![]() It all looks simple enough, and indeed it is. The Katana 100’s rear panel features include a USB socket that doubles as a data and recording connector, a pair of send/return sockets for the effects loop, a headphones/recording output, a MIDI in DIN socket, an aux in and a line out, with a pair of jacks that allow connection of simple channel select footswitches or the GA-FC foot controller, together with an expression pedal. One functional improvement with the latest software is the number of onboard patches has been doubled, so you can now keep up to eight patches on the amp. ![]() ![]() However, the Katana is built to handle the rough and tumble of proper gigging so it’s unlikely you’ll ever need to think about the internals.Ībove these are five small buttons, four to recall user patches, together with a fifth that puts the Katana into panel, or ‘what you see is what you get’ mode. The electronics are a mix of discrete and miniature surface-mount components, which are definitely not user-serviceable. This helps give the Katana the reassuring look and feel of a conventional amp, despite the heavyweight technology inside the robust steel box chassis. There are no LCD displays, just small marker LED’s that tell you which amp sound and effects are in use. The control panel is textured black with white lettering and has a clear, functional layout. The Katanas have simple but smart cosmetics, with black vinyl, white piping and a silver stripe to the top and bottom of the speaker grill cloth. The Katana amps have recently benefitted from a free firmware update, with new effects and functions, so it’s high time we took another look, this time at the largest combo, the 100-watt Katana 100/212. We were, and still are, mightily impressed with the Katana range, which puts next-generation digital modelling technology into an approachable and surprisingly affordable package.
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