![]() Now a caveat that I'm playing at bedroom volumes at home, so definitely not saying it's the end all be all amp, but the fact it compares favorably to this mountain of gear that I have at home is just throwing me for a loop. With way less tweaking and no option paralysis. Which is now causing my head to spin a bit, because I have like $5,000 worth of modelers and pedals but the $450 Katana Artist sounds basically as good, running through the same cabinet. Then I found if you set it to edge of breakup and the Booster to the front end, you get a a really nice modded Marshall sound. The Crunch channel is really versatile, going from clean to edge of breakup to a medium crunch tone. It has a little more weight behind it and is just zero fuss to get at the sound. Then I spent a couple hours running the Axe FX 3 into the Power Amp In.and I still kind of like just the Katana by itself. I'm primarily a jazz player, some country, mainly clean and semi-clean, so if you're looking for Lamb of God or Korn tones, YMMV.I spent a couple hours trying different pedals into the front of the Katana Artist, and honestly I prefer the Katana by itself. ![]() The cleans are wonderfully touch-sensitive. But if you're not trying to be a copy of some 70s rock icon in 2020, and know how to dial in amps, compressors, delays, etc., a K50 is one hell of a versatile, fine sounding and feeling amp. I use and own 23 vintage and boutique tube amps, and each of them is wonderful in an optimum situation, and a K50 1-12" isn't gonna do plexi at 129 db. If you can't get GREAT tone from any Katana, it's likely neither the amp nor the software. Oh yeah, and instead of requiring an SUV and a sherpa to load in/out, I carry it all in 2 hands. ![]() There are several GREAT cleans in this amp (it has completely replaced a fine vintage 1964 Super and a Mission 5E3 in a jazz big band I work with because it sounds and feels better, and because it doesn't change eq and gain characteristics as you turn it up. I hooked it up to my laptop when I first got it, replaced the default reverbs and delays, replaced some of the distortions with compressors, and left the amp and global eqs alone. Not sure if any of this helps, but here’s hopin. To my knowledge, you don’t need the tone studio to do that either. It’s an incredible amp all on its own.įor Mk II, I had actually heard that many had complaints with the volume mismatches and variation modes until they restored the factory settings. More people should approach this amp as hardware and forget about the computer part of it altogether. So I’m a nutshell, I’m using this amp in a lot of different ways, getting a lot out of it, and entirely without the tone studio. I’m the set it and forget type, but I have a lot of different bases saved in the dials for when I’m playing through the speaker (with and without pedalboard, and others for when I’m playing through headphones, recording, etc. ![]() And I think the EQ is anything but vanilla. In truth, I’ll do it again someday to try to level out the volume mismatches between the modes, but other than that, I have no use for the tone studio. Within a week, I had saved all of my own sounds over the presets and vowed to never access the tone studio again. It was painstaking, buggy, and I hated that part of the process. I downloaded the tone studio when I got it, updated everything (as I was told), downloaded some preset sounds and set them up to try. So, I haven’t played any of the Mk II Katanas, by I have the Mk I Artist.
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