What’s New With Vintera III? Key Specs Compared…

Before diving into the details, here’s a side-by-side look at how Fender’s Vintera II and Vintera III series measure up:

Like Vintera II, the Vintera III lineup offers Stratocaster, Telecaster, Jaguar, Jazzmaster and Mustang electric guitars as well as Precision and Jazz Basses in addition to a Bass VI model. Similarly, like the previous generation, Vintera III covers the complete span of Fender’s golden era, ranging from the 1950s all the way up to the ‘70s.

Key differences include a redeveloped and improved custom colour palette, expanding on Fender’s colourful back catalogue, as well as accurately ensuring that metallics shimmer and pastels glow, just as they did the day they left the factory.

Vintera III now focuses on specific eras instead of broader decades, meaning that the range has been expanded, with variations for Late ‘50s, Early ‘60s, Mid ‘60s, Late ‘60s and Early ‘70s, depending on model. Consequently, neck profiles, pickups and hardware have been reproduced accordingly to accurately portray each of these eras.

Other significant updates include Round Laminate Rosewood fingerboards on some models, as well as Pearloid fingerboard dots. Clay dots now feature on some Early and Mid ‘60s Rosewood fingerboard models, as well as the decal being applied over the headstock finish. The Synthetic nut found on Vintera II has also been upgraded to a genuine bone nut.

Are Fender Vintera III guitars better than Vintera II models?

Better is always subjective, but with their genuine bone nuts, a redeveloped and improved custom colour palette, and new era-specific electronics, hardware and details, it’s easy to see how the Vintera III series has truly taken things to the next level.

It homes in on the details, allowing players to experience a level of accuracy never before seen on a Fender instrument built outside the USA. Instead of taking the zoomed-out approach found in Vintera and Vintera II, where each model was more of a generalised overview of a vintage-inspired decade, Vintera III takes a more granular approach, zooming in on a specific era of Fender’s golden years. The key is always in the details, and for those who live and breathe this legendary period of electric guitar history, boiling things down to this level of finesse is truly the only way to really capture the authentic sound, vibe, mojo and aesthetic of the originals.

Fender Vintera III Stratocaster Guitars

The Vintage III Stratocasters are offered in 3 key eras – Late ‘50s, Early ‘60s and Late ‘60s.

• The Late ‘50s model features an Alder body with a Late ‘50s D-shaped Maple neck.
• The Early ‘60s model has an Alder Body with an Early ‘60s Maple neck, Round Laminate Rosewood fingerboard and clay marker dots.
• And the Late ‘60s Start comes equipped with an Alder body and is offered with either a Maple neck with a Round Laminate Maple fingerboard and black dots or a Round Laminate Rosewood fingerboard with Pearloid dots. Both necks feature a Late ‘60s C-shaped neck profile.

All models feature era-specific pickups and hardware.

Fender Vintera III Telecaster Guitars

The Vintera III Telecasters are offered in 2 era models – Late ‘50s and Mid ‘60s.

• The Vintera III Late ‘50s Tele features either an Alder body (for solid colours) or Ash (for transparent) in partnership with a Late ‘50s V-shaped Maple neck.
• The Mid ‘60s model is also offered with either an Alder body or Ash body, but is this time partnered with a Mid ‘60s C-shaped Maple neck with Round Laminate Rosewood fingerboard and Pearloid dots.

Both models feature the correct era-specific pickups and hardware.

Fender Vintera III Bass VI

The Early ‘60s Bass VI comes equipped with these key features…

• An Alder body partnered with an Early ‘60s C-shaped Maple neck with Round Laminated Rosewood fingerboard and clay dots.

Fender Vintera III Jazzmaster Guitars

The Fender Vintera III Mid ‘60s Jazzmaster is equipped with…

• An Alder body partnered with a mid-’60s C-shaped Maple neck with Round Laminated Rosewood fingerboard and clay dots.

The custom colour versions also feature a matching headstock for even more vintage vibe and mojo.

Fender Vintera III Precision Basses

The Late ‘60s Vintera III P-Bass features…

• An Alder body with a Late ‘60s C-shaped Maple neck partnered with either a Round Laminate Maple fingerboard with black dots or a Round Laminate Rosewood fingerboard with Pearloid dots.

Some models also feature a matching painted headstock.

Fender Vintera III Jaguar Guitars

The Fender Vintera III Mid ‘60s Jaguar is equipped with…

• An Alder body partnered with a mid-’60s C-shaped Maple neck with Round Laminated Rosewood fingerboard and Pearloid dots.

The custom colour versions also feature a matching painted headstock.

Fender Vintera III Mustang Guitars

The Fender Vintera III Mid ‘60s Mustang is equipped with…

• An Alder body partnered with a mid-’60s C-shaped Maple neck with Round Laminated Rosewood fingerboard and clay dots.

Fender Vintera III Jazz Basses

The Vintera III Jazz Basses are offered in 2 era models – Early ‘60s and Early ’70s.

• The Vintera III Early ‘60s Jazz Bass features an Alder body in partnership with an Early ‘60s C-shaped Maple neck with Slab Rosewood fingerboard and clay dots. Some colours also feature a matching painted headstock for extra ‘60s mojo.
• The Early ‘70s model is also offered with an Alder body, but is this time partnered with an Early ‘70s C-shaped Maple neck with either a Round Laminate Rosewood fingerboard or a 1-piece Maple neck and fingerboard. Both fingerboard options come equipped with Pearloid Block inlays.

Both models feature the correct era-specific pickups and hardware.

Fender Vintera III vs Fender American Vintage II

With the Fender American Vintage II series costing around double the price as Vintera III, it’s a fair question to ask what you actually get for that extra money, as well as which model may be best suited for you.

The American-made, American Vintage II pushes things even closer to complete vintage accuracy, zooming in to just about every single detail and component at a microscopic level to bring you an instrument which is as close to the real thing as possible – taking into consideration modern manufacturing techniques. They are crafted from more premium tonewoods and just like the originals, finished with Nitrocellulose Lacquer. Vintage-accurate materials such as Alnico pickup magnets and Cold Rolled Steel are also used to ensure that even under the hood, the lineup sounds and responds just like they did in the ‘50s, ‘60s and ‘70s.

American Vintage II also zooms in even closer, offering models based on a specific year rather than an era.

Both Vintera III and the American Vintage II are both excellent choices for vintage-guitar enthusiasts. At its more wallet-friendly price point, Vintera III is the perfect option for those after a true workhorse that can easily be taken just about everywhere and anywhere without feeling the anxiety to check up on it every 10 minutes. The Gloss Polyester finish also ensures that your instrument will stay looking factory fresh for much longer, making it a great choice for those who prefer the new aesthetic.

The Fender American Vintage II is the perfect choice for those who truly want a ‘time machine’ like-for-like replica instrument. It’s for players who care about every single detail and for people who perhaps want an instrument that ages with them, showcasing each and every ‘battle scar’ that the softer Nitro finish showcases.

Fender Vintera III vs Fender Custom Shop

With a price tag around 3 times as much as Vintera III, the Fender Custom Shop is the absolute crème de la crème of all of Fender’s ranges. No stone is left unturned in crafting the most luxurious and premium Fenders to date! With options for both vintage, modern and everything in between, the Custom Shop has a model to suit every type of player and style. Crafted within a very small team using many of the same techniques and machines originally used in Fender’s Golden Era, a Custom Shop instrument is, without a doubt, the closest you can get to a real vintage instrument without paying the vintage price tag.

With production levels much closer to those in the ‘50s and ‘60s, the Custom Shop is able to replicate just about everything down to the nth degree on their vintage replicas, making it nearly impossible to tell the difference when played side by side with a real vintage model. They also go as far as ageing the finish on some of their instruments, making their guitars and basses not only feel and sound like the real deal but also look like a genuine 60-year-old workhorse.

If owning the real deal is the goal but the budget won’t stretch to the vintage price tag, the Fender Custom Shop is the guitar or bass for you.

Conclusion

As a vintage-guitar enthusiast, I think that the Vintera III series is a true step up from the previous Vintera II lineup. I love the level of detail now demonstrated in the range, and as someone who geeks out about the tonal differences between round laminate vs slab board Rosewood fingerboards, I can’t wait to properly spend some time with each model, discovering which one is best for me.

Small details like the era-specific fingerboard markers, the headstock decal over the finish, as well as the refined, more accurate finishes are a real icing on the cake feature and something that I think really stands out when compared to Vintera III’s predecessor.

With their included gig bag, bone nut and sensible price point, Vintera III is the perfect choice for intermediate to professional players looking for a stage or studio-ready workhorse who also wants to add some of that authentic ‘50s, ‘60s and ‘70s magic to their rig.

Check Out The Full Vintera III Range Here…

Want to learn more?

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

The post Fender Vintera III vs Vintera II: What’s the Difference? appeared first on Andertons Blog.

Valeton GP-150 & GP-180

Specifications

First of all, here’s how the GP-150 and GP-180 stack up side by side…

Valeton GP-150 Features

Built around Valeton’s 2nd Generation HD software, the GP-150 and GP-180 are built for players who demand an all-around modelling platform with hardware that’s equally comfortable on stage, in the studio or at home. The smorgasbord of versatile controls in partnership with their stunning 2.4” HD LCD colour screen ensures that using and editing on the GP-150 and 180 feels fluid and effortless. The GP-150 features 2 footswitches as well as a built-in expression pedal for enhanced creativity without the need to plug in additional controller pedals.

Valeton GP-180 Features

Moreover, the GP-150 and the GP-180 both feature all the same updates and innovations, with the GP-180 offering a few more control options as a bonus for the lack of a built-in expression pedal found on the 150. With an overall width of 18.1cm, the GP-180 is a hair more compact than its expression pedal-equipped counterpart. It’s also a touch lighter too, weighing only 843g. This perhaps makes it the overall better choice for bite-sized rigs. There is a welcome addition of 10 module shortcut buttons on the face of the pedal, as well as an additional footswitch. Unlike the GP-150, the 180 features a fully analogue bypass as well as the DSP bypass found on the 150. The GP-180 can also support footswitch MIDI commands.

Battery Powered

The built-in 3000mAh Li-ion battery in the GP-150 and 180 provides over 6 hours of runtime with the screen brightness set to level 2. Meaning that on a single charge, there is ample power for sound check, warm up and the show. It also means there is more than enough juice for practising on the go without the need for mains power. Alternatively, the GP-150 and GP-180 can be powered by a standard 9V DC pedal power supply or with a 5V USB-C cable.

GP-150 vs. GP-180 vs. GP-5

The GP-5 is the perfect introduction to the Valeton platform. It’s powered by the same effortless software (albeit an app is required to really unlock its full potential), has the same incredible sounds and is built to the same high standards as its pricier siblings. That said, it does have its limitations. Its smaller screen, single footswitch, minimal onboard controls, lack of looper and reduced features, effects and storage do limit its standalone functionality, especially when used as a live stage tool.

Although they do share so much in common, comparing the GP-5 to either the GP-150 or the GP-180 is largely unfair, as to me, they both serve very different purposes. The GP-5, as previously mentioned, is the perfect gateway into the Valeton ecosystem. It’s the cheapest pedal in the range and is a great way of getting hands-on with modelling for the first time. The GP-5 is also the perfect Plan B rig. With its pocket-sized footprint, it couldn’t be easier to pre-program a handful of your core tones and effects and keep it tucked away in a gig bag or pedalboard pocket, ready for if ever the worst ever did happen.

GP-150 vs. GP-180 vs. GP-50

The GP-50 shares a very similar feature set to the GP-5 in terms of power and storage; however, things have been taken up a level with increased controls, a second footswitch, a looper, and onboard editing capabilities. With its built-in looper, 1,450 mAh battery and integrated drum machine, the Valeton GP-50 has quickly earned a reputation as being the ultimate, affordable digital modelling home, and on-the-go and practise setup.

However, when put side by side against the GP-150 or the GP-180, you quickly see why these new models have the edge compared to the GP-50. With its larger screen size, increased controls, better sample rate and signal-to-noise ratio, increased effect chain modules, larger battery, improved I/O and bigger storage, it’s easy to see how the GP-150 and 180 lend themselves to more professional environments.

GP-150 vs. GP-180 vs. GP-200

The GP-200 is built for performance. It’s bigger, more powerful, has more features and is generally built with just about everything you could ever need for stage or studio. Comprising of 2 models, the GP-200 and GP-200LT (a slimmed-down, more portable version of the standard version), the GP-200 takes pride of place as Valeton’s flagship model.

While not as big, powerful or feature-packed as the GP-200, the GP-150 and 180 offer a good compromise between portability and performance. Especially thanks to the built-in 3000mAh rechargeable Li-ion battery that the 150/180 features.

Which Valeton GP Multi-FX Processor is for me?

I think it’s fair to say that every pedal in the Valeton GP series has truly earned its place in the GP lineup. I think that the GP-5, GP50, and GP-200 all cover specific jobs within the range, with the 5 and 50 largely covering home and practise and the 200 taking care of stage and studio.

The Valeton GP-150 and GP-180 perfectly offer a jack-of-all-trades workhorse effect processor, perfect for guitarists after one piece of kit that can do it all from home to stage and everywhere in between.

If you’re new to guitar or modelling and are just after an affordable workhorse to get you going, then either the GP-5 or GP50 would be an excellent choice. The GP-200 or GP-200LT are perfect for gigging musicians after a lightweight, simple setup with minimal fuss and the GP-150 and GP-180 are the perfect choice for those after a flexible rig that can seamlessly grow with them through every stage of their journey.

Exclusive Andertons x Valeton downloads

Want the same tones as Lee Anderton and Danish Pete? We’ve teamed up with Valeton to create a set of SnapTones you can download for free! Whether you go for the GP-150 or GP-180, you can expand your library with exclusive, dialled-in tones of the Victory Deputy, Victory Duchess and the mighty ENGL Fireball.

Want to Learn More

We’ve got loads more learn articles here on the Andertons blog, including an in-depth showdown between the Valeton GP-5 vs. GP-50. Our how to build a budget pedalboard piece is perfect if you want to know how to create a killer setup around the Valeton GP-150 or GP-180. And don’t forget to check out our full range of guitar pedals for even more inspiration for your dream rig.

The Valeton GP Series

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The post GP-150 vs. GP-180: Valeton’s Ultimate All-Round Modellers appeared first on Andertons Blog.

Want to learn more?

Keen to keep up with the latest gear gossip? Stick our gear news page in your bookmarks. Or get properly clued up with the deep‑dives and how‑to guides in our learn section.

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How does the Tone King Royalist Preamp sound?

The Tone King Royalist Tube Preamp pedal mimics the feel and tone of the Royalist MKIII amplifier. It’s their most faithful tribute to those classic black‑and‑gold British amps, ranging from sweet, chiming JTM45 tones through unmistakable Plexi crunch, all the way up to scorching Super Lead roar. Basically, it crams the entire British‑rock family tree into a pedalboard‑friendly box!

Each of its two independent channels features the amp’s FAT switch and a three‑way 1964/1967/1970 voicing selector, recreating the gain structure, tone stack and feel of each era with impressive authenticity. So, whether you’re after bold cleans, punchy classic rock drive or full‑tilt molten lead tones, the Tone King Royalist pedal has you covered.

There’s no built‑in tremolo like you get with the Imperial Preamp, but a foot‑switchable reverb lets you add some instant ambience whenever you need it. Tone King have used the extra front‑panel space to give you a more tweakable EQ section instead, with treble, middle and bass controls for each channel.

Which Tone King preamp pedal should you choose?

If you’re chasing clean‑to‑crunch versatility, the Imperial Preamp is simply awesome. Its blend of ’50s tweed warmth, ’60s blackface sparkle and a hint of British grit makes it a proper all‑rounder, especially with that built‑in tremolo and reverb. It’s the more “American‑voiced” of the two and perfect if you want big headroom, glossy cleans and classic edge‑of‑breakup tones. That also means it’s a fantastic pedal platform.

But if your heart leans more British, the Tone King Royalist Preamp is a riot and easily one of the best Marshall‑style pedals we’ve ever heard. JTM45 chime, Plexi‑style drive, Super Lead firepower — it’s all here. There’s more gain on tap than the Imperial, so it’s great for heavier rock or if you’re more of a lead player. And the extra EQ flexibility (plus the three voicing modes) gives you loads of room to dial in your perfect flavour of British bark.

You can’t really go wrong with either. Both pedals deliver genuine valve tone in a tiny package, so it just comes down to taste. Imperial for smooth, vintage American sweetness. Royalist for roaring British crunch.

Want to learn more?

If you loved this amp-in-a-box shootout, we’ve got loads of great learn articles on similar gear right here on the Andertons blog. If you’re hunting for another pedalboard amp contender for your shortlist, especially if you’re running a modeller, make sure to check out this piece: Victory PowerValve 200: Perfect partner for Quad Cortex?

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How do you set up the Victory PowerValve 200?

Getting the Victory PowerValve 200 up and running couldn’t be simpler:

1. Take the output from your modeller, preamp or the end of your pedalboard chain via a 1/4″ jack cable.
2. Plug it into the Victory PV200’s balanced input.
3. Set your input level and EQ (you get Resonance, Body and Presence controls).
4. Engage the valve signal path via the VRC switch on the front panel.
5. Run the output into your guitar cabinet.

And that’s it. If you prefer a clean and transparent response, you can also bypass the valve stage and run a pure linear transistor signal path with zero colouration.

For silent practice or direct recording, the PowerValve 200 includes a 3.5 mm headphone output and an analogue cab sim via XLR — perfect for front of house, livestreams or tracking. Better still, the headphone/cab sim level is independent of the main speaker output. That means you can adjust your stage (cab) volume without upsetting the sound guy sorting the PA mix!

How big is the Victory PowerValve 200?

The Victory PowerValve 200 measures 130 x 300 x 295 mm and weighs only 2.4 kg. That makes it pretty pedalboard‑friendly, or you can simply pop it on top of your speaker cab. Thanks to its zinc‑plated steel chassis, it’s tough enough to handle life on the road too.

Does the Victory PowerValve 200 work well with a Quad Cortex?

Yes, and not just according to Victory. Neural DSP have put the PowerValve 200 through extensive testing with the Quad Cortex, and the feedback is glowing:

“PowerValve 200 genuinely exceeded our expectations. The response, feel and tone — especially when paired with the Quad Cortex — were outstanding. With the flip of a switch, the added tube stage (VRC) delivers an immediate, audible improvement to the signal.” — Ryan Morgan, Head of Global Sales, Neural DSP

If you want to create a more compact fly rig, teaming it up with the new Quad Cortex Mini is a great shout. Stick ‘em both on a board and you’ve got a lightweight, valve‑enhanced digital setup ready for any gig or session. Go direct to FOH with the PV200’s analogue cab sim, plug into the venue’s cabinet or run it through one of Victory’s lightweight Lunchbox guitar cabs. Speaking of…

Which cab goes best with the Victory PowerValve 200?

Victory’s Lunchbox 1×12″ cab (loaded with a Celestion Seventy 80) is an ideal match for the PowerValve 200. Together they create a tiny yet full‑sounding, valve‑reactive rig that works as brilliantly at home as it does in the studio or on stage. Neural DSP were impressed with this combo too:

 “We were particularly surprised by how effective the compact 1×12” Lunchbox cab was; the Celestion Seventy 80 sounded fantastic with IRs on or off.” — Ryan Morgan, Head of Global Sales, Neural DSP

Who uses the Victory PowerValve 200?

The Victory PV200 might be new, but some heavy‑hitters already love it (and we expect to see this thing popping up on a lot more pro boards soon). Rabea Massaad has been putting it through its paces with his Quad Cortex setup. And our very own Andertons TV maestro John Connearn (AKA “Digital John”) has been wowed by what the PowerValve 200 can do. Here’s what they had to say:

• “The Valve React Circuit really brings my presets to life and gives them that extra tube-amp style thump that feels great under the fingers.” — Rabea Massaad
• “PowerValve 200 allows me to have a valve-powered digital rig with huge hi-fidelity sound. More portable, powerful and affordable than any valve head I’ve seen.” — John Connearn

Victory PowerValve 200 vs. Seymour Duncan PowerStage 200

The Seymour Duncan PowerStage 200 has been the go‑to pedalboard power amp for years. So, how does Victory’s new contender stack up? Here’s a quick side‑by‑side look at the specs:

Victory PowerValve 200 on Andertons TV

We’ve talked a lot about the PV200 — now it’s time to hear it in action! Watch Lee and Pete test drive the Victory PowerValve 200 with the Neural Quad Cortex and some other glorious gear:

Want to learn more?

We’ve got loads more learn articles here on the Andertons blog. Can’t decide which Neural modeller to pair up with the Victory PowerValve 200? Our Quad Cortex vs. Quad Cortex Mini vs. Nano: comparison guide will help you find the ultimate companion.

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How much does the doom community influence your designs?

Quite a bit. I stay very involved in the community. I go to shows, talk with people, read forums and follow what people are discussing online. That helps me understand what players are looking for and where there might be gaps in the market.

Because we work closely with Nick Williams, we can build some fairly unique and complex analogue circuits, so we try to create things that the community does not already have.

Are there any dream collaborations you would like to do next?

I’ve already been incredibly lucky to collaborate with two of my musical heroes, Jimmy Bower and Matt Pike. Both have been huge influences on me since my teenage years. We’ve worked together on signature guitars through Woodrite, as well as pedals like the Masochist and the Bower Power overdrive.

Looking ahead, there are definitely more collaborations I would love to make happen. We are already talking with a few artists and have some ideas in development.

Has any band surprised you by using your pedals?

One of the coolest surprises was Gary Holt from Exodus using the Doomsaw. That pedal was originally built as a very aggressive single-knob circuit inspired by the classic Swedish death metal sound. Gary ended up putting one on his touring board and taking it around the world with Exodus. Seeing a legendary thrash guitarist using one of our pedals was something we definitely didn’t expect and it was a great moment for us.

What can fans expect from Does It Doom in the near future?

First of all, we are extremely excited to have Does It Doom products available at Andertons. It’s one of the most respected music shops in the world and we are very proud to be working together. In terms of what’s next, we usually aim to release three to four pedals a year. We kicked this year off with the Giza Dva and already have several new designs and collaborations in the works. The goal is to keep pushing forward and continue bringing the doom to players everywhere.

Does It Doom pedals on Andertons TV

Watch Oz put the Does It Doom lineup through its paces with Lee. Warning: it might get loud!

And if you wanna really hear these stomps in action, Oz teamed up with Tay on drums to shake the studio floorboards with full‑on doom carnage — get ready to headbang…

Follow Does It Doom online

Loving the sound of these pedals? Stay up to date with Steve’s latest doom‑soaked riffs, lessons and gear demos:

• Subscribe to Does It Doom? on YouTube
• Follow @doesitdoom on Instagram
• Follow @doesitdoom on Facebook
• Follow @doesitdoom on TikTok

And while you’re here, make sure to bookmark the Andertons Blog. We’re always dropping fresh content to help you learn about the latest products, discover how to sound like your favourite artists and stay in the loop with all the hottest gear news.

Get your doom on!

Shop all Does It Doom pedals

The post Does It Doom pedals: Interview with founder Steve Reis appeared first on Andertons Blog.

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?

The post Neural Quad Cortex vs Quad Cortex Mini vs Nano: 2026 Comparison Guide appeared first on Andertons Blog.

Alternative Bigsby Re-stringing methods

I don’t mean you shouldn’t re-string your guitar. You should always re-string your guitar – it’ll just sound better. Trust me!

But there are some ways around the conventional method of re-stringing your guitar.  For example, the Vibramate String Spoiler system, which locks onto the Bigsby and enables you to attach the string to the bridge via a far more conventional, top-loading method.

Or you could try the Duesenberg trem. This isn’t a solution if you already have a Bigsby, but it allows you to replace your tune-o-matic bridge with a Duesenberg Trem without damaging the guitar! Neat right?

• Duesenberg Les Trem II Gold
• Duesenberg Les Trem II Nickel
• Duesenberg Les Trem II Chrome

What’s the difference between Bigsby B3, Bigsby B5, Bigsby B7 and more?

The Bigsby Trem range is vast and includes many different types of the same thing, designed to match specific guitar body shapes. For example: You’d need a different Bigsby for a Fender Telecaster or Fender Stratocaster (yes, they do exist!) than you would for a Danelectro or a Gibson guitar.

• Bigsby B3 – The Bigsby B3 is designed for use on thin electric hollow or semi-hollow guitars. This includes Gibson Memphis hollowbodies and semi-hollows like the ES-335.
• Bigsby B5 – The Bigsby B5 is designed for use on flat top electric guitars like a Telecaster.
• Bigsby B7 and B12 – Another popular branch of the Bigsby family, the Bigsby B7 and Bigsby B12 are designed for use on arch top electric guitars.
• Bigsby Lightning Series – The Lightning series offer a cheaper alternative to the standard Bigsby range. Produced in the Far East, they are made with die-cast aluminium, with series numbers designated B30 – B700.

Conclusion

Hopefully, after reading this guide you’ll feel more confident with re-stringing Bigsby-equipped guitars. It’s probably easier than you think but a bit of practice always helps!

Are you curious about how long it can take to restring a Bigsby-style bridge? Check out our ‘How Long Does It Take To Restring a Bigsby & Floyd Rose?‘ article, comparing two of the trickiest tremolos!

Let us know in the comments below if you have any other ways of re-stringing your Bigsby, or if you prefer to get a tech to do it!

Interested in finding out more about music gear and expanding your knowledge? Click here to view all of our Learn articles.

The post How to Restring a Bigsby Guitar appeared first on Andertons Blog.

Walrus Audio Pedals

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Tap Tempo Sync

Any Walrus pedal with a tap tempo switch can sync up with another tap tempo pedal. This means rather than setting an accurate tempo for each individual pedal, you can use a Walrus pedal’s switch to set it for both, saving yourself a few extra very precise taps.

You’ll find this nifty feature in the ARP-87 digital delay, Monument tremolo, Julianna chorus and Mako MkII delay. This function normally works with any tap tempo stompbox. Simply connect the two with a patch cable and you’ll be right on beat.

Eons Five-State Fuzz Adjustable Noise Gate

Walrus first introduced the noise gate with the gritty, thick-sounding fuzz Jupter V2 pedal and they’ve carried that functionality over to the super flexible Eons. A lot of pedals aim for the  stuttering ‘dying battery’ effect but there aren’t many that cover all the fuzz flavours the Eons packs in.

The Eons has an internal trim pot gate control you could use either to dial down the fuzzy aggression or implement hard cut-offs. This way you don’t have to power the pedal from a noisy non-isolated source or use a virtual battery to achieve the same effect.

Fathom Reverb’s Huge Momentary Burst

Create a massive surge of decaying reverb with the Fathom reverb. This effect is great during a crescendo or intense finale to a song. Not only is the Fathom a super adaptable reverb, but it can also turn your tone into a chaotic, swampy, beautiful noise.

With your Fathom turned off, press both the bypass and sustain switches at the same time. This will turn the pedal on abruptly (yet still smooth in transition) and hit you with a trail of reverb longer than where you’ve set the decay knob.

Mako and Melee distortion/reverb ramp up

Ramp is a feature that’s normally exclusive to an effect like tremolo as is the case with the Mako MkII, but Walrus Audio have implemented it into their unique reverb/distortion generator pedal, the Melee.

Essentially, ramp means to increasingly speed up the rate of the tremolo, or intensify an effect like reverb. Hold down the bypass to progressively accelerate the effect to make for some extremely climatic moments in your playing. If applied to tremolo you can adjust the build time, so the ramp will take longer hit peak speed the lower your set the base tempo. Let go of the bypass for the rate or intensity to drop back down again to where you’ve set your controls.

Smart Momentary Bypass

Smart momentary bypass has been a consistent feature in Walrus Audio’s pedals since the Lillian phaser and ambient Slö reverb. Simply hold down on the bypass switch for as long as you’d like to activate the effect. It’s a feature that a lot of companies have adopted, as it simply makes it possible to inject a short burst of the effect without the need to press twice on a pedal.

Ambient, texture-like sounding pedals like the Lillian and Slö benefit greatly for momentary bypass. You’re able to create a bed of trailing phaser or reverb and then add layers of playing on top as it floats underneath a lead line.

Want to learn more?

I hope you get to use these fun effects to their fullest potential! Enjoyed this read? Make sure to have a browse of our Industry and Learn articles.

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The post Walrus Audio Pedals: 5 Amazing Hidden Features appeared first on Andertons Blog.

Consider buying a hygrometer (humidity monitor)

Because you can’t see humidity and often don’t even realize what it’s doing to your prized acoustic until it’s too late, it helps to be able to measure it with something known as a Hygrometer (sometimes called a Humidity Monitor).

A hygrometer measures the amount of moisture in the air compared to the amount of moisture air can hold before it actually becomes water (Relative Humility, or RH). We don’t need to go too far into the realms of science here but there are some basic principles:

• Cold air won’t carry as much moisture as hot air, so when air temperature rises, so does its ability to hold more moisture.
• The way we heat our homes reduces the moisture content of the air.  Essentially, we dry it out, because we aren’t adding an additional source of moisture as it heats.

So if you, or more importantly your guitar, lives in a particularly cold house that needs a lot of heating, or in a particularly hot and dry area, then you need to be aware that the RH level will be low, and you might need to take steps to protect your guitar from what is usually referred to as ‘Low Humidity Damage’.

Invest in a good solid guitar case

A solid guitar case will protect the guitar from rapid changes in RH, and that sort of rapid change is a particularly bad idea. If you’re out and about with your guitar a solid case is a good investment. Even when at home, leaving your guitar inside a solid case is the way to go. Soft gig bags will help for short periods, but long term you’ll want something sturdy.

Acoustic Guitar Hard Cases

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Conclusion

In short, if you don’t monitor the environments that your guitars live in and end up subjecting them to harmful RH levels, the quality of the construction will soon start to disappear. This in turn will affect playability and tone, and, ultimately, your sanity.

If you have made a considerable investment in an acoustic guitar, it makes good sense to invest in a humidifier so that you can rest easy that the guitar is properly looked after when it’s sleeping. Not only will it help ensure that the guitar doesn’t crack or warp, but it will also ensure that it remains as playable as the day it was made.

Further Reading

Taylor have made 3 very good PDFs that cover humidity issues. Click on any of the links below for more info.

• Using a Guitar Humidifier
• Symptoms Of A Dry Guitar
• Symptoms Of A Wet Guitar

The post Guitar Humidity – Is damp in your house affecting your guitar? appeared first on Andertons Blog.