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. 

Compact Design, Serious Bass Capability

The Hotone Ampero II Stomp sits in an interesting space for bass players. It is compact enough to replace a pedalboard, powerful enough to function as a full DI rig, and flexible enough to cover everything from clean studio tones to aggressive modern drive setups. While it is often marketed primarily toward guitar players, it actually reveals a surprising amount of depth when approached from a bass workflow perspective. For modern bassists balancing live performance, silent stages, recording sessions, and fly-date practicality, the Ampero II Stomp feels increasingly relevant.

At its core, the unit is built around Hotone’s CDCM HD and F.I.R.E. modeling engine, offering amp modeling, cabinet simulation, extensive effects, IR loading, and flexible routing in a compact stompbox format. You get over 80 amp models, a large effects library, stereo operation, parallel routing, MIDI support, USB audio interface functionality, and up to 12 simultaneous effect blocks. For a device this small, the feature set is substantial and immediately practical in real-world bass applications.

Routing Flexibility Built for Modern Bass Rigs

What makes the Ampero II Stomp particularly compelling for bass players is its routing flexibility. Parallel signal paths allow you to preserve low-end clarity while introducing distortion, compression, modulation, or saturation on a separate chain, a critical feature for contemporary bass tones. This makes it easy to create clean/dirty blends, bi-amped textures, wet/dry ambient rigs, or heavily processed atmospheric sounds without sacrificing punch and articulation.

Players working in progressive metal, worship, fusion, or modern pop contexts will especially appreciate how naturally the unit adapts to layered and dynamic signal chains. The touchscreen interface also deserves more credit than it often receives. In practice, editing feels faster and more immediate than many menu-heavy modelers in the same price range. Dragging blocks, adjusting routing, and building presets become intuitive after only a short learning curve.

That matters because bass rigs often require more nuanced signal management than guitar setups, particularly when preserving transient response and low-frequency integrity. The visual workflow encourages experimentation instead of slowing it down.

Amp Models and IR Performance

The amp models themselves are solid and musically usable, with the Ampeg-inspired options standing out as the most immediately convincing for bass. Vintage-style tube warmth, modern clean headroom, and slightly driven SVT-style grit are all accessible with minimal tweaking.

However, the unit noticeably improves when paired with high-quality third-party impulse responses. Good bass IRs add depth, air, and realism that elevate the direct tones from “good digital modeler” territory into something that sits naturally in a live mix or recorded production. This is particularly noticeable in in-ear monitor environments where cabinet realism becomes more exposed.

Compression performance is another underrated aspect of the unit. Bass players rely heavily on compression not only for sustain, but also for consistency and dynamic control. The Ampero II Stomp offers enough flexibility to cover subtle leveling, punchy slap compression, and more aggressive limiting for modern rock and metal applications. Combined with EQ blocks and parallel routing, it becomes possible to sculpt highly polished, mix-ready tones directly inside the unit without relying heavily on external processing.

Effects and Sound Design Possibilities

Effects quality is generally strong, especially in the modulation and ambient categories. Delays, reverbs, and chorus effects sound spacious and musical, making the unit particularly effective for cinematic bass textures, post-rock soundscapes, and worship-style ambient playing.

Octave and synth-style effects are also surprisingly usable when dialed in carefully, adding further versatility for experimental players. Drive and distortion models are slightly more inconsistent, with some patches requiring additional EQ shaping to maintain low-end authority. Fortunately, the routing options make it relatively easy to compensate by blending unaffected low frequencies back into the signal.

Live Performance and Recording Workflow

In live situations, the Ampero II Stomp performs convincingly as a direct-to-FOH solution, backup rig, or complete ampless touring setup. Balanced outputs, stereo capability, MIDI implementation, and compact dimensions make it practical for professional stage environments where portability matters.

For touring bassists or session players carrying multiple instruments and limited luggage, the ability to fit an entire rig into a backpack-sized footprint is a significant advantage. The onboard footswitches are responsive and functional, though players requiring extensive real-time scene switching or expression control may still prefer adding an external MIDI controller.

As a recording interface, the unit continues to impress. USB audio support allows direct tracking, reamping, and mobile production workflows without additional hardware. Latency performance is stable enough for home studio use, and the ability to move seamlessly between practice, songwriting, demo recording, and professional tracking adds to the unit’s overall value.

For content creators and remote session musicians, the all-in-one workflow is particularly appealing.

Limitations and Final Verdict

There are still limitations. The bass-specific ecosystem surrounding the platform is smaller than what players may find with systems from Line 6 or Fractal Audio Systems, and some factory presets clearly lean toward guitar-oriented use cases. Certain effects also reveal DSP limitations when running highly demanding patches involving dual amps, pitch shifting, and extensive ambient processing simultaneously.

While the processing power is more than adequate for most practical scenarios, power users may eventually encounter those ceilings.

Even so, the overall value proposition remains impressive. The Ampero II Stomp succeeds because it balances portability, flexibility, and sound quality exceptionally well for its size and price range. It may not have the ecosystem depth or market dominance of larger competitors, but it consistently delivers professional-level results in compact form.

For bass players building modern direct rigs, simplifying touring setups, or entering the world of ampless performance without sacrificing tonal control, the Hotone Ampero II Stomp stands out as one of the more underrated and genuinely capable compact modelers currently available.

Available online at Amazon.com

Kikuchi Guitars, Japanese boutique craftsmanship with a legacy behind it…

A new name has entered the international bass guitar scene, though the story behind it reaches back decades.

Kikuchi Guitars is the work of Japanese master luthier Yoshiyuki “Yoshi” Kikuchi, a respected builder whose career includes work connected to renowned Japanese and American bass brands and artists. During his career, Kikuchi has been associated with Atelier Z, John Suhr and Roger Sadowsky. In the early 1990s, he moved to New York to work alongside Roger Sadowsky and further refine his craft, later contributing to the development of Sadowsky’s Japanese production.

Today, decades of experience in design, setup and refinement come together in Kikuchi Guitars: instruments built around musicality, balance, smooth playability and immediate response.

The philosophy behind Kikuchi Guitars is simple: evolve the classic electric bass by improving feel, balance, response, consistency and musicality, without losing the soul players fell in love with in the first place.

“A legacy, made personal.”

The basses are manufactured in small batches in Japan and combine inspiration from classic 60’s and 70’s bass designs with carefully considered modern refinements. Features such as graphite-reinforced necks, lightweight hardware, transparent custom electronics, carefully selected woods and exceptionally low, even setups all contribute to instruments known for their comfort, balance and responsiveness.

The current lineup includes the Hermes Series, featuring models inspired by vintage configurations of Jazz Basses and available in both active and passive versions. Rather than custom shop instruments built to order, these basses are produced in limited batches with fixed specifications, allowing Kikuchi to offer boutique-level craftsmanship at a more accessible price point.

Tonally, Kikuchi basses are known for articulate lows, textured mids, crisp highs and a highly dynamic response. Whether played fingerstyle, slapped aggressively or used in subtle studio work, the instruments remain musical, balanced and expressive.

Kikuchi basses are already attracting attention from players looking for a refined boutique instrument that blends vintage familiarity with Japanese precision, detail and feel.

In addition to the bass lineup, Yoshi Kikuchi is also building a small number of handcrafted archtop guitars. At present, it has not yet been determined whether these instruments will become available outside Japan.

Kikuchi Guitars Europe, based in Hilversum, The Netherlands, is the official European distributor and showroom location for the brand. In the United States, players can connect through Kikuchi Guitars USA. Players are welcome to book private demo sessions in person or online.

Visit online at kikuchiguitars.com

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. 

There’s no shortage of bass gear promising to elevate your tone. From budget-friendly surprises to high-priced disappointments, the market has never been more crowded, or more inconsistent. Every so often, though, something arrives that challenges expectations rather than simply trying to meet them.

The Mantle is one of those pieces.

Developed with a clear, almost stubborn sense of purpose, this pedal doesn’t attempt to be everything. Instead, it focuses on doing one job exceptionally well: delivering a studio-quality front end for bass players who care deeply about their core tone.

A Studio Concept on the Floor

Rather than following the typical pedal blueprint, stacking features, adding effects, and maximizing flexibility, the Mantle takes its cues from the recording world. Its design reflects the kind of signal conditioning usually reserved for high-end studio environments, where tone is shaped at the earliest possible stage.

The architecture blends influences from classic preamp designs. There’s a sense of weight and density reminiscent of vintage input stages, paired with the articulation and forward presence associated with punchier output circuits. The result is not a nostalgic recreation, but a hybrid approach that feels intentional and modern.

A key part of this identity comes from the inclusion of transformer-based stages. This is unusual in pedal format, and it plays a significant role in how the Mantle responds. The low end feels more grounded, the midrange gains subtle complexity, and the overall signal carries a depth that’s often missing from purely solid-state designs.

Equally important is the available headroom. Internally operating at a higher voltage than its external power supply suggests, the Mantle maintains clarity even when fed by high-output instruments. Active basses, in particular, benefit from this, retaining their dynamics without unwanted compression or breakup.

Control Without Clutter

At a glance, the control layout might seem restrained, especially considering the price point. But this isn’t a limitation so much as a deliberate design choice.

The gain control doesn’t behave like a typical drive circuit. Instead of pushing the signal into distortion, it adjusts how the internal stages are engaged. As it increases, the tone becomes denser and more harmonically rich, but without crossing into obvious saturation. It’s a subtle shift, yet one that becomes increasingly apparent in a mix.

The EQ section follows a similarly focused philosophy. Rather than continuous knobs, it uses stepped controls with fixed increments. This approach favors precision and repeatability over experimentation. Each position feels considered, making it easy to dial in a sound and return to it later without guesswork.

More importantly, the EQ is voiced to enhance rather than reshape. Low-end adjustments add authority or tighten the response without overwhelming the signal, while the high-frequency control introduces clarity or smoothness depending on the direction. It’s less about correction and more about refinement.

Additional features, like selectable input sensitivity and a balanced output with ground lift out the package, ensuring compatibility across a wide range of setups.

Tone at the Source

What sets the Mantle apart is not just how it sounds, but where it operates in the signal chain. Instead of relying on downstream gear to define the final tone, it encourages players to establish that character right from the start.

This approach becomes particularly noticeable when using the direct output. Many DI signals can feel somewhat flat or disconnected, especially in recording scenarios. Here, there’s a noticeable sense of dimension and cohesion, closer to what you might expect from a well-mic’d amplifier.

By the time the signal reaches the mixing stage, much of the tonal work is already done.

Real-World Applications

In practice, the Mantle adapts easily to different roles, depending on the player’s needs.

For some, it will function as an always-on foundation, essentially becoming part of the instrument’s voice. In live environments, the consistency of its direct output offers a reliable alternative to unpredictable backline setups, giving front-of-house engineers a polished signal every time.

In the studio, it can streamline the recording process by reducing the need for additional processing. The captured tone already carries weight, clarity, and balance, allowing it to sit naturally in a mix with minimal intervention.

It also fits neatly into modern performance contexts, including silent stages and in-ear monitoring systems, where the direct signal defines the entire listening experience.

Not for Everyone… and That’s the Point

The Mantle’s strengths are rooted in its focus. It excels at delivering a refined, high-quality bass tone with minimal fuss. However, that same focus means it won’t appeal to players looking for extensive tonal shaping, onboard effects, or aggressive character.

There’s no distortion circuit, no compression, and no deep EQ sculpting. It doesn’t aim to replace a full pedalboard; it assumes you already have one, or that you don’t need one.

Cost is another factor that can’t be ignored. Positioned firmly in premium territory, it invites comparison not with standard pedals, but with dedicated preamps and studio-grade DI solutions.

A Different Way of Thinking

The Mantle ultimately asks bassists to rethink their approach. Instead of treating tone as something to be fixed later, it places that responsibility and opportunity right at the beginning of the chain.

It doesn’t dramatically alter your sound. What it does is make your existing tone feel more complete: fuller, clearer, and more deliberate.

For players willing to embrace that philosophy, it offers a compelling alternative to traditional setups, one that brings studio sensibilities directly to the pedalboard without compromise.

Available online at Amazon.com

EarthQuaker Devices Announces the Scrolls Bass Odyssey, A Bass Rig in a Box That Takes Your Tone From Motown to Metal With the Click of a Button…

Bassists are historically a painfully underserved demographic when it comes to new pedal releases in general, let alone ones that are truly exciting and groundbreaking.

But even the bass players get lucky sometimes.

And today is their lucky day, because the insatiable tonesmiths at EarthQuaker Devices have released the Scrolls Bass Odyssey—a powerful, modern tool capable of shaping any bass signal to match virtually any bass and amp combination imaginable.

Essentially, Scrolls is a sonic pilgrimage through the entire universe of electric bass tone. From Motown to Metal and everywhere between and beyond.

It all started when legendary bassist Kentaro Nakao, best known for his work with ’90s Japanese rock band Number Girl, challenged EarthQuaker Devices to capture the vast history of vintage and modern bass tones in a single, portable form factor. Ultimately, Nakao wanted the ability to summon any bass sound he needed, no matter where in the world he was playing and regardless of the other gear at his disposal.

“I am constantly playing shows in every type of venue you can imagine, so having my sound in a portable rig is a must—that’s why I’ve been a big believer in preamps for a long time,” Nakao explained. “I’ve realized that what’s most important to me is a wide range of EQ control and the ability to shape overdriven tones.”

The pedal’s Drive is a rich, tube amp-like distortion that was inspired by a rare, little known pedal from Nakao’s personal collection. Key amongst the Drive channel’s features are the Blend and Bandwidth controls that are on tap to ensure the low-end response remains intact. 

The EQ channel boasts a full suite of active, audiophile-quality controls. The secret weapon of the EQ is the Variable Frequency control—a feature that enables players to cut or boost frequencies from around 20 Hz to 10 kHz. It’s the perfect tool for cutting out the mud and boosting the high-end.

“When we were working on Scrolls, I wanted the EQ channel to be totally transparent when the knobs are set at 12 o’clock, so the output sounds exactly like the clean signal coming in,” Nakao revealed. “This keeps my bass sounding like my bass, while giving me the ability to enhance its natural tonal qualities and make adjustments across a full frequency spectrum.”

Additionally, the EQ side of Scrolls features three push buttons for one-click on-demand tone sculpting. The Deep button adds 80 Hz boost for booming, but clear low end. The Process button scoops the mids and instantly produces a modern tone that is punchy, dynamic, and defined. Finally, a quick press of the Bright button activates 5 kHz boost to add articulation and attack.

Ideal for use in complex setups with multiple signal paths, Scrolls features three outputs that all work simultaneously. There’s a buffered parallel out for sending clean signal to an external destination like an amp, tuner, DI, or other effects; a balanced XLR out to run Scrolls directly to front of house or into a recording interface; and finally a good-old fashioned ¼” output for your amp.

Scrolls also features an effects loop that lives between the Drive and EQ channels.

“The effects loop is really designed so that Scrolls can function as the brains of your pedalboard,” EarthQuaker Devices Founder & President Jamie Stillman explained. “Bassists can place modulation, time-based, or any other effects that they’d normally place after their dirt pedals (including more dirt pedals) after the Drive channel, while still retaining all the tone-shaping benefits the EQ channel offers.”

Much like the speaker cab simulations EarthQuaker has worked into their Easy Listening and ZEQD-Pre pedals, the signal from the XLR out on Scrolls includes just a splash of discrete analog filtering to give it some amp-like-character. No menu diving or digital modeling required.

“Most XLR outs tend to have a harsh top end that sounds nothing like what is coming out of the amp, especially when dirt is involved,” Stillman said. “I thought it would be useful to add a bit of natural filtering so what is sent to the front of house is much closer to what is coming out of the amp.”

If you’re wondering whether or not Scrolls is for you, here’s an easy way to tell. Ask yourself the following questions: Do you play bass? Would you like to have a pedal that can make your bass sound like virtually any bass/amp combo with the click of a button and the turn of a knob or two? Would you like a pedal that’s compact and versatile enough to be the only thing you need to play a session or show other than a bass if that’s all you wanted to bring?

If you answered yes to even just one of those questions, then you’re exactly who Scrolls is for.

Each and every Scrolls is all-analog, true bypass, and built one-at-a-time by credentialed professionals at the EarthQuaker Devices Tone Wellness Clinic under the malt gray skies of Akron, Ohio.

Scrolls Bass Odyssey is available now wherever EarthQuaker Devices are sold.

For years, the Darkglass name has been closely tied to the evolution of modern bass tone. From tight, aggressive drive to articulate low-end clarity, its sonic fingerprint has become a staple across heavy, progressive, and even crossover genres. With the release of Darkglass Ultimate, Neural DSP takes that familiar identity and pushes it far beyond amp simulation, delivering something that feels less like a plugin and more like a complete bass production environment.

This isn’t just an update. It’s a shift in scope.

Expanding a Proven Foundation

When Neural DSP first introduced the Darkglass plugin line in 2018, the goal was straightforward: capture the essence of the brand’s most iconic pedals in a digital format. The Darkglass B7K Ultra bass preamp pedal and Darkglass Vintage Ultra bass preamp pedal formed the backbone of that effort, offering two distinct but complementary tonal philosophies.

Darkglass Ultimate retains those core voices, but places them inside a much broader framework.

The B7K side still delivers its signature precision… tight low end, defined attack, and an aggressive edge that cuts cleanly through dense arrangements. In contrast, the Vintage circuit leans toward a more rounded, harmonically rich response, evoking the feel of classic tube amplification without becoming overly soft or indistinct.

More importantly, these tones don’t feel like endpoints. They act as foundations, strong, mix-ready starting points that encourage further shaping rather than requiring corrective work.

Beyond Amp Simulation

Where Darkglass Ultimate separates itself from earlier iterations is in how much ground it covers. Instead of focusing solely on preamp and cabinet emulation, it builds a complete signal chain designed to take a bass part from initial idea to final production, without leaving the plugin.

The pre-effects section is comprehensive, including compression, envelope-based filtering, octave layering, and fuzz. These aren’t treated as add-ons; they’re integrated into the signal path in a way that feels intentional and musical, encouraging experimentation from the very first note.

Post-effects expand that palette further. Modulation and delay are implemented with a level of quality that invites actual use rather than occasional novelty. In particular, the delay stands out, not just as a functional tool, but as a genuinely inspiring one. It adds space and movement without overwhelming the fundamental tone, making it surprisingly effective even in contexts where bass delay might typically feel excessive.

Cabinets, EQ, and Precision Control

The cabinet section introduces modeled Darkglass enclosures, including the DG210C (2×10) and DG810ES (8×10). Combined with adjustable microphone placement, this allows for detailed tonal shaping at the final stage of the signal chain.

Supporting this is a robust EQ architecture. Between the onboard controls inherited from the original pedal designs and a dedicated 9-band graphic EQ, there’s significant flexibility available. Subtle corrections, surgical adjustments, or more dramatic tonal shifts are all within reach, depending on the needs of the track.

This level of control makes it possible to move quickly from raw tone to mix-ready sound, often without relying on additional processing.

Presets That Go Beyond Genre

Preset libraries can often feel like filler, but that’s not the case here. Contributions from players such as Adam “Nolly” Getgood and Alex Webster highlight the plugin’s strengths in heavier styles, offering polished, aggressive tones that sit naturally in a mix.

At the same time, the in-house presets from Neural DSP broaden the scope considerably. There are synth-inspired textures, ambient layers, funk-driven tones, and deliberately extreme fuzz patches that push the plugin into more experimental territory.

The result is a tool that resists being boxed into a single genre. While its roots are clearly in modern rock and metal, its capabilities extend well beyond that space.

Workflow and Usability

One of the most compelling aspects of Darkglass Ultimate is how efficiently it integrates into a working environment. Built-in utilities, such as a tuner, metronome, and transpose function, may seem like small additions, but they contribute to a smoother, more self-contained workflow.

In practice, the plugin performs reliably and responds quickly. Recording sessions feel fluid, and tones translate well into a mix with minimal additional processing. That immediacy is a major advantage, particularly for players working in home or project studio settings where speed and simplicity matter.

From Studio to Stage

Although clearly designed with recording in mind, Darkglass Ultimate also opens the door to live applications. With the addition of a MIDI controller, it can function as a highly adaptable performance rig, offering real-time control over effects, presets, and signal routing.

For players comfortable incorporating a laptop into their setup, this creates a powerful alternative to traditional hardware-based rigs, especially when portability and flexibility are priorities.

A Logical Evolution

Darkglass Ultimate doesn’t abandon what made earlier versions successful; it builds on it. The core tones remain intact, but they’re now part of a much larger system designed to support the entire creative process.

Rather than thinking of it as a plugin that emulates a pedal, it makes more sense to view it as a production tool centered around a specific tonal identity. One that starts with the recognizable Darkglass sound, but doesn’t stop there.

For bassists who want a streamlined path from idea to finished track, and the flexibility to explore along the way, it represents a significant step forward in how software can support both tone and workflow.

Visit online at neuraldsp.com/