Author: Claudio Ribeiro

News

IK Multimedia Launches TONEX Board

A Complete TONEX Rig Built for the Stage IK Multimedia has officially introduced the TONEX Board, the company’s most advanced hardware platform yet for its TONEX ecosystem. Combining TONEX AI Machine Modeling, AmpliTube effects, extensive routing options and a large touchscreen interface, the new unit is designed to function as a complete rig for both guitar and bass. We’ve been following the TONEX platform closely at BassGearReviews.com, having covered and reviewed several products from the TONEX family as the system has evolved. With the TONEX Board, IK Multimedia is taking the concept considerably further, moving from a compact amp-and-pedal modeling solution toward a full-featured floor-based rig. A complete TONEX system At the center of the TONEX Board is IK Multimedia’s AI Machine Modeling technology, which allows the unit to reproduce the sound, feel and response of captured amplifiers, cabinets and pedals. The difference here is the amount of processing and routing available. TONEX Board can run up to four Tone Models simultaneously, distributed across two independent signal paths. This makes configurations such as dual-amp stereo rigs, parallel processing and wet/dry setups possible, while also allowing captured overdrive, distortion or fuzz pedals to be combined with captured amplifiers. For bass players, this opens up some interesting possibilities. A single preset could combine different captured bass rigs, parallel clean and driven paths, or a conventional amp sound with additional processing, without requiring a collection of separate hardware pedals and amplifiers. The system also supports up to 12 effect slots, with flexible split-and-mix routing. 76 effects from AmpliTube and TONEX TONEX Board isn’t limited to Tone Models. IK Multimedia has integrated 76 effects, consisting of 51 effects from AmpliTube, 15 TONEX effects and 10 new processors. The effects cover drive, modulation, pitch, EQ, filters, reverb, dynamics, delay and utility functions. There are also several bass-specific options, including Bass Wah, as well as an Envelope Filter and NU-Tron III. The effects can be positioned throughout the available signal paths rather than being restricted to a fixed pedalboard-style order. For bass players, the inclusion of dedicated bass processing alongside the broader AmpliTube and TONEX effects library is particularly relevant. It means the Board can be configured as much more than an amp modeler, potentially replacing a substantial portion of a conventional bass pedalboard. 2,000 Tone Models included TONEX Board comes with 2,000 premium Tone Models, combining content from TONEX MAX, the TONEX ONE+ Signature Collection, new models created for the Board and selections from IK Multimedia’s Tone Partners. The unit also includes more than 230 factory presets, with more than 50 specifically aimed at bass. Beyond the factory content, users can access the much larger TONEX ecosystem through ToneNET, which currently offers more than 60,000 downloadable Tone Models and presets. The included software package also provides TONEX Modeler, TONEX Software, TONEX Board Editor and AmpliTube 5 MAX, giving users access to more than 400 gear models in the software environment. That connection between the hardware and software ecosystem has always been one of the strengths of TONEX, and the Board is clearly designed to make the transition from creating and organizing sounds on a computer to using them live as seamless as possible. Touchscreen control and live performance One of the most obvious differences between the TONEX Board and previous TONEX hardware is its 5-inch high-resolution color touchscreen. Six push-rotary controls provide hands-on editing and browsing, while four footswitches can operate in Preset, Scene or Stomp modes. The idea is to allow players to build and modify rigs directly from the hardware without having to navigate a complicated menu system. The Board can store up to 1,440 presets, organized into 12 setlists and 40 banks, with three presets per bank. Scene mode also allows multiple changes to be made within a preset, while Stomp mode provides control over individual effects. MIDI and two external controller inputs further expand the possibilities for players who need more extensive live control. Connectivity for almost any rig IK Multimedia has also paid considerable attention to connectivity. The TONEX Board features two independent stereo inputs, two pairs of stereo outputs, a stereo effects loop that can alternatively operate as two independent mono loops, MIDI I/O, two expression/external controller connections and a dedicated headphone output. The main outputs are balanced XLR connections, while the secondary outputs use balanced TRS connections. The Board also supports the four-cable method, allowing it to be integrated with a conventional amplifier’s effects loop rather than requiring the entire rig to be replaced. This makes the Board suitable for several different approaches: direct to front of house, into an FRFR system, into a traditional amplifier, or as part of a larger hybrid pedalboard. The USB-C connection currently handles data transfer, editing and firmware updates, with IK Multimedia stating that 4-in/2-out class-compliant USB audio interface functionality is coming through a future firmware update. Built with bass in mind Although TONEX has traditionally had a strong guitar focus, IK Multimedia has increasingly expanded the ecosystem for bass players. The TONEX Board continues that direction with dedicated bass presets and bass-oriented effects alongside its much larger collection of general-purpose processing. For bassists, the most interesting aspect may ultimately be the routing architecture rather than simply the number of models included. Parallel clean and distorted paths, multiple Tone Models and flexible effects placement can be particularly useful when trying to maintain low-end definition while adding drive, fuzz, modulation or other effects. It also makes the Board potentially useful for players who want several very different bass rigs available from a single floor unit rather than carrying multiple amplifiers and pedalboards. The next step for TONEX The TONEX concept has evolved considerably since the original TONEX Pedal. With the TONEX Board, IK Multimedia is moving firmly into the territory occupied by high-end multi-effects and amp-modeling floor processors, while retaining the Tone Model ecosystem that has defined TONEX from the beginning. The combination of four simultaneous Tone Models, 12 effect slots, dual signal paths, 1,440 presets, extensive I/O and touchscreen control makes

September 3, 2026 No Comments

Reviews

Xotic EP Booster: Pedal Review

A Little More of Everything There are pedals you buy because you want an effect, and then there are pedals that quietly become part of your rig. The Xotic EP Booster is one of those pedals. It’s tiny, has a single knob, and doesn’t look particularly exciting on paper. There isn’t even anything specifically bass-oriented about it. Still, the EP Booster has found its way onto plenty of bass pedalboards over the years. Check the price on Amazon Now –> More than just a boost The EP Booster is based around the preamp section of the legendary Maestro EP-3 Echoplex. Players discovered a long time ago that the Echoplex’s preamp added character, fullness and harmonic content to their instruments even when they weren’t using the delay. Xotic took that idea and built it into a tiny standalone pedal. The Boost control gives you up to +20 dB of gain, but the pedal becomes much more interesting when you turn the volume down and listen to what it’s doing to the signal itself. The EP Booster has a noticeable character. It’s subtle, but there’s more weight around the notes, a little extra harmonic content and a smoother feel to the top end depending on how you configure the internal switches. The always-on approach Set the Boost control around unity gain and the EP Booster becomes a very different proposition. With the pedal engaged, the bass sounds slightly fuller and more substantial. The difference isn’t huge, and that’s part of the appeal. There’s no dramatic EQ curve or obvious saturation. The fundamental character of the instrument remains intact. Switch the pedal off after playing for a while and the difference becomes easier to appreciate. The bass can suddenly seem a little flatter and less lively. Switch it back on and the extra character returns. This is the sort of pedal that can sit at the beginning of a signal chain and simply stay there. Why it works well on bass Clean bass tones can sometimes become almost too clean. Modern bass rigs offer enormous amounts of clarity and headroom, which is fantastic, but a little analogue character can make the instrument feel more engaging. The EP Booster adds some of that character without pushing the sound into overdrive territory. I particularly like what it does with articulate playing. Fingerstyle, chords and upper-register lines retain their clarity while gaining a little more density. The effect is also subtle enough that it doesn’t interfere with the basic sound of the bass. That makes the EP Booster an easy pedal to leave switched on throughout a set. Don’t ignore the internal switches There are two DIP switches inside the pedal that alter its voicing, including the gain and high-frequency response. They’re worth experimenting with, especially on bass. Different instruments can react quite differently to the EP Booster. A warm passive bass may benefit from a little extra presence, while a bright modern instrument may sound better with a smoother setting. It’s a simple pedal, but these options give you enough room to find a setting that works with your particular bass and rig. Is it worth having on a bass pedalboard? If you want a completely transparent clean boost, there are better options. The EP Booster has its own sonic character, and that’s something you need to like. For an always-on preamp that adds a little weight, harmonic character and smoothness to a clean bass tone, though, it’s an excellent option. The simplicity is also part of its appeal. There’s very little to adjust, it takes up almost no space and it doesn’t require you to rethink your entire signal chain. Set the level, choose your internal voicing and play. After a while, you may find yourself wondering why the bass sounds slightly less satisfying whenever you switch it off. Final thoughts The Xotic EP Booster is a remarkably simple pedal that can have a surprisingly noticeable effect on a bass rig. The +20 dB of boost is useful when you need it, but the more interesting application is running the pedal around unity gain and letting the EP-3-inspired preamp character become part of your basic tone. For bass players who like clean, articulate sounds but want a little more weight and personality, the EP Booster is well worth trying. Sometimes a pedal earns its place on a board simply by making you reluctant to turn it off. The EP Booster does exactly that. Pros Cons Get your Xotic EP Booster on Amazon right now!

August 27, 2026 No Comments

News

Hotone Reveals the Pulze Jr.

Hotone Pulze Jr. Brings AI-Powered Modeling and Portable Stereo Sound to Players on the Go Hotone has just introduced the Pulze Jr., a compact portable modeling amplifier designed to combine amp and effects modeling, practice tools, recording capabilities and wireless connectivity in a small, battery-powered package. For bass players, the Pulze Jr. looks particularly interesting as a compact practice and creative setup. Its dual 3-inch full-range speakers deliver 20W of stereo power, while Hotone’s CDCM HD and F.I.R.E. modeling system provides access to 52 amp models, 48 cabinet models and a selection of effects. The unit also supports acoustic simulations and user-loaded impulse responses. One of the Pulze Jr.’s main features is its open approach to tone creation. Alongside Hotone’s own modeling, the amp supports Neural Amp Modeler files, Hotone Sound Clone files and user IRs. Five Celestion speaker IRs are included, with support for up to 20 user IRs. Players can also save up to 200 presets and share or download tones through the Hotone Community. The other major focus is practice. Hotone has built AI-powered tools directly into the Pulze Jr., including AI tone creation and an AI stem splitter that can separate parts of imported songs to help create backing tracks. Smart backing tracks offer different musical styles, adjustable BPM and the option to control bass and intro parts, while an Infinite mode can continue generating accompaniment as you play. For bassists working on ideas at home, the Pulze Jr. also includes a 240-second looper, 100 drum patterns, a built-in tuner and USB audio connectivity. The USB-C connection provides a 2-in/2-out audio interface with loopback and reamp support, making it possible to use the unit as part of a computer-based recording setup without adding a separate interface. The Pulze Jr. is powered by a built-in 14.8V 3000mAh lithium battery, with up to eight hours of continuous playback at medium volume. It can also be powered from an 18V DC supply or charged using a compatible USB PD charger. At 282 × 143 × 130mm and 2.36kg, it is small enough to take from the practice room to another room, rehearsal space or outdoor session. Other features include Bluetooth audio, wireless control, a 1.95-inch colour LCD display, headphone output, auxiliary input and support for the optional Pulze Control foot controller. The Hotone Pulze Jr. certainly packs a lot into a compact enclosure, particularly for players looking for a portable practice and recording solution rather than a traditional bass combo. We’ll be putting one through its paces with bass in the coming days, so look out for our full review soon. The Pulze Jr. is available in Moonlight White and Eclipse Black finishes.

August 24, 2026 No Comments

Reviews

Washburn Scavenger Reissue Review

The Weird Bass That Gets Everything Right Disclaimer: This bass was kindly provided by Washburn for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information. TL;DR If you’re looking for another modern P-style bass, this isn’t it. The Scavenger is unapologetically different. It looks like something straight out of the late ’70s, sounds remarkably close to a great Precision Bass, sustains forever, and has one of the most effective passive tone controls I’ve used in quite a while. It’s not perfect, it’s definitely on the heavy side, but it’s one of those instruments that makes you want to keep playing because every note seems to hang in the air just a little longer than expected. Product Specifications The Washburn Scavenger features a mahogany Wing Double Cutaway solid body paired with a mahogany neck and rosewood fingerboard. The neck has a 16″ radius, 22 frets, 6 mm pearloid dot inlays and a 41 mm nut width. The scale length is the standard 34″. Electronics are deliberately straightforward, with a P-style split-coil pickup controlled by a single volume and tone knob. The bass comes with a gloss body finish and satin-finished neck, and is available in Black and Ruby Red. The Scavenger comes strung with D’Addario EXL165 strings. First Impressions Some basses immediately feel familiar. The Scavenger doesn’t! Its asymmetrical “Wing” body shape is unlike almost anything else on the market today. It’s exactly the sort of instrument that divides opinion before anyone even plugs it in. Personally, I love seeing manufacturers revive designs that don’t simply imitate another Precision or Jazz Bass. The Scavenger has a personality all its own, and in a world filled with safe choices, that’s refreshing. Thankfully, it has far more going for it than just its looks. Design & Heritage The Scavenger is part of Washburn’s Wing series, a collection of instruments that helped establish the company’s distinctive approach to electric guitar and bass design in the late 1970s. The original Scavenger was very much a product of its era. Its unusual double-cutaway body, large hardware and distinctive styling were a departure from the more traditional bass designs that dominated the market at the time. Rather than trying to follow the established Precision and Jazz formulas visually, Washburn went in a very different direction. This reissue keeps that identity intact. That’s important because it would have been easy to modernize the design to the point where it lost what made the original interesting in the first place. Instead, the Scavenger looks like it belongs to another era while benefiting from the consistency and build quality expected from a modern instrument. And while the styling is firmly rooted in the late ’70s, the playing experience doesn’t feel dated. The 34″ scale, comfortable neck and straightforward P-style electronics make it immediately familiar once it’s in your hands. In that sense, the Scavenger manages to strike a nice balance between vintage character and a modern, usable instrument. Build Quality & Feel Washburn has done an excellent job with the overall construction. The first thing I noticed was the neck. Despite being brand new, the satin finish feels wonderfully broken in, almost as if you’ve been playing it for years. Your hand glides across it, making long practice sessions and fast position shifts feel very natural. The mahogany neck also feels reassuringly solid, complementing the substantial mahogany body. Comfort-wise, the unusual body shape works better than you might expect. Whether sitting or standing, the bass balances nicely and never feels awkward despite its unconventional design. The only caveat is for those who enjoy playing the bass in the “classical guitar” positioning. Those will find it difficult to balance due to the shape of the body. The other drawback I found is the weight. This isn’t a lightweight instrument. The all mahogany construction gives the bass plenty of substance, and you’ll certainly notice it after a long rehearsal or gig. Thankfully, the balance prevents it from ever feeling cumbersome. Tone – Surprisingly Familiar Looking at the Scavenger, you’ll almost immediately imagine how it sounds. The P-style split-coil pickup delivers much of the bite, punch and authority you’d associate with a great Precision Bass. The pickup position gives that away almost instantly. There’s a focused midrange that cuts really well through a mix, while still retaining plenty of low-end weight. Fingerstyle playing has definition, pick playing becomes wonderfully aggressive, and digging in rewards you with that unmistakable growl that has made the Precision Bass such a studio and stage staple for decades. It feels like Washburn took the P-Bass formula, wrapped it inside an unmistakably original design, and added its own character. Sustain That Borders on Ridiculous The biggest surprise for me wasn’t the tone. It was the sustain. I genuinely wasn’t expecting notes to ring out for as long as they do. Whether it’s the combination of the dense mahogany body, the high-mass bridge, the string-through-body construction, or a combination of all 3, the result is remarkable. Notes simply refuse to die. Sustained chords bloom beautifully, melodic passages become more expressive, and slower bass lines feel almost effortless because every note hangs in the air. It’s one of those characteristics that becomes more impressive the longer you spend with the instrument. A Tone Control You’ll Actually Use The passive tone control on the Scavenger is very usable. Even the smallest adjustments produce immediately noticeable results. Wide open, the Scavenger delivers an aggressive, bright voice with plenty of upper-mid presence that works brilliantly for rock and modern styles. Roll it back just a little and the sound becomes warmer while still retaining clarity. Turn it down further and suddenly you’re in classic Motown territory, with a thick, rounded thump that’s incredibly satisfying. Close it completely and pair it with a set of flatwound strings and you’re left with an intentionally dark, almost muffled sound

August 19, 2026 No Comments

Reviews

Swiff Audio WT09B Wireless System Review

Can Swiff Audio Do It Again? Disclaimer: This wireless equipment was kindly provided by Swiff Audio for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information. A couple of months ago, I reviewed the Swiff Audio WT09A, a compact 2.4GHz wireless system that surprised me with how well it handled the demands of bass. The WT09A wasn’t perfect, particularly with the slight smoothing of the upper mids and the way particularly hot active basses could push its input stage, but overall it made a very convincing case for affordable wireless. Now Swiff has followed it up with the WT09B. At first glance, very little has changed. The WT09B keeps the same compact plug-and-play concept, magnetic charging case and instrument-friendly 1MΩ input impedance. The big difference is hiding in the wireless technology: while the WT09A operates on 2.4GHz, the WT09B moves to 5.8GHz and upgrades the audio transmission to 24-bit/48kHz. Swiff also claims latency below 5.5ms and a range of up to 200 feet line-of-sight. So, is the WT09B simply a WT09A on a different frequency, or is it a meaningful upgrade? Check the price on Amazon now! First Impressions If you’ve seen my WT09A review, there’s very little new to say about the physical side of things. The WT09B is still impressively small and lightweight, with the transmitter plugging directly into your bass and the receiver connecting to your amp or pedalboard. The magnetic charging case remains one of my favourite details of the Swiff system. It keeps both units together and protected instead of allowing them to disappear somewhere inside your gig bag. The whole package feels much more substantial than its price would suggest. And that’s something Swiff seems to understand well. Packaging and feel. The packaging is premium and these products don’t feel like cheap wireless gadgets. They’re designed as pieces of gear that you can actually throw into a working rig. 5.8GHz: What’s the Difference? The WT09A uses the familiar 2.4GHz wireless band, while the WT09B moves to 5.8GHz. Swiff’s reasoning is straightforward: the higher-frequency band is considerably less crowded than the 2.4GHz space, which is shared with an enormous number of Wi-Fi and Bluetooth devices. The WT09B also provides six channels with automatic pairing and can support up to four systems simultaneously. In practical terms, this is intended to make the WT09B a better choice for environments where wireless traffic is already heavy. And this is where I think the WT09B makes the most sense as an upgrade rather than simply another version of the same product. How Does It Sound? One of the things I liked about the WT09A was that it didn’t immediately scream “wireless” when used with bass. The WT09B continues that trend. The low end remains full and authoritative, and the instrument retains the dynamics and attack that made the WT09A such a pleasant surprise. The WT09B is specified for 20Hz–20kHz response and 24-bit/48kHz transmission, so there is certainly no shortage of bandwidth on paper. Compared directly with the WT09A, the biggest difference isn’t something I’d describe as a dramatic change in tone. Instead, the WT09B feels extremely clean and immediate. That’s exactly what I want from a wireless system. I don’t want a wireless sound, I want my bass sound. Playing Feel Swiff specifies latency below 5.5ms for the WT09B. That’s slightly higher than the sub-4ms figure quoted for the WT09A, which might look strange on paper. In actual use, however, latency isn’t something I found myself thinking about. Fingerstyle playing feels natural, ghost notes remain responsive, and slap doesn’t develop that disconnected sensation that can make some wireless systems unpleasant to use. Once you’re playing, the WT09B simply gets out of the way, and honestly, that’s the highest compliment I can give a wireless system. The Real Advantage For me, the biggest reason to choose the WT09B over the WT09A isn’t that it suddenly sounds dramatically better. It’s the RF environment. 2.4GHz is everywhere. Phones, Wi-Fi networks, Bluetooth devices and countless other pieces of equipment are competing for space in that spectrum. 5.8GHz doesn’t eliminate interference, but it gives the WT09B a less congested environment to work in. That becomes increasingly relevant when you’re playing in rehearsal spaces, venues or stages where you’re surrounded by wireless equipment. The ability to run up to four WT09B systems simultaneously also makes it considerably more interesting for bands than a basic single-system wireless solution. Battery Life The transmitter uses a 425mAh rechargeable battery and charges via USB-C, with the charging case keeping the system topped up between uses. Battery life isn’t going to make me abandon a good wireless system, but it’s something worth keeping an eye on if you’re using wireless for long rehearsals or multiple-set gigs. The good news is that the charging case makes keeping the system charged considerably easier. Put the units back in the case after playing and you’re ready for the next session. WT09A vs WT09B So, should you buy the WT09B if you already own the WT09A? Probably not. The WT09A is still a perfectly capable wireless system, and if you’ve already got one and it’s working reliably in your environment, there’s no reason to replace it simply because Swiff released a newer model. But if you’re buying your first Swiff wireless system, I’d choose the WT09B. The 5.8GHz transmission, 24-bit/48kHz audio, six-channel system and four-unit capability make it the more future-proof option. Final Verdict The WT09B is an interesting follow-up to the WT09A because Swiff hasn’t tried to reinvent the product. Instead, they’ve taken a compact wireless system that already worked surprisingly well for bass and addressed one of its biggest potential limitations: the increasingly crowded 2.4GHz spectrum. The result is a wireless system that remains small, simple and affordable while moving into a more interesting class of wireless technology. For bass players, that’s a

August 14, 2026 No Comments

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