A new Cube promises to raise your wattage while reducing your load.
Download Example 1 Funk | |
Download Example 2 Jazz | |
Download Example 2 Stack | |
Download Example 2 Tweed | |
Download Example 2 Solo |
Before now, the highest power available in the Cube line was 60 watts. Roland has now upped the ante with the latest addition: the 80-watt Cube-80X. I tested the 80X with a Fernandes Strat sporting DiMarzio Virtual Vintage pickups and a Stromberg Monterey semi-hollow equipped with DiMarzio EJ Custom humbucking pickups.
The Rundown
The Cube-80X delivers its power through one 12" speaker and what amounts to three switchable channels. The clean channel, labeled JC Clean—after Roland’s famous Jazz Chorus, sports a single volume control. A Lead channel contains its own Volume and Gain knobs, as well as a rotary switch that lets you choose nine additional models: Acoustic Sim (simulating an acoustic guitar), Black Panel (Fender Twin), DLX Combo (Fender Deluxe), Brit Combo (Vox), Tweed (Fender Bassman), Classic Stack (Marshall JMP 1987), Metal Stack (Peavey EVH 5150), R-Fier Stack (Mesa Boogie Rectifier), and Dyna-Amp.
The Dyna-Amp model is touted as offering “unprecedented tonal changes according to your picking dynamics.” Of course, at low to medium gain levels, any good amp should respond to your picking dynamics, and a large part of the appeal of COSM modeling is that the simulations are realistically dynamic. The Dyna-Amp setting pushes these dynamics to interesting, if unrealistic, extremes. Once you get used to it, though, you may find it to be an expressive tool. The third channel, labeled Solo, is programmable. The EQ and Effects settings are shared by the Clean and Lead channels, but you can program the Solo channel to call up a separate set of model, EQ and effects settings. Saving these settings is as simple as holding down the Solo button for two seconds. This section also has its own Volume knob, so I was able to set different output levels for Clean, Lead (or crunch rhythm), and Solo.
Sound Clips to Go
Even if you don’t play raging, loud metal, a high-wattage amp has the advantage of gobs of clean headroom. The Roland JC-120 is favored by funk guitarists for its ability to remain squeaky clean at a volume that can cut through horns and keyboards. Check out Clip 1 to hear how the JC Clean setting on the 80X delivers distortion-free funk, at a little over half the poundage of a JC-120. Another type of picker that worships light, high-powered amps is the jazz guitarist. Both the JC Clean and Black Panel settings neatly handled the low end of the Stromberg with the neck tone rolled down, but I preferred the warmth of the Black Panel (Clip 2).
Switching back to the Fernandes and the Classic Stack, you can hear the realistic dynamics of the COSM modeling on Clip 3, where I set the amp for moderate gain, first picking lightly and then with more attack. Following that you will hear the distortion increase gradually as I build a chord and launch into an AC/ DC style riff. The Tweed sound captured that Texas “thang” (Clip 4), but was smoother, and handled the low end better than most models (and many an actual Bassman).
For my Solo Sound (Clip 5), I chose the Classic Stack, added a bit more gain, boosted the mids, added a little reverb and delay, and saved it. Though it is based on a Marshall sound, the EQ—along with the slight compression that COSM modeling tends to add—gave the tone more Dumble-like warmth. I found that due to a significant midrange bump in the speaker, single coils sounded better than humbuckers. Running out of the extension speaker output of the 80X into a custom 1x12” cabinet with an Eminence speaker opened open a whole new range of tones.
The Final Mojo
Though it is hard to imagine hard rock and metal players using the 80X on a gig (recording and practice—definitely), gigging jazz, country and funk guitarists are sure to appreciate the massive headroom and minimal weight of the Cube-80X.
Buy if...
you want loud and light.
Skip if...
tubes are your thing.
Rating...
MSRP $399 - Roland - rolandus.com |
With authentic stage-class Katana amp sounds, wireless music streaming, and advanced spatial technology, the KATANA:GO is designed to offer a premium sound experience without the need for amps or pedals.
BOSS announces the return of KATANA:GO, an ultra-compact headphone amplifier for daily jams with a guitar or bass. KATANA:GO puts authentic sounds from the stage-class BOSS Katana amp series at the instrument’s output jack, paired with wireless music streaming, sound editing, and learning tools on the user’s smartphone. Advanced spatial technology provides a rich 3D audio experience, while BOSS Tone Exchange offers an infinite sound library to explore any musical style.
Offering all the features of the previous generation in a refreshed external design, KATANA:GO delivers premium sound for everyday playing without the hassle of amps, pedals, and computer interfaces. Users can simply plug it into their instrument, connect earbuds or headphones, call up a memory, and go. Onboard controls provide access to volume, memory selection, and other essential functions, while the built-in screen displays the tuner and current memory. The rechargeable battery offers up to five hours of continuous playing time, and the integrated 1/4-inch plug folds down to create a pocket-size package that’s ready to travel anywhere.
KATANA:GO drives sessions with genuine sounds from the best-selling Katana stage amp series. Guitar mode features 10 unique amp characters, including clean, crunch, the high-gain BOSS Brown type, two acoustic/electric guitar characters, and more. There’s also a dedicated bass mode with Vintage, Modern, and Flat types directly ported from the Katana Bass amplifiers. Each mode includes a massive library of BOSS effects to explore, with deep sound customization available in the companion BOSS Tone Studio app for iOS and Android.
The innovative Stage Feel feature in KATANA:GO provides an immersive audio experience with advanced BOSS spatial technology. Presets allow the user to position the amp sound and backing music in different places in the sound field, giving the impression of playing with a backline on stage or jamming in a room with friends.
The guitar and bass modes in KATANA:GO each feature 30 memories loaded with ready-to-play sounds. BOSS Tone Studio allows the player to tweak preset memories, create sounds from scratch, or import Tone Setting memories created with stage-class Katana guitar and bass amplifiers. The app also provides integrated access to BOSS Tone Exchange, where users can download professionally curated Livesets and share sounds with the global BOSS community.
Pairing KATANA:GO with a smartphone offers a complete mobile solution to supercharge daily practice. Players can jam along with songs from their music library and tap into BOSS Tone Studio’s Session feature to hone skills with YouTube learning content. It’s possible to build song lists, loop sections for focused study, and set timestamps to have KATANA:GO switch memories automatically while playing with YouTube backing tracks.
The versatile KATANA:GO functions as a USB audio interface for music production and online content creation on a computer or mobile device. External control of wah, volume, memory selection, and more are also supported via the optional EV-1-WL Wireless MIDI Expression Pedal and FS-1-WL Wireless Footswitch.
For more information, please visit boss.info.
We know Horsegirl as a band of musicians, but their friendships will always come before the music. From left to right: Nora Cheng, drummer Gigi Reece, and Penelope Lowenstein.
The Chicago-via-New York trio of best friends reinterpret the best bits of college-rock and ’90s indie on their new record, Phonetics On and On.
Horsegirl guitarists Nora Cheng and Penelope Lowenstein are back in their hometown of Chicago during winter break from New York University, where they share an apartment with drummer Gigi Reece. They’re both in the middle of writing papers. Cheng is working on one about Buckminster Fuller for a city planning class, and Lowenstein is untangling Austrian writer Ingeborg Bachmann’s short story, “Three Paths to the Lake.”
“It was kind of life-changing, honestly. It changed how I thought about womanhood,” Lowenstein says over the call, laughing a bit at the gravitas of the statement.
But the moment of levity illuminates the fact that big things are happening in their lives. When they released their debut album, 2022’s Versions of Modern Performance, the three members of Horsegirl were still teenagers in high school. Their new, sophomore record, Phonetics On and On, arrives right in the middle of numerous first experiences—their first time living away from home, first loves, first years of their 20s, in university. Horsegirl is going through changes. Lowenstein notes how, through moving to a new city, their friendship has grown, too, into something more familial. They rely on each other more.
“If the friendship was ever taking a toll because of the band, the friendship would come before the band, without any doubt.”–Penelope Lowenstein
“Everyone's cooking together, you take each other to the doctor,” Lowenstein says. “You rely on each other for weird things. I think transitioning from being teenage friends to suddenly working together, touring together, writing together in this really intimate creative relationship, going through sort of an unusual experience together at a young age, and then also starting school together—I just feel like it brings this insane intimacy that we work really hard to maintain. And if the friendship was ever taking a toll because of the band, the friendship would come before the band without any doubt.”
Horsegirl recorded their sophomore LP, Phonetics On and On, at Wilco’s The Loft studio in their hometown, Chicago.
These changes also include subtle and not-so-subtle shifts in their sophisticated and artful guitar-pop. Versions of Modern Performance created a notion of the band as ’90s college-rock torchbearers, with reverb-and-distortion-drenched numbers that recalled Yo La Tengo and the Breeders. Phonetics On and On doesn’t extinguish the flame, but it’s markedly more contemporary, sacrificing none of the catchiness but opting for more space, hypnotic guitar lines, and meditative, repeated phrases. Cheng and Lowenstein credit Welsh art-pop wiz Cate Le Bon’s presence as producer in the studio as essential to the sonic direction.
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little.”–Nora Cheng
“We had never really let a fourth person into our writing process,” Cheng says. “I feel like Cate really changed the way we think about how you can compose a song, and built off ideas we were already thinking about, and just created this very comfortable space for experimentation and pushed us. There are so many weird instruments and things that aren't even instruments at [Wilco’s Chicago studio] The Loft. I feel like, definitely on our first record, we were super hesitant to go into territory that wasn't just distorted guitar, bass, and drums.”
Nora Cheng's Gear
Nora Cheng says that letting a fourth person—Welsh artist Cate Le Bon—into the trio’s songwriting changed how they thought about composition.
Photo by Braden Long
Effects
- EarthQuaker Devices Plumes
- Ibanez Tube Screamer
- TC Electronic Polytune
Picks
- Dunlop Tortex .73 mm
Phonetics On and On introduces warm synths (“Julie”), raw-sounding violin (“In Twos”), and gamelan tiles—common in traditional Indonesian music—to Horsegirl’s repertoire, and expands on their already deep quiver of guitar sounds as Cheng and Lowenstein branch into frenetic squonks, warped jangles, and jagged, bare-bones riffs. The result is a collection of songs simultaneously densely textured and spacious.
“I listen to these songs and I feel like it captures the raw, creative energy of being in the studio and being like, ‘Fuck! We just exploded the song. What is about to happen?’” Lowenstein says. “That feeling is something we didn’t have on the first record because we knew exactly what we wanted to capture and it was the songs we had written in my parents’ basement.”
Cheng was first introduced to classical guitar as a kid by her dad, who tried to teach her, and then she was subsequently drawn back to rock by bands like Cage The Elephant and Arcade Fire. Lowenstein started playing at age 6, which covers most of her life memories and comprises a large part of her identity. “It made me feel really powerful as a young girl to know that I was a very proficient guitarist,” she says. The shreddy playing of Television, Pink Floyd’s spacey guitar solos, and Yo La Tengo’s Ira Kaplan were all integral to her as Horsegirl began.
Penelope Lowenstein's Gear
Penelope Lowenstein likes looking back at the versions of herself that made older records.
Photo by Braden Long
Effects
- EarthQuaker Westwood
- EarthQuaker Bellows
- TC Electronic PolyTune
Picks
- Dunlop Tortex 1.0 mm
Recently, the two of them have found themselves influenced by guitarists both related and unrelated to the type of tunes they’re trading in on their new album. Lowenstein got into Brazilian guitar during the pandemic and has recently been “in a Jim O’Rourke, John Fahey zone.”
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument,” Lowenstein says. “And hearing what the bass in those guitar parts is doing—as in, the E string—is kind of mind blowing.”
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little,” Cheng adds. “And also Lizzy Mercier [Descloux], mostly on the Rosa Yemen records. That guitar playing I feel was very inspiring for the anti-solo,[a technique] which appears on [Phonetics On and On].”This flurry of focused discovery gives the impression that Cheng and Lowenstein’s sensibilities are shifting day-to-day, buoyed by the incredible expansion of creative possibilities that setting one’s life to revolve around music can afford. And, of course, the energy and exponential growth of youth. Horsegirl has already clocked major stylistic shifts in their brief lifespan, and it’s exciting to have such a clear glimpse of evolution in artists who are, likely and hopefully, just beginning a long journey together.
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument.”–Penelope Lowenstein
“In your 20s, life moves so fast,” Lowenstein says. “So much changes from the time of recording something to releasing something that even that process is so strange. You recognize yourself, and you also kind of sympathize with yourself. It's a really rewarding way of life, I think, for musicians, and it's cool that we have our teenage years captured like that, too—on and on until we're old women.”
YouTube It
Last summer, Horsegirl gathered at a Chicago studio space to record a sun-soaked set of new and old tunes.
The long-running noise rockers detail what they packed for their January 2025 run across the U.K.
When the Jesus Lizard released their seventh studio record, Rack, last September, it ended a 26-year hiatus between recordings, and lovers of raucous, steely rock music around the world rejoiced. As guitarist Duane Denison told PG’s Nick Millevoi in our feature story, the key to the album’s vitality—and reviving the band’s brutal sound—was simple: “Practice loud.”
Ahead of a hotly anticipated U.K. tour celebrating the record, the band gathered at SIR’s rehearsal space in Nashville to do exactly that. PG’s Chris Kies stopped by to see what Denison and bassist David Wm. Sims were stuffing into their suitcases for the trip across the pond.
Brought to you by D’Addario.Higher Powers
The last time Denison invited us to his Nashville home for a Rig Rundown, he was using Electrical Guitar Company models. This time around, he’s smitten with this Powers Electric Type A. Most of the guitar’s features are proprietary, including the bridge, pickups, and the vibrato system. The trussed hollowbody is made from urban ash with a solid maple top, and comes with a compound radius Honduran rosewood fretboard.
Denison digs the definition and articulation in the attack of the discrete FF42 single-coil pickups, which bridge the gap between a humbucker’s hot output and a traditional single-coil’s brightness. He goes through four different tunings in the current Lizard set: E standard, drop D (for “Hide & Seek”), drop G (on “Thumbscrews”), and a strange tuning with flat E and D strings for “Thumper.” Coated Stringjoy Orbiters (.105–0.50) handle the changes, as well as the Stringjoy Jumbo Jazz picks Denison uses.
Sweet Victory
Denison has switched from Blackstar amps to this 2-channel Victory VS100 Super Sheriff. He’s always preferred British amps: “American guitars and English amps make the world go round,” he says. Denison also uses a Marshall JCM900, which he appreciates for its simplicity compared to the JVM series, and its versatility compared to the JCM800.
Helix Help
Denison sets up this Line 6 Helix as a pedalboard, with tweaked versions of his favorite analog delay pedals programmed in. Among his go-to effects are reverb, slapback delay, tremolo, chorus, wah, longer delay, and what he calls a “wildcare effect,” which comes into play for “What If?”
The Best $250 Ever Spent
Sims bought this Memphis brand Jazz-style bass in 1981 for $250, and it’s still his No. 1. He strings it with Rotosound RS66LDs, which he needs to change every three or four shows; once he senses the attack softening, he slaps new ones on.
Boomtown Brightness
Sims blasts his bass through this Gallien-Krueger 800RB, set for a classic midrange scoop with plenty of bite and bottom end. He prefers Ampeg 8x10 cabinets, or 2x15 speaker cabs.
Triple Combo
No fancy floor unit for Sims. He’s got a Boss ODB-3, an MXR Bass Chorus Deluxe, and an MXR Phase 90, all of which are used sparingly throughout the set.
The Jesus Lizard's Rig
The rising guitar star talks gear, labels, genre troubles, and how to network.
Grace Bowers just released her debut record, 2024’s Wine on Venus, with her band the Hodge Podge, but she’s already one the most well-known young guitarists in America. On this episode of Wong Notes, Bowers talks through the ups, downs, and detours of her whirlwind career.
Bowers started out livestreaming performances on Reddit at age 13, and came into the public eye as a performer on social media, so she’s well acquainted with the limits and benefits of being an “Instagram guitarist.” She and Cory talk about session work in Nashville (Bowers loathes it), her live performance rig, and Eddie Hazel’s influence.
Bowers plugs the importance of networking as a young musician: If you want gigs, you gotta go to gigs, and make acquaintances. But none of that elbow-rubbing will matter unless you’re solid on you’re instrument. “No one’s gonna hire you if you’re ass,” says Bowers. “Practice is important.
”Tune in to learn why Bowers is ready to move on from Wine on Venus, her takes on Nashville versus California, and why she hates “the blues-rock label.”