Neural DSP Quad Cortex MK2
Neural DSP·Model Quad Cortex MK2·neural-dsp-quad-cortex-mk2
About the Neural DSP Quad Cortex MK2
The Quad Cortex MK2 builds on the original with improved DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. horsepower and enhanced connectivity options, allowing for more complex signal chains and effects routing. The updated hardware supports higher-quality captures and more simultaneous processing blocks, which matters for guitarists running elaborate rigs with multiple amp models and effects. If you are building a new rig, the MK2 is the version to get for future-proofing your tone chain.
The Quad Cortex MK2 is Neural DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once.'s flagship floor/rack-hybrid modeler, and in a live IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. or playback rig context it functions as the entire tone engine for a guitarist who wants to leave the amp at home. It captures, processes, and routes your signal — amp models, cab sims, effects chains — all in a single unit drawing at most 30 watts. At 1.6 kg and 190 mm deep, it's physically compact enough to live in a shallow utility rack or a dedicated pedalboard-style case, though it ships as a floor unit and will need a rack tray if you're mounting it in a standard rack.
The port layout tells you how this thing actually behaves at show time: two TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. inputs give you stereo or wet-dry-wet flexibility at the front end, and the four outputs — two TRS, two XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. — mean you can split to FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. on the balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. XLR pair while feeding your in-ear mix or a personal monitor from the TRS outs simultaneously, without a splitter box in between. The USB-C handles computer-based preset management, audio interface duties during soundcheck, and firmware updates. With improved DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming. over the original, you're less likely to hit a processing ceiling when stacking amp captures, IR loading, and time-based effects in the same chain.
This unit belongs in a rig where the guitarist is the system integrator — someone who owns their tone chain end to end and needs one box to do the work of an amp, pedalboard, and DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. combined. It earns its $1,999 price on tours where minimizing stage volume matters and consistency night-to-night is non-negotiable. It's not the right call if your workflow depends on MIDI-over-Ethernet, DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes., or AES3The pro standard for stereo digital audio over an XLR cable — balanced, so it runs much farther than consumer S/PDIF. connectivity — this is an analog I/O device at its core, and if your rig is already built around a digital snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box. or networked audio, you'll be bridging back to analog at every show.
In the rack
- Run Outputs 3 and 4 (XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair.) directly to FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. or the stage boxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. and keep Outputs 1 and 2 (TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring.) dedicated to your IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. mix feed — this way a cable pull on the FOH side never disrupts what's in your ears.
- If you're racking it with a tray, account for the 190 mm depth alongside your power conditionerFilters venue AC, clamps surges, and gives the rack one tidy inlet. Not a voltage regulator and not a battery — just cleaner power. and verify your rack bag or case is at least 250 mm deep to clear connectors at the rear.
- Use the USB-C audio interface capability during line checkThe quick pre-show pass confirming every input reaches the console, one line at a time. Not a soundcheck — just does it work. to send a reference playback track through the unit and verify your full signal path — amp model, IR, and all outputs — before the split to the system is live.
- Label your preset banks by set or song group rather than by gear name; at a dark stage during changeover, knowing 'SET 2 CLEAN' is faster than remembering which capture is on slot 14.
Updated Quad Cortex with improved DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. and connectivity.
I/O Ports (7)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Input 1 (TRS) | TRS QUARTER | input | analog audio | — |
| Input 2 (TRS) | TRS QUARTER | input | analog audio | — |
| Output 1 (TRS) | TRS QUARTER | output | analog audio | — |
| Output 2 (TRS) | TRS QUARTER | output | analog audio | — |
| Output 3 (XLR) | XLR MALE | output | analog audio | — |
| Output 4 (XLR) | XLR MALE | output | analog audio | — |
| USB-C | USB C | bidirectional | data | — |
Deciding between two?
Rack space, watts, weight and every connector, side by side.


