IK Multimedia introduces ENGL Ampthology Vol 1, the first Signature Collection powered by the new TONEX Modeler. ENGL has earned a place among the most revered names in high-gain amplification, with a tone that has shaped the performance of metal, prog, and hard rock around the world.
For the first time, that signature ENGL aggression and clarity have been captured directly from ENGL's private vault of hand‑selected amps, meticulously curated for the official TONEX collection.
"For decades, ENGL has defined the sound of high-gain excellence. With IK Multimedia's TONEX technology, our iconic amps have been captured for you to unleash in the studio, on stage, or anywhere your music takes you." - Edmund Engl, founder of ENGL AMPS
ENGL Collection Overview
72 Tone Models based on six legendary amps from ENGL's private collection, dialed in for this exclusive release.
Created by ENGL tone masters using TONEX Modeler for enhanced high‑gain precision.
Includes Amp, Amp + Cab, and Complex Rig Tone Models for ultimate flexibility in studio and live setups.
Compatible across the entire TONEX ecosystem: Mac/PC, iOS, TONEX Pedal, and TONEX ONE.
Compatible with all TONEX software versions, including the free TONEX CS.
The Ultimate ENGL Experience ENGL Ampthology Vol 1 offers instant access to six legendary ENGL amplifiers: the Fireball 60, Powerball MK1, Invader 100, Savage 120 MK1, Savage 60 MK1, and the pure tube tone of the ENGL Straight. Each amplifier offers a selection of exclusive Tone Models, including amp-only captures for maximum versatility.
From crystal-clear cleans to crushing high-gain tones, with or without cab, these Tone Models capture authentic ENGL character in a mix-ready, studio-quality format that's phase-perfect, ultra-responsive, and optimized for both studio and live use.
Experience the full ENGL sound - without the volume, weight, or tube maintenance.
Pricing and Availability The ENGL Ampthology Vol 1 is now available via ToneNET and within any version of TONEX for Mac/PC at a limited-time introductory price of $/€79.99* (reg. $/€99.99).
*Pricing excluding taxes.
For complete details and information about the ENGL Ampthology Vol 1 Signature Collection and to hear the tones, please visit:
FREE for all TONEX users, the standalone modeler adds batch processing, improves accuracy, increases reliability, and offers dramatically faster training times.
IK Multimedia is proud to announce the launch of the new TONEX Modeler, a FREE update for all paid versions of TONEX, available today through the IK Product Manager as TONEX 1.10.0.
Smarter. Faster. Perfect Tone. Developed by IK's dedicated TONEX team, TONEX Modeler offers a variety of requested improvements and works seamlessly with TONEX software, ToneNET, and TONEX hardware, whether for capturing and creating Tone Models or performing live with more accurate and expressive Tone Models.
TONEX Modeler Overview
Faster Training: Up to 87% quicker on modern GPUs and Apple Silicon Macs, with training times as short as 2 minutes.
Extreme Tone Accuracy: Ultra-dynamic with harmonic clarity for high-gain amps.
Batch Processing: Capture multiple rigs in a single session, then train later, even on another machine.
Time-Saving Workflow: TONEX Modeler automatically stops training once the ideal results are achieved.
Phase-Perfect Captures: Stereo rigs and DI blends remain perfectly aligned, essential for live performance.
Ultra-Low Latency: Play with a natural, responsive feel both in the studio and on stage.
Portable & Organized: Archive, export, and transfer captures easily across devices.
Seamless TONEX Integration: Instantly load new models into TONEX and TONEX Editor.
Professional, Unmatched Results Every Tone Model produced by TONEX Modeler is phase-perfect and features ultra-low latency, ensuring that stereo rigs and bass DI blends sound flawless without requiring additional tweaks. The new capture engine also excels with high-gain tones, delivering tighter lows, richer harmonics, and crystal-clear definition-perfect for modern guitarists and producers who demand mix-ready sound straight from the capture.
Batch Processing for Power Users TONEX Modeler's batch processing removes guesswork, saves time, and lets users capture once and process anytime, with the heavy lifting done automatically. Designed for today's creators, it works smoothly with NVIDIA GPUs and Apple Silicon Macs, providing faster and more reliable performance. Its smart workflow even stops training early once peak quality is reached, so there's less waiting and more creating.
Tone Partners Onboard TONEX Tone Partners are experts whose feedback was crucial in developing the new TONEX Modeler. They received early access, and today IK is excited to share the results of this collaboration. Fifty-six new Tone Partner collections and bundles are now available on ToneNET for demo and purchase, showcasing the sonic enhancements of the new TONEX Modeler and providing over 1,140 new Premium Tone Models of sought-after rigs to explore.
Pricing and Availability The TONEX Modeler is now available through the IK Product Manager as a FREE update for all paid versions of TONEX, including TONEX SE.
TONEX Tone Partner Collections, created with the new TONEX Modeler, are now available for demo and purchase through ToneNET and in any version of TONEX for Mac/PC, starting at just $/€9.99* with Tone Partner bundles beginning at $/€39.99.
On her new album, So Long Little Miss Sunshine, Molly Tuttle balances tradition with bold experimentation.
Perched on Houston Street, the unofficial border between Manhattan’s East Village and Lower East Side, the Mercury Lounge is a venerable New York City music room with a top-notch sound system. It’s also quite small. Two hundred and fifty people max would be a generous capacity estimate, and the club’s bookings, fittingly, tend toward the alternative and the fringe. So it’s not the first place you’d expect to see a celebrated bluegrass acoustic guitar virtuosa and two-time Grammy winner. But on this extra-warm evening in late June, Molly Tuttle is specializing in the unexpected.
- YouTube
The four musicians weaving through the shoulder-to-shoulder crowd ahead of Tuttle to the Mercury stage are the night’s next surprise, for more than one reason. For starters, they’re not Golden Highway, the group with which she won those Grammys (for Best Bluegrass Album, in 2022 and 2024). Secondly, they’re all female. The appealingly afro’d Megan Jane is a stone-solid drummer. Vanessa McGowan switches off between electric and acoustic upright bass. Mair Mulroney deftly handles fiddle, mandolin and keyboards. Close-cropped Ellen Angelico lets it rip on electric guitar and lap steel. “This is only the fourth show we’ve played together,” Tuttle announces from the stage, clutching the signature dreadnought that Martin built for her last year. “And the first three were festival-type things, so this is the first show that really feels like ours.”
The music they play, much of it from Tuttle’s new album, So Long Little Miss Sunshine, is surprise number three. Bouncy, breezy songs like “The Highway Knows” and “That’s Gonna Leave a Mark” are, in short, not bluegrass, though they abound with nods to both modern and traditional country. You wouldn’t be wrong to call this pop music, yet it’s pop of an exceptionally tuneful, intelligent and tastefully arranged order. And unlike the work of pretty much any other contemporary pop artist, it leaves plenty of room for the acoustic guitar as a lead instrument. Because while the stylistic trappings and the supporting players have changed, one thing hasn’t: Tuttle is still cross-picking up a storm, exclusively on the kinds of axes that have big sound holes and wound G strings. At least for now.
“Maybe on the next album,” 32-year-old Tuttle says with a laugh earlier that same day, in a mercifully air-conditioned record company conference room, when asked about the chances of her ever going electric. Right now she’s still happy to explore her usual instrument in a new context. “You know, you think of bluegrass as featuring the flatpicked guitar more than any other style. But strangely enough, I play so much more guitar on this album than I ever have on one of my records. That was really fun for me, and it pushed me as a player. It was like, how do we keep this interesting when I’m gonna be the only soloist on the whole record?”
Tuttle plugs in at the Newport Folk Festival, 2019
Tim Bugbee/Tinnitus Photography
“This is my fifth record,” Tuttle says of So Long Little Miss Sunshine, “which is crazy. It doesn’t feel like it is. But looking at all five of them together, this one is definitely more in the vein of my first record [2019’s When You’re Ready] and the cover record. And then for the last two”—the Grammy winners, Crooked Tree (2022) and City of Gold (2023)—“I consciously wanted to make these bluegrass records to honor my family roots in that music. My grandfather played the banjo and passed down the music to my dad, who taught me how to play, and it just felt like this important thing for me to do. I know that I’ll always want to play that music, and I’m sure I’ll make more bluegrass records and tour with bluegrass bands again. But at the same time, this album feels like it’s a bigger picture of who I am as an artist. It encapsulates more sides of my songwriting and playing and singing.”
“Strangely enough, I play so much more guitar on this album than I ever have on one of my records.”
So where does this leave Golden Highway? “It’s on hiatus,” Tuttle responds, “and I don’t know when we’ll play together again. But I certainly hope that we do. I think we were all ready to slow it down a bit. We’ve had so much fun over the past three years, but everyone knew that I was gonna want to do something different. Some of the band members expressed that they wanted to pursue their solo projects, and we’ve been touring at such a high intensity, it just felt like a natural stopping point. I don’t think anyone wanted to say this is the end, and I certainly don’t. We’re all still great friends, I see them around in Nashville, and I think when the time’s right, we’ll have an epic musical reunion.”
Molly Tuttle’s Gear
Road Guitars
Pre-War Guitars Co. Dreadnought (tuned EADGBD)
Martin Molly Tuttle signature model (D-28 style, tuned DADGAD)
Studio and Home Guitars
1943 Martin D-18
Pre-War Herringbone and Double Aught
Preston Thompson D-BA
Preston Thompson Molly Tuttle Signature
Pickups
K&K Double Helix, blended with internally mounted Shure microphone
D’Addario EJ12 80/20 Bronze strings, medium gauge (.013-.056)
Dunlop Jazztone 208 picks
Shubb and Elliott capos
“It encapsulates more sides of my songwriting and playing and singing,” Tuttle says of So Long Little Miss Sunshine.
As for the new band, Tuttle claims that the lack of Y chromosomes in its lineup wasn’t pre-planned. “I reached out first to Vanessa, who’s playing bass, and then she connected me with the rest of the band. I’d already toured with Megan, the drummer, in 2021, and we did some pandemic livestreams together. But we didn’t mean to make it all-female. Being a woman in the music industry, you never want to feel like you’re being asked for a gig just because you’re a woman. But when you get together organically, as we did, it’s like, yay, this is pretty fun.” That sense of high spirits is evident at the Mercury Lounge, as Tuttle’s bandmates prove equally adept at both the poppier new material and Golden Highway nuggets like “Alice in the Bluegrass” and “Over the Line.”
“I’m sure I’ll make more bluegrass records and tour with bluegrass bands again.”
Tuttle may not have played any of the electric guitar parts on So Long Little Miss Sunshine (those were handled by Joyce), but in the absence of Golden Highway in the studio, she did make another notable recorded debut: playing her grandfather’s banjo. “I always had a banjo player before,” she explains, “but all of a sudden I had to be my own banjo player. And that was a conscious decision—we still wanted to have banjo [on the album]. That way you see how it connects to my previous work; even as we’re moving into new areas, we tie it back to the roots.”
Beyond serving as a timbral bridge from one Tuttle era to another, the banjo also combines with her acoustic to create alluring textures on the album’s final two songs, “No Regrets” and “Story of My So-Called Life.”
In the latter composition, an exercise in elliptical autobiography, Tuttle gives a shout-out to the Orange Line, a branch of the Boston subway system that she rode almost every day she lived there. Even though she’s been a Nashville resident for years, the time she spent in Massachusetts’ capital as a student was clearly pivotal. “I learned so much at Berklee,” Tuttle recalls. “I knew no music theory before I went there. I’d never read any music or tablature. I had such an aversion to all that. So when I got there, it was a big shock. But after about a year I really understood music more, and I could communicate better with other musicians. A lot of times, I was the only acoustic player in my guitar classes, which was kind of funny. But I learned to embrace that, even if it sometimes made me uncomfortable.”
Tuttle and Billy Strings light up Newport, 2019
Tim Bugbee/Tinnitus Photography
Back at the Mercury Lounge, the surprises keep coming. Toward the end of the set, Tuttle and her band launch into another new tune, “Old Me (New Wig),” with rockabilly swagger. At a climactic moment, Tuttle dramatizes the song’s subtitle by reaching up and removing her carefully coiffed brown wig, revealing a smooth, white pate beneath. What feels on some level like a Sinéad O’Connor-style protest against the patriarchy is also a touching acceptance of reality: Tuttle’s natural hair stopped growing when she was a child due to an autoimmune condition called alopecia universalis. Fans have long known this, but for her to acknowledge it onstage so openly—and play the rest of the show wigless—is further evidence that Tuttle continues to embrace the uncomfortable.
For the last song of the evening, Tuttle plays what feels like her trump card: a radical reworking of Icona Pop and Charli XCX’s “I Love It.” That it’s in the set list isn’t one of tonight’s bigger surprises—it’s a highlight of her new album—but the decision to close with it is bold. Where the original is a snotty dance-punk anthem, Tuttle turns it into something else entirely: a bleak ballad, sung by a woman whose recent romantic breakup may have brought her to the end of her tether. In her hands and voice, a fun pop throwaway becomes strangely moving. It’s a powerful moment, hinting at even more to come.
“I always had a banjo player before, but all of a sudden I had to be my own banjo player.”
“I really liked doing my last two records, the bluegrass ones,” Tuttle says. “That felt so in my wheelhouse. I knew exactly what to do. This one took much longer to figure out: How do I put my own voice on the guitar into this new style of music? And a lot of the songs changed a ton from the way they were when I started writing them.”
She continues, “But now, having these new songs and this new style adds an element that I feel can make the live show bigger and reach more people, which is exciting. And the new band lineup is cool because we can still incorporate the bluegrass stuff too; everyone can play that. For me, it just feels good to branch out artistically.”
YouTube
Molly Tuttle stops into CBS’s Saturday Sessions to play her song “San Joaquin,” from 2023’s City of Gold.
Sweetwater CEO Mike Clem recently stopped by the Know Your Gear podcast for a look inside how one of the largest music gear companies operates.
In the conversation, Clem talks about the ways Sweetwater listens to customers, employees, and the broader market when making decisions. He shares how the company responds to challenges in the industry, from supply chain issues to evolving technology, and how those challenges shape everyday operations.
Clem also touches on leadership and supporting employees in their roles, offering insight into how a large company keeps everyone moving in the same direction without losing sight of its culture. It’s a detailed look behind the scenes, full of takeaways for musicians, gear enthusiasts, and anyone curious about running a growing business in a competitive industry.
BOSS introduces the PX-1 Plugout FX, an innovative hardware platform that captures the timeless BOSS compact pedal experience in one versatile pedal.This convertible stompbox holds multiple authentic effect recreations from the historic BOSS effects lineup, providing endless fuel for every creative journey. Sixteen effects are included with purchase, and more can be added over time with the BOSS Effect Loader app for iOS and Android devices.
Since 1977, BOSS compact pedals have inspired generations of musicians around the world. Over 140 unique models have been produced, over 19 million units have been sold, and many have remained in non-stop production for decades. From vintage classics and go-to workhorses to rare and specialty effects, the PX-1 unlocks the diverse BOSS compact pedal range within a single stompbox.
Backed by newly developed BOSS algorithms, each effect in the PX-1 delivers the genuine sound and response of the pedal it’s based on. Every detail is modeled with stunning accuracy, thanks to a powerful DSP engine dedicated to recreating the sound of a single effect at a time. Users can dial in tones fast with the familiar BOSS knob interface, supported by an onboard display for current parameters and internal settings.
The PX-1 offers external control with one or two footswitches or an expression pedal. There’s a Swap function to switch between two effects, and nearly any parameter can be assigned for real-time expressive control while performing. Stereo I/O provides flexible connectivity and enhanced sound for models with stereo operation, while tap tempo and MIDI clock support are provided for time-based effects.
An Ever-Expanding Library
The PX-1 comes with 16 unique effects, including eight permanently installed “1” models and eight that can be loaded into the pedal’s eight user memories.Many more PX-1 effects will be added over time, and each new effect will be available with a low-cost Model Pass within the BOSS Effect Loader app.
Included effects:
OD-1 Over Drive
SP-1 Spectrum
PH-1 Phaser
SG-1 Slow Gear
CS-1 Compression Sustainer
TW-1 T Wah
SD-1 SUPER OverDrive
DS-1 Distortion
CE-2 Chorus
BF-2 Flanger
PN-2 Tremolo/Pan
OC-2 Octave
PS-2 Digital Pitch Shifter/Delay
VB-2 Vibrato
DD-2 Digital Delay
DF-2 SUPER Feedbacker & Distortion
Roland Cloud Ultimate Membership Included
The same PX-1 effects are also available for computer music production with the BOSS Effects Pedals plug-in on Roland Cloud, and six months of Roland Cloud Ultimate membership comes with the pedal. This provides complete access to the full BOSS Effects Pedals library, JC-120 Jazz Chorus and RE-201 Space Echo plug-ins, and many other powerful creative tools.
Availability & Pricing
The BOSS PX-1 Plugout FX will be available in September for $249.99 USD.
Many more PX-1 effects will be added over time, and each new effect will be available with a low-cost Model Pass within the BOSS Effect Loader app.
