
High quality distinguishes a deep multi-effect unit.
Road-worthy construction. Huge range of sounds and ability to create uncommon combinations.
The distortion and overdrive tones could use improvement. No XLR outputs. No built-in tap tempo.
$619
Boss GX-100
boss.info
The popularity of all-in-one multi-effects units is at an all-time high largely because of convenience, but also because, these days, that convenience often comes with quality sounds to match. The Boss GX-100 is the latest iteration of a throw-and-go solution that aims to deliver both. It comes packed with amps, effects, routing options, impulse responses, and much more. It has tough competition in this price range, like the Line 6’s POD Go and the Headrush MX5. But it excels on many fronts, not least in terms of quality.
Big Boss Brains
The GX-100 feels very solid, which is a huge plus for units in this price range. It features an array of control buttons along the front, a quartet of knobs under the touchscreen interface, and a handful of buttons that lead you to deeper editing. The brain of the unit is based on a collection of 23 AIRD (Augmented Impulse Response Dynamics) amp models and over 150 effects. That’s an impressive number of options. And each one of those effects has a pile of parameters to tweak.
I’m no stranger to digital guitar units, so typically I dive in and get my hands dirty. However, I found that interface on the GX-100 requires some research before you can approach it with confidence. The factory presets are easy enough to access and scroll through, but when starting a patch from scratch I had to dig into the manual for guidance. Once the basics are mastered, the signal flow on the screen is very clear, with a collection of hexagonal symbols that represent elements of your signal chain. Changing parameters on the fly is easy and access to the slightly deeper functions involves a pretty shallow learning curve.
Amped To Overflowing
Of course, there are far too many options and possible signal chain permutations to give an exhaustive look at what the GX-100 can do here. But the collection of AIRD amps covers the basic food groups, with emulations of various Marshall, Vox, Fender, Mesa/Boogie, and Bogner varieties along with Roland’s classic models. Generally, these models sound familiar and authentic, though they may be peppered with digital artifacts in some situations. For example, I started with a meat-and-potatoes rig made up of a Fender-style amp, a few distortion pedals, delays, and a reverb. The classic mid-scooped tone profile that defines a Fender was certainly there, but I did hear some digital fingerprints in the high end. You probably wouldn’t hear this in a gig or in a band mix, but it did pop up on both headphones and studio monitors.
Effects, needless to say, are abundant and often great sounding. Boss’ history of outstanding delays and reverb, for example, pays off in the form of exceptional delay and reverb sounds here. With such a plethora of effect choices, option paralysis could be a real concern. But I tended to either start simple and expand from there or find a preset that was close to what I was looking for and trim down any unnecessary patches. The GX-100’s interface encourages this kind of smooth workflow. The GX-100’s interface also rewards experimentation—I had fun combining RAT-style dirt with an acoustic guitar sim, a wacky harmonizer, and some ambient delay and reverb. The GX-100 is full of surprises like this.
The GX-100’s interface encourages smooth workflow.
Dirt in the Box
Nailing overdrive sounds without tubes is hard, and usually a pretty expensive proposition. So, I wasn’t totally surprised when the low-to-medium gain models I tried felt a touch stiff and lacking harmonic and overtone nuance. By contrast, though, most of the high-gain emulations felt warm and punchy—especially the Mesa and Bogner varieties. It’s also always interesting to compare various distortion or overdrive boxes modeled in the unit with the quality of amp-based distortion. With the more rock-centric amp emulations such as Marshall, Mesa/Boogie, and Bogner I tended to favor saving the block allowance and using the amp itself to push the overdrive, which speaks to the quality of the amp models here.
The Verdict
As a relatively affordable, digital, all-in-one unit, the GX-100 is about as full featured as it gets, with a few noticeable exceptions being XLR outputs and a built-in tap tempo—which are likely not dealbreakers for most. At $619 it shines above others in this price range in terms of build quality and the level of I/O options. There’s probably room for improvement in the distortion and overdrive emulations, but there are thousands of other tones that warrant a long look and will compel you to play and create.
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Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like “Band Practice,” “Studio Mic Setup,” or “Quick Jam,” making it effortless to jump back in with the perfect sound.
“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).