Katana-Air EX delivers professional stereo sound and acclaimed Katana tones in a compact footprint, supported by a larger cabinet and other enhancements over the standard Katana-Air model. Advanced Boss wireless technology and integrated Bluetooth provide convenient cable-free operation, while the companion Boss Tone Studio app (iOS/Android) offers deep-sound editing and built-in tools for skill development with YouTube content.
In 2018, Boss introduced Katana-Air, the world’s first totally wireless guitar amplifier. Katana-Air EX expands on the original model’s impressive feature set with 35 watts of maximum power, increased fullness and sound projection, and additional recording and performance options.
Katana-Air EX has been engineered to provide an authentic stage-style playing experience in a desktop size. Two custom five-inch speakers are loaded into a carefully designed wood cabinet, generating full sound with rich resonance typically only available with performance amplifiers. Punchy, high-definition tones offer an inspiring platform for honing natural techniques, while the tuned bass-reflex port ensures tight bottom-end response for low-tuned guitar riffs and electric bass practice.
Katana-Air EX comes equipped with sounds derived from the Katana stage amplifiers, dialed in for maximum expression with its desktop cabinet. Five unique amp characters provide tones from sparkling clean to high gain, including a dedicated character for acoustic-electric guitar and bass. The amp also features access to 60 Boss effects, with a wide selection of overdrives and distortions plus mod, delay, and reverb effects optimized for the amp’s stereo speaker system. Six onboard memories allow users to store their favorite amp and effects setups for instant recall.
Boss Katana-Air EX | The freedom of wireless
With onboard Bluetooth, Katana-Air EX users can wirelessly connect with the Boss Tone Studio app and play along with songs streamed from a mobile device. It’s also possible to record tracks directly to computer music software via USB and use the stereo line output with mic’d cab emulation for live performances in direct-to-PA setups. Going further, Katana-Air EX does double duty as a high-quality portable Bluetooth speaker for casual listening.
The dedicated Boss Tone Studio app provides complete wireless control of Katana-Air EX from a smartphone or tablet. Users can adjust amp settings, customize effects, and access deeper functions only available from the app. Integrated YouTube support energizes daily practice sessions with the ability to watch videos, create song lists, loop sections, and more. It’s even possible to change sound memories automatically during video playback, providing an inspiring hands-free experience when jamming along with popular songs and backing tracks.
Katana-Air EX can be powered with the included adaptor or via eight AA batteries or an optional Roland BTY-NIMH/A Rechargeable Amp Power Pack for completely wireless operation.
The new Katana-Air EX Wireless Guitar Amplifier is available now for purchase at authorized U.S. Boss retailers for $599.99. To learn more about Katana-Air EX and the original Katana-Air, visitwww.boss.info.
The soft rubber cushions of the O Bones headphones are designed to sit on facial bones just in front of the user's ears. The vibrations created by music, voices and other sounds are then gently transmitted through the bones rather than air movement. Included in the advantages of this form of listening are being able to still hear external noises like traffic, conversations and other ambient sounds, the ability to blend sound so musicians can listen to their favourite track and hear as they play along to it.
The wireless Orange O Bones utilise 16mm speaker capsules to achieve a broad range of frequencies with surprisingly loud volume. Users not only hear the bass, they feel it, the mids are crystal clear and the highs are sharp and well defined. The ergo-dynamic design ensures a secure fit for comfortable listening whatever the activity. Powered by a lightweight rechargeable battery, the O Bones can deliver up to eight hours of listening time and can be fully charged within an hour using the USB-C cable included. The headphones voice control is compatible with Bluetooth 5.0, Siri/Google Assistant for truly hands-free use.
Available now at $103.00 USD. To find out more please go to www.orangeamps.com/product/o-bones/.
The 1976-issued Schaffer–Vega Diversity SVDS Model X-10 Transmitter & 63EX Receiver system was discontinued in 1981, but a reproduction is now available.
That's exactly what inspired Leo Fender to develop the TR-105, the first "Wireless Remote Unit," as they called it, back in 1961. Unlike the P-bass, this was really a world's first, but unfortunately a rather unsuccessful one. The unit was directed at guitarists, bassists, and accordionists, and had a radius of 50 feet—enough distance for those pre-arena stage dimensions. It looked surprisingly similar to modern units: a set-top box and a belt pack. Its transmitter, which weighed only 5 ounces, had an impressive frequency range of 20 Hz–75 kHz, while the receiver covered 20 Hz–20 kHz, with 100 to 150 hours of operation on one mercury battery. The system came with a hardcase, weighed 15 pounds, and cost $269.50—roughly $2,500 today. For whatever reason, it didn't catch on and Fender only offered it for around a year.
It wasn't until 1976 that Nasty Cordless, Inc. (later renamed Nady Systems) and Ken Schaeffer's Vega Diversity successfully entered a broader market. Both were analog devices and used a process called companding: a word-mix of compression at the sender side and expansion on the receiver side.
The specialty of the Vega was an integrated audio circuit that was known to colorize tone. This doesn't have to be a bad thing, as AC/DC's Angus Young is still using his today, even in the studio, and sees it as a central device for his signature sound. (See PG's AC/DC Rig Rundown from September 2016.) These systems also had greater operation ranges, so they were good for stadium stages.
Today, wireless technology is thriving in all aspects of electronic products, with cables nearly a thing of the past, except among—astonishingly—many musicians who still like to knot and tangle them.
Wireless systems got a bad reputation because of their early teething troubles, which included dropouts and problems picking up radio transmissions. Some guitarists really look down on them because of these initial foibles. Today's budget analog wireless systems can have companders with a fixed ratio, and this can make them sound unnatural. Better ones have more natural sounding companders that make it much harder to tell the difference between wired and wireless sounds. And the newer digital systems are even topping these, with their high-quality A/D converters.
In the foreground of today's discussions about wireless systems are most often things like tone, dynamics, range, energy consumption, bandwidth, and dropouts, while electrocution isn't that much of an issue. Although it should be for anyone touring exotic places with lesser-controlled electrical environments.
Today, wireless technology is thriving in all aspects of electronic products, with cables nearly a thing of the past, except among—astonishingly—many musicians who still like to knot and tangle them. As with all things mechanical, cable breakage isn't such a rarity and one might even be tempted to say that newer wireless devices excel in reliability. And—opposed to many early transmitters—they've switched to USB-equipped accumulators and far lower energy consumption. Choosing a system is almost a no-brainer, even though the sheer number of models is vast. With the exception of low-end budget models, almost all units fulfill the criteria of reliability, tone, ease of use, and operational range.
Fender was first in the wireless game with its unsuccessful TR-105 in 1961.
For us bassists, there are a few extra points to keep in mind. Our signal is pretty dynamic, so our wireless system should be as well. Analog wireless systems need to compress the dynamic range of the audio before it can be carried on a radio wave. Not only can this have an impact on tone; it also limits dynamics. Therefore, digital is the way to go, especially since these have a better low-end range.
All those owning basses with active pickups or preamps should check compatibility before buying, plus keep a few other things in mind. It's sometimes not mentioned in a system's spec lists whether it will work with an active instrument's stereo output jacks, due to a TRS-related connection issue that can occur. Output levels of active pickups can be another issue, which is why many devices come with a gain-adjustment at the transmitter. And finally, there can be whining and noise caused by insufficient shielding of the preamp on your bass, once the transmitter is plugged in and close to the electronics housing. To solve that, just look for a cable-equipped belt pack to keep the receiver's antennas farther away from it.
Some other common features to look for are capacity-load cable simulations, which are more directed at guitarists, and durable metal body packs, for the touring artist. Multiple transmitter supports could be nice to have, but are not essential.
Some research will help you find the right system. Don't be afraid to cut the cable! You might enjoy your new freedom to roam the stage.