Boss unveils a professional 500-watt bass amp with advanced Boss technology and companion two-way speaker cabinet.
Katana-500 Bass Head
The compact Katana-500 Bass Head brings serious bassists a next-generation sound experience backed by decades of BOSS R&D. This amp is incredibly clear, punchy, and responsive, realized with 500 watts of carefully tuned Class D power. Cab Resonance takes things further, using high-tech calibration to internally fine-tune the power output section for the userās preferred speaker cabinet.
With a simple button press, the Cab Resonance feature in the Katana-500 Bass Head calibrates the ampās reactive output stage circuitry to match the unique impedance and frequency properties of the connected cabinet. This proprietary BOSS process analyzes numerous elements, including the lowest frequency the cabinet can produce, high-end resonances, and many other factors. With this information, advanced processing dynamically enhances the output to provide superior feel and response, powerful lows, and high-definition overall sound.
The Katana-500 Bass Head offers a deep selection of controls to hone the primary sound. Thereās a four-band active EQ with three adjustable frequency options for both the low-mid and high-mid controls. A Bottom knob tunes the low end for different stages, while three Hi Cut settings smooth the sound as needed. With the Shape button, users can instantly revoice the amp with mid-scoop, bright, and wide-range curves.
The Katana-500 Bass Head also includes sophisticated tone-shaping tools to refine the fundamental sound. Via the Amp Feel switch, the player can apply Modern or Vintage tonal characteristics for different styles if desired. Comp and Drive types are available to control dynamics and introduce grit and aggression, while the FX section provides three bass-tuned effects for color and inspiration. Thereās also a Blend knob to dial in some direct bass sound for additional clarity.
The Katana-500 Bass Head integrates a versatile range of connectivity into its compact design. Two locking-style speaker outputs support high-current operation, and the XLR line output can be used to send a direct, pre, or post signal to a house PA. Players can shape the line output voice from the front panel with three micād speaker emulation presets and three custom settings. Thereās also a dual-function output for headphones practice or analog recording, plus USB for capturing mix-ready tracks in computer music software.
With BOSS Tone Studio for Windows and macOS, players can edit amp parameters and access over 60 BOSS effects to swap alternate types for the Comp, Drive, and FX sections. Plugging in a GA-FC or GA-FC EX foot controller provides remote operation of numerous amp functions, including the front-panel user memory and two additional memories. The optional BluetoothĀ® Audio MIDI Dual Adaptor allows users to stream music from a mobile device and wirelessly shape tones via the BTS editor app for iOS and Android.
Katana Cabinet 112 Bass
The Katana Cabinet 112 Bass delivers big, punchy, and articulate sound for any professional bass amp. Itās an ideal match for the Katana-500 Bass Head, providing full support for the ampās 500-watt output in a compact, space-saving footprint.
The Katana Cabinet 112 Bass features a two-way design with a 12-inch woofer and a high-frequency tweeter. It comes loaded with an Eminence Neodymium Series woofer, a highly regarded driver with powerful sound and reduced weight. Switches on the rear panel allow the tweeter to be bypassed or set to two preset levels. The cabinet features locking-style connectors on the primary speaker input and the link output for connecting a second cabinet.
BOSS KATANA-500 BASS HEAD | Outstanding Bass Tones with Innovative Cabinet Calibration
You can purchase the new BOSS Katana-500 Bass Head and the Katana Cabinet 112 Bass at authorized US BOSS retailers in May for $799.99 and $699.99 respectively.
To learn more about Katana-500 Bass Head and Katana Cabinet 112 Bass, visitwww.boss.info.
Tommy Colletti, Music Zoo founder & owner, starts a new journey with his own USA-built custom guitars.
Flame Top Mandolin Burst
The Speed of Sound is a bolt-on construction instrument featuring the Patent-Pending "ResoLink" - a brass plate which links the body and neck to aid in resonance, sustain and articulation. The 'Reso-Link' is tuned specifically to sonically connect the neck and body to aid in the sympathetic resonance of each note. There's a defined note separation and sparkle added to the tones of the guitar that make it reminiscent of the touch-sensitive response of vintage guitars that have had decades to acclimate as a musical instrument and vibrate as one whole piece.
The tone woods of the guitars (fretboards to necks and tops to bodies) are joined together using hot hide glue. The use of hide glue is a process adapted from vintage guitar construction, violin makers, and stringed instruments from decades and centuries past. Hot hide glue adds sustain and brilliance and brings out the natural tonal properties of the wood. The pickups are designed in collaboration with Mark Stow of OX4, a well-respected pickup winder known for his incredibly accurate PAF replicas.
The pickups are a blend of some of Tommy and Markās favorite original PAF pickups from the late 1950s. The introductory sets also include a reverse magnet neck pickup to replicate the Peter Green & Gary Moore-owned Burst pickup that has become popular over the last few years. It delivers out-of-phase single coil sounds as well as blistering humbucking tones. The bridge pickup not only takes the best attributes from those early PAFs pickups, but combined with a slightly degaussed Alnico 5 magnet and 42 enamel wire, delivers a sound unmatched in current handmade pickups today.
The hardware and electronics of the guitar are also built of the highest quality materials. The Speed of Sound features a brass tremolo design made popular in the late '70s through early '80s. They are constructed from 360 brass, and the bridges are available in hard-tail and tremolo models. They provide a unique tone and sustain tuning stability due to the unique shape of the bridge saddle. Of course, models are available with Floyd Rose tremolos upon request. The Speed of Sound is wired with vintage-accurate cloth-covered 22-gauge wire with authentic paper-in-oil capacitors and vintage-taper potentiometers designed to get great tones delivered from zero to ten.
Roasted Birdseye Top Merlot Finish
Features
- Solidbody Electric Guitar
- Maple Top (Options for Roasted, Quilt & Flame Maple)
- More Top Wood Options include Ash & Mahogany
- Colletti Carve Neck with Heavily Rolled Shoulders
- 5 Degree Headstock Angle ā¢ Brass Side Dots
- 25.5" or 24-3/4" Scale Length Options
- 1.65ā Width Brass Nut ā¢ Jumbo Nickel Frets
- Specially-Voiced OX4 Pickups with Reverse Magnet Neck Pickup
- Emerson Paper in Oil .022 capacitor
- Mojotone Vintage taper volume and tone potentiometers with Cloth Wiring
- Brass Ground and Jack Plates, , Legacy Control Cavity
- Patent-Pending Reso-Link
Introducing the Colletti Guitars 'Speed of Sound': Vintage-Inspired & American-Made!
Currently, the Colletti Guitars Speed of Sound is available exclusively at The Music Zoo. You can shop at The Music Zoo's website, or make an appointment to the showroom in Farmingdale, New York.
While there is no such thing as a "wrong" guitar, just consider what the right guitar could do for your playing.
When buying a new guitar, trying to differentiate between what you need and what you want can be a tough gig. What many do know, however, is that they aren't looking to just buy another random guitar. They are looking for an instrument that will help them achieve a new level of musicianship or address a particular music style. I've been around quality instruments since 1975, so my personal preference for tone and feel in relationship to application has become very clear. It's a process, but it's one worth spending the extra time to get right. We've discussed body size, scale lengths, and string tension in previous columns. This month, we're going to consider response and applicationāboth incredibly important to consider when purchasing your next guitar.
First of all, resonance and response in relationship to any musical instrument are two sides of the same coin. It's the balance of these two that greatly defines an instrument. Resonance, which is mostly heard and felt in your body, is set primarily by the instrument's body geometry and flex. On the other hand, response is largely set by plate tension and material, both of which affect high end and attack. When these two are balanced correctly, that's when the magic happens.
With any one particular type of guitarāsuch as a dreadnought, for exampleāthere is a level of feel and responsiveness that defines the instrument, but those same qualities will still vary from one guitar to another. This can be confusing at first to the average player, but the good news is that having a better idea of what you're looking for can quickly narrow the choices. Even better, it can significantly increase your chances of ending up with a guitar you'll really enjoy playing.
When I think about the flattop steel-string guitar market, I think about three primary categories: the fingerstyle guitar, the high-power guitar, and the jack-of-all-trades guitar. The fingerstyle guitar is an easy one to talk about because the requirements of a fingerstyle guitarist are unique and defined. They are primarily after quick response with even balance from string to string and note to note. Additionally, they are looking for an efficient sound that comes to volume quickly, so headroom and raw power are not on their radar. This means that while a fingerstyle guitar is incredibly fun to play and easy on the hands, it will hit its maximum volume quickly when driven hard.
This means that while a fingerstyle guitar is incredibly fun to play and easy on the hands, it will hit its maximum volume quickly when driven hard.
On the other hand, the guitar typically desired by bluegrass players is a high-power instrument that offers lots of headroom. What you gain in headroom, however, you lose in response and feel, so that power comes at a price. Plus, it takes a lot of conditioning to develop the hand energy to drive these tops and keep them moving.
Finally, there is what I think the majority of players want: a guitar that will cover a wide range of music styles and one that is relatively quick to the touch. It has a respectable low-to-mid range response and is commonly found in medium to larger body sizes. That said, picking this guitar out of the crowd can be a challenge.
Remember that low end is mostly generated through body geometry, so, in the beginning, compare guitars of the same general body size to keep the decision making to a minimum. Once you've narrowed the field down to three or four prime candidates, ask the store owner or dealer to put new strings on all of them. This will serve as an effective way to compare the high-end and high-midrange response between the guitars. And once your desired response has been identified, you can start comparing different body size options by going through the same process. By switching back and forth between, say, a dreadnought and an OM, you will find the low end you prefer to match your preferred response. Personally, I'm drawn to larger guitars with higher-tension soundboards. They are quick to the touch and require low hand energy, which allows me to play for hours without getting worn out. That said, everyone has their own perception of what is best for them.
The takeaway: Top response is a key element for every acoustic instrument that you should be mindful of when choosing your next guitar. With the correct guitar in your hands, you might find yourself able to break barriers you've been struggling with for years. I've seen it happen time and time againāwhen a player finally gets matched with the correct instrument. And it's magic.