Boss Katana 100 - 100/50/0.5-watt 1x12" COSM Combo Amp

100/50/0.5W 2-channel 1x12" Guitar Combo Amplifier with 5 Amp Voicings, Built-in Effects, Line/Headphone Output, Effects Loop, and USB
Boss Katana 100 - 100/50/0.5-watt 1x12
Boss Katana 100 - 100/50/0.5-watt 1x12
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Boss Katana 100 - 100/50/0.5-watt 1x12" COSM Combo Amp
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Your One-stop Tone Shop for Electric and Acoustic-electric

With five distinct amp "characters" to choose from, support for acoustic-electric guitars, and access to a wide range of customizable effects, the BOSS Katana 100 combo amplifier represents a new generation of flexible amplifiers for practice and performance. A set of familiar controls allow for fast tone shaping, and you can use the BOSS Tone Studio editor software to further customize your amp settings and effects. The Katana 100 is also equipped with a tilt-back stand so you can hear the amp better, and an adjustable Power Control that allows you to achieve cranked-amp tone at lower volume levels. For a does it all amplifier for electric and acoustic-electric guitar, you definitely need to check out the BOSS Katana 100 combo amp.


Ready for any style of music, even acoustic-electric

The BOSS Katana 100 combo packs five distinct amp voicings. Clean, Crunch and Lead cover the range from chiming clean tones and gritty rhythm tones to solo-worthy high-gain leads. As an added bonus, the Brown setting is derived from the BOSS Waza amplifier - think iconic '80s metal. And finally, the Acoustic mode allows you to plug-in your acoustic-electric guitar too. No matter what style of music you play, or even what kind of guitar you play, there's a world of tone to explore in the BOSS Katana 100 combo amp.

Create custom effects BOSS Tone Studio editor software

The Katana 100 supports 55 sweet BOSS effects, and you can load up to 15 of them for instant access. The amp's Booster/Mod, Delay/FX, and Reverb controls give you easy one-knob access to each effects type, with a color-coded button to switch between preset effects. To completely customize your effects and amp settings, connect the Katana 100 to your computer via USB and load up the Tone Studio software. Create your own setup, or download setups created by pro guitarists at the BOSS Tone Central website. Best of all, the Katana 100 can store two custom amp and effects setups for instant recall, effectively making the Katana 100 a versatile two-channel amplifier.

Direct output for silent recording or direct performance

While the Katana 100 offers a Power Control for getting cranked-amp tone at a low volume level, you can achieve truly silent recording by connecting the amp's line output to a line input on your recording device, completely bypassing the speaker. It's also an easy way to connect directly to a PA system to help keep the volume down onstage.

BOSS Katana 100 Combo Amplifier Features:

  • Versatile combo amp with five amp voicings, customizable effects, and editor software
  • Amp characters include Clean, Crunch, Lead, Brown (derived from the BOSS Waza amp), and Acoustic (for acoustic-electric guitar)
  • Can store 15 different effects (three can be used simultaneously), selected from 55 BOSS effects
  • Variable Power Control allows you to achieve cranked-amp tone at lower volume levels
  • Shape your tone quickly with dedicated Gain, EQ, and Effects controls
  • Use the BOSS Tone Studio editor software to customize your effects and amp settings
  • Effects Loop allows you to add effects pedals after the preamp section

Additional Media

Guitar Amp Buying Guide
Katana 25, 50, & 100 User Manual

Tech Specs

Type Solid State
Number of Channels 2 footswitchable channels, 4 x channel tone settings
Total Power 100W/50W/0.5W
Speaker Size 1 x 12"
Effects 55 selectable BOSS effects (store up to 15 on board at a time)
Reverb Yes
EQ 3-band EQ
Amp Modeling 5 Amp voices
Inputs 1 x 1/4" (instrument), 1 x 1/8" (aux in)
Outputs 1 x 1/4" (headphones/rec out), 1 x 1/4" (line out)
USB 1 x Type B
Footswitch I/O 2 x 1/4" (GA-FC, channel select/expression)
Effects Loop Yes
Computer Connectivity Access BOSS Tone Setting editor software and Boss Tone Central (USB)
Height 17.5"
Width 20.8"
Depth 9.8"
Weight 32 lbs. 11 oz.
Manufacturer Part Number KTN-100

Customer Reviews

Based on 31 reviews
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Best amp for the money

I'm more than amazed by the tones you can get from this thing just from factory settings. I mostly play clean with some added modulation but this amp knows how to really bite with higher gain. Adding an overdrive on top or as a booster to the crunch channel makes this amp sound immense. The clean tones on this amp are glorious. Since I mostly play clean that is always what I look out for and this amp has been nothing short of amazing. The added effects are fantastic and can add so much to an already great amp. The attenuator makes this a joy for a mostly bedroom player like myself. It still holds itself even at its lowest wattage. As far as bang for the buck amps go, it's hard to top this and my sales rep, Chris Nunley, gave me stellar service and gave me a great deal too. Sweetwater will have my business until I die
Music background: Occasional Live Act

the do everything amp

I started playing jazz a few years ago, and moved to a Roland Cube 80XL for the clean JC sound, and the Marshall was relegated to the closet. For distortion, the Roland amp models were acceptable enough, and I am sure that the audiences never knew the difference. But being a tube player for years, I myself, could feel and hear the difference. From the reviews, the Katana seemed to be the best of both worlds, so I decided to give it a try. The Katana gets it right in all the places I need it to be. The concept seems to be a Waza/Cube hybrid on steroids. The clean sound is clean and full and punchy. The distorted sounds feel and sound like a tube amp. Also, this thing is a beast! I will probably NEVER have to use this at 100 watts. I am sure that 50 watts is more than enough for anything that I can see doing in the future. The range of effects is amazing, and they have the amazing industry standard Boss sound. And, not just 4 channels, but 4 COMPLETELY PROGRAMMABLE channels creates a quandary (too many choices!). I have used this amp for a few gigs already, and I feel it is flexible enough to be my workhorse for the next few years, or more.
Music background: pro

So good it replaced a Marshall DSL40c

Just bought a new Boss Katana 100. Actually we bought two. I sold two awesome tube amps, a Marshall DSL40c and a Vox Nighttrain 15 G2 and an old Vox Valvetronix VT40+ I also sold three pedals, a Zoom PD01, an EHX Soul Food and a TC Electronic HOF. We now have to Boss Katana 100 with GA-FC foot switches and big smiles on our faces. These new amps simply and categorically and I believe permanently destroy the paradigm that tube amps are superior to solid state amps. I was a bit of a tube snob and had over the years bought and sold lots of tube amps and some solid state and had reached a point where I was quite satisfied. That is until the Boss Katana came along. The Vox Night train was an easy amp to replace. While for a Vox it is is a very versatile amp, it is not versatile in absolute terms. It has one of the most lush clean sounds in the world and some of the most distinctive at the edge of breakup sounds but it cannot do metal and hard rock and it has a tone that is very distinctive. It really needs a pedal such as a Soul Food or even an SD1 to get it to be more versatile. It also is not very good at sounding truly dynamic at low volume. Its not bad at low volumes but also not sensational. The Vox VT40+ was also easy to say good bye to. Its only purpose was to provide extremely low volume tones that was reasonably authentic. The Boss Katana does that a million times better so no tears shed there. The Marshall was harder to say good bye to. It was a stunning amp with a blood curdling tone, thumping and deep bass and personality oozing out of its grilles. It was just a tad temperamental and sometimes would just not sound that good. It was also not the best amp to play very quietly. Even at its lowest quietest setting it would resonate through the wall into the adjoining room. It had some really great tones but also some that were quite sharp and harsh that had to be dialled back. Its reverb was also quite weak but in all it was a truly great amp. After replacing the Night Train I was able to do a back to back comparison of the Marshall and the Boss and here is what I found. The Boss has the same organic tone that the Marshall has but it is easier to dial in and does not have any sounds that are unbalanced. On the Marshall there is a huge difference in EQ between the Crunch and the Lead channel. One is warm and the other is trebly. The Boss is very consistent and a steady progression from clean through to crunch, lead and then brown. The clean has a bit more headroom than the Marshall. The Crunch, Lead and Brown cover a bit more sonic territory than the Marshall does by getting into modern metal territory earlier easily. Surprisingly the Boss is very sensitive to picking dynamics and to turning down the volume on the guitar, even more so, albeit by a narrow margin, than the Marshall. I would have settled for it being in the same ball park but was not prepared for it being better than the Marshall. Interestingly the Boss has none of the digital artefacts some modelling amps are notorious for. Its sustaining notes decay naturally and very musically just like the Marshall. Where the Marshall wins is by having a deeper and more thundering bass. This is quite noticeable but ultimately was not able to make me keep it. Remember it was the bass that was making it difficult to practice quietly. I’m not sure how it would be on a stage but I can tell you that the Boss is quite a bit louder. Now the Marshall is an extremely loud 40W amp and you would expect, according to conventional wisdom, that it should be equivalent to 100W or more of solid state amp. I can tell you without a shadow of a doubt that the Boss is significantly louder than the Marshall. On the Marshall I have managed to turn it up to half way in the full power mode (pentode mode) and standing at the end of the 2m cable it was all I could tolerate. On the Boss at full power mode I could only turn it up to about 1/3rd of the way on the dial before I could not stand it any longer and the guitar was feeding back like crazy. I know this is not scientific but I am quite certain a full test at stage volume would prove me right. What is really great is that like the Marshall the Boss is obviously designed for very high volumes because the sound actually improved and the speaker did not in any way show any signs of flubbing out or of any cabin resonance. The only thing that resonated was everything in the room. What got me over the line in the end was the huge advantages in versatility that the Boss has over the Marshall. It is effectively 5 channels vs 2, with a far better reverb, direct out monitoring, headphone jack, a master volume, 0.5W setting, stunningly great sounding onboard effects. It is lighter and more compact and has a tilt feature for better projection. It is far less hissy and would record better and cleaner than the Marshall even with a mic. The icing on the cake is a very nice sounding acoustic setting where it sounds like a proper acoustic amp. It does not have tweeters but the speaker has sufficient range that this is not really a problem. My Maton Mini sounded awesome through the amp. About the only thing it does not have is that evocative Marshall logo. I did have a lump in my throat when the person who bought the Marshall from me drove off. I truly loved it but I think I will love the Boss even more and possibly for far longer. The Boss does have a few things that bug me. For instance I need to set some of the delay parameters using the tone editor software and the stompboxes should each have had two knobs instead of one for better control but that is nitpicking. I can I used to own a Roland Cube 80XL. That amp was in its own rights a very nice sounding amp with some great effects. If it hadn’t been for a few of the effects that were not so nice I might have kept it and sold the Marshall earlier. The Boss Katana has no such problem. It does not try to emulate any other amp and so there is never a question of how well it emulates something. I did speak to a Boss representative who told me that it was not in the traditional sense of the word a modelling amp (it doesn’t use COSM) like the Cube series but rather an analogue amp with several preamp stages representing Clean, Crunch, Lead and Brown sounds. This is supplemented with digital signal processing to emulate how a tube amp sounds. The preamp stage is apparently also designed to act under load exactly like a tube amp. I didn’t quite understand from the description but can vouch for its effectiveness. My thoughts have a few times turned to its price. The amps cost me just under less than half what a Blackstar ID or Orange Crush Pro would have cost. This is also less what the outgoing Roland 80GX would have cost. I have not found any place on the amp that feels like cost has been taken out or corners cut. It is also apparently made in the same factory that the Cubes were so I cannot understand why it is so cheap but I have a theory and its related to the name and branding change. Roland seems to try to move its guitar amps to the Boss name consistent with its pedals and multi-effects units. By sacrificing a bit of profit margin they have guaranteed that these amps will make a huge splash in the amp market thus ensuring that the name change is well received and recognised. I guess another way of looking at it is that this amp is actually reasonably priced, it is other amps that are too expensive, My prediction is that come this time next year many competing amps will magically reduce in price or go out of production.

Amp Industry Game Changer!

Boss has changed the amplifier game. For everything Katana, surf to the Boss website for full details. As a pro guitarist and experience with many premium amps, the Katana falls into the category of one of my favorite amps. While not a two thousand dollar Mesa, the Katana is a mid-priced amp that competes with some of the best amps on the market. From JC-120 cleans to all-out Waza saturation, this amp performs with a great organic feel. The industry changer is the Boss Tone Studio! This app allows you to completely customize your channel patches with incremental settings all while connected to your computer. Use any of the 55 pedal effects in the library to customize your sound and assign it to one of four channels. Simply amazing, adjust the setting, patch the setting into the signal chain, play your guitar to hear the change and assign it when happy! The dashboard also shows all of the amp controls positions in real-time. To purchase these pedals would cost thousands, to buy a mid-priced Katana and get free pedal patches, a no brainer. The practicality of four amp channels and a panel select is that you can play tasty cleans, select a channel or use the GA-FC footswitch and rock as hard as you want! No amp adjustments necessary. The line out and headphone out allows a direct connection to a stage PA or direct mix into a studio board. The sonic results are excellent. Boss has raised the bar; they didn’t create a modeling amp, but a customizable amp you can make your own. This will change the industry.
Music background: Pro

Cured the Digital "Cold"...

Long story short..I play at home at a lower volume more than gigging, but like most, I enjoy the tones associated with driving a tube. A solid state amp is just more practical and versatile for me. The journey to the Katana involved leaving the Fender Mustang from the past few years (got discouraged that it wouldn't take pedals), and trying an Orange Crush 35RT, VOX Valvetronix40, and a Yamaha THR10C (which was really cool, just too small). The Katana came out of the blue and has delivered the flexibility of a solid state amp and the range of tones that are endless. No models, just very tweakable settings and effects that are greatly expanded and versatile when used with the software. I've coaxed wonderful varieties of tones out of my Strat and Gretsch semi-hollow, and have increased the time I play ten-fold just from the sheer enjoyment of the responsive sound the Katana delivers. 0.5 setting gets it done at home, but I've experimented with the 50 and it's explosive, so I have no doubt 100 delivers in a stage setting. The tube purists will surely scoff at the notion that this amp can be as satisfying as a valve rig. I've had both, and I'm tickled too death with the Katana, and will look forward to broadening it's tonal palette with some pedal purchases in the near future. Something I couldn't do with the Mustang and recent modelers.
Music background: Semi-Pro
See also: Combo Amps, Boss, Boss Guitar Combo Amps