Category: Reviews

Reviews

Hotone Ampero II Stomp Review

Compact size, serious routing power, and one of the most underrated bass rigs on the market. Disclaimer: This pedal was kindly provided by Hotone 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. There’s a very specific type of bass player the Hotone Ampero II Stomp immediately makes sense for: the player who is tired of hauling a heavy pedalboard and amp to every rehearsal, the player who wants a reliable direct solution without sacrificing feel, or the player who needs modern routing flexibility without spending flagship-modeler money. After spending serious time with the Ampero II Stomp from a bass perspective, it genuinely feels like Hotone has built one of the strongest value-for-money compact modelers currently available. Most reviews approach this unit from a guitar-first perspective, which honestly misses where the Ampero II Stomp becomes most interesting. For bass players, especially those using modern signal chains, parallel processing, IRs, and direct-to-FOH rigs, the platform offers far more than its size or price initially suggests. First Impressions The first thing that stands out is the size. The Ampero II Stomp is compact enough to fit on almost any pedalboard, but unlike many small-format modelers, it doesn’t feel compromised. The aluminum chassis feels solid, the touchscreen is responsive, and the layout feels intentionally designed for live musicians rather than simply shrinking down a larger desktop interface. That matters more than people sometimes realize. A lot of compact modelers sound excellent in demos but become frustrating during actual rehearsals or gigs because of tiny screens, awkward menu structures, or routing systems that slow everything down. The Ampero II Stomp avoids most of those issues. Within a short amount of time, editing patches starts feeling natural instead of technical, which is one of the reasons this unit works surprisingly well for bass players. Core Features The Ampero II Stomp is built around Hotone’s CDCM HD and F.I.R.E. modeling platform, running on a tri-core DSP architecture with ESS Sabre converters. In practical use, that translates into solid dynamic response, low noise operation, convincing amp feel, and cabinet simulations that sound far more polished than earlier generations of budget modelers. Hotone includes 87 amp models, 68 cabinet models, over 100 pedal models, and more than 400 effects overall. The unit supports up to 12 simultaneous effect slots alongside stereo operation, parallel and serial routing, third-party IR loading, USB audio functionality, MIDI support, a stereo effects loop, and 300 onboard presets. On paper, that already makes it competitive in the compact-modeler category, but for bass players specifically, the routing flexibility is where the unit becomes genuinely compelling. The Bass Experience The obvious question is whether the Ampero II Stomp actually works well for bass. The answer is yes, although perhaps not in the exact way some players expect. If you are looking for an ecosystem with dozens of dedicated bass amp models, ultra-deep parameter editing, and an enormous community-built preset library, the Ampero II Stomp does not fully compete with other similar ecosystems. The bass-specific content is smaller, and some of the stock presets clearly lean more toward guitar applications. However, what Hotone has built is a platform flexible enough to create excellent bass tones if you understand how modern bass rigs function. Once you stop thinking about the unit as a preset machine and start approaching it as a routing and processing platform, the Ampero II Stomp becomes significantly more impressive. Parallel Routing Is the Real Story For bass players, the real strength of the Ampero II Stomp is the routing architecture. Most experienced bass players eventually discover that distortion and heavy processing sound dramatically better when the low end remains intact. Parallel routing solves that problem, and the Ampero II Stomp makes those setups unusually easy to build. You can split clean and distorted paths, run compressed clean lows underneath aggressive drive tones, blend multiple amp models together, integrate external pedals through the effects loop, or build wet/dry ambient rigs while preserving low-frequency punch. These are the kinds of workflows that traditionally require expensive switching systems or large pedalboards, yet the Ampero II Stomp handles them internally with surprisingly little friction. What makes the experience particularly strong is the touchscreen interface. Routing feels visual and immediate instead of technical. Dragging effects around the chain, splitting paths, and adjusting blends becomes intuitive very quickly, and that ease of use gives the unit a major advantage over some menu-heavy competitors. Amp Models for Bass The bass amp selection itself is not enormous, but the core sounds are absolutely usable. The Ampeg-style models are the obvious starting point and deliver the familiar low-mid authority most players expect. Cleaner amp models also work especially well once paired with quality third-party bass IRs. That last point is important because while the stock cabinet simulations are decent, the Ampero II Stomp improves noticeably with external IRs. Once you load good bass cabinet IRs, the overall realism, depth, and mix placement improve dramatically, particularly through studio monitors or in-ear systems. The platform supports third-party IRs with up to 2048 sampling points, which helps bass cabinets retain more low-frequency realism and detail than older-generation loaders. At that point, the Ampero II Stomp starts sounding significantly more expensive than it actually is. Check Price on Amazon –> The Effects The effects section is where the experience becomes slightly more mixed, although still largely positive from a bass perspective. The compressors are solid and completely giggable, even if they do not quite reach the feel or refinement of premium standalone units. EQ options are flexible and especially valuable for direct rigs, where precise control over low mids and high-end presence becomes critical. The modulation and ambient effects are surprisingly strong. Chorus, delays, reverbs, and synth-adjacent textures work extremely well for modern bass applications, especially for worship, progressive, or cinematic styles. The Cloud reverb in particular

May 16, 2026 No Comments

Reviews

Walrus Mantle: The Long Awaited Pedal Review

A studio-grade bass preamp in pedal form Disclaimer: This pedal was kindly provided by Walrus 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. Nowadays, we have gear for every player, in every shape, form, and price point. Some of it turns out to be little more than hype, while other pieces quietly prove themselves to be genuinely exceptional. There is budget gear capable of producing incredible sounds, and there are ultra-boutique, expensive products that struggle to justify their price. It is in this landscape that the Mantle appears—highly visible, heavily discussed, and undeniably controversial. When Walrus Audio gave us the opportunity to review this pedal, it was an easy decision. This is exactly the kind of product we aim to explore: ambitious, polarizing, and designed with a very clear purpose. Check the price on Amazon –> Designed from a studio mindset The Mantle was developed by Ian Martin Allison in collaboration with Walrus Audio, and its design philosophy reflects that partnership clearly. Instead of chasing versatility or feature count, the pedal focuses on capturing the character and behavior of high-end studio preamps. At the heart of the Mantle is a signal path inspired by classic recording equipment. The input stage draws from Neve-style designs, known for their weight and warmth, while the output stage takes cues from API circuits, prized for their clarity and punch. This combination is not accidental. In studio environments, engineers rely on these types of preamps to shape bass tone before it even reaches EQ or compression, and the Mantle brings that philosophy directly to the pedalboard. One of the defining elements of this design is the use of custom transformers. Unlike most pedals, which rely entirely on solid-state circuitry, the Mantle incorporates transformer-based stages to add harmonic richness, depth, and low-end authority. This is part of what gives the pedal its sense of weight and helps it feel closer to studio outboard gear than to a traditional stompbox. Another important aspect of the design is headroom. Although the pedal runs on a standard 9-volt power supply, it internally operates at a much higher voltage. This allows it to handle strong signals—especially from active basses—without distorting or compressing unintentionally. In practice, this means the Mantle remains clean, open, and highly dynamic, even when pushed. A different approach to control At first glance, the Mantle appears almost too simple for a pedal in its price range. It does not offer multiple EQ bands, onboard compression, or drive circuits. Instead, it provides a focused set of controls that behave more like studio gear than like traditional pedals. The gain control is a perfect example. Rather than acting as a distortion or overdrive knob, it adjusts how hard the signal hits the internal circuitry. Increasing the gain does not create obvious breakup; instead, it enhances harmonic content, density, and presence. The result is subtle but meaningful—notes feel thicker, more solid, and more forward in a mix, without losing clarity. The EQ section consists of bass and treble controls, but these are not standard knobs. They are implemented as stepped rotary switches, each with fixed positions. The center position is flat, and each step introduces a precise amount of boost or cut. This makes the pedal highly repeatable and predictable, which is particularly valuable in studio environments. More importantly, the EQ is musical in its behavior. Boosting the low end adds weight without immediately introducing muddiness, while cutting it tightens the sound without making it feel thin. The treble control allows players to add clarity and articulation or to smooth out aggressive highs. Rather than dramatically reshaping the tone, the EQ works to refine and enhance what is already there. The pedal also includes an active/passive switch, ensuring proper input sensitivity for different instruments, and a ground lift for the DI output, making it reliable in both live and studio environments. Understanding what the Mantle actually does To fully understand the Mantle, it helps to look at how bass tone is usually handled. In many setups, the instrument goes straight into an amp or DI, and tone shaping happens later—either on the amplifier or at the mixing desk. While this works, it often means the core tone is not optimized at the source. The Mantle changes that approach completely. By placing a high-quality preamp at the very beginning of the signal chain, it allows players to define their tone before it reaches anything else. The result is a signal that already sounds finished, balanced, and intentional. This becomes especially clear when using the XLR output. Many DI signals can sound flat or sterile, particularly in recording situations. The Mantle’s transformer-based output adds depth, warmth, and harmonic complexity, making the signal feel closer to a miked amplifier. In practice, this can significantly reduce the need for processing during mixing. How it fits into a bass rig In real-world use, the Mantle can take on several roles. For many players, it becomes an always-on foundation, shaping the core tone before it hits the rest of the pedalboard. In this role, it acts almost like an extension of the instrument itself. In live settings, the built-in DI output is a major advantage. It allows bassists to send a consistent, high-quality signal directly to front-of-house, regardless of the backline. This is particularly useful in unpredictable environments where amp quality or setup may vary. For recording, the Mantle can effectively replace a traditional DI box and preamp chain, delivering a clean, detailed signal with a natural sense of weight and presence. It is also well suited to modern setups such as silent stages and in-ear monitoring, where the entire bass tone depends on the direct signal. Strengths, limitations, and expectations The Mantle’s strengths lie in its clarity, depth, and refinement. It delivers a level of tonal quality that is rare in pedal form, with

April 27, 2026 No Comments

Reviews

Neural DSP Darkglass Ultimate: Plugin Review

A Complete Bass Rig Evolved Neural DSP has just announced the release of Darkglass Ultimate, a new plugin that expands some of the most recognizable bass tones of the past decade into a complete, studio-ready environment. Rather than simply recreating the Darkglass sound in plugin form, Ultimate builds on the foundation of earlier releases (the Darkglass Ultra) by combining its core character with a full signal chain and creative tools, designed to take you from initial idea to a finished, mix-ready track—all within a single plugin. Neural DSP first brought the Darkglass sound into the digital domain back in 2018, capturing the essence of the B7K Ultra and Vintage Ultra in plugin form, and with Darkglass Ultimate that original concept grows into something far more comprehensive. The Darkglass sound has played a major role in shaping modern bass tone over the past decade, particularly in heavier and more progressive genres, and Darkglass Ultimate builds on that legacy while pushing it into a more complete workflow. At its core are the familiar B7K Ultra, known for its tight, aggressive drive with controlled low end and clear articulation, and the Vintage Ultra, which offers a warmer, rounder character inspired by classic tube amps. While I didn’t have a Vintage Microtubes unit on hand for a direct comparison, the B7K side feels very close to the original pedal in both response and character, which speaks to how faithfully these tones have been translated into the plugin. More importantly, the core tone still feels like a solid starting point—something you build around rather than fight against—which makes the whole process intuitive from the start. Where Darkglass Ultimate really differentiates itself is in scope, moving beyond amp simulation into a complete signal chain designed to take you from initial idea to a finished, mix-ready track without leaving the plugin. The pre-effects section includes a compressor, auto-wah, octaver, and fuzz, while post-effects cover chorus and delay, all of which feel tightly integrated into the tone-shaping process rather than added as afterthoughts. Building on this foundation of preamps and effects, the plugin also includes a wide range of presets created by both artists and the Neural DSP team, with contributions from players like Adam “Nolly” Getgood and Alex Webster highlighting its more aggressive and mix-ready capabilities. At the same time, Neural DSP’s in-house presets expand the palette further, introducing synth-like textures, ambient soundscapes, dub-inspired tones, funk-driven patches, and outright destructive fuzz sounds, making the plugin feel less like a genre-specific tool and more like a creative playground for bass. The included Darkglass cabinets—DG210C (2×10) and DG810ES (8×10)—combined with flexible mic positioning add another layer of control and realism. Between the cab section, the 9-band graphic EQ, and the onboard EQ controls inherited from the pedal designs, there’s a huge amount of flexibility when it comes to sculpting your sound, whether you’re making subtle mix adjustments or pushing things into more extreme territory. I also spent some time properly testing the effects, and this is an area where the plugin genuinely impressed me. The overall quality is very high across the board, but the delay in particular stood out. I’m not usually a big fan of delay on bass, but this one ended up being surprisingly inspiring—I lost track of time and spent a good 30 minutes just playing into it, tweaking settings and getting completely absorbed in the sound. That kind of response says more than any feature list. Darkglass Ultimate also leans into being an all-in-one environment through built-in tools like transpose, tuner, metronome, and curated presets, all of which help streamline the workflow and reduce the need to rely on external plugins. In real-world use, the plugin performs smoothly and reliably; I was able to record multiple bass examples in Ableton Live without any issues, and the tones translated well into a mix with minimal additional processing. That immediacy—being able to dial in polished, usable sounds quickly—is one of its strongest qualities. Another aspect worth highlighting is its potential beyond the studio. For those willing to bring a laptop into a live setting, integrating Darkglass Ultimate with a MIDI controller adds a powerful layer of real-time control, effectively turning the plugin into a highly flexible multi-effects unit. This opens up interesting possibilities for live performance, especially for players who want access to complex signal chains without carrying extensive hardware rigs. Ultimately, Darkglass Ultimate feels like a natural evolution of the Ultra, taking an already strong tonal foundation and expanding it into a complete production tool that simplifies the path from idea to finished sound, while also offering enough depth to reward experimentation. Darkglass Ultimate launches on April 24, 2026, alongside Neural DSP’s Birthday Sale, which includes 50% off all plugins and 30% off Archetype: John Mayer X. Darkglass Ultimate will be a free upgrade for Darkglass Ultra customers.

April 24, 2026 No Comments

Reviews

Origin Effects BASSRIG Fifteen: Pedal Review

The Sound of Restraint Done Right When it comes to effects pedals, there are a wide range of brands on the market. Some focus on affordability, others on value for money; some operate in the boutique, hard-to-find space, while others have become industry staples. And then there’s Origin Effects. Origin Effects is one of those brands that delivers exactly what it promises: hand-built, individually tested, industry-leading compressors and groundbreaking, amp-inspired overdrive/preamp pedals. I’m no stranger to Origin Effects pedals—and chances are, neither are you. I’ve been using their Cali76 compressor for the past four years, and I can say without a shadow of a doubt that very few pedals on the market reach that same level of quality and attention to detail. So when they offered to send me their newest bass pedal, the BassRig Fifteen, I wasn’t just excited—I was genuinely blown away. And having said that, here’s our disclaimer: Disclaimer: This pedal was kindly provided by Origin Effects 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. You see, I’ve always been the kind of player who gravitates toward a flatwounds-into-P-Bass-into-B-15 setup. So getting my hands on an Origin Effects B-15–inspired pedal—especially considering the work they’ve done with the other BassRig models (the Black Panel and the Super Vintage)—meant my expectations were about as high as they could be. Spoiler alert: I wasn’t disappointed. Check the BASSRIG Fifteen price on Amazon –> Controls, Features and Connectivity At its core, the BassRig Fifteen is exactly what the name suggests: an all-analogue amp recreation and DI pedal based on the legendary Ampeg B-15 Portaflex. It’s important to be clear here—this is not designed to be a drive pedal. The overdrive is part of the picture, but the real goal is to recreate the response, feel, and tonal behaviour of a classic studio bass amp. The control layout reflects that philosophy. Origin Effects has divided the pedal into three main sections: the core amp controls, the amp output EQ section, and the DI section. Starting with the main controls, you get Drive, Blend, and Output. The Drive control behaves like the gain stage of a real amp. Turning it up increases saturation and harmonic richness, while backing it off delivers clean, warm tones with just a hint of breakup. It’s less about “adding distortion” and more about how hard you’re pushing the virtual amp. The Blend control is essential for bass. It lets you mix your clean signal back in, preserving low-end clarity and note definition—especially useful as you increase the gain. The Output simply sets the overall level of the pedal without affecting the character of the sound, making it easy to integrate into any setup. Before the gain stage, there’s a two-band pre-drive EQ consisting of Bass and Treble controls. This is a key part of how the pedal behaves. The Treble control shapes how much high-end hits the drive stage. Increasing it gives you a brighter, more aggressive response, while rolling it back smooths things out considerably. The Bass control adjusts the low-end going into the circuit. Turning it up adds depth and weight, while reducing it tightens the response and makes the sound more focused. Notably, lower bass settings can really help maintain definition when pushing the pedal harder. The Amp Out EQ section is designed for those running into a real amp or power amp. Here you’ll find HF and LF controls for shaping high and low frequencies, allowing you to adapt the pedal to different cabinets and environments. Two additional switches refine this further. The Hi Cut trims top-end frequencies—particularly useful with modern tweeter-equipped cabinets—helping recreate the warmer character of a vintage B-15 cab. The Lo Cut reduces low-end buildup, tightening the response of full-range cabinets and making them behave more like a classic ported 1×15. Then there’s the DI section, which is one of the standout features of the BassRig platform. The balanced XLR DI output provides an all-analogue cabinet simulation of a B-15-style 1×15 enclosure, making it ideal for going straight into a PA or recording interface. A Cab Sim switch determines how and when that simulation is applied. In FX mode, the cab sim is only active when the pedal is engaged, allowing it to behave like a traditional effect. In ON mode, the cab sim remains active at all times, effectively turning the pedal into a standalone cabinet simulator for your entire signal chain. And if you prefer to use external IRs or process your tone later, you can switch it OFF entirely. To round things out, there’s a ground lift switch to eliminate hum when using the DI alongside other outputs—a small but crucial detail for real-world use. Build Quality & Design As expected from Origin Effects, the build quality is exceptional. The enclosure feels incredibly robust, the switches are solid, and the knobs have a smooth, precise resistance that makes fine adjustments easy. This is clearly a pedal built to withstand both studio work and life on the road. One thing worth mentioning is the weight. This is not a lightweight pedal by any means—it has a reassuring heft to it. While that might be noticeable on smaller pedalboards, it also reinforces the sense that you’re dealing with a premium, no-compromise piece of gear. Despite the number of controls, the layout remains clean and intuitive. Each section is clearly defined, and once you understand the signal flow, dialing in tones becomes second nature. Visually, it keeps things understated and professional—very much in line with the rest of the Origin Effects lineup. Sound & Real-World Performance The moment you plug in, it becomes obvious what this pedal is about. Rather than feeling like a traditional effects unit, the BassRig Fifteen responds like an actual amp. There’s a depth, a softness to the attack, and a dynamic response that makes it incredibly

April 10, 2026 No Comments

Reviews

Donner CELESTIA Chorus: Pedal Review

Disclaimer: This pedal was kindly provided by Donner 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. Overview The CELESTIA Chorus is a dual-voice modulation pedal from Donner, developed in collaboration with Ruben Wan, a guitarist and producer known for ambient and modern modulation-focused tones. It features two selectable voicings—Classic and Dream—alongside a simplified Rate/Depth control layout. The design centers on immediate access to two distinct chorus textures rather than offering a highly adjustable modulation platform. From a bass perspective, the key consideration is not flexibility, but how the pedal manages low-frequency content under modulation. Core Tone on Bass The CELESTIA applies a voiced modulation layer that blends into the dry signal rather than sitting distinctly on top of it. On bass, the chorus effect tends toward smooth integration. The modulation is rounded rather than sharply defined, with a slight emphasis in the upper mids of the wet signal. The result is a chorus that thickens the note body more than it separates it. The effect feels cohesive, but not highly articulated. Low-End Retention Low-frequency handling is central to how this pedal performs on bass. The CELESTIA preserves the fundamental frequency but introduces low-mid diffusion as modulation depth increases. It does not isolate low frequencies from the effected signal. In practice, the low end remains audible and present, but becomes less tightly focused under heavier settings. There is no crossover or clean blend control to maintain a completely unaffected fundamental, so clarity is progressively reduced as more modulation is applied. Modes Classic mode is the more controlled and mix-compatible voice. On bass, it adds width without excessive smear and maintains note center reasonably well. It works effectively for both fingerstyle and pick playing, behaving as a supporting modulation layer rather than a dominant effect. This makes it suitable for subtle movement in clean passages or light enhancement in ensemble settings. Dream mode expands the modulation field significantly. On bass, it produces a wider and more immersive spread, with increased top-end presence. At the same time, it reduces note edge definition, particularly on sustained notes. At moderate settings, it can be effective for ambient or textural playing. At higher depth levels, the low-mid region becomes increasingly diffuse and bass lines lose precision in a mix. It is better suited to sparse arrangements or melodic work than to rhythmically dense playing. Controls The two controls define the practical usability of the pedal on bass. The Rate control covers a usable range for musical modulation and avoids extreme or overly fast settings that would be less applicable in a bass context. The Depth control has the greatest impact on low-end clarity. Lower settings retain usable definition, while higher settings introduce noticeable smearing in the low mids. Because there is no blend or EQ control, Depth effectively determines how much the chorus interferes with the fundamental. Signal Structure & Mix Placement The CELESTIA operates with a fixed internal wet/dry mix. For bass players, this means the dry signal remains present, preserving the core of the tone, while the modulation layer cannot be independently reduced. At lower settings, the effect sits behind the note and adds width. At higher settings, it pushes the bass further back in the mix and reduces immediacy. As a result, the pedal is more effective as a subtle enhancement tool than as a dominant modulation voice. Dynamic Response The pedal responds consistently across different playing dynamics. There are no significant compression artifacts, and the modulation remains stable regardless of input level. Transients are slightly softened, which contributes to a smoother overall response. This can help even out fingerstyle playing and create a more polished modulation sound, but it reduces percussive attack clarity, particularly for slap or aggressive techniques. Practical Bass Applications The CELESTIA performs well in clean bass passages that require added width and movement, as well as in chordal or melodic playing. Dream mode, used conservatively, can provide useful ambient textures. Its limitations become more apparent in tight, fast passages where precise low-end articulation is required, in slap contexts where transient clarity is critical, and in dense mixes where the bass must remain forward and clearly defined. Limitations The pedal does not provide control over low-frequency isolation and lacks wet/dry blend adjustment. As modulation depth increases, low-end definition is progressively reduced. These limitations are inherent to the design and define its usable range in a bass rig. Conclusion The CELESTIA Chorus functions as a fixed-architecture modulation device that prioritizes cohesion over separation. For bass players, it maintains fundamental presence while introducing controlled low-mid diffusion as modulation increases. It performs most effectively at subtle to moderate settings, where it enhances width without significantly compromising clarity. Classic mode offers the most consistent integration into a bass signal, while Dream mode provides a more expansive texture with corresponding trade-offs in definition. For bass players specifically, the appeal lies in how the pedal adds width and movement without fully undermining the core low end. It works best as a supportive modulation layer—something that enhances the space around your tone rather than redefining it—making it a practical choice for players who want chorus as an extension of their sound rather than the focal point. If you liked this gear, make sure to also check:

April 6, 2026 No Comments

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