![]() When really pushed, the Katana starts to come apart. I tried to adapt, adding more volume and maxing the MIDS as you would, but such loudness doesn't really sit well either, especially with the vocals. I'm afraid when push came to shove, contrary to what BOSS say, the Katana really struggled to cut through and I started to disappear in the mix. My tone needs are simple really, a basic light/medium OD, cleaning up with the guitar volume, a bit of delay, chorus, and flanger for different songs, and a vol/gain boost if required for any solos. Once our informal practices turned into rehearsals and we started to get serious, the Katana started to struggle with the pace. ![]() Maybe an A/B test with a valve amp would reveal shortcomings, but in isolation it was doing the job nicely and I didn't care.Īnd then, gradually, the drawbacks of the Katana begin to dawn on you. I had my doubts about volume until the first band practice. In this scenario it's a great sounding amp, clean, overdriven and distorted, natural and organic sounding, responsive and with a range of sensibly voiced FX at your fingertips. The first play-through was a revelation really, with all the inbuilt models in FX it making for the ideal practice tool. The price was also too good to be true.įirst impressions are night on perfect. I wanted a clean platform that would be loud enough to gig with and portable. With this is mind, I had nothing to lose with trying the Katana 50. ![]() With the Fender (as a clean platform) I really struggled with it's headroom, yes it was loud enough, but setting up a usable boost for solos proved VERY problematic. I used the Cornford's own overdrive which towards the end nagged as being rather 'mushy' ,with the EQ not being dramatic enough to tweak. Up to this point of been a purely valve combo user, my last two amps being a Cornford Roadhouse 30 and a Fender Blues Junior III. But lets start from where I'm coming from. ![]()
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