Demos and Reviews

Fender Mustang GTX100 Demo & Review

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Fender sent me this amp in exchange for a demo and review.

I have a soft spot for modeling amps.

Listen, I know they’re not traditionally cool, but I love them. My first big girl amp was a modeling amp, and I’ve actively gigged with the Fender Champ XD (and I keep it at my practice space and play it every week).

The Fender Mustang GTX100 is unlike any modeling amp I’ve played before. It comes loaded with over 180 settings, which include variations of different amps, different pedals, and different gain, volume, EQ, and reverb settings.

And even though there’s only one speaker in the amp, it has left/right outputs and, if you’re playing with headphones, the stereo effects sound fantastic to my ears.

When it comes to the pre-sets, some are great, and some are fine. Few are what I would describe as “bad,” but even so, they show what’s possible with the amp.

Using the app with this amp is an absolute must. For one, it makes it easier to connect the amp to wifi and update the firmware. It also makes it possible to download other pre-sets, some of which are made by artists including Grimes.

You can easily adjust settings on the pre-sets and save over the factory-included ones. It’s easy enough to do this for gain, volume, EQ, and reverb on the amp itself, but I highly recommend using the app to edit the effects.

With the amp, you can also build your own pre-sets. You can choose from tons of pedals (based on real pedals) and amps (based on real amps). The amps and pedals (and pre-sets for that matter) that aren’t Fender products have cute and smart names that you can usually figure out pretty easily. If you can’t, their manual is a little more specific.

I’ve dropped those below, so keep scrolling for that info.

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Fender Mustang GTX100 Amp Settings

  1. Studio Preamp: Direct-to-mixing-desk studio purity with clean, uncolored tonal response
  2. ’57 Champ®: Small but mighty late-’50s Fender recording great
  3. ’57 Deluxe™: Medium-power late-’50s Fender tweed classic known for thick, compressed overdrive
  4. ’57 Twin: Original-era 2×12” tweed classic prized for clean-to-dirty versatility
  5. ’57 Bandmaster: Triple-speaker Fender narrow-panel tweed classic known for crisp highs
  6. ’59 Bassman®: One of Fender’s greatest tweed amps, which began life as a bass amp before being adopted by countless guitarists
  7. ’61 Deluxe: From the “Brownface” era of the Fender Deluxe, this amp splits the difference between tweed and “Blackface” models
  8. ’65 Princeton®: Mid-’60s Fender studio favorite with the snappy tone of a single 10” speaker
  9. ’65 Deluxe Reverb®: Highly popular mid-’60s Fender with great tone whether clean or dirty, cranked in countless clubs
  10. ’65 Twin Reverb®: An indispensable mid-’60s stage-and-studio favorite prized for producing the Fender clean tone
  11. ’65 Super Reverb®: Mid-’60s Fender with the distinctive snap of four 10” speakers
  12. Excelsior: An elegantly eccentric modern-day Fender model with the distinctive thump of a 15” speaker
  13. ’66 GA-15: Inspired by a 1966 Gibson GA-15RVT Explorer, known for its cavernous “full-wet” reverb setting
  14. ’60s Thrift: Inspired by the garage-classic 1960s Sears Silvertone prized by retro/alternative players
  15. British Watts: Inspired by the original 100-watt Hiwatt DR103, which is the classic cleaner-tone British stack
  16. ’60s British: Inspired by the Vox AC30, which powered the British Invasion and produced remarkable clean and dirty tone
  17. ’70s British: Inspired by a late-’60s/early-’70s Marshall Super Lead, the amp that powered the dawn of hard rock
  18. ’80s British: Inspired by the Marshall JCM800, which produced quintessential ’80s metal tone
  19. British Colour: Inspired by the “sludgy” majesty of the Orange OR120
  20. Super-Sonic: Modern Fender amp with two cascading preamp gain stages for pronounced sustain
  21. ’90s American: Based on the Mesa Dual Rectifier, which featured distinctive distortion that shaped the “nu-metal” sound
  22. Metal 2000: Modern high-gain scorch based on the EVH® 5150III
  23. IIC+Clean: Inspired by the clean channel of the Mesa/Boogie Mark IIC+MB
  24. IIC+Lead: Quintessential mid-’80s metal tones inspired by the Mesa/Boogie Mark IIC+MB lead channel
  25. BB15 Low: Based on the low gain structure setting of the Bassbreaker 15
  26. BB15 Med: Based on the medium gain structure setting of the Bassbreaker 15
  27. BB15 High: Based on the high gain structure setting of the Bassbreaker 15
  28. FBE-100: Inspired by both lead channels (BE and HBE) of the Friedman BE-100
  29. Dual Showman: Based on the ’60s/’70s all-tube Fender classic used on big stages everywhere
  30. Tube Preamp: Direct-to-mixing-desk studio purity with increased tube console-like harmonic coloration
  31. Acoustasonic: For use with piezo-equipped electric/acoustic guitars. Based on the preamp of Fender’s award-winning Acoustasonic amps; exible string-dynamics feature with selectable notch frequency
  32. Acoustic Sim: Six distinctive acoustic guitar simulations for transforming electric guitar with great-sounding acoustic tone. Paired with Acoustasonic preamp for additional tone shaping
  33. Blues Junior: Based on the highly popular warm-toned, moderately powered 1×12” Fender combo with overdrive and FAT switch
  34. Vibro-King: Modern Fender classic with touch-sensitive dynamics and distinctive natural overdrive
  35. JC-120: Clean Based on the super-bright clean channel of the classic Roland JC-120 Jazz Chorus
  36. Jubilee Clean: Based on the clean channel of the Marshall Silver Jubilee 50-watt head
  37. Jubilee Rhythm: Based on the Marshall Silver Jubilee 50-watt head with rhythm clip switch engaged
  38. Jubilee Lead: Based on the lead channel of the Marshall Silver Jubilee 50-watt head
  39. Uber: Ideal for heavy, aggressive music as inspired by the super-high-gain lead channel of the Bogner Uberschall head

There are also cabs to choose from.

  1. None: Amp circuitry uncolored by speaker simulation
  2. ’57 Champ®: Based on a late-’50s Fender recording great featuring a low-power 8” speaker with notably snappy tone
  3. ’57 Deluxe™: Based on a medium-power late-’50s Fender tweed classic featuring a single 12” alnico-magnet speaker
  4. ’65 Twin: Based on a prized mid-’60s Fender classic with two 12” ceramic-magnet Jensen® speakers
  5. ’57 Bandmaster: Based on a late-’50s Fender narrow-panel classic with three 10” Jensen® P10R speakers
  6. ’59 Bassman®: Based on one of Fender’s greatest original-era tweed amps, with four 10” Jensen® P10R speakers
  7. ’61 Brown: Based on an early-’60s Fender model featuring a single 12” Oxford speaker with distinct midrange
  8. ’65 Princeton®: Based on a mid-’60s Fender studio favorite with the snappy tone of a single 10” Jensen® C10R speaker
  9. ’65 Deluxe: Based on a popular mid-’60s Fender mainstay with a single 12” Jensen® ceramic speaker
  10. Excelsior: Based on a nonconventional modern Fender amp with a distinctively thumping 15” Special Design speaker
  11. ’66 GA-15: Inspired by the single 10” CTS speaker in the 1966 Gibson GA-15RVT Explorer
  12. 1×12 EV: Based on an open-back Mesa/Boogie Mark IIC+ bubinga cabinet with a single 12” EVM12L speaker
  13. 1×12 BB15: Based on Fender’s open-back Bassbreaker 15 cabinet with a single12” Celestion® V-Type speaker
  14. 2×12 Blue: Inspired by the pair of 12” Celestion® Alnico Blue speakers in the venerable Vox AC30
  15. 4×12 75W: Inspired by the 75-watt Marshall JCM800 cabinet with four 12” Celestion® G12T75 speakers
  16. 4x12B 75W: Brighter version of the Marshall JCM800 4×12” cabinet directly above
  17. 1×12 Super-Sonic: Birch-ply Fender combo cabinet with a single 12” Celestion® Vintage 30 speaker
  18. 2×12 Super-Sonic: Birch-ply Fender combo cabinet with two 12” Celestion® Vintage 30 speakers
  19. 4×12 RCT: Based on a closed-back Mesa Boogie Rectifier cabinet with four 12” Celestion® Vintage 30 speakers
  20. 4×12 GB: Based on a Marshall cabinet with four 12” Celestion® Greenback speakers
  21. 4x12B GB: Brighter version of the 4×12” Marshall cabinet directly above
  22. 4×12 V30: Based on a Fender Super-Sonic cabinet with four 12” Celestion® Vintage 30 speakers
  23. 4x12B V30: Brighter version of the 4×12” Fender Super-Sonic cabinet directly above
  24. 4×12 SOL: Based on a closed-back Soldano cabinet with four 12” Eminence® Legend speakers
  25. 4×12 FRD: Based on a closed-back Friedman 4×12” cabinet with Celestion® Greenback speakers
  26. 4x12B FRD: Brighter version of the 4×12” Friedman cabinet model directly above
  27. 2×15 D130: Based on a Fender Dual Showman cabinet with the distinctive attack of two 15” JBL® D130F speakers
  28. 2×12 Jubilee: Based on a small Marshall slanted cabinet with two Celestion® G12-75 speakers
  29. Blues Junior: Based on the Fender open-back combo cabinet with a single 12” Celestion®: A-Type speaker
  30. 1×12 LTD: Based on the Fender Blues Junior LTD open-back cabinet with a single 12” Jensen® speaker
  31. 2×12 JC: Based on the classic Roland JC-120 Jazz Chorus 2×12” open-back combo
  32. 3×10 VKING: Based on the Fender Vibro-King cabinet with three 10” speakers
  33. 4×10 SUP: Based on the Fender Super Reverb cabinet with four 10” Jensen® speakers
  34. 4×12 Uber: Based on the Bogner Uberkab cabinet with four12” Celestion® speakers

Fender Mustang Effects List

  1. Ranger Boost: Distortion effect inspired by the ’60s-era Dallas Rangemaster Treble Booster
  2. Overdrive: Versatile Fender overdrive specially designed for Mustang GTX
  3. Mythic Drive: Inspired by the ’90s-era Klon Centaur germanium-diode overdrive
  4. Greenbox: Overdrive effect inspired by the original late-’70sIbanez TS808 Tube Screamer
  5. Blackbox: Distortion effect inspired by the Pro Co RAT
  6. Yellowbox: Distortion effect inspired by the ’70s-era MXR Distortion Plus
  7. Orangebox: Distortion effect inspired by the original late-’70s Boss DS-1
  8. Fuzz: Versatile Fender fuzz with added octave specially designed for Mustang GTX
  9. Big Fuzz: Distortion effect inspired by the Electro-Harmonix Big Muff
  10. Varifuzz: Versatile Fender fuzz with bass tightness control
  11. Round Fuzz: Inspired by the classic late 1960s Fuzz Face
  12. Octobot: Synth-like combination of octave-down effect plus octave-up fuzz
  13. Ram Fuzz: Distortion effect inspired by the Electro Harmonix Big Muff Pi (Ram’s Head model)
  14. Russian Fuzz: Same as “Ram Fuzz” above, but based on the Russian-made version of the 1990s
  15. Tube OD: Distortion effect inspired by the B.K. Butler Tube Driver
  16. Sine Chorus: Smoothly rounded chorus effect that uses a sine wave for modulation
  17. Triangle Chorus: Distinctive chorus effect that uses a triangle wave for modulation
  18. Sine Flanger: Smoothly rounded flanging effect that uses a sine wave for modulation
  19. Triangle Flanger: Distinctive flanging effect that uses a triangle wave for modulation
  20. Vibratone: Classic late-’60s/early-’70s Fender effect with a rotating speaker baffle
  21. Vintage Tremolo: Classic Fender “stuttering” photoresistor tremolo, as heard in Fender amps such as the Twin Reverb
  22. Sine Tremolo: Smoothly pulsating tube bias tremolo, as heard in amps such as the Fender Princeton Reverb
  23. Ring Modulator: Creatively non-harmonic dissonance from the early era of electronic music
  24. Phaser: Long-indispensable jetliner “whoosh” heard on countless recordings
  25. Phaser 90: Phase shifter effect inspired by the classic ’70s MXR Phase 90
  26. Vibe Unit: Based on the late-’60s Uni-Vibe phaser/vibrato pedal
  27. Harmonic Tremolo: Based on the distinctive effect built into certain early-’60s Fender amps
  28. 4-Knob Flanger: Based on the MXR M117 Flanger
  29. JC Chorus: Based on the bucket-brigade analog chorus of the classic Roland JC-120 Jazz Chorus amplifier
  30. JC Vibrato: Inspired by the Roland JC-120 amp’s onboard vibrato effect
  31. Mono Delay: Clean, simple and pristine signal repetition
  32. Mono Echo Filter: Mono echo with an evenly spaced wah-like effect on the signal repetitions
  33. Stereo Echo Filter: Stereo echo with an evenly spaced wah-like effect on the signal repetitions
  34. Tape Delay: Based on an classic analog tape echo unit with imperfections that created distinctive “wow” and “flutter”
  35. Stereo Tape Delay: Similar to Tape Delay above, but with stereo field expansion
  36. Multi Tap Delay: Rhythmic delay that can be subdivided into multiple “taps” with differing time intervals
  37. Reverse Delay: Reverses the shape of notes for the classic “backwards guitar” effect
  38. Ping Pong Delay: Repetitions in the stereo field alternate between right and left, imparting a “ping pong” effect
  39. Ducking Delay: Delayed notes “duck” out of the way while playing, and fill in gaps when not playing
  40. 2290 Delay: Inspired by the TC Electronic TC 2290 delay, a 1980s studio-standard digital delay still sought after today for its crisp repeats and versatile panning/modulation options
  41. Memory Delay: Inspired by the Electro-Harmonix Deluxe Memory Man, a late-’70s “bucket-brigade” delay pedal that imparts distinctive character to repeats and modulation
  42. Space Delay: Based on the beloved Roland RE-201 Space Echo
  43. Tape Plex: Faithful recreation of the Maestro Echoplex EP-3 echo
  44. Small Hall: Simulates the kind of bright reverb often heard in, for example, a hall the size of a movie theater
  45. Mod. Small Hall: Builds on Fender’s Small Hall Reverb by adding lush modulation to internal reverb structure. Added high- and low-frequency cut controls further expand creative possibilities
  46. Large Hall: Strong, bright reverb simulating the size of, for example, a major performance hall and other large, cavernous spaces
  47. Mod. Large Hall: Similar to Mod Small Hall Reverb above, with modulation added to internal structure of Fender Large Hall Reverb
  48. Small Room: Warmer, less echo-y reverb typical of smaller spaces and classic echo chambers
  49. Large Room: Warm-sounding kind of reverb heard in larger rooms that aren’t halls, such as many nightclubs
  50. Small Plate: Resonantly metallic reverb with more density and flatness than room and hall reverbs
  51. Large Plate: The reverb type heard on countless recordings, based on the classic (and pool table-sized) EMT 140
  52. ’63 Spring: Classic early-’60s standalone Fender reverb effect
  53. ’65 Spring: Fender reverb effect built into classic mid-’60s Fender amps
  54. Arena: Simulates the long-trailing reverberation typical of large stadiums and arenas
  55. Ambient: Subtle reverb effect typical of notably smaller spaces (even smaller than Small Room reverb above)
  56. Shimmer: Sonically radiant combination of reverb and two-octave pitch shift
  57. GA-15 Reverb: Based on the ’60s-era Gibson GA-15 amp reverb, unique in its ability to go “full wet” (no dry signal)
  58. Simple Comp: Compressor effect inspired by the classic MXR Dyna Comp
  59. Compressor: Same as Simple Compressor above, with added gain, threshold, attack and release controls
  60. Sustain: Inspired by the MXR M-163 Sustain, a rare 1980s comp with a particularly strong compression effect and a short attack time
  61. Metal Gate: Inspired by the ISP Technologies Decimator II G String pedal. Especially ideal for highgain metal.
  62. EQ Parametric: Parametric midrange equalizer plus bass and treble controls
  63. EQ5 Graphic: Similar to the Mesa Boogie Mark IIC+ five-band graphic equalizer
  64. EQ7 Graphic: Seven-band graphic equalizer based on the Boss GE-7
  65. Pedal Wah: Dual-mode wah inspired by the Dunlop Cry Baby and ’60s-era Vox Clyde McCoy wah pedal
  66. Touch Wah: Similar to Pedal Wah above, but controlled by picking dynamics rather than an expression pedal
  67. Envelope Filter: Inspired by the funktastic 1970s Mu-Tron III
  68. Step Filter: Rhythmically choppy modulation effect that dices notes into distinctly alternating “steps”
  69. Pitch Shifter: Simple pitch shifter that adds another note above or below the dry signal pitch
  70. Diatonic Pitch: Pitch shifter that produces a chosen musical interval to create harmonized notes in key
  71. Pedal Shift: Based on pitch-shift functions of the DigiTech Whammy pedal; best when used with EXP-1 Expression Pedal
  72. Pedal Harmony: Based on harmonizer functions of the DigiTech Whammy pedal; best when used with EXP-1 Exp Pedal
  73. Pedal Detune: Based on detuning functions of the DigiTech Whammy pedal; best when used with EXP-1 Expression Pedal