Three different audio interfaces, can be sold thogever or separate:

Roland GI-10: £100

Joemeek MQ3: £200

EELA Audio EA853: £100

As pitch‑tracking guitar systems go, this one is about as close to perfection as we're likely to get without another quantum leap in technology. Clean playing is rewarded by delay‑free tracking, and bends and hammers are faithfully reproduced over MIDI, but you can't just play as you would on a regular guitar, because fast strumming isn't handled very well. Additionally, fast mandolin‑style trills can cause missed notes. Nevertheless, if you think like a keyboard player, and play in a way that's appropriate for the sound you're using, then you can have a lot of fun. And if your MIDI module will allow you to set up different sounds for each of the six MIDI channels you're using (and most multitimbral modules will), you can experiment with different sounds on different strings. The monophonic pitch‑tracking mic input is slightly less of a success story, and I found it virtually impossible to track the human voice correctly, unless I stuck to a very pure tone with clear stops and starts between notes. I had a little more success trying to get it to follow my daughter's recorder, but on balance, I don't think this is a facility you'll come to rely on, unless you want to turn the spoken work into avant‑garde jazz! Until now, guitar synths have demanded a great leap of faith on the behalf of the buyer, a leap that many guitarists were unprepared to take, but now that the technology is less expensive and more reliable than ever before, that leap is starting to look more like a hop. If you haven't tried a guitar synth for a while, give the GI‑10 a spin — I think you'll agree that guitar‑to‑MIDI conversion has come a long way.

The Joe Meek MQ3 is a single channel mic preamp with Joe Meek compression and EQ. If you spot one used for under $150 I definitely recommend picking one up.
The MQ3 dominates at recording close miced electric guitar amps. Joe Meek himself was avidly obsessed with tone and his legacy lives on in the MQ3. I often don't even feel I need to use the compression or eq to get the guitar tone I want with this box but the options definitely come in handy when recording lead guitar or if I think the tone needs a little extra sculpting.
The downside to the eq is that it's only a 3 knob eq. High, mid, and low. After having two sweepable mid eqs on my Allen & Heath ZED 436 it's difficult to operate a simpler setup. Also, the compression is definitely colored but not in a bad way and does appear to add a small layer of noise. It's up to you if it's worth it to add the compression for the extra tonal options. Another downside is that the MQ3 appears to be completely incompatible with LDC microphones requiring phantom power. I happily plugged my TLM 103 in first thing to be blasted by a hideous wave of noise. I've also had some success recording kick drum through the Joe Meek, mainly in attempt to get some compression on my Audix D6 but I largely prefer this box for distorted electric guitar.
Conclusion: If you want a different flavor to add to your dynamic mic collection the Joe Meek MQ3 is the way to go.

The EA853 is a stand alone headphone amplifier with extra facilities for use in e.g. a presenter booth. Interfacing is possible from the control room via-multi way connector and cable, carrying DC control and audio input signals. This unit can be used in combination with most EA On Air Mixing Consoles like the SRM, S130, S340 and S440. The unit has four separate adjustable headphone outputs, two highlevel loudspeaker outputs (with possibility for relay mute option) and a COUGH button with MIC ON signalling. Separate inputs for presenter and guest allow talk-back signals only to be heard by the presenter(s).