume levels and captured tone. Use this to your advantage to suit the needs of the song.

Recording an acoustic with two microphones

Recording with two microphones adds another dimension and complexity to fill out your sound. Guitar-centric tracks and instrumental songs greatly benefit from the added richness.

• To get a full stereo sound, try the 12th fret positioning with one mic while placing a second mic in front of the bridge to provide more bass and low-mid frequency detail. Keep both mics about 8 inches from the guitar and 24 inches from one another to avoid phasing and comb filtering issues. Raising/lowering the mics increases bass response, which gives more body to the sound of small acoustics.
• Try the XY configuration if you like the density of a two-mic setup but want to pan both into a mono track so you’re being intentional with acoustic panning. This consists of two small mics placed at a right-angle with each other, positioned diagonally near the 12th fret.

Recording using an acoustic or piezo pickup

An acoustic pickup is the same as an electric guitar pickup, using magnets to detect movement in the strings, while a piezo pickup is attached to the top of an acoustic, detecting vibrations in the wood for a more direct sound.

Plug your acoustic into an acoustic amp with a DI out or audio interface to capture these sounds. They could be interpreted by listeners to have an artificial thinness, but some people like the crystalline clarity for specific uses. If you listen to this sound in isolation, it bears some similarity to electric guitar. The upside of this method is that it’s more practical than recording with microphones. A combination of the two isn’t uncommon.

Recording with a modelling amplifier

A modelling amp treads the line between plug-in and full-blown amp. It comes in hardware form, either as an amplifier complete with speaker and controls, or a physical desktop/stompbox format. In this setup, you replace your guitar amp with the modelling amp. The term ‘modelling’ refers to the ability to reproduce a wide variety of authentic, sought-after amp sounds, ranging from tweed cleans up to melting high-gain. Classic amps, timeless effects, signature artist presets – the works.

Modelling amp signal chain

• Guitar
• Instrument cable
• Modelling amp (hosting amps, cabs and effects)
• Optional: cabinet simulator or cabinet impulse response (IR) plug-ins
• Instrument or XLR cable
• Audio interface
• DAW

Choosing your modelling amp

At one end of the range are more affordable full speaker modelling amps like the Boss Katana or Fender Mustang, which offer a concise but handy selection of sounds. At the other end there are some massively powerful modelling units like the Neural DSP Quad Cortex, HeadRush range, Line 6 Helix, and Kemper Profilers, allowing you to emulate a never-ending number of amps, effects, cabinets, rooms, microphones and more.

Many modelling amps are recording-ready out of the box, often including direct outputs to your audio interface, built-in cab simulation and even direct USB audio connectivity. This makes modelling amps a practical, versatile and powerful solution for home recording.

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Recording bass guitar

Traditionally, you’d record a bass guitar the same as an electric guitar with a mic’d amp and cab, but over the years it became common for bassists to record straight into an audio interface or mixing desk. Many bass amps and pedals feature a direct out jack or XLR, sending a balanced dry signal out to a desk or interface which is often then blended with your amplified or affected signal. This ensures your bass tone retains the low-end weight it needs, while plug-ins like Neural DSP’s Parallax or Darkglass suites add colour to the affected signal with gain, presence, compression and EQ tweaks.

You can also get great tones using guitar modelling amps or dedicated bass preamp pedals from the likes of Darkglass, DSM and Humboldt, Markbass or Origin Effects, which is an ideal choice if you’re also going to play live.

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More info

We hope you’ve enjoyed reading this huge article! There’s so much more to cover when it comes to recording music, so if you’d like to find out more check out our Learn content while you’re here.

The post How To Record Guitar At Home appeared first on Andertons Blog.

Alvarez Guitars has one of the most diverse ranges of acoustic guitars in the world, boasting premium build quality at an affordable price point. For over 50 years, Alvarez has continued to push the envelope when it comes to acoustic guitar building, never resting on their laurels. By listening to the requests of their fans, Alvarez is constantly tweaking their designs and manufacturing processes to improve their products. Here are five things you should know about Alvarez Guitars!

1) All-Encompassing Range

As we alluded to earlier, Alvarez’s range is comprehensive to say the least. There are few other brands whose range includes dreadnoughts, parlours, jumbos and OMs, as well as baritones, 8-strings, 12-strings, and classicals! In addition to a whole selection of electro-acoustic models. The sheer number of different models available in the Alvarez range is truly astonishing. Every type of player is catered for, from the strummers to the fingerpickers! Here at Andertons, we stock a huge range of Alvarez acoustic guitars, so let’s take a closer look at the core models.

– Alvarez Regent Series

The Alvarez Regent Series of entry-level acoustic guitars is specifically designed for beginners, with a slim, comfortable neck profile and a versatile 1 11/16″ (43mm) nut width. Each Regent Series guitar also comes with a high-gloss finish and a good-quality gig bag. There’s a good selection on offer, from the RF26SB OM-sized model to the nylon-string RC26 Classical and RD26SB Dreadnought.

– Alvarez Artist Series

The Artist Series is Alvarez’s flagship line and is one of their most popular ranges, thanks largely to its diversity. Featuring everything from the AU66CCESHB Artist Concert ukulele to the bombastic jumbo ABT60 baritone acoustic guitar, the Artist Series offers unparalleled value and performance.

– Alvarez Artist Elite Series

As the name suggests, the Artist Elite Series of acoustic guitars takes the successful formula of the Elite Series and steps it up a notch! Featuring upgraded tonewoods such as Cedar, Macassar Ebony and Acacia, the Artist Elite series boasts luxurious Flamed Maple and Ebony binding and Alvarez’s signature bevelled armrest for maximum comfort. There are some lovely models to choose from, not least the beautiful Shadowburst Grand Auditorium, with Red Cedar top and Flamed Maple bevel.

– Alvarez Masterworks Series

Inspired by Japanese luthiery, the Masterworks Series includes a range of “truly eloquent professional guitars”. Boasting all-solid construction, Masterworks Series guitars and ukuleles are defined by their meticulous attention to detail and uncompromising quality. Check out the impressive MD60 Dreadnought with its open-gear nickel tuners, classic inlays, high-quality tortoiseshell-style pickguard and extended fingerboard. If you’re looking for a pro-grade instrument that won’t break the bank, look no further!

– Alvarez Laureate Series

The Laureate Series is Alvarez’s most premium-sounding, aesthetically impressive acoustic guitar made to date! This classically devised series has been designed with the contemporary player in mind, combining traditional appointments with modern building techniques. The Laurette series guitars comprise the finest tonewoods, such as quartersawn Sitka Spruce and East Indian Rosewood, that deliver a deep, dynamic, and rich sound, with distinctive shapes and unique finishes to create their most premium acoustic guitar yet! New models include the lovely LT66e Daybreak, constructed with a premium Mahogany top, back, and sides, and the charming LP70e Herringbone Sunset Parlour.

2) Attention to Detail

Research and design play a massive role in the building process of an Alvarez acoustic guitar. Every component has either been designed from scratch, tested heavily or chosen for its quality and performance. Whether it’s the neck carve, the bi-level bridge or the model-specific bracing system, the attention to detail is bordering on obsessive! Alvarez’s painstaking approach to building quality guitars that are affordable and reliable truly sets them apart from many of their contemporaries.

3) Hand-Built Guitars

The term “hand-made” typically implies that an item is of a higher quality than one that was mass-produced by a machine. The human touch and refined skills of artisans are what make Alvarez guitars so special, setting them apart from the competition.

Alvarez guitars are constructed on workbenches by highly skilled luthiers who have perfected their craft through years of experience. There are twenty-four luthiers at the Yairi factory, four of whom are Master Luthiers, each with over fifty years of expertise under their belts. This wealth of expertise, combined with premium, naturally seasoned woods, results in a playing experience like no other.

4) Model-Specific Bracing

Of all of Alvarez’s player-friendly features, the internal bracing may not be the first thing that springs to mind. It does, however, play a crucial role in the overall sound and response of the guitar. The entire line of Alvarez acoustic guitars features genre and model-specific bracing, with everything designed specifically for purpose and performance.

– FST2 – Forward Shifted Type 2

Forward-shifted bracing refers to the X brace and its relative position to the soundhole. By moving the X forward, or closer to the soundhole, it creates a larger soundboard area, yielding a louder, more open tone, with enhanced bass.

FST2 Bracing System

– MST1 – Middle Shifted Type 1

The X brace is positioned further back than with FST2 and is optimised for mid-size acoustic guitars, creating a darker, more mid-focused sound. It also allows smaller-bodied guitars to generate more energy, resulting in better projection, something that many smaller-bodied guitars lack.

MST1 Bracing System

– FS6 – Forward Size 6

Alvarez’s newest bracing design, the FS6 is forward-shifted and features lighter-weight bracing materials. This system delivers enhanced soundboard resonance and brings uniformity to the guitars, allowing their individual shape and size to influence their tone.

FS6 Bracing System

5) Unique Bridge Design

Kazuo Yairi’s original direct couple bridge changed the game back in 1980 and became a big part of Alvarez’s DNA. By increasing string tension and transference of vibrations to the soundboard, acoustic guitars deliver improved projection with an immediate response. You’ll notice that on Alvarez’s more modern style ranges, like the Artist and Masterworks series, they feature a bi-level bridge, which is an innovative step forward from Yairi’s original direct couple bridge. The bi-level bridge drops the bridge pins lower than the saddle, creating a more acute string angle. In doing so, it increases the string tension for improved resonance.

For the Laurette series, Alvarez has gone for a more traditional bridge style. The Laurette series features a solid Ebony piece, staying true to that Pre-War vintage aesthetic. Not only does this style of bridge complete the Laurette’s iconic look, but it also provides enhanced intonation and a bellowing tonal resonance.

Conclusion

So there you have it…five things you should know about Alvarez guitars and why they’re one of our favourite acoustic brands! Don’t just take our word for it though, as tone and playability are very subjective things. We would always encourage you to drop by the shop and try one of our many Alvarez guitars for yourself. You may just be surprised at how good they really are!

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Want to Learn More?

If you enjoyed this article, check out some of our other “Learn” articles by clicking here!

The post Alvarez Guitars – 5 Things You Should Know! appeared first on Andertons Blog.

Whether you’ve just picked up your first pedal or you’ve already got a few that you’d like to get off the floor and set up properly, this guide will help you put together your very first pedalboard.

From overdrive and reverb to delay, chorus and everything in between, guitar pedals are one of the best ways to unlock cool new sounds and keep your playing fresh. A pedalboard gives those stompboxes a dedicated home, keeping them organised, easy to access and ready to use at the tap of a foot. Guitar pedalboards are also the most practical way to transport your effects, keeping everything secure and ready for gigs.

Getting one up and running is pretty straightforward, but there are a few key things to consider if you want the best performance, a clean signal path and enough room to expand your collection. Don’t worry though, we’ll keep things simple and cover everything you need to create a killer pedal rig.

How to build a pedalboard: step-by-step

We’ll dive into each of these areas in more detail later. But follow these easy steps, and you’ll have a pedalboard you’ll be proud to stomp all over:

1. Choose your pedals: Start with a selection of essential effects. A tuner, overdrive, delay and reverb are all popular choices and form the backbone of countless pedalboards, regardless of genre.
2. Invest in a quality power supply: Dedicated pedal power supplies deliver clean, reliable power to your pedals and can help eliminate unwanted noise. Choose one with enough outputs to power your entire setup.
3. Pick the right-sized pedalboard: Make sure your board has enough room for your current pedals and power supply, with a little extra space left over. Trust us, pedal collections have a habit of growing!
4. Plan your layout and signal chain: Before sticking anything down, experiment with pedal placement and order. A well-thought-out signal chain will help you get the very best performance from each effect and make your board easier to use.
5. Connect everything up: Once you’re happy with the layout, link your pedals together using patch cables, connect them to your power supply and double-check that everything is working as intended.
6. Mount your pedals securely: Apply Velcro to your pedals and pedalboard, then fix everything in place. Make sure you’ve left enough room between your stompboxes to comfortably access each footswitch.
7. Install your power supply: Most pedal PSUs can be mounted either on top of the board with Velcro or underneath it using dedicated brackets. Attaching one underneath creates a cleaner look, frees up space for more pedals and helps keep cables neatly tucked away.

Fancy an all-in-one pedalboard kit that has everything you need to get started? Check out our genre-specific guitar pedalboard bundles. No guesswork involved, just a handpicked selection of great-sounding mini pedals, a sturdy compact board with a travel case, plus all the power and cables you need to plug in and play.

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How do you know when it’s time to start buying guitar pedals?

Your guitar amp plays a big role in shaping your sound, and many modern amps come packed with handy built-in effects. Reverb is common, some vintage-style amps include a tremolo circuit, while popular modelling amps like the Boss Katana and Positive Grid Reactor offer a huge range of different effects.

But sooner or later, you might reach a point where you want something more. Maybe you’ve heard a guitarist using a soaring delay tone, a rich chorus effect or a gritty fuzz sound that your current setup can’t quite recreate. Or you might just want more control over your sound without having to dive through menus and presets.

If you’ve relied on software plugins up until now, pedals also offer a more hands-on experience. There’s something really satisfying about reaching down, twisting a dial and hearing your sound change instantly. What’s more, guitar pedals are super practical for playing live, putting your favourite sounds just a footswitch press away.

From key effects like overdrive and reverb to more adventurous options such as pitch-shifting and ring modulation, guitar pedals open up a world of creative possibilities. They reflect your musical tastes too, making a pedalboard one of the most personal parts of your rig.

The first guitar pedals you should buy

It’s easy to get distracted by quirky boutique pedals and experimental effects, but every good pedalboard starts with the basics. Here are the essential pedals you’ll find on most guitarist’s boards, from pub giggers to seasoned touring pros:

Tuner pedal

Let’s get the boring one out of the way first. We know pedal tuners might not be the most exciting addition to a pedalboard, but they’re easily one of the most important. Not only do they provide clear visual feedback to help you get back in tune, but they also mute your signal while tuning. That saves everyone within earshot from the dreaded “tuning song”.

Boss tuners have been the industry standard for years thanks to their accuracy and tank-like durability. TC Electronic PolyTune pedals are also a great shout, featuring clever polyphonic tuning tech that can tell you which strings are out of tune with a single strum.

Grab a tuner for your board

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Overdrive and distortion pedals

You’ll never get by with just a clean tone (unless you’re a jazz cat). That’s why overdrive and distortion pedals are absolute pedalboard staples, capable of adding everything from a subtle edge-of-breakup crunch to a fire-breathing metal tone that’ll melt faces.

They’re so versatile that many guitarists use more than one drive pedal on their board. One might cover low-to-medium gain sounds, while another handles the heavier stuff. Stacking these pedals together can unlock some seriously sweet tones too.

The tricky part is knowing where to start. There are countless drive pedals out there, all inspired by different circuits and eras of guitar tone. So, to make things easier, we’ve broken down some of the most popular styles below:

Types of overdrive pedals

• Tube Screamer-style overdrive pedals: Known for their mid-range boost and smooth character, these are great at pushing a clean amp into classic rock territory. They’re a secret weapon for many metal guitarists too, who use them to tighten up their high-gain amp tones.
• Klon-style overdrive pedals: Famous for their transparent sound, Klon-inspired pedals enhance your existing tone rather than completely transform it. They work brilliantly as a clean boost, a low-gain overdrive or an always-on tone sweetener.
• BluesBreaker-style overdrive pedals: Known for their open, dynamic sound and touch-sensitive response. They add bite and breakup without masking the natural character of your guitar and amp.
• Dumble-style overdrive pedals: Inspired by the legendary Dumble amplifiers, these stompboxes deliver awesome sustain, rich harmonics and an amp-like feel that’s loved by blues, fusion and retro rock players.
• RAT-style distortion pedals: Sitting somewhere between an overdrive, distortion and fuzz, RAT-style pedals are known for their gritty, aggressive character. They can cover everything from punchy rock tones to fuzzy walls of gain.
• High-gain distortion pedals: Designed for modern rock and metal players who need plenty of saturation, sustain and attack. These pedals provide powerful tones primed for heavy riffing, palm-muted chugs and high-octane lead work.

Pro tip: Don’t overthink it. A Tube Screamer-style overdrive and a good high-gain distortion pedal are more than enough to get most players riffing. You can always add more flavours of drive as your pedalboard grows.

Pick up a drive pedal (or two…)

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Reverb pedal

If overdrive is all about adding more grit, reverb is all about adding more space. It’s one of the most popular guitar effects around, helping your sound feel bigger, richer and more atmospheric. From subtle ambience to vast, immersive soundscapes, a good reverb pedal can take a great guitar tone and make it feel truly epic.

Most reverb pedals offer a range of different sounds, including spring, plate, hall and shimmer reverb. Each has its own character, making reverb one of the easiest ways to add depth and colour to your tone.

Add ambience to your sound

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Delay pedal

Delay pedals record your guitar signal and play it back as a series of repeats. That might not sound very sexy, but as a creative tool, delay is pretty hard to beat and can totally change the way you play.

Just listen to The Edge’s work with U2. His signature use of delay helped create some of the most recognisable guitar parts ever put to tape. These pedals are brilliant for adding extra depth to clean passages, thickening up overdriven rhythms and giving lead lines more sustain and atmosphere.

Like overdrive pedals, delay is a broad category with plenty of different types to choose from. To keep things simple, most delay pedals fall into one of two camps:

• Digital delay pedals: Known for their clean, crystal-clear repeats. They’re great when you want every note to remain distinct, making them a popular choice for modern rock, ambient and worship players. Many also offer extra features like tap tempo, presets and multiple delay modes.
• Analogue delay pedals: Loved for their warm, organic and slightly darker sound. Each repeat naturally loses a little high-end detail, creating a characterful echo that sits beautifully behind your dry guitar signal. Blues, alternative and classic rock players swear by them.

In short, if you want pristine repeats, go digital. If you prefer a warmer, more vintage vibe, analogue delay is the way to go. Either way, you’ll soon wonder how you ever played without one.

Shop delays, delays, delays…

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Other guitar effects to consider for your pedalboard

We’ve covered the essentials, but you’re bound to want to bolster your board with some extra effects down the line. The pedals below are all solid additions, but whether you need them depends entirely on the sounds you’re chasing:

• Fuzz pedals: Popular with blues, alt-rock and doom players looking to make a lot of noise. Big Muff-style fuzz pedals are thick and woolly (think Smashing Pumpkins), while Tone Bender and Fuzz Face-inspired fuzzes are more direct and aggressive. This makes them great for cutting through a mix.
• Wah pedals: One of the most expressive effects you can add to a pedalboard. Controlled by a foot treadle, wah pedals alter your guitar’s frequencies to create that famous vocal-like “wah” sound heard everywhere from Hendrix classics to contemporary rock and metal solos.
• Chorus pedals: These sit alongside phasers and flangers in the modulation family, adding a shimmering, doubled effect that can make clean tones sound bigger and more spacious (almost like a 12-string guitar). They’re fantastic for adding character, texture and thickening up driven sounds too.
• Compressor pedals: Think of a compressor as a tone smoother. These pedals help even out your playing dynamics, making quieter notes easier to hear while adding sustain and punch. They’re loved by country and funk players, but almost any guitarist can benefit from one.
• Noise gate pedals: A must-have for hard rock and metal players. If you’re running lots of gain through your amp or distortion pedal, a noise gate can reduce unwanted hiss and hum — helping to keep your rig sounding tight and controlled.

Start with the basics, experiment with a few extras and before long you’ll have a pedalboard that’s completely your own. Just don’t blame us when you’re eyeing up pedal number ten… or twenty!

Choosing the right-sized pedalboard

You’ve got your stompboxes, now it’s time to give them a proper home. Pedalboards come in all shapes and sizes, but the first thing to think about is space. If you mainly play and record in your home office, there’s a good argument for choosing a larger board as you won’t have to move it around much. And even if you don’t have enough pedals to fill it right now, having a little room to grow means you won’t need to replace the whole thing when the inevitable pedal-buying bug strikes.

If you’re a gigging guitarist, portability should be your priority. A huge pedalboard may look impressive, but it’s less appealing when you’re carrying it up a flight of stairs after a two-hour set (speaking from experience here). That’s why many live players go for compact or medium-sized boards packed with versatile effects and mini guitar pedals.

It’s also worth thinking about how you’ll mount your power supply. Many modern pedalboards have a raised design or enough clearance underneath to accommodate a PSU, which helps keep cables hidden away and frees up valuable space on top. Don’t forget about protection too. If your board is regularly travelling to rehearsals and gigs, a quality gig bag or flight case can save a lot of wear and tear in the long run.

Popular pedalboard brands

There are plenty of reputable pedalboard manufacturers out there, but these are some of the biggest names in the biz:

• Pedaltrain: These guys have been building bulletproof boards for donkey’s years, and you’ll spot them on stages everywhere. Their rail-based designs make mounting pedals a doddle, while leaving plenty of room underneath for cable management and power supplies. Many larger models also feature an angled design, so pedals on the back row are easier to reach. For help choosing the right size, read our guide to Pedaltrain pedalboards.
• RockBoard: Warwick‘s RockBoard range offers a huge variety of shapes and sizes, making it easy to find something that suits your setup. They’re lightweight and packed with clever cable-management options, ideal if you’re obsessive about keeping your rig neat and tidy.
• Temple Audio: These boards stand out thanks to their unique modular design. They’re super-customisable and offer a range of pedalboard accessories that make it easy to integrate power supplies, patch bays and other gear. If you’re the sort of guitarist who loves optimising every detail, they’re definitely worth a look.

Pro tip: If you’re stuck between two sizes, go for the larger one. Few guitarists ever complain that their pedalboard has too much space.

Find the perfect pedal platform

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Picking a pedal power supply

While it can be tempting to daisy-chain a bunch of pedals from a single adaptor as it’s easier and cheaper, using a fully isolated power supply is the best way to power your board. That’s because each output on an isolated PSU powers a pedal independently, helping to reduce unwanted noise, hum and ground loop issues. The result? A quieter, more reliable pedalboard that’ll behave itself when it matters most.

Before buying a PSU, check how many pedals you need to power, along with the voltage and current requirements of each one. Analogue pedals such as overdrives, fuzzes and compressors usually need very little current. But digital pedals like some delays, reverbs and multi-FX units can be pretty power-hungry. It’s always worth leaving a couple of spare outputs free for future additions too.

Many brands make excellent pedal power supplies, including Strymon, Voodoo Lab, Truetone, Cioks and T-Rex. They also come in a variety of sizes, so whether you’re building a compact grab-and-go board or a sprawling pedal playground, there’s a PSU to suit.

Pedal power supplies: jargon buster

Here’s a quick breakdown of some common terms that’ll crop up when shopping for a pedal power supply:

• Voltage: Most pedals run on 9V DC (direct current), but some require 12V or 18V. So, always double-check the manufacturer’s specs before connecting them to your PSU. A handful of pedals use AC (alternating current) instead, although these often come with their own dedicated power supply. Using the wrong voltage can damage a pedal, so be careful!
• Current: This refers to the amount of electrical charge a pedal needs and is usually measured in milliamps (mA). You’ll often see values such as 100 mA, 250 mA or 500 mA listed on both pedals and power supplies. If a pedal doesn’t receive enough current, it won’t work right. On the other hand, supplying more current than a pedal requires is perfectly safe, provided the voltage is correct.
• Isolated outputs: An isolated output is electrically separated from the other outputs on a power supply. This helps prevent annoying buzzing and hum from sneaking into your guitar signal, making isolated PSUs the preferred choice for most pedalboards.
• Daisy chain: A cable that allows multiple pedals to share a single power output. These can be a cost-effective solution for smaller setups, but they’re more likely to introduce unwanted noise and can struggle with demanding digital pedals.
• Sag: Some pedal power supplies feature a sag control that lowers the voltage of an output to simulate a dying battery. This can create a softer, more compressed feel and is particularly popular with certain fuzz pedals — helping to produce cool sputtery tones.
• Switchable outputs: Some power supplies boast outputs that can be switched between different voltages (typically 9V, 12V and 18V), allowing them to power a wider range of pedals and making them more future proof.

How to install a pedal power supply

Most guitarists mount a power supply underneath their pedalboard to free up valuable space on top and keep everything looking neat and tidy. While Velcro can sometimes do the job, pedalboard PSUs tend to be one of the heaviest components on a board. That’s why dedicated pedalboard power supply brackets are often the better option, as they hold everything more securely and reduce the risk of it coming loose on the way to a gig.

Before fitting anything, check the installation instructions that came with your power supply. Many pedalboards are designed with PSU mounting in mind, featuring raised frames, pre-drilled mounting points or optional brackets that make installation quick and easy.

If you’re using a low-profile pedalboard, don’t fret. Plenty of power supplies are specifically designed to squeeze into tighter spaces beneath smaller boards. That means you can keep your setup clean without sacrificing precious pedal real estate.

Power your pedalboard

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What order should you place your guitar pedals on a pedalboard?

When it comes to setting up your signal chain, there’s no definitive right or wrong answer. Plenty of guitarists enjoy playing around with pedal order to discover unusual sounds and happy accidents.

That said, if you’re building your first pedalboard and want a setup that’s versatile, easy to use and sounds wicked, the signal chain below is a tried-and-tested starting point:

Understanding a guitar pedal signal chain

Your signal chain begins at your guitar, travels through each pedal on your pedalboard, and then ends at your amplifier. As a general rule, pedals placed near the beginning of the chain have a bigger influence on your core guitar tone. While pedals later in the chain process everything that comes before them.

For example, placing a wah pedal before a distortion pedal will usually deliver a more defined, natural and wider sweep. Put the same wah after the distortion, and the effect becomes gnarlier but with a narrower sweep that’s sometimes downright weird. Neither approach is wrong, but it’s a great example of how pedal order can dramatically change your sound.

For most players, a signal chain like this provides a good balance of flexibility and rockin’ tone:

1. Tuner
2. Pitch-shifter
3. Wah
4. Compressor
5. Overdrive
6. Distortion
7. Fuzz
8. Noise gate
9. Modulation (chorus, phaser, flanger, etc.)
10. Delay
11. Reverb

Pro tip: Treat this order as a guideline rather than a rulebook. Some players love running fuzz before wah, while others like placing modulation after reverb for huge ambient textures.

How to use your guitar amp’s effects loop

Lots of electric guitar amps feature Send and Return jacks on their back panel, which indicate that it has an effects loop. If your amp doesn’t have them, no probs. Just connect your pedals in the order we outlined above and continue. If it does, read on…

An effects loop lets you insert certain pedals between your amp’s preamp and power amp. While that might sound a bit technical, the practical benefit is simple: effects such as chorus, phaser, flanger, delay and reverb often sound clearer and more natural when connected this way, especially if you’re getting your overdrive or distortion from your amplifier.

For example, if you’re using a high-gain amp, putting delay and reverb in front of it can sometimes make those effects sound muddy or overly compressed. Running them through the FX loop helps keep repeats and ambient effects nice and clear.

Connecting your pedals this way is often referred to as the ‘4 cable method’. Here’s how to get everything hooked up:

1. Plug a guitar cable from your amp’s Send jack into the input of the first pedal you want in the effects loop (typically a modulation pedal such as chorus or phaser).
2. Connect any other modulation, delay or reverb pedals using patch cables as normal.
3. Take another guitar cable from the output of the last pedal in that chain (usually your delay or reverb pedal).
4. Plug the other end of that cable to your amp’s Return jack.

The rest of your pedals, such as your tuner, compressor and overdrives, should remain connected between your guitar and the amp’s main input.

Connecting your guitar pedals

Got your signal chain sorted? Great. Now it’s time to figure out exactly where each stompbox will live on your pedalboard. Before reaching for the Velcro, place your pedals on the board and experiment with different layouts. You can do this by physically moving them around, sketching out a rough diagram or using a website like Pedal Playground to plan everything digitally.

As a general rule, it’s best to keep the pedals you’ll be stomping on most often at the front of the board, with less frequently used effects towards the back. If you’re working with a compact board, practicality and available space may ultimately dictate where everything ends up. Pedalboard building is a bit like a game of Tetris, really!

Once you’re happy with the layout, it’s time to connect everything together…

Patch cables

Patch cables are short instrument cables designed specifically for linking pedals together. Many feature low-profile or flat jack connectors, letting you position pedals closer together and make the most of your pedalboard’s space.

Brands like EBS, Ernie Ball and Boss all offer excellent patch cables in a range of lengths. It’s worth measuring the gaps between pedals before buying, as shorter cables can help keep your board looking cleaner and more organised.

Mix and patch!

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Pedalboard cable kits

If you want the neatest possible setup, solderless pedalboard cable kits are well worth considering. These kits typically include a long length of cable that can be cut to size, along with a selection of connectors that you assemble yourself.

The biggest advantage is being able to create cables that are the exact length you need, helping to reduce clutter and keep your wiring tidy. Some kits even feature configurable connectors that can be used as either straight or angled jacks. These give you even more flexibility when squeezing pedals into tight spaces.

Wire your rig

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Pro tip: Once everything is connected and working properly, use cable ties or adhesive cable clips to keep patch and power cables neatly routed underneath the board. Not only will your pedalboard look tidier, but it’ll also make troubleshooting much easier if something stops working before a gig.

Assembling your pedalboard

Right, the finish line is in sight — all that’s left is sticking your pedals down. Most pedalboards come with two rolls of Velcro: a hook side and a loop side. But before you start applying it, give both the pedalboard and the undersides of your pedals a quick wipe with a clean cloth to remove any dust or manufacturing residue. Then, apply the softer loop side to the pedalboard and the hook side to your pedals, making sure you cover as much surface area as possible for a secure fit.

A handy trick is to plug in your patch cables before sticking the pedals down. This lets you check spacing and make sure everything fits comfortably without putting strain on the cable connectors. Once you’re happy, firmly secure your pedals in place and connect each one to the appropriate output on your power supply.

Next, plug your guitar into the first pedal in the signal chain and run another cable from the last pedal to your amp’s input. If you’re using your amp’s effects loop, you’ll need two additional guitar cables to connect that part of the signal chain too.

With everything connected, power on your pedalboard and test each pedal one at a time. Check that every stompbox working and that audio is passing through the chain without unwanted noise. If something isn’t working, don’t panic. Double-check your patch cables, power connections and pedal order before assuming the gear is at fault.

And that’s it! You’ve officially built your first pedalboard. Now comes the fun part: stomping on switches, chasing great tones and inevitably finding room for just one more pedal.

Ready for the next step?

Want to control your effects like the pros? We’ve rounded up the best pedal switchers to help you organise your signal chain and switch between effects with minimal tap dancing. Or check out our guitar pedal buyer’s guides to learn more about the weird and wonderful world of guitar effects.

The post How to set up your first pedalboard appeared first on Andertons Blog.

What is an Akai MPC?

The Akai MPC, which stands for Music Production Centre, is a music production instrument that combines sampling, sequencing and beat making in one intuitive system. At its heart are its familiar grid of velocity-sensitive pads, which can be used to trigger samples, play drums, create melodies and build rhythms.

Unlike a traditional drum machine, an MPC isn’t limited to a set of built-in sounds, it’s a sampler which means you can load or record your own samples, arrange them into patterns and use the MPC’s sequencing and editing tools to build complete musical ideas. This makes it equally useful for creating beats, chopping samples, recording performances and arranging tracks.

The MPC has become a hugely popular tool for producers because it makes the process of turning individual sounds into complete musical ideas remarkably hands-on. Whether you’re building a beat from scratch, chopping up a sample or sequencing an entire track, the MPC puts the essential tools for music production directly under your fingertips.

A Brief History

The MPC was born from a desire to make music production more accessible. Roger Linn, the designer behind influential drum machines such as the LM 1 and LinnDrum, was brought in by Akai to help develop a new kind of production instrument. The result was the MPC 60, released in 1988. Rather than simply functioning as a traditional drum machine, it combined sampling and sequencing with a tactile grid of velocity-sensitive pads, giving producers a much more hands-on way to create and arrange beats.

The MPC 60 quickly established the foundations for what would become one of the most influential production platforms in modern music. Its intuitive workflow made it easier to chop and trigger samples, programme rhythms and build grooves, while Roger Linn’s focus on feel and hands-on control helped give MPC beats their distinctive character. Akai continued to develop the platform over the following decades, but the core concept established by the MPC 60 would remain at the heart of the range.

How the MPC revolutionised the industry

The MPC changed music production by bringing sampling, sequencing and performance together in a single, hands-on instrument. Its velocity-sensitive pads made programming drums feel more like playing an instrument, while its sampling capabilities gave producers the freedom to take existing sounds, chop them up and transform them into something entirely new. Combined with powerful sequencing and editing tools, it offered a level of creative control that was difficult to achieve with the equipment that came before it.

More importantly, the MPC changed the way people thought about making music. You no longer needed a full band, an expensive studio setup or extensive knowledge of music theory to start building sophisticated tracks. Producers could experiment with sounds, rhythms and samples directly from the machine, developing ideas through instinct and feel. That combination of accessibility, flexibility and hands-on creativity helped make sampling and beat-making central to modern production, with the MPC’s influence still evident in studios and workflows around the world today.

Legacy Model Highlights

There have been many iterations of the MPC since the original MPC 60, each bringing new features and improvements to the formula. Here are a few highlights and some of the most significant developments they brought to the MPC range.

MPC 60 (1988)

The MPC 60 was where it all began. Designed by Roger Linn, it introduced the now iconic 16 velocity-sensitive pads alongside sampling, sequencing and MIDI functionality, establishing the core MPC workflow that would influence generations of producers.

MPC 3000 (1993)

The MPC 3000 built on the foundations of the 60 with improved 16-bit sampling, 32-voice polyphony, increased memory and longer sampling times. It also expanded the sequencing capabilities, making it a powerful production tool that became particularly influential in hip hop.

MPC 2000 XL (2000)

The MPC 2000 XL took the established MPC formula and made it considerably more flexible. It added time stretching, expanded storage and sampling options, more powerful effects and greater connectivity, helping make the MPC a complete production centre for increasingly complex projects.

Who Has Used An Akai MPC?

It’s probably easier to write a list of artists and producers who haven’t used an MPC. From hip hop and electronic music to modern pop and beyond, Akai’s iconic sampler has played a part in some of the most influential music of the last few decades.

A few noteworthy uses include Dr. Dre, who used the MPC 3000 extensively on The Chronic and 2001, and Kanye West, who relied heavily on the MPC 2000 when creating much of The College Dropout. J Dilla became particularly synonymous with the MPC 3000, using it to develop his distinctive approach to sampling and beat-making. Over in electronic music, Liam Howlett of The Prodigy has also incorporated MPCs into his production workflow, demonstrating the instrument’s influence well beyond hip hop.

The MPC’s influence continues today, too. John Mayer, for example, has spoken about using an Akai MPC to record guitar in modern production sessions, arguing that its ability to fit into a predominantly software-based workflow can offer advantages over recording through a traditional guitar amplifier. It’s a fitting example of how an instrument originally designed around beat-making has found a place in all sorts of production environments.

MPC Innovations

The MPC may have been around for decades, but its approach to sampling, sequencing and hands-on production remains just as relevant today. Akai has continued to evolve the platform with faster processing, larger displays, improved sampling capabilities and increasingly flexible workflows, while retaining the pad-based interface that made the MPC so intuitive in the first place. The latest generation gives producers more freedom to capture ideas wherever inspiration strikes, whether that’s building beats on the move, collaborating away from the studio or working on full-scale productions.

There’s now an MPC to suit almost every workflow and budget. The MPC Sample puts a pocket-sized, battery-powered production studio into your hands, making it ideal for creating wherever inspiration hits. Step up to the MPC Live 3, and you get a portable powerhouse with a built-in speaker, large touchscreen and familiar MPC interface, making it particularly well suited to collaboration and performance. At the top of the range, the MPC XL is designed as a flagship all-in-one studio, combining Akai’s fastest processing and highest level of hardware capabilities for producers who want the most powerful MPC experience available.

The beauty of the modern MPC is that the technology gets out of the way. Instead of waiting for inspiration to arrive at a computer, you can sample, chop, sequence and experiment almost immediately. That hands-on workflow can encourage a more instinctive approach to production, helping turn an idea into something tangible before it disappears.

Discover your first MPC

Ready to choose your first MPC? Whether you’re looking for a pocket-sized production companion, a portable powerhouse or a flagship studio centrepiece, there’s an MPC to suit your workflow. Take a closer look at the full range of Akai MPC products and find the one that’s right for you.

Our MPC range

The Neural DSP Range

Browse Neural DSP

Neural DSP‘s now legendary Quad Cortex has changed how guitar players practice, record, and play – and continues to do so. It’s massive processing power and high-def sound has made it a favourite for everyone from John Mayer, Plini, Rabea Massaad to Animals As Leaders’ Tosin Abasi to Bruno Mars!

The Nano Cortex (the smaller sibling of the Quad Cortex) was introduced for players who wanted a smaller, lighter version that could be placed on their pedalboard, or put in the pocket of a guitar bag to be able to practice and do small gigs only using one pedal, whilst still bringing around the modern power of Neural’s vast library of tone.

As of early 2026, the Quad Cortex Mini has now arrived. Quad Cortex mini delivers a complete guitar and bass rig for the stage in a compact format that integrates easily into pedalboards, fly rigs, and touring setups. The QC Mini delivers the full Quad Cortex experience in the most compact, usable format Neural DSP have ever built, with no compromises.

What is the difference between the Quad Cortex, Quad Cortex Mini, and the Nano Cortex? Which one is best for your musical needs? Read on to find out more…

The Neural DSP Quad Cortex Mini

The Neural DSP Quad Cortex Mini is a fully‑fledged, stage‑ready guitar and bass rig which has been shrunk down to a gloriously compact box that drops straight onto any pedalboard, fly rig or touring setup. Despite its tiny footprint (over 50% smaller than the original), it delivers the full Quad Cortex experience. All the sounds and flexibility, just… mini!

Built around an unprecedented level of processing power for its size, the Quad Cortex Mini dishes out world‑class tones that are a doddle to dial in. From searing high‑gain stacks and pristine studio cleans to beautifully detailed captures and creative effects chains, everything you love about Quad Cortex is right here – ready to explore, tweak and make your own.

Intelligent workflow, seamless integration

Quad Cortex Mini runs the same CorOS software and integrates fully with the Quad Cortex ecosystem. Presets, full backups and complete workflows move seamlessly between devices, so everything works exactly as expected with nothing to rebuild.

The result is a powerful and versatile platform that removes the traditional trade-off between size and capability, delivering uncompromised sound and creative legroom in a more portable form.

Your tool for practice & songwriting

Designed for spaces where simplicity and speed matter, the Quad Cortex Mini makes it easy to create, adjust and save sounds quickly. The visual signal chain and intuitive controls allow you to move from a spark of an idea to a fully dialled‑in sound in no time at all.

Studio‑ready & built for modern DAW workflows

The Neural DSP Quad Cortex Mini is a powerful all‑in‑one hub for recording and re‑amping guitar or bass. With USB‑C audio interface functionality and flexible routing options, it slots naturally into any modern DAW workflow — no hassle, no extra boxes required.

The compact touring solution

Quad Cortex Mini fits easily into compact racks and professional touring rigs. Multiple units can be deployed in a single rack for redundant rigs, wet/dry setups or multi-instrument applications.

Quad Cortex Mini Key Features

• As mighty as the Quad Cortex, just smaller: All the processing muscle, pristine audio quality and world‑class Neural Capture tech from the original QC in a more compact chassis.
• Big, bright & beautiful 7″ multi‑touch display: A crisp, high‑brightness touchscreen that makes editing fast and intuitive — whether you’re on stage, in the studio or tweaking on the sofa.
• Neural X plugin compatibility: Works with supported Neural DSP plugins.
• Preloaded with a vast library of virtual devices: Arrives with 90+ amps, 100+ effects, 1,000+ cab IRs and 2,000+ Neural Captures. Enough to keep even the most tone‑hungry players busy.
• Four intuitive footswitches: Use the Rotary Encoders for Preset, Scene and Stomp control — plus fast, hands-on parameter adjustments.
• The Cortex Cloud awaits: Get free access to thousands of community‑created Neural Captures for endless inspiration.
• USB-C audio interface: Doubles as a USB-C audio interface with 16 channels (8 inputs and 8 outputs).
• Big power, small footprint: Weighing just 1.5kg and measuring 22.8 x 11.8 x 6.5 cm, the Quad Cortex Mini is your perfect gigging and travel companion.

Neural CorOS 4.1.0 and Cortex Control 4.1.0 Firmware Update – 26th August 2026

This is the biggest CorOS update Neural DSP has ever released! With CorOS 4.1.0, every currently available X-updated plugin is now compatible with Quad Cortex and Quad Cortex mini: Archtype: John Mayer X, Petrucci X, Misha Mansoor X, Rabea X & Tim Henson X.

Neural CorOS 4.1.0

Neural CorOS 4.1.0 adds Plugin Compatibility for five additional plugins and introduces eight new Virtual Devices for all Quad Cortex and Quad Cortex mini users. Plus, it delivers one of the biggest workflow improvements Neural has ever made with Device Presets. Simply update your device to harness the power of this new functionality.

Cortex Control 4.1.0

With the arrival of Cortex Control 4.1.0, you can now manage multiple Quad Cortex and Quad Cortex mini units connected to the same computer too. Cortex Control 4.1.0 lets you access and manage presets for Devices, I/O Settings and Global EQ.

The Neural DSP Nano Cortex

The Nano Cortex is a portable pedal-sized modeller, loaded with plenty of flagship-quality tone, IR’s and amp & pedal capture functionality that pushes the boundaries of guitar tone technology. With a signal chain with over 50 effects and utilities to choose from, you can select and customise your signal chain into the 7 device slots (technically 8 if you are going to use the noise-gate at the start of the signal chain), using the Neural DSP Nano Cortex smartphone app to customise.

Nano Cortex Key Features

• Neural DSP Power In A Pedal – Industry-leading sound quality and DSP power housed in a sleek, hard-wearing stompbox enclosure that fits on your pedalboard.
• 7-Channel USB Audio Interface – The Nano Cortex is a 7-channel audio interface perfect for recording on the go.
• Thousands Of Premium Tones – Between the built-in library and the Cortex Cloud, you can seamlessly switch between readymade guitar & bass tones for any style, any occasion in seconds.
• Capture & Create Your Own Rig – It only takes a few minutes to capture any amp or pedal, A/B test its sound, and save it as part of your own custom rig without ever leaving the Nano Cortex’s easy controls.
• Simple, Versatile Signal Chain – The Nano Cortex keeps it simple & creative with two pre-FX slots, two slots to choose an amp & IR combination, plus 3 post-FX slots to add rich atmosphere.
• Smart Connectivity – Effortlessly hook the Nano Cortex up to your setup with full stereo outs, MIDI control, USB-C, and Bluetooth for app-based tone customisation. You can even record straight into your DAW with low-latency USB audio!

NanOS Update 2.2.0

The NanOS 2.2.0. introduces the Neural Capture Version 2 Player, along with several highly requested features including a new Tremolo effect, summed outputs, and other improvements that enhance usability and performance of Nano Cortex. Neural Capture V2 is the next evolution of Neural Capture, enhanced & trained via Cortex Cloud for higher resolution and more detailed results. Try the freshest, highest resolution V2 captures 669 added to the library with 41 new device types to instantly expand your tonal palette.

The Neural DSP Quad Cortex

The Quad Cortex is an ultra-powerful, action-packed floor guitar amp and effects modeller – this thing really does it all. It’s earned a reputation as the go-to modelling unit for professionals and tone-conscious players. The Quad Cortex is also notably hailed as one of the most intuitive and versatile multi-effects hardware out there. With numerous free updates since launch, including the ability to run Neural DSP plugins, you can always be sure that you’ll have the latest technology to deliver inspiring tone.

The Quad Cortex is capable of hosting hundreds of amps and effects without breaking a sweat. This is largely thanks to its impressive 2GHz Quad-Core SHARC architecture, undoubtedly the future of amp modelling technology. This ludicrous amount of processing capacity provides limitless sound design possibilities!

Neural DSP Quad Cortex Key Features

• The Most Powerful Floor Modeller on the planet
• The most natural-sounding capture solution with near-limitless tonal options
• Want to run four different amplifier models and loads of effects at the same time? No problem!
• Capture, share and download your favourite rigs with Neural Capture
• Use compatible plugins directly on the Quad Cortex
• 50+ onboard amps, 70+ effects, 1000+ IRs
• Tactile and intuitive 7″ multi-touch display

Neural DSP Quad Cortex, Quad Cortex Mini & Nano Cortex Comparison Table

In a nutshell, the Nano Cortex is a compact pedal with a fixed signal chain involving pre-FX, captures, IRs, and post-FX, while the Quad Cortex is a full-blown modeller and FX processor with heaps of power. Still, we’ve compared the main features of the 3 multi-fx to give you all the answers:

Conclusion

So there you have it. In summary:

The Neural Quad Cortex mini delivers the same processing power, audio quality, Neural Capture technology, and CorOS software as Quad Cortex, with no compromises in sound or performance. Quad Cortex mini features a footprint reduced by more than 50 percent, making it easier to integrate into compact pedalboards, desk setups, and rack systems.

Choose Quad Cortex mini for the full Quad Cortex sound in a more compact, portable format. Choose Quad Cortex for a full-size floorboard with more physical space and connectivity on stage.

If you want to practice and play small gigs with the smallest footprint, The Nano Cortex is the right choice. The Nano gives you industry-leading sound quality and DSP power housed in a sleek, hard-wearing stompbox enclosure that fits on your pedalboard.

Want to Learn More?

• Shop all Neural DSP
• Shop all Modelling Amps
• What is an Ampless Guitar Rig?
• The Ultimate Guide to Multi-FX
• What is an FRFR Speaker Cabinet?

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