Category: Reviews

Reviews

TONEX Plug Review: Can a Headphone Plug Handle Bass?

A Bass Player’s Take on IK Multimedia’s Pocket-Sized AI Rig Disclaimer: This equipment was kindly provided by IK Multimedia 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. Introduction The TONEX Plug is a compact, headphone-based tone device from IK Multimedia that brings AI Machine Modeling technology into a highly portable hardware format. Designed for both guitar and bass, it offers access to a massive library of amp, cabinet, and pedal tone models, all playable through headphones or recordable directly into a DAW via USB-C. Rather than replacing a traditional rig, the TONEX Plug is clearly aimed at silent practice, mobile playing, and quick recording scenarios. As a bass player, the appeal lies in whether such a small device can deliver convincing low-end response, dynamic feel, and tonal depth without sounding thin or overly processed. This review reflects hands-on use with the TONEX Plug in practice, writing, and recording contexts, focusing on how well it translates to bass. Check the Price on Amazon –> TL;DR The TONEX Plug is an impressive, ultra-portable tone solution that works well for bass, particularly for practice and mobile recording. It delivers realistic amp and rig tones with solid low-end response and offers deep flexibility through its app-based editing and large tone library. While it is not designed to replace a live bass rig, it excels as a personal practice tool and creative companion. The Review: A Bass Player’s Perspective What the TONEX Plug Is At its core, the TONEX Plug is a personal headphone amplifier powered by AI Machine Modeling. It allows you to load and play back detailed digital captures of real amp, cabinet, and pedal rigs, known as Tone Models. These models are managed through a companion app, where you can browse a large online library, edit presets, and store your favorites on the device itself. In addition to headphone use, the unit functions as a USB-C audio interface, making it easy to record bass directly into a computer or mobile device. Bass Tone Quality and Low-End Response Low-end reproduction is the first real test for any bass device, especially one this small. In use, the TONEX Plug delivers surprisingly full and convincing bass tones. The low frequencies feel present and solid rather than thin or brittle, and the dynamic response translates well to touch and playing intensity. Clean tones retain depth and clarity, while driven tones exhibit realistic harmonic content without collapsing the fundamental. The quality of the tone models themselves matters greatly. Well-captured bass-oriented models sound rich and believable, while poorly suited or guitar-focused models can require additional EQ or filtering. That said, the underlying engine is more than capable of handling bass frequencies convincingly. Onboard Processing and Tone Shaping The TONEX Plug includes onboard EQ, compression, noise gating, modulation, delay, and reverb, all adjustable through the companion app. For bass players, the compressor and EQ are particularly useful, allowing for quick tone shaping without external gear. These tools make it easy to dial in a focused practice sound or polish a tone before recording. A built-in tuner and metronome further reinforce the device’s role as an all-in-one practice solution. These features reduce the need for additional apps or hardware and help keep the workflow simple. Presets and Tone Library One of the strongest aspects of the TONEX Plug is its access to a vast online library of Tone Models. Bass players can explore a wide range of amp and rig captures, from classic tube sounds to more modern, aggressive tones. Presets can be wirelessly loaded and swapped via the app, making experimentation fast and intuitive. Because the library is so large, finding bass-specific models that suit your instrument and playing style takes some curation. Once a personal set of presets is established, however, the device becomes much more immediate and enjoyable to use. Practice, Writing, and Recording Use The TONEX Plug shines in silent practice scenarios. Bluetooth audio streaming allows you to play along with backing tracks, lessons, or recorded music while hearing your bass tone through headphones. Latency is low enough that playing feels natural, and the overall experience is engaging rather than sterile. For recording, the USB-C interface makes capturing ideas quick and straightforward. While it is not intended as a full studio interface, it works well for bass tracking, songwriting, and demo production, especially in mobile or space-limited setups. Design and Usability Physically, the TONEX Plug is extremely compact and lightweight. This makes it easy to carry, but also means that most detailed editing is done through the app rather than on the device itself. Hardware controls are minimal, which is a reasonable trade-off given the size and intended use. Battery life is sufficient for extended practice sessions, though it does require periodic charging. In practical terms, this is rarely an issue for its intended role. Pros Cons FAQs Is the TONEX Plug suitable for bass players? Yes. It supports bass instruments well and delivers realistic low-end response when paired with appropriate tone models. Can it be used without a phone or tablet? Yes. Once presets are loaded, the device can be used standalone with headphones, though editing is much easier with the app. Can I record bass directly with it? Yes. The TONEX Plug functions as a USB-C audio interface, allowing direct recording into a DAW. Is it good for live performance? It is best suited for practice, writing, and recording rather than live performance, as it is primarily a headphone-based device. Conclusion From a bass player’s perspective, the TONEX Plug is a powerful and inspiring portable tone tool. It delivers realistic amp and rig tones, preserves low-end fundamentals, and offers enough flexibility to support a wide range of practice and recording needs. While it is not intended to replace a traditional bass rig, it excels in the contexts it was designed for. For bassists

January 20, 2026 No Comments

Reviews

Sushi Box FX Grand Slampegg: Pedal Review (2026)

A Deep Dive into Modern B-15 Tone Disclaimer: This pedal was kindly provided by Sushi Box 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. Why B-15 Tone Is Everywhere Again Interest in B-15–style bass tone has surged once more, driven by players looking for warmth, authority, and a sound that sits effortlessly in a mix. From high-end analog pedals to increasingly accurate digital models, the appeal is clear: the B-15 represents a foundational bass sound rather than a stylistic extreme. Within this landscape, the Sushi Box FX Grand Slampegg stands out not by offering the most features, but by committing fully to the circuit philosophy that made early Ampeg designs special. After being sent the pedal directly by Sushi Box FX founder Nathan Slade, I had the chance to test it extensively and use it on gigs. What became immediately clear is that this is not a nostalgic novelty — it’s a carefully thought-out, modern implementation of classic tube design. If you want to check our first impressions of the Grand Slampegg, check the article we wrote last year about it. TL;DR Circuit Philosophy: Old Ideas, Applied Properly At the core of the Grand Slampegg is a 6SL7 tube, a key component of early Ampeg preamp designs and an important departure from the more common 12AX7 found in many modern tube pedals. The 6SL7 offers a softer, rounder response with a different gain structure, contributing heavily to the pedal’s smooth dynamics and natural compression. The tube operates at proper high voltage, allowing it to behave like a real amplifier preamp rather than a tube-flavored effect. This is paired with a Baxandall EQ, which provides broad, symmetrical bass and treble shaping. Instead of carving frequencies aggressively, the EQ gently reshapes the overall balance, maintaining phase coherence and musicality. This design approach explains why the Grand Slampegg feels more like an amp front end than a typical pedal. Controls and Signal Routing The Grand Slampegg’s control set is minimal but deliberately chosen: On the output side, the pedal offers professional-grade flexibility: This independent level control allows players to send a strong, consistent signal to front of house while independently managing stage volume — a small detail that makes a big difference in real-world use. Notably absent is a footswitch. This reinforces the Grand Slampegg’s role as an always-on preamp rather than an effect designed for on-the-fly engagement. Tone: Weight, Space, and Authority The Grand Slampegg’s tonal character is defined by density rather than brightness. Low frequencies are full and supportive, yet controlled — especially with the HPF engaged when needed. The midrange sits naturally in a mix, and the highs are smooth and unforced, retaining clarity without edge. The 6SL7 tube imparts a subtle, musical compression that responds directly to playing dynamics. Digging in adds harmonic richness and thickness rather than sharp attack, while lighter touch remains even and present. When pushed, breakup is soft and rounded, more reminiscent of a driven studio preamp than a distortion device. Integration in Real Rigs In live use, the Grand Slampegg excels as a set-and-forget foundation. Into a clean amp or power section, it provides a convincing vintage-flavored front end. Using the XLR DI straight to FOH yields a finished, mix-ready bass sound that requires minimal corrective EQ. In the studio, it functions as a high-quality DI preamp. The combination of the 6SL7 tube, Baxandall EQ, and controlled low end produces tracks that already feel shaped, reducing reliance on plug-ins or corrective processing. The pre/dry switching and buffered output also make it easy to integrate into complex pedalboards or parallel signal paths. Q&A: Common Questions Answered Is this a B-15 clone?No. The Grand Slampegg isn’t a component-for-component clone, but it clearly draws from early Ampeg design choices — particularly the 6SL7 tube and Baxandall EQ — to recreate the behavior and feel of a B-15-style preamp. Why use a 6SL7 instead of a 12AX7?The 6SL7 has lower gain and a rounder response, contributing to smoother compression and a more relaxed dynamic feel — closer to early Ampeg circuits. Can I use it as my main DI?Yes. The XLR DI is designed for professional use and includes its own volume control, making it easy to feed FOH or an interface directly. What does the HPF switch actually do?It filters out excessive sub-bass content, tightening the low end. This is especially useful on boomy stages, with modern cabinets, or when running direct. Is the lack of a footswitch a downside?Only if you expect it to function like an effect. The pedal is designed to stay on as your core tone — similar to leaving an amp dialed in all night. Does it do overdrive?It can be pushed into soft, vintage-style saturation, but it’s not intended for aggressive distortion or modern grit. Strengths and Limitations Strengths Limitations Final Thoughts The Sushi Box FX Grand Slampegg succeeds because it understands what made the B-15 special — not just its frequency response, but its behavior. By using a 6SL7 tube, a Baxandall EQ, and a thoughtfully designed output section, Sushi Box has created a pedal that behaves like a real amplifier front end in a modern, practical format. For bassists seeking an always-on preamp that delivers warmth, weight, and musical authority without unnecessary complexity, the Grand Slampegg is a compelling and convincing option. If you enjoyed checking out this SushiBox Effects pedal, here are more products worth exploring — all tested and reviewed here on BassGearReviews: – JHS Colour Box V2 – Neve Style Preamp Pedal – JHS 424 Gain Stage – A Tascam PortaStudio on your pedalboard.

January 13, 2026 No Comments

Reviews

Flamma FF20 Looper & Drum Machine: Pedal Review

A Bass-Friendly Looper & Drum Machine for Practice and Songwriting Disclaimer: This pedal was kindly provided by Flamma Innovation 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. The Flamma FF20 is a compact pedal that combines a stereo looper and a built-in drum machine in a single unit. With extensive loop recording time, multiple memory slots, and a selection of drum grooves across various styles, it aims to be a practical tool for practice, songwriting, and idea development. For bass players in particular, loopers with rhythmic backing can be invaluable for working on time, feel, and groove without needing additional gear. This review is based on hands-on use of the FF20 in bass-focused practice and looping scenarios, with attention paid to how it handles low-frequency instruments and how intuitive it is to integrate into a bassist’s workflow. TL;DR The Flamma FF20 is an affordable, feature-rich looper and drum machine that works very well for bass practice and songwriting. It offers generous recording time, usable drum grooves, and a straightforward interface. While it is not designed to replace high-end loopers in live performance situations, it excels as a practice companion and creative sketchpad for bass players. Check the Price On Amazon –> Core Features The FF20 provides a stereo looper with extensive total recording time spread across multiple memory slots, allowing bass players to store and revisit a large number of loops. It supports overdubbing, time stretch, speed control, and auto-record functionality. The built-in drum machine includes multiple groove styles with tap tempo, and the pedal also offers USB connectivity for importing and exporting audio, as well as a dedicated headphone output for silent practice. Looping Performance on Bass From a bass standpoint, the looper captures low-end content cleanly and accurately. Recorded bass lines retain their weight and clarity, without obvious compression artifacts or loss of fundamental. Long loops are easy to manage, which is especially useful for building layered practice sections or full song sketches. Overdubbing feels smooth and predictable, making it easy to stack harmonic or rhythmic ideas without losing timing. The ability to slow down or speed up loops without drastically altering pitch is particularly helpful for practice, allowing bassists to work on difficult passages at reduced tempos and then bring them back up to speed. Drum Machine for Groove and Timing The built-in drum machine is one of the FF20’s most useful features for bass players. The grooves are simple but musically effective, providing enough variety to support different practice styles without becoming distracting. They work well for locking in timing, developing pocket, and practicing transitions. While the drum sounds are not deeply editable and won’t replace a dedicated rhythm machine in performance scenarios, they are more than adequate for practice and songwriting. The presence of rhythmic backing alone makes practice sessions feel more engaging and productive. Workflow and Controls The FF20’s interface is intuitive and relatively easy to learn. Basic looping and drum functions are quickly accessible, and the LED display helps keep track of tempo and settings. Timing the start and stop of loops in sync with drum patterns requires some practice, but once the workflow is understood, operation becomes second nature. The option to control looping and drums separately adds flexibility, especially for players who want to focus on groove rather than footswitch choreography. Practice, Writing, and Connectivity For bassists who practice at home or in shared spaces, the headphone output is a major advantage. It allows for silent practice without sacrificing tone quality. USB connectivity makes it easy to move loops to and from a computer, enabling further development of ideas in a DAW or archiving practice sessions. The FF20 is particularly well suited to writing and arrangement work. Being able to quickly build bass parts over a drum groove encourages experimentation and helps bass lines evolve organically. Pros Cons FAQs Is the Flamma FF20 suitable for bass players? Yes. It handles low-frequency instruments well and provides useful tools for bass practice, looping, and songwriting. Can it record long bass loops? Yes. The available recording time is more than enough for extended loops and multi-part practice sections. Are the drum patterns usable? They are well suited for practice and idea development, though they are not intended to replace advanced drum machines. Can loops be exported? Yes. Loops can be transferred via USB for editing, sharing, or archiving. Is it good for live performance? It can be used live in simple setups, but it is best viewed as a practice and creative tool rather than a full performance looper. Conclusion From a bass player’s perspective, the Flamma FF20 is a practical and well-designed looper and drum machine that offers excellent value. Its generous loop capacity, useful drum grooves, and bass-friendly sound quality make it a strong choice for practice and songwriting. While it doesn’t aim to compete with high-end loop stations for complex live use, it succeeds in what it sets out to do: provide bassists with an accessible, flexible tool that encourages creativity, improves timing, and makes practice more enjoyable. Get Your Flamma FF20 On Amazon Right Now! If you liked this gear, make sure to also check:

January 2, 2026 No Comments

Reviews

Valeton GP-5 Review For Bass (2025)

A Surprisingly Powerful Mini Multi-FX Disclaimer: This pedal was kindly provided by Valeton 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. Valeton has spent the last few years refining its approach to compact effects and modeling units, focusing on usability, modern workflows, and accessible pricing. As their lineup has evolved, bass players have increasingly found value in these designs—especially when portability and flexibility are priorities. Today we tackle the GP-5, a pedal that fits squarely within that direction. The GP-5 is one of those rare compact pedals that feels immediately useful. Its size, weight, and battery-powered design make it a perfect companion for musicians who need portability without sacrificing tone quality. It may not have the onboard editing depth of larger units, but it compensates with clever design choices that keep the workflow accessible and the sound quality impressive. TL;DR The Valeton GP-5 is an excellent ultra-portable multi-effects pedal with strong amp modeling, IR support, great tones, and a rechargeable internal battery. It does, however, require the Valeton app for creating and editing sounds, and its single footswitch benefits greatly from MIDI expansion with a controller like the M-Vave Chocolate. Most effects sound very good, though the octave leaves something to be desired for bassists. Overall, it’s a highly capable mini-rig with a few manageable limitations. Check the GP-5 Price on Amazon Now! Design & Portability Portability is the GP-5’s strongest feature. Built into a sturdy metal chassis and weighing almost nothing, it’s ideal for players who are constantly moving. The internal rechargeable battery makes it even more practical; you can practice, rehearse, or record without searching for outlets or carrying extra power supplies. This is a pedal you can toss into a gig bag and trust to be ready whenever you need it. Interface & Editing The GP-5 keeps its physical controls minimal. This keeps the pedal compact and simple but also means that deep editing is not available on the unit itself. Valeton intentionally designed the GP-5 to rely on the official app for tone creation and detailed patch management. Through the app, the GP-5 becomes significantly more powerful. You can reorganize the signal chain, adjust all amp and cabinet settings, load IRs, fine-tune effects, and access the built-in drum machine. Editing is fast, visual, and intuitive, and once your patches are set up, the GP-5 is extremely easy to use day-to-day. Tone & Effects The GP-5’s sound engine is the biggest surprise. Its amp models feel lively and responsive, its drives are musical, and its modulation, delay, and reverb options are all solid. The addition of IR loading brings another level of realism and makes the unit capable of producing very polished tones. There is one clear weak point: the octave effect. For bass players especially, the tracking can feel unstable, and the low-end response isn’t as full as you’d want for precise or rhythmic playing. Most of the other effects, however, perform well above what you typically expect from a unit this size. MIDI Expansion The GP-5 comes with a single footswitch, which keeps the hardware clean but limits flexibility. Fortunately, Bluetooth MIDI changes everything. Pairing the unit with a controller like the M-Vave Chocolate unlocks multiple foot-controlled functions such as preset navigation, effect toggling, tap tempo, and drum machine control. This effectively turns the GP-5 into a much more capable performance unit without compromising its ultra-portable design. It’s a worthwhile addition for anyone planning to use the GP-5 beyond bedroom practice. Built-In Tools The pedal includes a stable tuner, reliable USB audio interface functionality, and IR loading for cabinet simulation. The drum machine is available through the app and works well for practice sessions. While there’s no onboard looper, the available features still make the GP-5 a well-rounded compact system. Q&A Is the GP-5 viable for live use?Yes, especially when paired with a MIDI controller. The core tones and IR support are good enough for real-world performance, and MIDI solves the footswitch limitations. Do I need the app to create sounds?Yes. The GP-5 cannot build patches on its own. All custom tones require the Valeton app, which provides full control and editing capability. How good is it for bass players?Overall, it performs well, especially with good IRs. The only notable limitation is the octave effect, which doesn’t track as cleanly or as strongly as many bassists would prefer. Conclusion The Valeton GP-5 stands out as a genuinely impressive mini multi-effects pedal. It combines strong modeling, IR support, practical features, and excellent portability into a compact, reliable package. While it does rely heavily on the app for editing and the octave effect isn’t ideal for bassists, the overall experience is overwhelmingly positive. Paired with the app and a Bluetooth MIDI controller, the GP-5 transforms into a capable, great-sounding, highly flexible mini-rig. For musicians seeking a lightweight, travel-ready solution with real tonal quality, the GP-5 remains one of the strongest options available in its category. Get your Valeton GP-5 On Amazon! If you liked this gear, make sure to also check:

December 16, 2025 No Comments

Reviews

JHS 424 Gain Stage – Bringing Classic 424 Analog Mojo: Pedal Review

Saturation, Fuzz, Warmth, and Retro Vibe in One Compact Pedal Disclaimer: This pedal was kindly provided by JHS Pedals 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. For many players, the Tascam PortaStudio 424 was the gateway into home recording—a tactile, imperfect, and undeniably musical piece of gear that shaped countless demos and early projects. Its charm wasn’t just the ability to layer tracks; it was the sound. The hiss, the saturation, the preamp grit, the way it made bass and drums feel bigger than the room they were recorded in. JHS clearly identified this emotional attachment when designing the 424 Gain Stage, a pedal built to capture the entire signal path of a 424 MKI channel and repurpose it as a compact, bass-friendly tone tool. While a tape-inspired pedal might sound like a novelty at first glance, the 424 Gain Stage is far from a gimmick. Modern bass rigs often demand clarity and power, but they also benefit from personality—and this pedal offers both. Whether used live, in the studio, or on pedal-heavy synth-bass setups, the 424 blends warmth, saturation, and controlled distortion in a way that feels classic without being outdated. It behaves like a piece of analog gear, because in many ways, it is one—just without the tape. TL;DR The JHS 424 Gain Stage is a multi-stage gain pedal based on the Tascam PortaStudio 424 MKI channel strip. On bass, it functions as a warm preamp, subtle saturator, synth-friendly sub enhancer, vintage fuzz, and gated distortion unit. Its retro character won’t suit players seeking modern high-gain voices, but for those craving analog warmth and unique texture, it’s extremely versatile and surprisingly practical. Check Price on Amazon –> Build & Layout The control scheme mirrors the 424’s original workflow: It’s a straightforward layout that makes dialing tones fast, even in a live setting. Performance Used as a clean gain stage, the pedal adds noticeable harmonic enrichment without forcing distortion. Notes feel rounder and more present, similar to subtle tape saturation. With vintage basses—especially passive instruments—it brings out warmth and touch sensitivity that can easily enhance a mix. Increasing Gain 1 introduces the distinctive preamp coloration of the PortaStudio. It thickens the midrange, adds weight to transients, and creates a musical, old-school breakup character. This mode pairs remarkably well with octave and synth pedals because of the pedal’s warm but controlled distortion behavior. Pushing Gain 2 into the upper ranges produces a gated, aggressive fuzz. It’s tight and focused, making it suitable for riff-heavy rock or applications where a pronounced attack is desirable. EQ Functionality The Treble control works effectively to counteract the inherent warmth and density introduced by the gain stages. This makes the 424 easier to integrate into complex pedal chains, as it can restore clarity for downstream effects. The Bass knob provides enough range to adapt to different rooms or rigs without overwhelming the low end. Use Cases The 424 Gain Stage serves well as: It won’t replace modern distortion units centered on mid-forward aggression, but that’s not its role. Instead, it excels at providing a unique tonal signature inspired by the PortaStudio’s analog imperfections. Pros & Cons Pros Cons Q&A Section Q: Is the JHS 424 a “lo-fi only” pedal? A: Not at all. It can do lo-fi extremely well, but it’s also a warm preamp, subtle saturator, and legitimate fuzz pedal. Q: Does it work with active basses? A: Yes, though the gain stages react more dramatically. Active basses may hit the saturation earlier, which some players will enjoy. Q: How does it compare to the JHS Colour Box? A: The Colour Box offers far more tone-shaping options and flexibility, but at a higher cost and complexity. The 424 delivers similar vibe with fewer controls and a smaller footprint. Q: Can it handle modern metal or aggressive high-gain distortion? A: That’s not its strength. The 424 leans vintage, warm, and character-driven rather than sharp or mid-forward. Q: Is it good for recording? A: Yes—its subtle saturation modes make it a great tracking tool for adding analog feel to DI bass. Conclusion The JHS 424 Gain Stage is more than a nostalgia piece—it’s a practical and expressive tool for bass players who value analog warmth and musical imperfection. While its roots lie in the PortaStudio 424’s channel strip, the pedal feels entirely at home on a modern bass board. Its ability to move seamlessly from gentle tape-like saturation to thick overdrive and into gated fuzz gives it a unique versatility that’s hard to find in a single unit. It won’t satisfy players hunting for ultra-modern distortion, but that’s precisely the point: the 424 isn’t trying to be everything for everyone. Instead, it offers a focused palette of tones with a strong identity. Whether used as a primary preamp, a character enhancer, or a creative fuzz tool, the 424 Gain Stage brings something special—and unmistakably analog—to the table. If you want a compact, affordable pedal that captures the soul of retro recording gear while still delivering practical, gig-ready bass tones, the JHS 424 Gain Stage is absolutely worth your attention. Grab the JHS 424 Gain Stage here –> If you enjoyed checking out this JHS pedal, here are more JHS products worth exploring — all tested and reviewed here on BassGearReviews: – JHS Colour Box V2 – Neve Style Preamp Pedal

December 1, 2025 No Comments

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