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"Tiny bit-crusher that delivers lo-fi mayhem and fun textures for very little money."
I spent a lot of time running the Harley Benton MiniStomp Alien Signal through clean and driven amps, pedals and a small practice setup to see how far a tiny bit-crusher could push textures without draining my board budget. I was coming from using delay/reverb-based lo-fi tricks and wanted something that could generate gritty, digital artifacts and chiptune-style tones quickly - the MiniStomp promised exactly that on paper, so I put it to work.
First Impressions
Out of the box the Alien Signal immediately feels more grown-up than you'd expect for the price - it is housed in a compact, solid metal MiniStomp enclosure with true-bypass switching that feels clicky and reliable underfoot. The pedal is extremely small (roughly 92 x 38 x 32 mm and about 133 g), the knobs are also tiny, and that led to my first practical observation - fine adjustments require either a pick or careful finger work. Power spec is straightforward - standard 9 V DC, centre negative, and it draws about 20 mA, so it is easy to integrate with common pedal power supplies.
Design & Features
The controls are simple and focused - Mix, Bit and Crush - which map cleanly to wet/dry balance, bit-depth reduction and sample-rate style degradation respectively. There is also a small toggle switch that changes the tonal character of the effect (the official product listings describe it as a brightness/tone-style switch), and a status LED with a true-bypass footswitch. I liked that the layout stayed minimal and honest about what it does - no presets, no complex routing, just hands-on mangling. Mechanically it’s solid for gig use, and the single in/out jacks and modest current draw make it a convenient add-on for small boards.
Playability & Usability
Because the enclosure is so small the pots are naturally compact, and while they look tidy on a pedalboard they are a bit fiddly to tweak on the fly - I found preset positions around 9 o'clock, 12 o'clock and 3 o'clock gave me repeatable tones, but exact in-between settings required patience. The Mix control is essential - with it you can keep the crushed signal as an accent or push it to the foreground, and that made the pedal useful for both subtle texture work and feature moments. Footswitching is positive and true bypass means it sits quietly in the chain when off, leaving the original tone intact when I didn't want to hear the digital artifacts.
Real-World Experience
In practice the Alien Signal excels at one thing - character. With a Strat clean into a small transistor amp the pedal can produce everything from tasteful lo-fi grit - useful for indie/bedroom production and lo-fi backing textures - to full-on GameBoy-esque digital destruction when you crank Bit and Crush. Paired with reverb or a slapback delay the crushed repeats sounded cinematic; with a driven amp it turned chords into a buzzy, aggressive texture that cut through a mix in rehearsals. I did notice that at more extreme settings the noise floor rises noticeably, so when I pushed Bit and Mix hard I relied on a noise gate in the loop or hit those settings only for short hits rather than an always-on sound.
The Trade-Offs
There are compromises - the tiny knobs are fiddly and the more extreme crush settings introduce a lot of hiss and static, so you either embrace that as part of the sound or you manage it with gating and arrangement. It is not a clean-sounding multi-purpose processor you leave on all night - it is an effect pedal that deliberately corrupts and degrades the signal. Also, it is mono in/out with no modulation or stereo options, so if your work depends on lush stereo bitcrush textures you’ll need other tools or chains to widen the result. That said, if you want a cheap, compact, playful bitcrusher that you can throw on a board and forget until you need it, this fills that niche extremely well.
Final Verdict
My takeaway is straightforward - the MiniStomp Alien Signal is a terrific, extremely affordable way to add chiptune, lofi and aggressive digital textures to your guitar tone with minimal fuss. It is not perfect - expect fussy knobs and a rising noise floor at extreme settings - but for sound design, occasional dramatic coloration and bedroom/lo-fi production it punches way above its price point. I’d recommend it to players looking for a cheap experimental tool, bedroom producers after gritty textures, and anyone who wants a fun “special effect” stomp without spending a lot.
Helpful Tips & Answers
- Will this work with a regular 9V pedal power supply?
- Yes - it runs from a standard 9 V DC supply with centre-negative polarity and pulls only about 20 mA, so it plays nicely with typical pedal power bricks I already use.
- Does it add a lot of noise?
- At mild settings the noise is manageable and part of the texture, but when you crank Bit and Mix the hiss and digital static become prominent, so I tend to reserve those settings for short hits or use a gate.
- Is the pedal durable enough for gigging?
- Yes - the small metal housing and solid footswitch feel sturdy and I was comfortable placing it on a board for rehearsals; just be mindful of the small knobs if you expect to twist them mid-set.
- Can I dial subtle lo-fi textures or is it all extreme mangling?
- Both - with the Mix control pulled back you can add delicate grit and character, and with higher Bit/Crush you get full-on digital destruction, so it’s useful for subtle layering and extreme effects alike.
- Will it affect my clean tone when off?
- It is true-bypass, so when the switch is off the signal stays clean; in my setup it did not noticeably colour the tone when bypassed.
- Is this useful for bass guitar?
- Yes - used sparingly it gives bass interesting lo-fi textures, although the high-frequency digital artifacts can change the perceived low-end, so I used more Mix reduction and gentler Bit settings on bass.
Reviewed Sep 26, 2024by Musicngear Verified Community Reviews
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"Simple, robust compressor that tightens clean tones and adds usable sustain without fuss."
Review of Harley Benton Custom Line CS-5 Compressor
I picked up the Harley Benton Custom Line CS-5 Compressor to add controlled sustain and a tighter clean tone to my rig - I wanted something uncomplicated that I could trust on rehearsals and small gigs. It’s a three-knob compressor - Level, Attack and Sustain - in a metal enclosure with true bypass, and that straightforwardness is exactly what drew me to it; I don’t always need a thousand parameters, I need something that sits in the chain and gets the job done.
First Impressions
My first impression was that the CS-5 feels a lot tougher than its modest price implies - the housing is heavy-duty and the footswitch has a satisfying, positive action that felt roadworthy right away. The three knobs are large enough to tweak on the fly without fuss, and the LED is bright and easy to see under stage lights; immediately I appreciated that it intentionally keeps the control set minimal. The unit’s footprint is a little larger than some mini-pedals but it still tucks on a pedalboard without stealing too much space.
Design & Features
The CS-5 follows the classic compressor template - Level, Attack and Sustain knobs - which makes it intuitive whether you’re coming from a studio compressor or any stompbox compressor. The pedal offers true bypass and works from a 9 V battery or a 9 V adapter, so integration into an existing board or a quick rehearsal setup is painless. The chassis is metal and feels like it can take a bit of stage abuse, and the I/O is standard 6.3 mm jacks so there are no surprises when patching in.
Playability & Usability
Using the CS-5 is refreshingly simple - I dialed the Attack back for funkier choppy rhythm playing and brought Sustain up for glassy, sustained single-note leads. Level lets me match bypass volume without having to retweak amp settings, which is handy when switching between rhythm and lead parts mid-song. The knobs have a predictable response and the pedal behaves consistently across guitars - from single-coil Tele-style tones to humbuckers - so it’s easy to remember settings between gigs.
Real-World Experience
I used the CS-5 in rehearsals, home practice and one small club gig; in each context it did what a compressor should do - even out dynamics, make clean parts sit in the mix, and give leads a bit more sustain without sounding obviously processed. For clean arpeggios and country-style lines it smoothed transients and added that “glue” I wanted; for funk it gave the pick attack more consistency. At higher sustain settings you do start to hear a noticeable squashing effect - which can be musical if that’s the sound you want, but it’s something I watched for when I needed note clarity. The pedal is quiet in general, though if you over-crank Sustain you can coax some increase in apparent noise and pumping, so I tended to use moderate settings live.
The Trade-Offs
The CS-5 is not a Swiss Army knife - it does not have sidechain, multiband or studio-grade digital tricks, so players seeking surgical studio-style compression or extensive tone-shaping will need more complex pedals. Also, because the control set is compact, dialing very specific transient behavior requires compromise - you either preserve more attack or go for more sustain, but there isn’t a separate Blend control to do both at once. Finally, while the build is solid, the slightly larger footprint means it won’t be the smallest option for ultra-tight pedalboards.
Final Verdict
The Harley Benton Custom Line CS-5 Compressor is a no-nonsense stompbox that delivers reliable compression and usable sustain at a very attractive price point - it’s ideal for players who want a compact, stage-proof compressor that’s quick to dial in. I’d recommend it to gigging guitarists who need a straightforward tool to tighten cleans and add sustain, and to beginners who want to learn how a compressor shapes dynamics without getting overwhelmed. If you need feature-heavy studio compression or a transparent blend knob, look elsewhere, but for value and dependable performance the CS-5 impressed me.
by Musicngear Verified Community ReviewsHelpful Tips & Answers
- Does this run on battery or only on a power supply?
- Yes - I used it both with a 9 V battery and with a 9 V adapter on my pedalboard and it worked fine with either option.
- Is the bypass really true bypass?
- From my testing the signal is untouched in bypass and it behaved like a true bypass pedal when disengaged, leaving my clean tone intact.
- How loud is the noise floor when adding sustain?
- At small to moderate sustain settings the noise floor stayed low, but when I cranked Sustain and Level together I did notice a bit more apparent noise and some pumping - nothing crippling, but worth minding in quiet passages.
- Will it handle both single-coil and humbucker guitars?
- I ran it with both single-coil and humbucker-equipped guitars and it behaved predictably and musically on both, though pickup output will affect how much compression you hear.
- Is it roadworthy for gigging?
- The metal housing and solid footswitch gave me confidence to take it out live - it felt built for regular use rather than delicate studio-only handling.
- Does it take up a lot of pedalboard space?
- It’s not a mini-pedal - it’s slightly larger than compact stompboxes but still manageable on a standard pedalboard layout.
"Pocket-sized, battery-powered amp-and-FX companion that gets you playing anywhere."
Review of Harley Benton DNAfx GiT Mobile II
I approached the Harley Benton DNAfx GiT Mobile II as someone who needs a true portable solution for noodling, sketching song ideas and late-night practice without dragging an amp or messy rig into the room. In everyday use it became my go-to pocket amp - a compact headphone amp, audio interface and multi-effect device that balances immediacy with surprising tonal flexibility for its size.
First Impressions
The first time I clipped the small unit to my guitar and plugged headphones in I was struck by how simple it makes playing - physical controls are minimal but logical, the LED indicators keep modes clear, and the rotatable jack makes it unobtrusive on the strap. The amp models cover a compact but useful spread from clean to heavy crunch, and the included reverbs and delays are immediately usable for practice or quick recordings. The battery-powered convenience and Bluetooth streaming felt liberating - I could play along to backing tracks from my phone without an extra cable, and connecting to my DAW via USB-C for direct recording worked reliably in short tests.
Design & Features
Physically the Mobile II is deliberately tiny - it's essentially a small block with a rotatable 1/4" plug, headphone out and a USB-C port for charging, audio and updates, which keeps the footprint minimal and transport easy. The feature set is focused and practical: 14 amp models derived from the DNAfx GiT Pro, 14 digital effects, tone/EQ controls, Bluetooth 5.0 streaming and a rechargeable Li‑ion battery rated for roughly five hours of play from a two-hour charge - everything you need for mobile practice or quick hotel-room tracking. There are no large screens or complicated menus, so presets and tweaks are handled with a few buttons and LEDs - fast for on-the-fly work but limited if you want deep editing on the unit itself.
Build Quality & Protection
The housing feels sturdy for what it is - hard plastic that resists pocket knocks and keeps the unit light, and the rotatable jack plug locks into place solidly so it doesn't flop when clipped to a strap. Buttons have reassuring clicks and the LEDs are visible in daylight; however the small size means there's little shielding from moisture or crush if you toss it in a busy gig bag. For my use - couch practice, travel and on-the-go sketching - the construction has held up without issues, but I'd be cautious about treating it like a road-worn pedalboard piece.
Playability & Usability
Using the Mobile II is about speed and simplicity - plug in, choose an amp model, add an effect and you're playing in seconds. The controls give enough tone shaping for practice and recording, though precise editing is easier on the editor software when you need to fine-tune parameters. Because the unit is small, I found it best for quick presets and live headphone monitoring rather than deep sound design - but for sitting on the sofa, taking to the park or tracking at a hotel it is perfect.
Connectivity & Recording
I used the Mobile II both as a headphone amp and as a USB audio interface - the USB-C connection handled direct recording into my DAW cleanly, and Bluetooth allowed easy playback of accompaniments from my phone. The lack of dedicated XLR or balanced outputs limits stage integration, but for direct-to-computer recording and zero-latency headphone practice it's very handy. If you plan to run it through an amp head or PA you have to watch cab-sim settings and routing, but for most mobile recording scenarios it performed reliably.
Real-World Experience
Over several sessions I used the unit with single-coil and humbucker guitars, plugged into headphones and active monitors via the headphone out - the clean models were sweet and usable, and the drive models covered crunchy to aggressive tones well enough for practice and idea capture. I liked the reverbs and delays for ambient patches and the ability to stream backing tracks over Bluetooth made practice sessions more fluid. A few distorted presets can run bright on some guitars - in my case rolling the guitar tone down a bit or using an amp-sim EQ fixed it quickly - but that was the only tweak I needed to get comfortable tones.
The Trade-Offs
The compromises are obvious - compact size means limited physical controls, no expression pedal input and a small set of models compared with bigger multi-FX units. Battery life is good for sessions but not marathon rehearsal days, and while USB recording is handy there is no dedicated balanced output for stage work. In short, it sacrifices depth and some pro routing options for extreme portability - which is exactly what it aims to do, but buyers should know that up front.
Final Verdict
The DNAfx GiT Mobile II does one thing very well - it gives you a proper, pocket-sized way to play, record and practice with amp tones and usable effects anywhere. I found it invaluable for sketching song ideas, travelling light and late-night headphone practice, and despite a few minor tone quirks it delivers excellent value for the price. If you want a tiny, rechargeable amp/headphone interface with a straightforward workflow, this is an easy recommendation; if you need studio-grade routing or deep editing on the unit itself, a larger solution will serve you better.
by Musicngear Verified Community ReviewsHelpful Tips & Answers
- Can the Mobile II record directly into my laptop via USB?
- Yes - I recorded directly into my DAW over the USB-C connection without extra interfaces and got clean results for quick demos.
- How long does the battery last in real use?
- In my sessions I averaged around four to five hours on a full charge, which matched expectations for casual practice and travel use.
- Is Bluetooth reliable for streaming backing tracks?
- Yes - Bluetooth 5.0 streamed tracks cleanly to the unit and synced well with my playing for practice purposes, although wired USB is better for recording.
- Does it include speaker/cabinet simulations?
- I found the amp models tailored for headphone and direct recording use; the unit's tonal character benefits from its models, though it's not a full IR-based cab system like larger units.
- How is the build quality for pocket carry?
- It feels solid enough to toss in a gig bag or pocket; the plastic housing is robust, but I avoid putting heavy items on top of it to be safe.
- Can I use it through my amp's FX return?
- Yes - routing it into an amp's effects return can yield better integration with your amp's power section and reduce double-cab/sim conflicts I encountered otherwise.
- Are there firmware updates and an editor app?
- There is desktop software and firmware update support via USB-C, and I used the editor to refine patches quicker than on the unit itself.
"Tiny, portable headphone amp that nails a classic rock mid-gain tone for practice anywhere."
Review of Harley Benton Rockplug Classic Rock
I spent a few weeks with the Harley Benton Rockplug Classic Rock and used it for late-night practice, quick jam sessions on the go, and as a compact tone-check tool between amps. I'm coming from a background of gigging with tube amps and using compact practice tools regularly, so I judged the Rockplug on tone fidelity, battery life, ease of use, and whether it gives a believable classic rock character when plugged straight into a guitar.
First Impressions
Out of the box the Rockplug is exactly what it advertises - a tiny, lightweight unit that plugs straight into a guitar output and provides a headphone output, aux input and basic Drive, Tone and Volume controls. It felt solid enough for its size, the controls have a reassuring click and the included short aux and USB charging cables mean you can be up and running immediately. My initial expectation was that it would be a toy; instead it surprised me with a focused midrange and a usable overdrive that sits well under your pick attack.
Design & Features
The Rockplug Classic Rock is a pocket-sized analog headphone amp with a dedicated overdrive circuit and Drive, Tone and Volume controls, a 3.5 mm headphone output, a 3.5 mm aux input and a mini-USB port for charging. Harley Benton specifies around 15 hours of battery life on the internal rechargeable lithium battery, and the unit's dimensions and weight (about 80 x 30 x 15 mm and ~50 g) make it truly pocketable. What I appreciated was the simplicity - no menus, no pairing, just plug in and shape the tone quickly, plus the LED charge indicator makes it obvious when the internal battery needs attention.
Playability & Usability
I used the Rockplug with single-coil and humbucker guitars and found it consistently responsive to picking dynamics and tone knob adjustments. The Drive control covers a good range - from a mild grit that brightens a clean neck pickup to a mid-gain crunch that pushes chords nicely without getting muddy, and the Tone knob meaningfully shifts the top end so you can tame brightness on single-coils. Because everything is on the surface and clearly labelled, it was my go-to "plug-and-play" device when I needed a quick, private amp sound without hauling gear.
Sound Quality
The Rockplug's sonic identity leans into a British-tinged, mid-forward classic rock voice - it emphasizes midrange and pick attack, which helps solos and rhythm parts cut through even on headphones. For single-note lines and classic rock rhythm work it sounds honest and musical, though it won't replace the complex harmonics and feel of a tube amp mic'd in a room. At higher Drive settings the breakup remains focused rather than fizzy, and the Tone control gives you enough to sculpt treble to taste, though the overall character is fixed by the analog circuit.
Battery & Portability
Battery life was a standout for me - in real use I routinely got long practice sessions from a single charge and found the specification of about 15 hours to be realistic for moderate volume and intermittent playing. The tiny footprint and 50 g weight make it trivial to carry in a gig bag or pocket, and because it charges over USB you can top it up easily between rehearsals. For travel and late-night practice the portability and battery reliability are huge pluses.
The Trade-Offs
The simplicity is both a strength and a limitation - there are no effects, no amp modelling and no external power option beyond USB charging, so if you want wide tonal variety this isn't the tool for that. The headphone amp is optimized for direct playing and practice rather than studio-grade DI recording, so while it's great for quick checks and private practice, it's not a replacement for mic'd amp tones or a full modelling rig. Also, if you crave very high headroom cleans at concert levels you won't get that from this small analog circuit.
Real-World Experience
I took the Rockplug on a short trip and used it for hotel-room practice and to check tones during a rehearsal - it was perfect for those use cases. It behaved reliably across different guitars and headphones, and the aux input allowed me to play backing tracks while practicing solos. The small form factor meant I wasn't babying it in my bag, and the controls translated immediately to useful changes in tone without fiddly setup.
Final Verdict
For the money the Rockplug Classic Rock is an excellent, no-nonsense practice tool that captures a satisfying classic rock mid-gain character in a pocket-sized unit - ideal for students, travellers, bedroom players and anyone who wants an immediate amp-like headphone tone. It's not a substitute for a full amp or a studio chain, but as a portable headphone amp with a usable overdrive circuit, strong battery life and genuine musicality it punches well above its tiny size and price.
by Musicngear Verified Community ReviewsHelpful Tips & Answers
- Will it work with any electric guitar?
- Yes - I used it with both single-coil and humbucker guitars and it worked fine straight into the guitar's output jack, responding well to pickup and volume changes.
- Can I use it while it’s charging?
- In my testing I found it usable while charging over USB, which is handy for long sessions without worrying about battery drain.
- How loud is the headphone output?
- The headphone output is plenty loud for practice with most headphones, and I experienced clean, usable levels without noise at typical listening volumes.
- Is the overdrive usable for rhythm and lead playing?
- Absolutely - the Drive control covers mild grit up to a focused mid-gain crunch that works well for both tight rhythm and singing lead lines.
- Does it accept line-in or backing tracks?
- Yes, the 3.5 mm aux input lets me feed backing tracks from a phone or player and blend them with my guitar through headphones.
- Is the unit durable enough for regular transport?
- It's compact and felt solid in my bag; the plastic shell isn't indestructible but it's tough enough for daily carry if you don't toss it around carelessly.
- Will it replace my amp onstage?
- No - it’s perfect for practice and quick checks, but it doesn’t replicate the dynamics and projection of a miked amp for live stage use.
"Portable pocket headphone amp that punches well above its price for practice and sketching ideas."
Review of Harley Benton DNAfx GiT Mobile
I spent several weeks with the Harley Benton DNAfx GiT Mobile as my go-to practice rig and headphone amp - mostly at home, on short trips and for late-night sketching where a full amp would be overkill. From the start I was drawn to its tiny footprint, rechargeable battery and amp-plus-effects concept - it promises a complete silent-practice experience in a palm-sized device, and that is exactly how I used it.
First Impressions
Out of the box the Mobile feels more like a tech gadget than a pedal - lightweight plastic, a big volume knob on top and a folding/rotating jack that tucks neatly away. My first plug-in with headphones produced surprisingly immediate tones - the cleans were believable, and a couple of the drive models gave me useful crunch without fuss. The small control layout takes a little getting used to - you'll be scrolling through amp and FX banks rather than twiddling knobs in real time - but for what it is the ergonomics are sensible and the unit feels robust enough for pockets and gig-bag use.
Design & Features
The DNAfx GiT Mobile is deliberately minimalist in terms of controls - a handful of side buttons let you step through 14 amp models and 14 digital effects, while a single large encoder handles listening volume. It includes Bluetooth 5.0, a USB-C port for charging, audio-over-USB and firmware updates, and a rotatable 6.3 mm jack so it won't stick awkwardly out of your guitar. A built-in rechargeable lithium-ion battery gives the unit true wireless practice capability for roughly a full practice session before you need to recharge, and there is a dedicated 3.5 mm headphone output for quiet sessions.
Playability & Usability
I used the Mobile mostly with single-coil and humbucker-equipped guitars plugged directly into the folding input while seated with headphones. The folding jack is a small but meaningful convenience when you're moving around, and the compact size makes it easy to tuck into a pocket or bag. Parameter editing is menu-driven rather than hands-on, so if you like to tweak many knobs live you'll find it slightly limiting, but for quick tone selection and silent practice it is fast and intuitive. The Bluetooth pairing for jam tracks is handy when I wanted to play along with backing tracks without extra adapters.
Real-World Experience
In daily use the Mobile became my default late-night tool for ideas and quick practice - I appreciated being able to get a usable amp-like tone in under ten seconds. Clean tones sounded open and useful for chord work and arpeggios, and the acoustic simulation was surprisingly credible for noodling with unplugged parts. When I pushed into higher-gain models I noticed the tone could be a bit bright or forward-sounding depending on the guitar and pickups, so I often dialed back treble or switched models to sit better in headphones. The effects were musical for short delay and reverb duties, and the combos of FX plus amp models made it easy to dial in a usable sound quickly.
The Trade-Offs
The Mobile is not intended to replace a full modelling pedal or an amp - you accept compromises for the size and price. There is no deep patch-editing on the unit itself, and some players will find the brighter character on certain drive models fatiguing in long headphone sessions. Battery runtime is good for pocketsize use but not marathon rehearsal sessions. Finally, while firmware updates are supported via USB-C, some users report the update process can require specific button sequences and a little patience.
Final Verdict
For me the Harley Benton DNAfx GiT Mobile is an excellent pocket practice tool - affordable, portable, and with a useful palette of amp models and effects that let me sketch ideas and practice quietly without dragging a full rig around. If you want studio-grade tone, deep editing or a full pedalboard replacement this is not that - but as a personal practice amp and idea-capture device it punches well above its price. I recommend it to guitarists who need a simple, portable silent-practice solution and who accept a menu-driven workflow and the occasional bright drive tone.
by Musicngear Verified Community ReviewsHelpful Tips & Answers
- Will it run from battery and how long does the battery last?
- Yes - it uses an internal rechargeable lithium-ion battery and in my tests it comfortably covered typical 1-2 hour practice sessions; the published runtime is about 5 hours depending on volume and use.
- Can I use it with an amp or is it only for headphones?
- I primarily used it with headphones, but the Mobile can be used as a direct headphone amp or connected via USB; when running into a real guitar amp you should be mindful of cab simulation settings to avoid clashing with amp front-ends.
- How are the amp models - are they realistic?
- The models are very usable for practice - cleans and crunches are satisfying, but some high-gain models can sound a touch bright in headphones, so I treated them as inspirational starting points rather than exact amp clones.
- Can I record with it to my computer or phone?
- Yes - the USB-C connection supports audio over USB so you can record direct to a DAW or use it as an interface for quick captures.
- Is there an app or editor for deeper editing?
- There is no deep editing on the unit itself - it's focused on quick selection and basic controls; for advanced editing you'd be better looking at larger DNAfx models or desktop editors in the family.
- How durable is it for throwing in a gig bag?
- It feels plasticky but solid - the folding jack helps prevent damage and I had no reliability issues from normal transport, though it's not built like a road pedal for heavy-stage abuse.
"It works pretty fine for bassguitars"
Review of Harley Benton CS-100 It works pretty fine for bassguitars