Neural DSP’s Nano Cortex for dyed-in-the-wool analog advocates new to the concept, is a whole rig—digital amp, cabinet simulator, effects unit, and capture device—in a box. It’s also a 24-bit, 48k Hz audio interface that can be powered by a laptop or power bank via USB-C. We reviewed the Nano Cortex upon its release in 2024. Like any new release, it left some hardcore users wanting for certain features. Some users found the effects roster underwhelming. There were also limitations about where you could situate effects relative to an amp capture. With a raft of new effects and greater flexibility, though, Neural’s 2.0.0 update addresses many concerns of power users and casual adopters alike.
Ever Evolving Technology
When the $549 Nano Cortex was released, it was a hit. The idea of a small, pocket-sized version of a Quad Cortex that weighs only 1.36 pounds—and at a third of the cost—had many guitarists drooling. But the truth is that while they are part of the same lineage, the Nano Cortex can’t match the flexibility of the Quad Cortex. This led to some confusion, and in some cases, unmet expectations.
The new, free NanOS 2.0.0 update addresses some of those letdowns with a much-expanded collection of 47 new effects—including dirt options, which, oddly, weren’t offered in the first OS version. (There is, however, only a single fuzz—a Fuzz Face emulation—which hints at the challenges of successfully modeling fuzz’s more chaotic nature.) There’s also an IR loader and global bypass to turn off IRs on all presets when you play the Nano Cortex through a real cabinet. The more customizable signal chain is also a very big deal.
The effects slots are more flexible, too. EQs and compressors can be set up in any slot—pre-or-post capture. Overdrive and wah effects can go into any pre-capture slots, while modulation, delay, and reverbs are assigned slots in the post-capture area. (The tape delay is warm, and a highlight.) Delay is only available in post-capture slot 2, before the reverb, which can only be slotted in post-capture 3 position. As you can see, NanOS 2.0.0 has opened up more possibilities, but limitations remain, especially for players that experiment with unorthodox setups.
Magic in the Clouds
Unlike the Quad Cortex, the Nano does not have a 7" touchscreen and the controls are very utilitarian. There are a few knobs and two hybrid footswitches/rotary knobs, but to really maximize the potential of the unit and manage your presets, you need to use Neural DSP’s Cortex Cloud app with your phone or tablet.
NanOS 2.0.0 has opened up more possibilities, but limitations remain—especially for players that experiment with unorthodox setups.
The app makes things way easier, and using the Nano Cortex without it seems almost unimaginable. However, if your phone is the main interface, you can’t use your phone simultaneously for other common functions like filming videos at a gig or playing backing tracks. That said, the app lets you do a lot …once you get up and running. I can generally get around the basic functions of most multi-effects modeler-type systems, but being new to the Neural DSP ecosystem, it took me some time to get a workflow going. When I got it all figured out, the app made it very easy to instantaneously control parameters, maneuver complete signal chains, and capture pedals and amps.
Captivating Captures
Using the Nano Cortex, I easily captured the hi and lo channels of my Mesa/Boogie Flux Five, as well as the vintage, modern, and combined vintage-plus-modern modes of my Wampler Dual Fusion. I initially set up a lead sound with delay from my Yamaha UD Stomp situated after the Flux Five, but learned the hard way that a “capture” is a moment in time that cannot accommodate time-based effects.
Using a Shure SM57 mic, I captured the clean tones from my Ampeg SJ12-R and vintage black-panel Fender Deluxe combos. Each capture took about three minutes and nailed the sound. Impressively, the touch-sensitive qualities of the pedals and amp were present—I could dig in hard or play soft, and feel the Nano Cortex respond just like my Dual Fusion pedal and amps. One bummer about those clean Fender Deluxe sounds, though: The new effects in NanOS 2.0.0 do not include tremolo or spring reverb—a strange omission given how many vintage Fender amps fans exist among the Neural user community. That omission aside, I enjoyed the ethereal cave reverb effect and assigned it to one of my clean captures to satisfying effect.
In addition to allowing you to capture your own gear, the Nano Cortex also comes with many preloaded captures of amps like the Mesa/Boogie JP2C, Marshall Silver Jubilee, and Peavey 5150, among many others. There are also 10 IRs and two pre-and three post-FX blocks. And the Cortex Cloud app offers a ton of free presets, which have a complete chain of captures and effects from artists like Plini and Cory Wong.
The Verdict
I recently balked at using a favorite vintage ’60s Fender tube amp for a bar gig as visions of spilled beer filled my head. Instead, I used a pretty underwhelming solid-state alternative. But if I had had the Nano Cortex, I could have used captures of that vintage Fender, a few pedals, and put the whole setup in my gig bag. That part of the Nano Cortex experience remains a game changer. But as the incremental improvements in the NanOS 2.0.0 show, there is still ground to cover.
After their Covid-delayed, smash-success reunion tour a few years back, My Chemical Romance plotted the Long Live the Black Parade North American stadium tour this past summer.
PG’s Chris Kies joined the run at Soldier Field in Chicago, and before the show, he rendezvoused with techs James Bowman, Josh Schreibeis, and Joe Saucedo—who handle Frank Iero, Ray Toro and Mikey Way’s rigs, respectively—for a look at the axes, amps, and effects the heavy-hitting emo titans are using these days.
After Iero got this Castedosa Marianna Semi Hollow, it became the show starter for this summer’s tour. This, and all other guitars, are tuned down a half step with Ernie Ball Paradigm strings (.011–.052).
Bury Me in White
Iero favors Ernie Ball StingRays like this one, in matte “Stormtrooper” white. The only mod on this guitar is the addition of Luminlay dots on the side of the neck.
One and Done
This 1992 GibsonLes Paul gets played only for the title track off the band’s 2006 record, The Black Parade.
Under Pressure
This tiny, light Abernethy Guitars electric takes Bowman forever to string. If anyone has tips, send them his way.
Purple Reign
After using Marshall Super Lead heads with the Dookie mod on the previous tour, Iero found these slick purple heads and brought them to Dave Friedman to match the Dookie specs and add some EQ tweaks. These two, a main and backup, are responsible for the bulk of Iero’s sounds.
A Fender Twin Reverb onstage is responsible for “small-amp sounds,” while a Twin Reverb Tone Master underneath it sends a clean DI signal for the mix in Iero’s in-ear monitors.
Welcome to the Rack Parade
Iero’s backstage rack includes three main racks of effects, all powered by Strymon Zumas.
The first carries a Mesa Boogie 5-Band Graphic EQ, Amaze by Analogman Prince of Tone, Bowman Audio Endeavors Bowman Overdrive, JHS Hard Drive, and Hayashi Craft Trick Gain.
Drawer two is about modulation, and includes a Boss TR-2, MXR Phase 100, Boss DM-2W, EarthQuaker Devices Ghost Echo, EHX Micro POG, and EHX Holy Grail.
The last drawer bears a Jackson Audio Twin Twelve, EHX Deluxe Memory Man, Ibanez Tube Screamer Overdrive Pro, and Bowman Audio Bellyacher.
Toro’s Top
Toro plays this 1978 Les Paul to start the show, including tracks “The End.,” “Dead!,” and “House of Wolves.” He runs .011–.052-gauge strings on all his guitars.
Second Fiddle
This sunburst Les Paul has been outpaced by the black ’78, but it still comes out for “Welcome to the Black Parade” and “Famous Last Words.”
Super 6
This 2005 Fender Custom Shop Telecaster sees action on six tunes in the band’s set.
Ray Toro’s Amps
A head combo of a Marshall JMP and Metropoulos Amplification Metro (both running into Fryette PS-100s) comprise Toro’s main tones, while an Amplified Nation Wonderland Overdrive 1x12 combo is used for solo sounds, and a Fender Deluxe Reverb handles cleans. Toro’s signal is pumped through two 4x12 cabs—one Marshall, one Bad Cat.
Ray’s Really Rockin’ Rack Rig
A Shure Axient wireless system sends his guitar’s signal to this system backstage, where it hits a Radial JX44 and a pair of RJM Effect Gizmos.
One drawer holds an MXR Duke of Tone, MXR Custom Badass ’78 Distortion, Boss GE-7, Boss CH-1, Kernom Moho, Kernom Ridge, and Wampler Gearbox.
In the next are two Boss GE-7s, two Bowman Overdrives, a Death by Audio Fuzz War, a Source Audio EQ2, a Bowman Bellyacher, and a Keeley Compressor Mini.
The third shelf is home to an EHX POG2, 1981 Inventions DRV, Chase Bliss Preamp MK II, Boss TR-2, MXR Carbon Copy, Keeley Loomer, and MXR EVH Phase 90.
A fourth level hosts a Strymon TimeLine, Strymon BigSky, and Source Audio EQ2.
Out onstage at his feet, Toro keeps a pedalboard with a TC Electronic PolyTune, a custom RJM Mastermind PBC/6X, Ibanez TS808, Bowman Audio Bowman Overdrive, EHX Micro POG, Boss TR-2, MXR Carbon Copy, and Strymon BigSky.
Strymon Zumas keep everything chugging along.
Comeback Kid
This silver-sparkle Fender Jazz bass was built for the band’s reunion tour, intended to mimic Way’s earlier signature model. It’s since been treated to more affordable Mexico-made production runs. Way runs Ernie Ball Hybrid Slinky strings (.045–.105) and plays with Clayton triangle picks.
Red!
This eye-catcher was made by Fender’s Brian Thrasher, and is equipped with pickups from the Adam Clayton signature bass. Way relies heavily on this one, then switches to an identical one for down tunings.
Dodger That
Way secured permission from Major League Baseball and the Los Angeles Dodgers to use the team’s exact hue of blue on this custom instrument.
Mikey Way’s Amp
Way runs through a Fender Super Bassman head into matching 8x10 cabs, with a DI signal also running to front of house.
Mikey Way’s Effects
Way keeps things simple. Along with an Origin Effects DCX Bass and Cali76 set to push his Super Bassman, his setup includes a pair of Aguilar Agros, an MXR Sub Octave Bass Fuzz, and a Malekko B:assmaster.
The aptly named Kali distills elements of the Fortin Cali—a Plexi-inspired amp—into a 2-channel pre-amp and distortion pedal. Each channel has three gain modes—vintage, raw, and saturation—which are selectable via a mini toggle. And each mode has a very distinct vibe, which could be loosely categorized as low-end-heavy, midrangey, and high-gain-centric, respectively.
Charging right into Kali’s arms, I selected the vintage mode on Channel 1, and set the gain 2 knob to 9 o’clock. The gain 2 knob, which controls the gain level that hits the circuit’s front end, is the default gain knob for both channels. The gain 1 knob, which adds additional gain stages, only works on channel 2. But even at this modest setting, I was already into toothy distortion that was very touch-sensitive.
Wide Range of Rage
Without changing any other settings, things got significantly filthier by merely switching over to the saturation mode. And even at this lower-gain setting, the output is tailor-made for heavy rhythm in a classic metal jam. Pumping the gain 2 knob to around 3 o’clock, meanwhile, makes the Kali a very in-your-face proposition, with sounds rooted in Sunset Strip/Jose Arredondo Marshall-mod energy.
Interestingly, even though saturation mode has the most aggressive gain structure, it doesn’t feel especially compressed. It’s also the quietest of the three modes when tested across identical settings. This was especially noticeable when I switched between vintage and saturated modes at high gain 2 settings. It follows, then, that raw mode—the pure sound of the pedal without any extra gain stages and essentially the preamp only—is the loudest of the three modes.
Well Put Together, With a Bright Personality
Channel switching is handled by one of the two footswitches (the other
is for bypass) and it enables you to cascade one channel into another. In cascaded-stage mode, gain knob 1 is active and serves as a pre-gain (hence the gain 1 designation). In saturation mode, with both gain knobs at noon, switching between the channels sounds organic. Channel 2 is generally thicker and sustains bends for a tad longer. But the two channels definitely do not feel haphazardly thrown together. They are clearly cut from the same cloth.
“[It’s] a very in-your-face proposition, with sounds rooted in Sunset Strip/Jose Arredondo Marshall-mod energy."
In general, the Kali is bright, but if you need brighter, there are a pair of 3-position bright switches for each of the two channels. At low output volumes the changes offered by these bright switches are noticeable but not too dramatic. They are much more pronounced at high output volume. The active +/- EQ knobs actually have much greater impact on the Kali’s personality—particularly in the zones between 9 and 3 o’clock, where minor tweaks yield very different tonal realms.
The Verdict
The Kali comes across as a cohesive whole, yet its interactive controls and powerful EQ unlock a wide range of Plexi and modded-Plexi tones. No matter how you set it, it sounds impressive.
Unlock your guitar's true potential with the Fralin Pickups Push-Pull Blender Pot! Blend tones, split coils, and explore endless sonic possibilities without permanent changes. Ready to elevate your sound? Check out the Joe Bonamassa Humbucker Set and more gear to keep your music alive!
Fralin Pickups
Push Pull Blender Pot
Unlock a wider range of tones with the Fralin Pickups Push-Pull Blender Pot. Compatible with guitars and basses, this versatile control blends pickup outputs, adds coil-splitting and out-of-phase options, and enables many wiring mods—giving you flexible, player-friendly tonal shaping without permanent changes to your instrument.
Joe Bonamassa has long been a fan of Tommy Bolin, whose work influenced generations of guitarists. After a 10-year search, Joe acquired Tommy’s 1960 GibsonLes Paul and worked with the Seymour Duncan Custom Shop to recreate these P.A.F.s. The first 500 sets are signed by Joe and Seymour Duncan.
Don’t let fret sprout stop you from playing your favorite guitar. This kit has everything you need to fix it yourself. When dry weather comes around, your fretboard can shrink and the fret ends poke out. Sharp fret ends can slow you down, feel uncomfortable, or cut your hand.
When performing live, the small problems can turn a great show into a nightmare. A loose screw, slipping string, or guitar poorly leaned against an amp can create major stress. So, we created the Guitar Tech Case Candy Set—a compact collection of essential tools designed to keep your guitar stage-ready.
Designed for matching specific fretboard curvatures, Floyd Rose Original saddle sets now offer several radius options without the need for individual saddle shims. Crafted in the U.S. from high-quality tool steel using precision CNC machining, the saddles are then heat-treated and plated to withstand the demands of the heaviest performers.
Introducing authentic upgradable hardware kits for FR Tremolo Systems, available in eight stainless steel finishes as well as titanium. Each hardware upgrade kit comes with seven string-lock screws, seven saddle-mounting screws, four nut-clamping screws, four block mounting screws, and string lock insert blocks.
Like the Silver Sky, the NF 53 revealed Paul Reed Smith’s deep reverence for classic Fullerton designs and curiosity about how to expand on those templates. 2023’s NF 53 release left us impressed, and it was only a matter of time until an offshore-built SE model followed. That time has come: The SE NF 53 is here, dressed in the same lines and livery as the USA-built model, but at a more affordable price point thanks to PRS-licensed and supervised manufacturing by the Cor-Tek Musical Instrument Co. in Indonesia.
Like the NF 53, the SE model is more a riff on the Telecaster theme than a copy. Unburdened by tradition, PRS carved away at every line of the single-cutaway form, and the electronics are very much about enhancing versatility, rather than reducing componentry to the absolute basics. Even so, the SE NF 53 still drips with Tele-ness.
Single-Cut Minded
T-style traditionalists will find much that feels familiar, like the 25.5" scale length and bolt-on maple neck. From there, though, the SE NF 53 deviates from vintage T-style spec pretty quickly. There are 22 medium-jumbo frets, and the neck is constructed with a scarf joint that increases strength at the headstock break. The maple fretboard is sliced away from the neck and reglued after installation of the truss rod. Its width at the nut falls between Gibson and Fender camps at 1 41/64". The 10" radius also splits the difference between vintage Gibson and Fender specs, and it all feels great in hand courtesy of a rounded-C profile that measures about .87" deep at the first fret. The guitar’s overall weight is around 8.1 lbs.
In Telecaster style, the SE NF 53’s body is made from swamp ash—in this case, using 3-piece construction. It features belly and forearm contours, and a contoured cutaway for easier upper-fret access. PRS maximized the drama of the ash’s distinctive grain with a white doghair finish on our review sample, and black grain filler makes the wide, rippling lines pop and weave beneath the white. They reverse the effect entirely on the black doghair version, and hide the grain entirely on the pearl white finish.
In the hardware department, the SE NF 53’s bridge nods to a vintage Telecaster’s brass barrel saddles, but it uses a steel-base design with string-anchor notches rather than through-body stringing. It also deviates from T-style tradition by assigning three strings to a saddle with two adjustment bolts, rather than three saddles with two strings each.
Like the USA model before it, the SE NF 53 is fitted with a pair of PRS’s Narrowfield DD pickups, although these are the “S” variant, which are designed to enhance low-end tones while retaining snarl and twang. The “DD” stands for deep dish, meaning these single-coil-sized humbuckers are made with deep bobbins to enable extra coil windings, using a mix of magnet pole pieces with steel poles in between. They are wired through master volume and tone controls and a three-way selector switch on a plate that nods toward the late ’60s Fender Telecaster Thinline.
Taken together, the SE NF 53 is a cohesive design, made stronger by its robust build quality. There’s no real lack of refinement in evidence when compared to the USA model. Some of the woods and components are a different grade, but the overall result is a guitar that lends a sense of confidence.
Field Day
Plugged into a Fender Bassman head and 2x12 cab, a Vox AC15 1x12 combo, and a Fractal FM9 into headphones, the guitar reveals a genuine alternative to the T-style formula suggested by its components. Its character is distinctly its own—and with noticeably less hum.
The Narrowfield DD “S” pickups play a big part in the guitar’s success. The easiest reference point I can think of might be a blend of Telecaster and P-90 tonalities, but with plenty of their own thing going on. With a clean amp or setting there’s a meaty growl on top of the twang. Yet the guitar isn’t short on bright, sparkly chime, and sounds alive in those frequencies without being strident or spikey. This sonic foundation puts edge-of-breakup tones right in the SE NF 53’s wheelhouse, where the chewy bite segues into a little bit of breakup when you hit it hard. And it’s just as comfortable with high-gain tones, where the same sonic characteristics that contribute sweetness in cleaner settings enable clarity and cutting power while avoiding harshness in the highs. In fact, the guitar is at home in so many settings, sharing a Telecaster’s versatility and its effortless ability to handle almost anything with style.
The Verdict
The NF 53 platform is a very likeable tribute to the seminal T-style without trying to replicate it and, as a result, it’s versatile and inspiring guitar in its own right and in its way. And in the SE version of this design it delivers at a price that belies its vocabulary and its confidence.
StewMac
