The Spirit of the Space Echo

 NuX MDD-7 Tape Echo Review – Capturing the Spirit of the Space Echo on a Budget

If you’ve been hanging around the guitar world for any length of time, you’ll know that certain effects achieve a kind of cult-like status. They aren’t just tools for making music—they become legends in their own right. Few effects embody that mystique quite like the Roland Space Echo.

The original RE-201, and its descendants, have long been worshipped by guitarists, producers, and tone chasers alike. It’s a tape echo machine that delivered not just delay, but atmosphere, warmth, and vibe. When I first started getting into pedals, the BOSS RE-20 (the digital twin pedal that captured the sound of the Space Echo) was already discontinued and widely considered a grail pedal. The mystique only grew from there, with whole communities of guitarists swearing by it as the gold standard for ambient delay.

BOSS eventually answered the demand with two modern versions: the RE-202, which aims to fully recreate the Space Echo experience, and the smaller RE-2, which brings that character to pedalboard-friendly form. Both are fantastic, but both come with fairly premium price tags.

Somewhere in the middle of all this, NuX quietly dropped their own take on the Space Echo sound: the MDD-7 Tape Echo. I’ll be honest—I’ve never been one to get swept up in hype. In fact, I usually head the other way from it. When people online start describing a piece of gear as “life-changing” or “essential,” my instinct is to push back. Surely no pedal can live up to that kind of status?

And yet, after spending some time with the NuX Tape Echo, I get it. I finally understand the appeal of the Space Echo sound.

What is the Space Echo Sound?

At its core, the Space Echo was a mechanical tape echo unit with a built-in spring reverb. That might not sound particularly groundbreaking by modern standards, but the way those two elements interact is what makes it so special.

The tape delay itself is naturally imperfect. The repeats degrade over time, with a bit of wobble and modulation creeping in as the tape runs. Add to that the warm, slightly unpredictable spring reverb, and you’re instantly transported to the sound of vintage records. Huge, expansive echoes, swirling with character, that somehow feel organic rather than clinical.

The NuX Tape Echo captures that beautifully. The moment you plug in, you’re hit with lush repeats that shimmer and wobble in just the right way. Pair that with the characterful reverb, and you’re living inside classic ‘70s guitar tones. If you’re into players who used ambience not just as a background effect but as a key part of their sound, you’ll feel right at home.

Controls and Tone Shaping

One of the standout aspects of the MDD-7 is just how much control it gives you. It’s not just a one-trick pony; it lets you dive deep and sculpt the sound exactly how you want it.

The EQ section is particularly powerful, with separate Treble and Bass knobs to shape the character of your repeats. Personally, I prefer delay to sit behind my dry guitar tone rather than fight with it. Pulling back the treble slightly allows the repeats to melt into the background, almost like a reverb. It thickens and fills out the sound without dominating it.

On the other hand, if you want your delay to be a key part of your sound—think The Edge from U2—you can push the treble up, cut a bit of bass, and suddenly your repeats stand shoulder-to-shoulder with your guitar. Pair that with the Level control, and you can blend the echoes to sit exactly where you want them in the mix.

Of course, you also get the standard delay controls you’d expect: Time for setting the delay length, and Repeats for dialling in anything from a slap-back to a self-oscillating wash. There’s also a dedicated Tap Tempo footswitch, which is a must-have if you want your delay to sync tightly with a song.

The Select Knob and Delay Patterns

Where things get really interesting is with the Select knob and the small LCD screen. This visual element displays three playback heads, representing different tape delay patterns. Depending on how you set it, you can get single, dual, or multiple rhythmic repeats—including dotted rhythms that immediately conjure up iconic guitar tones.

This makes the pedal feel more like an instrument than just an effect. You’re not just adding echoes—you’re creating rhythmic textures that interact with your playing. Whether you want subtle depth or a cascading wash of ambience, the Tape Echo can deliver.

Spring Reverb Built In

Another highlight is the built-in DSP spring reverb control. Spring reverb has a distinctive character—it’s splashy, it’s drippy, and it screams vintage. On its own, it’s fun. Combined with tape echo? It’s magic.

Adding just a touch of spring can transport your sound straight to a smoky club in the ‘70s. Push it further, and you’re in full-on surf rock territory. It’s not a pristine studio reverb, and that’s the point. It’s vibey, imperfect, and dripping with character.

Hidden Features and the Editor App

True to NuX form, the Tape Echo doesn’t stop at the obvious features. There are hidden parameters tucked away for players who want to go even deeper.

Hold down the Select knob, and you’ll unlock controls for Wow, Flutter, Saturation, and even a Kill Dry option for running in parallel setups. These secondary parameters give you the ability to really fine-tune the tape character—whether you want smooth, stable repeats or unpredictable warbles that feel like your tape machine is on its last legs.

For those who don’t want to scroll through menus on the pedal itself, NuX offers an editor app. The app gives you access to all of these parameters in a clean, easy-to-use visual format. It’s intuitive, it’s quick, and it makes experimenting with sounds much less intimidating.

Add in the ability to hook up an expression pedal, and you’ve got even more flexibility. You can assign it to control time, repeats, or level, making the Tape Echo a powerful performance tool.

How Does it Stack Up?

Now, the obvious question: how does this compare to BOSS’s RE-2 and RE-202? Honestly, I can’t say for sure. I haven’t spent any time with those pedals so it would be unfair to make a direct comparison. What I can say is this: the NuX Tape Echo costs less than the smaller RE-2, and yet it offers a serious amount of control and flexibility.

It’s not necessarily aimed at beginners. The wealth of features and tweakable parameters might overwhelm someone who just wants a simple delay. But for players who love to get lost in sound design, or who want to add a very specific vintage flavour to their rig, the Tape Echo hits a sweet spot.

And that’s really the point. It’s not just another digital delay. It’s a love letter to a legendary sound, made accessible to players who don’t want to spend a fortune chasing it.

Two Cents

I’ll admit it: I used to roll my eyes a little at the hype surrounding the Roland Space Echo. It seemed like one of those things guitarists romanticised because of its rarity and vintage status. But after playing through the NuX Tape Echo, I get it.

There’s something about the combination of tape-style repeats, modulation, and spring reverb that just works. It feels lively. It feels organic. And it instantly transports you to another era of music.

The NuX MDD-7 Tape Echo isn’t the cheapest pedal in their range, and it’s not the simplest either. But it’s one of the most characterful, and one that rewards exploration. If you’re a guitarist who loves ‘60s and ‘70s tones, or if you’re chasing ambience with a vintage flavour, this one is absolutely worth a look.

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Too good to be true? Sonicake Levitate

 Sonicake Levitate Review – Budget Ambience Done Right

When it comes to budget pedals, reverb and delay can often be hit or miss. Affordable delay pedals some diamonds within the fold, with classics like the Donner Yellow Fall or the Mooer AnaEcho punching well above their weight. Reverb, on the other hand, tends to be a lot more difficult to find great examples in the budget space. Occasionally you stumble across a gem like the Mosky Spring, but more often than not budget reverbs feel a little flat, a little lifeless, and ultimately uninspiring.

Sonicake clearly decided that wasn’t good enough. Ambience is such a vital part of modern guitar playing that there needed to be a proper go-to option for those on a budget. Enter the Sonicake Levitate—a compact dual reverb and delay pedal that aims to deliver practical, great-sounding ambience at a fraction of the cost of the big names.

Breaking Down the Levitate

The Levitate is essentially two pedals in one, split between its reverb side and its delay side. Both are controlled independently via their own footswitches, making it a versatile addition to any pedalboard.

On the reverb side, things are kept simple. You get just two controls: Reverb (which works as your mix knob) and Decay (which sets the length of the reverb). At shorter decay settings, you’re working with a modest reverb—subtle, natural (like the sound in the room), and perfect for adding a touch of space without overwhelming your dry tone. Turn the knob the other way, and it blooms into a spacious ambience that starts to take on a life of its own. Paired with the mix control, you can set it anywhere from “barely-there” airiness to “drenched in reverb” soundscapes where the effect becomes as important as the guitar itself.

The delay side, however, offers a few surprises. On paper, it looks standard enough, with Time and Feedback knobs to control the length of the repeats and how many you get. But here’s where Sonicake gets clever. Instead of a single mix knob, they’ve given the delay independent controls for the dry and wet signals.

At first glance, that might not seem like a big deal. After all, most delays handle this with a single knob that blends between the two. But if you’re the kind of player who likes to experiment, this is where the Levitate reveals its hidden depth. By dialling out the dry signal completely, you’re left with nothing but the wet repeats. That means you can stack modulation, distortion, or other effects onto the repeats themselves while keeping your original guitar tone pristine and unaffected. It’s a trick usually reserved for more expensive studio gear, but here it is on a £50 pedal. For ambient players, this opens up some serious creative potential—thick, washy textures sitting under your clean playing, or glitchy experimental tones that wouldn’t be possible otherwise.

Does it Rival the High-End Options?

No, no it doesn't. Next question... Ok, you want to know the details?  Here it is then. Is the Levitate going to rival a £300 Strymon reverb or delay in terms of tone and depth? No, of course not.  It offers more than you'd think though...

What makes the Levitate impressive is just how usable and musical it is for the price. At around £50, you’re getting a dual pedal that delivers reverb and delay of a quality much better than you’d expect. The reverb might not be dripping with the complex shimmer of a BigSky, but it’s solid, tasteful, and versatile. The delay, with its added blend functionality, is far more flexible than most budget offerings.

In short, it’s not about replacing your dream high-end ambient pedal. It’s about having a practical, reliable way to add ambience to your board without breaking the bank. For beginners or players just starting to explore ambience, it’s an ideal entry point. For seasoned players, it’s a surprisingly useful utility pedal that covers the basics with style.

Practical Features and Extras

Sonicake has a knack for cramming in extra features where you wouldn’t expect them, and the Levitate is no exception.

For starters, the delay footswitch doubles as a tap tempo when held down. That means you can lock your repeats to the tempo of the song—a feature that’s often missing from budget delays entirely. The method isn’t as immediate as having a dedicated tap switch, but it’s a clever way to pack in functionality without making the pedal larger or more complicated.

On the reverb side, holding the footswitch engages trails mode, letting the reverb decay naturally after you turn it off instead of cutting abruptly. Again, this is the kind of feature you often see missing even in pedals twice the price, and it makes the Levitate feel a lot more polished in use.

Then there’s the practical stuff: it’s compact for a dual pedal, it only takes up one output on your power supply, and it’s built solidly enough to stand up to regular gigging. It also only draws 92mA on your power supply, so you won't have to set aside one of the bigger draw outputs for this one.

Why the Levitate is a Budget Classic

Since this pedal landed at BPC Towers some years ago, I’ve been saying it: the Sonicake Levitate is a budget classic. In fact, day one of receiving it, I posted a short saying this exact thing and I am glad to say, I wasn't wrong. It’s not flashy, it’s not pretending to be a boutique pedal, and it’s certainly not trying to replace the Strymons and Empresses of the world. Instead, it focuses on giving players a strong, practical foundation for ambient tones at a price that makes it hard to say no.

Good reverb and delay are essential for most modern pedalboards. Whether you’re adding depth to a clean tone, filling out your solos, or creating lush ambient soundscapes, you need at least one of each. Having both covered in a single, compact, affordable pedal is a no-brainer.

The Levitate might not win awards for ground-breaking innovation, but it nails the essentials and sprinkles in just enough extra flexibility to make it stand out. For players curious about ambience but not ready to drop serious money, it’s a perfect gateway. For more experienced players, it’s a solid utility tool that can earn its place on a board as a backup or even a mainstay for smaller gigs.

Jerry Springer moment...

The world of budget pedals can be hit and miss, especially when it comes to ambience. But every so often, a pedal comes along that raises the bar for what’s possible at an entry-level price. The Sonicake Levitate is one of those pedals.

It combines solid, versatile reverb with a surprisingly flexible delay, throws in useful extras like tap tempo and trails, and packages it all into a compact, affordable unit. No, it won’t replace your £300 dream machine. But it was never supposed to. What it does is deliver dependable, musical ambience at a price that makes it accessible to everyone—and that’s something worth celebrating.

If you’re putting together your first pedalboard, or if you’re simply after a compact solution for reverb and delay without breaking the bank, the Sonicake Levitate should be at the top of your list.

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Time to Dime it?

 Sonicake Cowboy Distortion Review – A Mini Pedal with a Surprising Amount of Muscle

Sonicake have made a bit of a name for themselves in the world of mini pedals. Their range covers everything from ambient delays and modulation to bread-and-butter drives, all at seriously affordable prices. For players who want to experiment without dropping boutique money, Sonicake has become a bit of a go-to brand.

The Cowboy Distortion is their take on high-gain tones, but it’s not just another budget distortion box. What makes this one stand out is its powerful EQ section, its surprising versatility, and the way it captures that late-80s, hot-rodded amp vibe - it doesn't just get you Dimebag tones...

Let’s dig in and see what this tiny pedal has to offer.

EQ – Simpler but Still Powerful

One of the headline features of the Cowboy is its EQ. If you’ve ever used the Boss Metal Zone (MT-2), you’ll know it has one of the most powerful EQ sections ever built into a distortion pedal (for better or worse). You’ll also know that’s both a blessing and a curse. The Metal Zone can be shaped to sound incredible, but it can also be dialled into some truly horrendous tones if you’re not careful.

The Cowboy takes a more streamlined approach. The EQ here is still muscular enough to let you sculpt your sound, but it’s less intimidating and easier to work with. In practice, that means you can get useful tones more quickly without the fear of falling down a rabbit hole of endless tweaks.

Depending on your perspective, this is either a strength or a weakness. If you’re someone who loves ultra-precise tone shaping and enjoys the surgical flexibility of the Metal Zone, you might find the Cowboy’s EQ slightly limiting. But if you prefer plug-and-play simplicity and just want to get to the good sounds fast, the Cowboy really nails that balance.

Gain Range – From Blues Crunch to ’80s Firepower

Another surprise with the Cowboy is just how much gain it has on tap. A lot of mini-pedals in this price range stick to one niche — either low-gain overdrive, mid-gain crunch, or saturated distortion. The Cowboy covers all three.

• Low gain: Roll the knob back and you’ll find yourself in crunchy blues-rock territory. It’s dynamic enough to respond to your picking and guitar volume, which gives it a nice dynamic feel.
• Medium gain: Set the control around noon and you get a really satisfying hard rock crunch. Think stadium rock riffs, palm-muted power chords, and sustaining lead tones. It’s tight enough to keep things articulate but still has the thickness to fill out a band mix.
• High gain: Crank it, and you’re straight into late-’80s and early-’90s high-gain tones. Imagine a hot-rodded Marshall stack being pushed with a Tube Screamer up front — that’s the vibe. It roars without getting too fizzy, which is impressive at this price point.

I’ll be the first to admit: I’m not a die-hard high-gain distortion fan. My personal taste leans more towards lower-gain drives and edge-of-breakup tones. That said, the Cowboy manages to be versatile enough that you can still find usable settings at every stage of the gain range. Players who live in heavier styles will probably get even more out of it.

Build Quality and Details

Like all of Sonicake’s mini pedals, the Cowboy is built like a little tank. The metal enclosure feels reassuringly solid, the footswitch has a reassuringly quality feel, and the knobs are easy to use (despite being so small).

Sonicake also do something I really appreciate: they include a perfectly cut strip of Velcro in the box. It’s such a small touch, but it makes life easier if you want to get the pedal onto your board straight away. No digging through drawers, no messy scissors job. It’s thoughtful little details like this that make Sonicake feel like a company that actually thinks about the practical needs of musicians.

And given how compact this pedal is, it’s easy to slot onto even the busiest boards. For players who like to travel light, it’s a great candidate for a grab-and-go setup.

Tone Thoughts – and an Open Question

I’ve shared my impressions above, but here’s where I want to throw the question back to you all. I’m not the biggest high-gain distortion authority, and I’ll freely admit that. What I hear in the Cowboy is a convincing late-’80s high-gain sound, with enough versatility to cover crunch and bluesier edges as well.

But for those of you who live and breathe high-gain tones, I’d love to hear your take. Does it stack up against your go-to distortion pedals? Does it have enough character to replace something like a Metal Zone, or is it more of a “fun extra” to keep on the board? Drop your thoughts in the comments — I’m always up for learning more about how different ears hear pedals like this.

Who is the Cowboy For?

It'll do Dimebag tones, sure. It covers a whole load of other ground too. With the powerful EQ and a gain range that gives you so much control, you can dial in so much more than just the nasal, scratchy tone found on so many of those Pantera records (Dimebag was one heck of a guitarist, but his tone was certainly nowhere near as good as his playing).

It’s probably not for the player who wants the absolute maximum control over their EQ and is happy to spend hours fine-tuning. There are plenty of metal pedals out there that give you EQ control to the Nth degree, but you certainly aren't paying less than you are for the Sonicake.

Final Thoughts

The Sonicake Cowboy Distortion is a great example of what Sonicake does best: making affordable, practical, and surprisingly good-sounding mini pedals. It doesn’t reinvent the wheel, but it delivers exactly what it promises — a versatile distortion with a powerful yet easy-to-use EQ.

The gain range makes it usable for more than just metal, the build quality inspires confidence, and the little extras (like pre-cut Velcro) show that Sonicake care about the small stuff.

It may not unseat legendary pedals like the Metal Zone in terms of sheer tweakability, but for the price and footprint, the Cowboy makes a strong case for itself. If you’re curious about distortion pedals and want a budget-friendly way to explore heavier tones, this little pedal is well worth a look.

And like I said earlier — I’d love to hear from the high-gain fans out there. Where does the Cowboy sit for you? Hidden gem, budget hero, or just a fun experiment? Let me know, because the more perspectives on pedals like this, the better.

If you'd like one of your own and you'd like to support the channel at the same time, please consider using this affiliate link (use code: budgetpedalchap for a discount): 

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NuX Trident - First Look!

NuX Trident Review – A Feature-Packed Gigging Solution at a Bargain Price

Digital modelers and multi-FX units are everywhere these days. From the Helix Stomp to the Headrush Prime, the market is crowded with compact processors designed to give guitarists everything they need in one box. The trouble is, most of them still carry fairly hefty price tags, and budget-conscious players are often left choosing between stripped-back multi-FX or shelling out for the big names.

Enter the NuX Trident. At around £300, it sits comfortably below its better-known rivals but manages to pack in a frankly surprisingly rich feature set. Amp sims, IR loading, looper, MIDI, FX loop, balanced XLR stereo out, quarter-inch outs, expression input, dedicated footswitching, and a slick app-based editor — all in one unit. On paper, it’s the kind of pedalboard brain you’d expect to pay twice as much for. I mean, XLR out alone on the Helix doesn't come in until you reach the LT and that is edging closer to the grand mark as we speak.

So is it too good to be true, or has NuX just raised the bar for affordable modellers? Let’s dig in.

A Proper Feature List

At its core, the Trident is a digital modelling processor — which basically means multi-FX with amp and cab simulation thrown in. But unlike some budget units, this one doesn’t feel compromised. The sheer amount of connectivity alone makes it stand out: balanced XLR stereo outs (something neither the Helix Stomp nor the Headrush Flex Prime offer at this size), MIDI, an FX loop, standard quarter-inch outs, and expression input.

That makes it flexible enough for almost any rig. You could run it straight into a PA via XLR, use it as an FX-only unit in the loop of a tube amp, or keep it on your board as an all-in-one portable rig. For live players, that’s a huge deal — the direct-to-FOH simplicity of XLR is a godsend.

A Tighter Selection of Amps and FX

One thing NuX has done differently is keep the selection fairly focused. You don’t get the endless library of amps and effects you’d find in a Helix or Quad Cortex. Instead, the Trident ships with 27 amps and a curated handful of modulation, delay, and reverb types, plus essentials like wah, compression, and boost drives.

For some players, that might sound limiting, but in practice it’s refreshing. Option paralysis is a very real problem with larger modelers. With the Trident, every option feels deliberate — you’re not wading through 20 clones of the same Marshall when you just want one good crunch tone.

Attention to Detail – Amp Modelling

This is where the Trident really surprised me. NuX has clearly gone the extra mile with its amp models. The editor software includes beautifully illustrated examples of each amp — so even if they’re not labelled with official names, there’s no mistaking what you’re working with.

And it’s not just cosmetic detail. Many classic amps had bygone features like high and low inputs, or the ability to “jump” channels for blended tones. The Trident models these quirks, allowing you to pick between inputs or combine channels just like you would on the real thing. That level of detail isn’t common at this price point.

Each amp comes paired with a matching cab sim, and you can apply high and low cuts to shape your tone. If the stock pairings don’t suit, you can freely mix and match amps and cabs — or go a step further and load in your own IRs for custom sounds. For serious tone-shapers, that’s a big plus.

FX – Quality Over Quantity

While the Trident doesn’t drown you in effects, the ones it does include are solid.

• Reverbs and delays – A small selection, but they do the job nicely. The room reverb in particular adds a convincing natural space that helps your guitar feel like it's sitting in a space rather than a sterile recorded tone.
• Modulations – Classics like the Boss CE-1 chorus and a certain orange phaser are represented, plus more adventurous options like rotary and Uni-Vibe emulations.
• Boosts and drives – Every patch can include a dedicated “boost” slot, which functions as a range of overdrives and clean boosts. These have their own footswitches, making them easy to kick in for solos or heavier moments.

The placement of FX is also flexible. Drag and drop in the app lets you shift effects pre- or post-amp, so you can build patches with the feel of a 4-cable method pedalboard without any of the faff.

Footswitching – Definitely Gig-Ready

If there’s one thing small modellers often get wrong, it’s the footswitch layout. Too few switches and you’re stuck tap-dancing through menus. Thankfully, the Trident avoids that trap.

Each patch can include switchable delay, reverb, modulation, and boost. On top of that, the footswitches allow you to cycle through banks, with A, B, and C presets per bank. That’s three distinct sounds available at your feet at all times — each with unique FX toggles.

To put it in perspective, when I was gigging regularly, my rig was essentially two core sounds: a slightly overdriven clean and a crunch rhythm (with a lead boost I could activate for both). The Trident could cover that entire setup (plus more) in two patches, so not even a full bank! Add an expression pedal for wah or volume, and it’s a remarkably flexible live rig.

The Drawbacks – Because No Pedal is Perfect

If the Trident sounds too good to be true so far, here are the caveats.

• High-end sparkle – Out of the box, some amp models have a glassy top end, like a cab mic’d right on the cone. It’s not unfixable — the onboard EQ and cab sim filters are powerful enough to tame it — but it’s not as “plug-and-play” as more expensive units. You’ll have to dedicate a bit of time to learning how to dial it in, especially for some amp models.
• Onboard editing – The pedal itself uses an old-school knob-and-button interface. Some players will love that tactile approach, but compared to touchscreen-driven competitors it feels a little dated. Thankfully, the app editor is excellent — intuitive, drag-and-drop easy, and much quicker to work with.
• Limited FX variety – If you want endless wacky modulations or studio-style verbs, you’ll need a higher-end modeller. The Trident has some crazy moments, but mostly sticks to the essentials.

None of these are deal-breakers, especially once you factor in the price, but they’re worth knowing about if you’re considering it for live use.

Who is the Trident For?

The feature set makes it clear: this is a unit aimed squarely at gigging players. The XLR outs make life easy for sound engineers, the footswitch layout gives you enough flexibility for dynamic live sets, and the price means it won’t break the bank.

It’s also a solid option for:

• Home players who want a straightforward modeler with fewer distractions.
• Studio use, thanks to IR loading and stereo outs.
•  Backup rigs, where you need a compact, reliable solution if your main amp dies mid-show.

wrap up

The NuX Trident is an impressive entry into the crowded modeller market. It doesn’t try to compete on quantity of features, but instead delivers a carefully considered package that covers the essentials with surprising depth.

The amp models have real attention to detail, the FX are well-chosen, and the footswitching system makes it genuinely usable on stage. Throw in XLR outs, IR support, and an easy-to-use editor, and you’ve got a pedal that punches way above its weight.

It’s not flawless — some tones need EQing, the onboard editing is dated, and you won’t get the same variety as pricier competitors. But at roughly half the cost of a Helix Stomp, the Trident offers a compelling alternative that will suit many gigging players just fine.

For my money, it’s one of the most promising mid-priced modelers out there right now. Expect to see it popping up in more of my demos in the near future — because it’s not just good for the price. It’s good, full stop.

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Valeton GP-5 Review – The Mini Multi-FX That Punches Above Its Weight

Every now and then, a pedal comes along that makes you stop and think: how on earth are they doing this at that price? The Valeton GP-5 is one of those pedals. On the surface, it looks like another compact multi-FX box, but spend even a few minutes with it and you quickly realise it’s far more capable than you’d expect. With amp sims, drives, delay, reverb, compressor, EQ, tuner, and even support for Neural Amp Modeler (.nam) files, this little pedal is feature-packed to the brim.

And here’s the kicker: it costs about the same as a Boss DS-1. Yes, you read that right. A full amp and FX rig in a box, for the price of a single distortion pedal.

First Impressions – So Much Packed Inside

The GP-5 isn’t some half-baked toy. It’s a serious piece of kit that covers almost everything you’d need in a *gigging or practice setup. Multiple amp sims, drive pedals, time-based effects, modulation, EQ, compressor, and even a tuner are all packed inside.

What really impressed me is how the amp sims aren't one-dimensional (we all remember the 'amp-sims of 20 years ago). They respond to the guitar’s volume control, cleaning up when you roll back, and they react to dynamics in your playing. That sort of responsiveness is usually reserved for far pricier gear — the kind you’d expect from a Helix or a Quad Cortex, not something that costs a fraction of the price. 

Now, are they at that level of refinement? Of course not. The GP-5 isn’t going to replace a £1500 modelling rig. But in its price bracket, it’s astonishingly good.

*there is a caveat with this, I'll cover later on

Neural Amp Modeler Support

One of the most exciting features is its support for .nam files — Neural Amp Modeler captures. If you’re not familiar, NAM is basically an open-source version of the “amp profiling” technology you see in things like the Kemper, Quad Cortex and even Tonex. It’s still in its infancy, but the fact that the GP-5 can already load these files is a huge deal.

As NAM technology continues to improve, this little pedal could give you access to incredibly detailed and accurate amp tones at basically no extra cost. That future-proofing puts the GP-5 in a very interesting position, and makes it a lot more than just a cheap multi-FX box.

Footswitch Flexibility

The GP-5 only has one footswitch, but don’t let that fool you — it’s surprisingly versatile. It can be set up to bank through presets, which is handy enough, but you can also use it in “stomp mode” to switch individual effects within a patch.

That means you can treat it a bit like an amp with multiple channels: have a clean patch with a boost for solos, or a crunchy rhythm patch where you can kick in extra gain for leads. Alternatively, you can set the footswitch to access tuner mode, so you save an extra spot on your pedalboard and get your versatility from external pedals instead. 

It massively increases the usefulness of the unit and means you don’t feel nearly as limited as you’d expect with a one-switch design. Valeton have really considered the user experience and it shows with the versatility of the switching options.

Editing and App Control

Let’s be honest: editing sounds on tiny multi-FX units can be a nightmare. Menu diving, endless button pressing, cryptic abbreviations — no thanks.

Thankfully, Valeton went the smart route here. The GP-5 can be edited with an app, and it’s wonderfully intuitive. The learning curve is basically non-existent. The amp models don’t use official brand names (for obvious legal reasons), but they’re easy enough to decode, and you’ll quickly find what you’re looking for.

The only downside? There’s no editing without the app. If your phone battery dies at a gig, you’re stuck with whatever presets you’ve already got. That’s not a dealbreaker for practice or home use, but for live players it’s definitely something to keep in mind. There’s also the bigger concern of longevity: if Valeton ever pull the app from stores, the GP-5’s flexibility would take a big hit.

Tone Quality – The Good and the Not-So-Good

The amp models are, quite frankly, far better than they have any right to be at this price. Clean and edge-of-breakup tones in particular are very usable, in some cases getting quite amp-like. Mid-gain options are solid too, though like with any modeller at this level, you sometimes need to EQ carefully to keep them sitting right in a mix or getting them to sound less 'boxy' in certain cases.

High-gain is where things wobble a little. Some of the heavier amp sims feel a bit less refined, and they can sound harsh compared to the cleans and crunch tones. Still usable, but it’s clear not every amp model received the same amount of polish in development.

The drive pedals are unfortunately the weakest link. They’re functional, but they don’t have the same character or refinement as the amps. My advice for this would be: get as much of the tone you can out of the amps themselves, use the drive pedals only as a last resort.

Time-based effects like delay and reverb are solid, though. Nothing earth-shattering, but definitely good enough for live or practice use. Think of the reverbs especially, there are lots of 'safe'  options, but not many wild and outlandish verbs on hand. For those wanting to experience lush soundscapes, this one might not be the best option if you are using it alone. 

Latency – The Digital Elephant in the Room

Like all digital pedals, the GP-5 has some latency. For me, it wasn’t something I could really 'feel' while playing, but some players have noted it’s a touch higher than more expensive modellers. That’s to be expected at this price, but it’s worth pointing out if you’re particularly sensitive to latency.

The Price Point – Game-Changing

Here’s where things get silly: the GP-5 costs about the same as a mid-tier drive pedal. Ten years ago, even the most basic entry-level multi-FX units would have set you back at least £200 or more and it wouldn't necessarily be something you could consider gigging. The fact that this level of functionality is now available at “pocket money” prices is frankly mind-blowing.

Valeton have set a new bar here. Other manufacturers need to take note, because the budget end of the market is starting to nip at the heels of the big players. If the likes of Valeton and Sonicake can offer something with such functionality at this price point, you damn well better be offering something better if you're going to charge more.

Use Cases – Where the GP-5 Shines

So, who is this pedal really for?

Beginners – Perfect for players who want to experiment with different amp types and effects without buying loads of individual gear. It’s an affordable way to learn what tones you like.

Practice – Maybe its strongest role. With headphones and one power cable, you’re up and running instantly. No faffing with amps, pedalboards, or cables. Removing that friction makes it much easier to actually sit down and practice.

Gig Backup – A lifesaver if disaster strikes. Keep one in your gig bag and if your amp blows up mid-set, you’ve got a whole rig ready to plug straight into the PA. *

Travelling musicians – Light, compact, and versatile. Perfect for throwing in a backpack and having a full rig wherever you go.

*You could use it as your gigging amp-sim, but it would be incredibly limited and there are some more viable options in the rough ballpark price-wise

At the end of the day...

The Valeton GP-5 is not trying to be a Helix, a Kemper, or a Quad Cortex. If you judge it against those, of course you’ll find shortcomings. But that misses the point.

What it is, is a shockingly capable, feature-rich multi-FX and amp modeller that costs about the same as a single Boss pedal. It offers a taste of high-end modelling features like NAM support, it makes practice ridiculously easy, and it’s good enough to use as a backup gigging solution.

Yes, the drives are weak, yes, editing requires an app, and yes, some amp models shine brighter than others. But taken as a whole, this is one of the most impressive budget pedals I’ve come across in a long time.

It’s affordable, flexible, and genuinely fun to play. For beginners, it’s a no-brainer. For more experienced players, it’s a useful tool to have around. And for the pedal industry at large? It’s a reminder that the budget end of the market is raising the bar — fast. I bet you're probably asking how it compares to the Sonicake Pocket Master though huh? Well, that is a topic for another time...

If you'd like one of your own and you'd like to show support, consider using the affiliate link:

https://thmn.to/thoprod/619073?offid=1&affid=2735

What's better than a Fuzz pedal? Three

 Sonicake Fazy Sandwich – Three Fuzzes in One Tiny Box

What’s better than a fuzz pedal? Easy answer: three fuzz pedals packed into one tiny, affordable box. Sonicake are continuing their steady push into the budget mini-pedal world with the Fazy Sandwich, a follow-up to their earlier Fazy Cream fuzz pedal. Both of them share two things in common — a completely confusing name, and a surprisingly convincing fuzzy tone that won’t make your wallet cry.

The Fazy Sandwich takes the familiar fuzz recipe and spices it up with three distinct flavours of fuzz, selectable via a simple toggle switch. That means one pedal can cover a lot of ground, from tight, vintage fuzz tones to wall-of-sound doom fuzz. It’s the kind of flexibility you don’t often see at this price point, especially in a pedal small enough to fit in the palm of your hand.

On the surface, the control set is refreshingly familiar: Volume, Tone, and Fuzz. These are the core dials you’d expect on most fuzz pedals, and they’re easy enough to dial in. But the real magic lies in the three-way toggle marked V, M, and JF. Each position radically changes the EQ, gain structure, and feel of the pedal — effectively giving you three different fuzz circuits in one enclosure.

V Mode – Vintage Bite

V stands for Vintage, and it’s arguably the most traditional fuzz voice on offer. Compared to the other modes, it’s the tightest and most controlled sounding, with a focused midrange and a slightly more restrained low end.

Sonicake don’t publish detailed circuit specs, but if I were guessing, I’d say V mode is probably a silicon transistor-based design. It’s got the sharper attack and relatively high gain you often find in late ‘60s and early ‘70s silicon fuzz circuits. Germanium circuits tend to have a softer mid-range and generally are a bit lower gain, conversely.

It works well for classic rock rhythm parts, bluesy leads, or anything that needs fuzz character without getting swampy. There’s still plenty of sustain available, but the tighter EQ keeps things articulate — which is especially handy if you’re playing in a dense band mix where woolly fuzz can easily get lost.

M Mode – Modern Muscle

M stands for Modern, and here the Fazy Sandwich opens up the low end. There’s more bass content, which makes it feel bigger, looser, and more “open” than V mode. It’s still recognisably a fuzz, but there’s a touch more warmth and bloom in the notes.

This voicing shift makes M mode ideal for chunky, pentatonic-based riffing, fat power chords, and big, sustaining rhythm parts. There’s a slight sag to the attack, which gives it a chewy feel under the fingers — perfect if you like a fuzz that feels alive and reactive rather than overly precise.

It’s not quite as scooped or extreme as some “modern” fuzz voices, but it’s noticeably different from V mode. If you want more girth and a slightly more forgiving response, M mode might be your go-to.

JF Mode – Frusciante (and Doom?)

JF mode is where things get interesting. I’ll admit, when I first demoed the pedal, I didn’t immediately twig what “JF” stood for. The YouTube comments section, as always, was quick to help me out — it’s almost certainly a nod to John Frusciante of Red Hot Chili Peppers fame.

At first, that seemed odd to me. I never really thought of John as a big EHX Big Muff guy, but Sonicake’s own marketing straight up calls it the 'Muff-Style classic fuzz sound', so I think it's safe to assume where the inspiration came from for this mode.

JF mode hits you with a massive low end, scooped mids, and a thick, saturated voice. It’s a huge, sustaining fuzz sound that borders on doom territory — the kind of tone that can fill the room with a single chord. Lead lines sing effortlessly, power chords become seismic events, and there’s an almost infinite sustain available if you want it.

For me, this was the most dramatic and “in-your-face” mode of the three. It’s probably not for everyone, especially if you need your fuzz to cut through in a busy mix. But if you’re going for sheer wall-of-sound impact, JF mode delivers in spades.

It's not all about looks, but it kinda is sometimes...

Like the rest of Sonicake’s mini pedal range, the Fazy Sandwich is built into a solid, compact metal enclosure. It feels sturdy enough for gig use, and its small footprint makes it easy to squeeze onto even the most crowded pedalboard.

The mottled grey finish is a nice touch — it adds a vintage vibe without going overboard, and it’s practical too, hiding the inevitable scuffs and dings that come with regular gigging. It gives a nice subtle nod to the finish on a vintage 'face-style' fuzz without the blatant infringement route that certain big German companies tend to do, not mentioning any names of course.

It’s also about as pedalboard-friendly as fuzz gets. No fiddly secondary functions, no menus, just plug in, set your mode, tweak your three knobs, and you’re off.

Where It Fits in Your Rig

The Fazy Sandwich is flexible enough to suit a wide range of players. If you’re just starting to explore fuzz, this pedal gives you three distinct styles to experiment with — which is great for figuring out what works for your guitar, amp, and playing style.

If you’re already a fuzz connoisseur, it’s a fun and inexpensive addition to the collection. You might already own “better” examples of each fuzz style, but the convenience of having all three in one pedal can’t be overstated, especially for rehearsal or travel rigs.

It also works well as a backup fuzz — if you gig with a more expensive boutique fuzz, you can throw the Fazy Sandwich in your gig bag as a safety net. If something goes wrong mid-set, you’ve got multiple fuzz flavours ready to go in a pedal you can replace for pocket change.

Jerry Springer Moment for our Final Thoughts...

Sonicake’s Fazy Sandwich is exactly what I like to see in the budget pedal world: a simple, well-built, affordable pedal that delivers multiple usable tones without gimmicks. Each mode offers something distinct, from the tighter, more classic character of V mode, to the fat, modern punch of M mode, to the huge, scooped, wall-of-fuzz chaos of JF mode.

Is it going to replace a vintage Fuzz Face, a boutique Muff clone, or a hand-wired Tone Bender? Probably not. But that’s not the point. The Fazy Sandwich is about versatility, value, and fun. It’s a pedal you can throw on your board, tweak quickly, and trust to deliver big, satisfying fuzz sounds every time.

It’s cheap as chips, built to survive the road, and small enough to fit anywhere. If you’re fuzz-curious, this is a brilliant place to start. And if you already love fuzz, well… there’s always room for one more, right?

If you'd like to get one of your own and support the channel, here is an affiliate link. Use code budgetpedalchap for a discount too:

https://www.sonicake.com/products/fazy-sandwich?sca_ref=1425095.S0avGvl0i2

When 5 Vibes Go to War...

 The Infinity Vibe Saga – 5 Univibes Go Head-to-Head

Over on the Budget Pedal Chap channel, we've taken on some chunky comparison videos before—but nothing quite like this. What began as a simple “Vs” series comparing two budget pedals has grown steadily. First two pedals, then four. But this time? Five univibe-style pedals thrown into the ring for a full-on shootout. It’s the biggest and most ambitious comparison we’ve done yet. I’ve been calling it The Infinity Vibe Saga—a playful nod to the Marvel universe’s Infinity War—because it truly feels like the culmination of years of testing and demoing these swirling, warbly modulation boxes.

Each of the five pedals featured in the video had been demoed individually on the channel in the past. But viewers always asked the inevitable: “How does this one compare to that one?” Instead of doing endless pairs or back-to-back comparisons, I decided to go all-in. This shootout features three distinct guitar tracks, each showcasing a different vibe setting from every pedal—fifteen unique vibe tones recorded with surgical precision.

Every element of the rig remained the same throughout: the same guitar, same cables, same power supply, and the same amp settings. I even removed each pedal from the board entirely between takes to avoid any tonal artefacts, impedance changes, or buffer interference (not that most of these have buffers, but better safe than sorry). The only thing that changed between recordings was the pedal itself—and, of course, my playing, which I tried to keep as consistent as humanly possible. This wasn’t about showboating or pushing one sound over another—it was about pure, clean comparison.

The Sound of Vibe – Five Pedals, Five Personalities

The shootout makes it clear: no two univibes are created equal. Each pedal has its own sonic character, its own way of interpreting that classic Hendrix-era modulation. Some had the tell-tale lopsided throb of a traditional univibe. Others veered more toward the smooth sine wave feel of a chorus or phaser. Some offered brighter shimmer, like a harmonica tremolo dancing on top of the signal. Others leaned darker, with an almost chewy midrange pulse.

Take the Moen Shaky Jimi and Jimi Nova, for instance. There’s long been speculation that these two are identical circuits in different enclosures. But back-to-back, the difference is clear. The Shaky Jimi has a gritty, almost lo-fi character. It’s darker and rawer, like it’s clawing its way out of your amp. The Jimi Nova is cleaner and more articulate, with a more polished modulation sweep. They share DNA, but the voicings are distinct.

Feature Wars – Who Offers What

Tone is one part of the puzzle, but features matter too—especially if you’re building a pedalboard with flexibility in mind.

If tap tempo is a must-have for you, then the NuX wins that battle outright. Having tap-tempo control on a vibe pedal is rare, especially at this price point, and it’s great for syncing your modulation to the groove of a track. If budget is the primary concern, the Moen options offer some of the best bang-for-buck tone on the market, albeit with fewer bells and whistles.

The Behringer 69 Vibe brings something unique to the table too, with expression pedal support—giving you real-time control over your speed settings. That makes it great for expressive, dynamic vibe swells or slower ramp-ups mid-song.

Then there’s the TC Electronic Plethora X1/Viscous Vibe, which—on paper—has the most to offer. While we used the stock vibrato mode for the shootout, TC’s signature TonePrint system gives you access to a library of downloadable presets. You can even design your own modulation style via their app. One of my favourites is the Devin Townsend TonePrint, which ramps up the level of shimmer and warble that is a bit more subtle in the stock setting. You’re also able to dig deep into parameters like mix, shape, and filtering—things most univibes simply don’t let you touch.

If you’re after tap tempo, ramping speed control, or even preset switching (via A/B mode), it’s all there in the Plethora X1. Granted, it is the most expensive of the lot, but you can opt for just the Viscous Vibe pedal alone, which sits far closer to the budget end—especially on the used market.

No Bad Pedals, Just Different Flavours

Now, here’s where I take a stance. In the video, I intentionally stayed neutral—I didn’t declare a winner, because the real winner should be you, the listener. I want you to listen to the tones, hear what moves you, and go with your gut. But here on the blog, I’ll let you in on my own takeaway: there isn’t a single bad pedal in this lineup. Each brought something enjoyable to the table. If we strip it all back to basics, isn't that what dabbling with FX is all about?

As someone who owns five standalone univibe pedals, I’ve come to realise each one fills a slightly different gap. Some are better for adding gentle movement under clean tones. Others throb gloriously in front of a cranked fuzz. Each of the manufacturers have prioritised certain characteristics of the univibe sound and so each pedal gives you a different take on the iconic swirl and throb of the classic Shin-Ei sound.

Why This Video Matters – And Why I Made It

What I learned from doing this shootout is that context matters. No single vibe pedal is going to be perfect for every rig or every playing style. That’s part of what makes this Infinity Vibe Saga worth the effort—it lays out the spectrum of options, from stripped-back tone machines to flexible, tweakable Swiss army pedals.

This wasn’t just a demo video; it was an effort to answer the questions people ask all the time: “Which univibe is the best?” or “Should I save up for the TC or grab a Moen now?” Instead of another single-pedal spotlight, I put them all together so you can really hear the nuance. You’ll notice some vibe pedals feel more phase-y, others more vibrato-heavy. Some vibe pedals really come into their own when paired with heavy drive and fuzz, where as some prefer to sit gently on top of a cleaner tone.

Pick Your Vibe

Whether you want budget simplicity, deep tweakability, expression control, tap tempo, or just a classic chewy throb, there’s something in this list for you. If you need something that covers all the bases in one box, go for versatility. If you just want pure tone with no distractions, pick the one that made your ears perk up.

I don’t think you’ll go wrong with any of them—but I do hope this shootout makes your choice a little easier. And if you’re like me, you might just end up with more than one on your board.

Until next time—stay vibey, chaps and chapettes.

Consider using the affiliate links to support this channel

tc electronic Plethora X1 

https://thmn.to/thoprod/600848?offid=1&affid=2735

tc electronic Viscous Vibe

 https://thmn.to/thoprod/356253?offid=1&affid=2735

Behringer 69 Vibe 

https://thmn.to/thoprod/606258?offid=1&affid=2735

A Quiet, Unsung Hero You've Been After?

Safety in numbers 

The Mosky SOL918 is one of those pedals you pick up expecting a couple of quick tones, and then find yourself plugging into for the next three hours. It’s compact, affordable, and stacked with utility: five effects in one box, all dialed in to do a solid job without stealing the limelight. What makes it so interesting is that instead of trying to wow you with flashy gimmicks, it goes the other way—quiet confidence, classic voices, and surprising synergy between the effects. If you’ve ever wanted a reliable backup or an all-in-one travel rig, the SOL918 is absolutely worth a look.

Let’s break it down.

Distortion: Suhr Riot, But Less Riotous

The distortion circuit here is based on the Suhr Riot, a beloved, mid-heavy distortion that leans toward a hot-rodded Marshall tone. It’s thick, vocal, and perfect for leads or tight rhythm work. But where most Riot clones go full saturation at the upper end—often sacrificing clarity for sizzle—the Mosky version holds back a bit. That’s a smart move. It stays usable across the full gain range, meaning you can set it up for crunchy rhythm, searing leads, or mid-gain riffing without it turning to mush. It’s still aggressive, but more polite about it.

This tone forms the foundation of the drive section on this pedal. On its own, the distortion has enough character to be your main rhythm or lead tone. But when combined with the overdrive circuit (which we’ll get to), it becomes a real workhorse of a tone engine—flexible, articulate, and powerful without being overbearing.

Overdrive: Understated, on Purpose

Next up is the overdrive, modelled on one side of the Analogman King of Tone. If you know the KOT, you’ll know each side can be a boost, drive, or distortion depending on internal dip switches. This Mosky version leans somewhere between the boost and overdrive settings—mild gain even when cranked. At first, that might seem underwhelming, but it becomes clearer once you start stacking.

Used as a solo boost, it adds warmth and edge. Push the volume and hold back the gain, and you get a lovely dynamic lift that works great for leads. But where it really shines is stacked with the distortion. Set the OD a bit hotter and stack it with the Distortion, and you get a thicker, more harmonically rich gain structure. It tightens up the low end a bit and adds a healthy dollop of drive without over-compressing or getting fizzy. It’s a classic two-stage drive setup and one that’s very satisfying to play through.

That’s a bit of a theme with the SOL918—it’s all about synergy. No one part of the pedal is jaw-droppingly special on its own, but the way they work together is what makes it valuable.

Delay: Simple, Bright, and Surprisingly Versatile

The delay section of the SOL918 is based on the Mad Professor Deep Blue Delay—a cult classic for good reason. It walks the line between vintage analogue warmth and crisp digital clarity, giving you the best of both without overcommitting to either. This makes it perfect for a variety of delay tasks: slap-back echo, subtle thickening, or even a short solo boost delay in the vein of 80s lead tones.

It’s not the most characterful delay you’ll find—there’s no swirling modulation or tape-style degradation—but it wasn’t built to be that. What it offers instead is utility. The repeats sit well in a mix, don’t overwhelm your dry tone, and feel right at home whether you’re doing country twang, rock lead work, or ambient padding.

For my money, it’s in the same ballpark as the Joyo Analog Delay, which I’ve used and loved as a go-to budget option. It fills that same role here: usable, good-sounding, and just enough of what you need without fluff.

Reverb: Best-in-Budget Spring

Now here’s a standout: the reverb section. It’s based on the Malekko Spring, which also happens to be the basis for Mosky’s own Spring Reverb pedal. And honestly? I think they just cloned it straight into this unit. And thank heavens they did.

I’ve used the standalone version of this circuit and was turned onto it by Simon at JSA Effects and Andrzej from Yet Another Guitar Channel, both of whom swore by it. They were right. It’s one of the most convincing spring reverbs at this price point. It offers a sense of space without drowning you in effect and has just enough splash and bounce to liven up your tone. The dwell and level controls are simple but effective—dial back for subtle depth or crank it for surfy chaos.

It’s not a reverb designed to explore vast ambient soundscapes or shimmer like cathedral presets. This is a classic, slightly gritty, vintage-style spring reverb, perfect for rock and blues but honestly can turn it's hand to most genres in a convincing way. In the context of the SOL918, it’s another example of the “safe but great” design philosophy.

FX Loop and Pedalboard Strategy

One feature that deserves a spotlight—though I didn’t cover it in the demo—is the FX loop. It sits between the drive section and the ambient effects. That placement is clever. It means you can insert your own favourite modulation, another drive pedal, or even a noise gate or EQ in the sweet spot of the chain. It makes this all-in-one box far more flexible, especially for people who want to tailor their rig without giving up the convenience of the SOL918.

You could even run a compressor before the input, add modulation like chorus or tremolo in the loop, and essentially build a mini pedalboard around this central unit.

But let’s be real for a second—is this a pedalboard replacement? Not quite. If you’re curating your tone and want very specific flavors of each effect, individual pedals still win. But that’s not a slight against the SOL918—it’s clearly not trying to be the centre point for your pedalboard . Instead, it’s a clever, efficient option for:

• A gig-bag emergency backup when your board goes down
• A travel-friendly setup if you’re a non-driving musician or flying to a show
• A home practice or recording tool that covers most sonic bases in one unit

Honestly, for the price they’re asking, it’s a total no-brainer to have one of these in your gig bag just in case. It’s solidly built, sounds better than most budget all-in-one units, and has enough flexibility to actually play through a full set if needed.

… At the end of the day

The Mosky SOL918 isn’t designed to blow minds with innovation—it’s designed to work. Each effect is based on something tried and tested. The distortion draws on the Suhr Riot, the overdrive nods to the Analogman KOT, the delay channels the Deep Blue, and the reverb lifts from the Malekko Spring. You could criticise it for not pushing new boundaries—but you’d be missing the point.

This pedal is practical, versatile, and perfect for players who value reliability, tone, and space-saving design. The tones are safe, yes—but that’s by design. It gives you the flexibility to fit into just about any genre or gig setup without sounding out of place. And when you consider how little it costs, it becomes even more impressive.

Would I build my main board around it? Probably not. But as a utility, a safety net, or even a fly-rig for pub gigs and jams, it’s an excellent option. A few extra features—like an order switch for OD and distortion, or a tap tempo—might have been nice, but they’d also increase the price and add complexity to a pedal designed to be your last line of defence.

And when it’s time to shine, it will. Quietly. Reliably. Without fuss.

That’s what the Mosky SOL918 does best.

The Joyo AC Tone – The Most Affordable "Vox in a Box" That’s Better Than It Has Any Right To Be

Voxy lady

For a lot of guitarists, the dream tone comes from mythical amps: blackface Fenders, fire-breathing Marshalls, or the jangly chime of a classic Vox AC30. But dreams can be expensive — and unless you’ve got deep pockets (and a very understanding partner), chasing those iconic sounds can feel out of reach. That’s where pedals like the Joyo AC Tone step in — not just as affordable alternatives, but as legitimately useful, great-sounding tools in their own right. Whether you’re recording at home, gigging with minimal gear, or just craving some British-flavoured crunch without breaking the bank, this little brown box might just be your new best friend.

From Boutique to Budget – Joyo’s Amp Sim Lineage

The Joyo amp sim pedals are pretty openly inspired by the Tech 21 Character Series, which made waves with their clever analog emulations of classic amp circuits. But where Tech 21 catered more to the boutique crowd, Joyo aimed squarely at the budget-conscious guitarist — and they nailed it.

Each pedal in the series is voiced after a famous amp: the American Sound for Fender-style sparkle and breakup, the British Sound for Marshall-style roar, and the AC Tone for that distinct Vox character. There are others too (California Sound, Extreme Metal, etc.), but in my humble and highly subjective opinion, the big three are British, American, and, of course, the star of today’s show: the AC Tone.

My good pal (and co-host of the Fret Talk Podcast) Matt plays in two bands. In one of them, the lead singer handles some rhythm guitar duties. One evening, Matt — completely unaware of what gear was in use — complimented the singer on his incredible tone. The answer? A £30 Joyo American Sound straight into the PA. That moment said it all. These pedals can seriously hold their own, and if you set them right, they’ll fly completely under the radar — not in a “meh, you don’t notice it” way, but in a “wait, that sounds good” way. The AC Tone, in particular, hits that sweet spot between versatility, affordability, and personality.

What Makes the AC Tone Special?

While the American Sound brings Fender cleans and the British Sound offers Marshall grit, the AC Tone manages to blend elements of both — a dynamic range of tones from bright and jangly to crunchy and bold. Yes, it’s intended to be a “Vox in a box.” Does it absolutely nail the AC30 down to every harmonic nuance? No — and expecting it to would be missing the point. But what it does do is give you a very useful palette of tones, all with a strong British character, and at a price that barely dents your wallet.

All the Joyo amp sims have a “Voice” knob — and this is where the magic happens. On the AC Tone, it feels like you're gliding between two pre-set Vox characters: at one end, tight, clean, and sparkly, like a well-behaved AC15 with single-coils. At the other, bassy, driven, and brash, like a cranked AC30 pushed with humbuckers and greenbacks. As a player, it genuinely feels like you're blending between two amps. Is that what the circuit is actually doing? No idea. If someone gave me the schematic, I’d smile politely and still not understand a thing. But feel-wise, it gives me the feel that it's what's happening — and that’s what matters.

On paper, the AC Tone is a full-featured DI solution, complete with built-in cab simulation. In practice? Well… let’s just say the cab sim isn’t exactly Abbey Road-quality. That said, there are a couple of easy workarounds. One is to run it into a better IR-based cab sim, like the Sonicake Sonic IR — a great budget pairing. Another is to ignore the built-in cab sim altogether and treat the pedal like a preamp into your own rig or recording setup. Personally, I run it into an external cab sim when recording. It results in a tone that’s a bit mid-forward — less “chimey Alnico Blue” and more like a Vox through Greenbacks. Still very usable. Still very vibey.

Hidden Talent: Front-End Tone Shaper

Here's a trick that doesn't get talked about enough: using the AC Tone as a tone shaper into the front of a traditional guitar amp. I’ve got an amp with a fairly sterile clean tone — you know the type: it’s a super clean clean (if that makes sense), but it doesn’t inspire you. Plugging the AC Tone into the front of it immediately breathes life into it. It acts as an amp-ifier — a way to inject personality into any bland platform. Want to give your one-channel amp a Vox-style crunch channel? Done. Stack it with an overdrive pedal for some Brian May edge? Easy. Pair it with a reverb and delay and play ambient shoegaze ballads in your bedroom? Steady on now, we don't do that here (no judgement if that's your bag though).

You’d think a pedal this cheap would be made of cardboard and wishes, but nope — the AC Tone is solid. Metal housing, decent knobs, and a reliable footswitch. It’s not boutique, but it’s dependable. Even better, they’re so cheap and widespread that you don’t have to baby them. Toss one in your gig bag as a backup rig. If it gets a scratch? Battle scars. If it dies? £30 and you’re back in business. That’s about the price of a multi pack of strings and a round of pints (outside of London obviously).

So, Is It the Best Amp Sim Out There?

Let’s be clear: the AC Tone won’t dethrone a Kemper, an Axe-Fx, or even a Strymon Iridium. But that’s not the point. It’s stupidly affordable, genuinely usable live and in the studio, flexible and fun to dial in, built like a tank, and full of character. If you’re a bedroom player, a beginner, a gigging pro with no budget, or just a gear nerd who loves trying new stuff — the Joyo AC Tone is absolutely worth your time.

The Unsung (or kinda sung) Hero of Budget Gear

The Joyo AC Tone (or the Act One, as we lovingly call it on the podcast) is a brilliant example of what budget gear can be when it’s done right. It’s not just a cheap copy. It’s not just “good for the price.” It’s genuinely good, full stop. And it’s one of the most cost-effective safety nets you can keep in your gig bag — the kind that leaves you with enough change for a cheeky bevvy before showtime. Not me obviously, I'm ever the professional... Honest.

So whether you’re looking to expand your tonal palette, build a backup rig, or just want to experiment without breaking the bank, the AC Tone might just be the perfect sidekick. This one doesn't even have a dog on it for no reason, or a scorpion. Classic Joyo.

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Affordaboard Filthy Rat - A worthy second effort?

Affordaboard Filthy Rat

The dirt is in the details.

A little while back, I checked out the Supersonic Drive from a new name on the scene: Affordaboard. Handmade in the UK, wallet-friendly, and packing some serious tone—it made a strong first impression. So naturally, I was curious to see if they could follow it up.

Enter pedal number two: the Filthy Rat.

Now, if you're even vaguely familiar with the world of dirt pedals, the Rat lineage needs no introduction. Sitting somewhere between distortion and fuzz—but leaning more towards distortion—a good Rat clone gives you everything from gritty blues overdrive to full-on fuzzed-out filth. And this one? It nails it.

Rat-ical Performance

The Filthy Rat keeps things simple—no bells, no whistles, just classic Rat-style controls with the kind of tone that encourages you to dig in and play. One of the biggest issues with many budget Rat clones is that they squash your dynamics. You end up with a fizzy wall of compressed sound and very little nuance. Not here.

With the gain rolled back, the Filthy Rat retains remarkable clarity and dynamic response. It responds beautifully to your picking hand—play gently, and it cleans up; dig in, and it growls. It’s a pedal that lets you shape the gain with your touch rather than just twisting knobs.

The tone control, too, deserves some love. Often with cheaper clones, the sweep can be a bit... questionable. Bottom out the dial and you're swimming in mud; crank it and it slices like a dentist's drill. But here? It’s usable across the whole range. In the demo, I used a Strat-style guitar with a bridge single coil—famously spiky—but the Filthy Rat kept things tame and musical, even on the brighter end.

Versatility Without Fuss

Of course, it does the classic Rat thing: gnarly, aggressive, hot-rodded 80s Marshall tones at the flick of a switch. But it also handles pushed cleans with surprising elegance. It's this versatility that really makes it stand out—especially at lower gain settings where it feels more amp-like than pedal-y.

And while we're at it, let’s talk value: £79, handmade in the UK. That’s affordable by any standard, but when you factor in the build quality and tone on offer, it feels like a steal.

Affordaboard: One to Watch?

With just two releases under their belt—the Supersonic Drive and now the Filthy Rat—Affordaboard are showing a strong sense of what players actually want: quality tone, solid builds, and no-nonsense pricing. If they keep this up, they could easily become a go-to name for budget-conscious players who don’t want to compromise on sound. I've made comparisons to Funny Little Boxes in the past, who have had an amazing rise to fame - very well deserved, Andy is a true gent. I'm calling it here, Affordaboard are next in line for this kind of rise too, watch this space.

TC Electronic Rusty Fuzz – A Budget Beast or Just Dusty Nostalgia?

Rusty Gold?

Fuzz is one of those effects that divides guitarists faster than a Clapton vs. Hendrix debate. Some players chase the velcro-sputter of broken electronics, while others want something smoother and more musical — something that responds to touch and volume like a living, breathing amp. I’ve tried dozens of fuzz pedals over the years, from boutique beasts to bargain-bin blunders. But the TC Electronic Rusty Fuzz? That’s one I hadn’t expected to like quite as much as I did.

So here we are, talking fuzz, tone, and one of the most affordable vintage-style boxes out there — the Rusty Fuzz — a little brown brute that showed up on my doorstep thanks to long-time channel friend and supporter Bimmo. Shout out to the legend for sending this my way!

First Impressions – More 70s Than Your Nan’s Wallpaper

The Rusty Fuzz is undeniably retro in both look and sound. TC Electronic went with a 1970s brown-and-orange finish that looks like it was ripped straight off a shag-carpeted rehearsal space wall. It's kitsch, it's charming, and it screams “vintage fuzz” before you even plug it in.

The enclosure is metal, weighty and solid, and has a no-nonsense vibe. This isn’t some plastic knock off or cost-cutting compromise — this is a pedal that feels roadworthy. Top-mounted jacks are a nice touch for those who like a tidy board. Personally? I’m not part of the top-jack cult. Give me a massive, impractical box any day — one that demands board space like a prima donna fuzz diva. On the other hand, if you’re one of those folks with a five-row pedalboard setup that could rival NASA, you’ll appreciate the design here.

What’s Under the Hood?

This is where budget fuzz pedals often fall apart — literally and figuratively.

Unlike delays or reverbs that require complex circuitry, fuzz pedals are deceptively simple. That simplicity means every single component matters. Cheaper fuzz units often use high-tolerance resistors and low-quality transistors, which can result in harsh, brittle, or flat-out uninspiring tones. With wide tolerances, they can vary massively from unit to unit too, which is an absolute pain. That’s why the market’s flooded with fuzz pedals that are fizzy without being full, or woofy without any clarity.

The Rusty Fuzz, however, bucks the trend.

From everything I’ve gathered (and heard), this is a silicon-transistor circuit that’s heavily inspired by the classic Fuzz Face. You get that aggressive upper-mid content and a sharp attack, but with a bit more gain and stability than its germanium-based forebears. Silicon is known for being less temperamental and more consistent across environments — no worrying about whether your pedal will behave differently in summer heat vs a cold rehearsal room.

Like the Classics, But With Modern Manners

The moment I plugged in, I knew this wasn't your typical budget fizz box. There’s a lovely bloom on the attack — a slightly compressed swell when you dig in, especially with single coils. With humbuckers, it’s full and muscular but never muddy.

More importantly, the Rusty Fuzz does something that a lot of cheap fuzz pedals don’t:

It reacts to your guitar’s volume knob.

Roll it back, and the fuzz gently fades into a sparkly overdrive. Push it up, and the pedal snarls. This kind of cleanup is a must-have for vintage fuzz fans, and the Rusty Fuzz nails it better than some pedals twice the price. It’s the kind of pedal that encourages playing dynamics — letting you control your tone without ever switching it off.

If you’re after gated fuzz or synthy sputters, this isn’t your pedal (they do exist on a budget, which I'll cover in other articles). But if you want classic, expressive, touch-sensitive fuzz, it delivers in spades.

In Context – Real-World Use

In the video, I ran the Rusty Fuzz through a basic amp setup and dialed it in with both single coils and humbuckers. No boost, no EQ tricks. Just the pedal, a guitar, and an amp. What you hear is what you get.

With chords, the Rusty Fuzz keeps things articulate — you don’t lose the shape of your playing even when it's drenched in dirt. Lead lines have a vintage sting, and if you like that Hendrix-at-Woodstock vibe, you’ll feel right at home.

It also stacks surprisingly well with other pedals. I’ve run it before a TS-style overdrive and after a boost, and it didn’t crumble or flub out like many lower-cost fuzzes do.

Alternative Options – Mooer & Caline on the Radar

If the Rusty Fuzz has you chasing more vintage fuzz territory, there are a couple of others to check out:

Mooer Grey Faze – Also Fuzz Face inspired, and a germanium-based alternative. Slightly softer voicing, a bit lighter gain overall, but similarly affordable. Worth a look, and I’ll be covering it in an upcoming blog post (video already live on the channel).

Caline Nasty Bear – Wild name, cool graphic, solid fuzz. This one leans a bit more toward the mid point between a Face and a Muff fuzz territory, but it has a charm of its own. Not quite as polite as the Rusty Fuzz, and probably less versatile, but it definitely gets you some vintage fuzz tones.

Both of these are great examples of how the budget fuzz scene has matured — but the Rusty Fuzz remains one of the cleanest and most usable entries.

Rusty by name, shining by nature

The Rusty Fuzz surprised me.

I don't know what I was expecting honestly, but what it did was deliver and deliver well. It might not knock a boutique \£250 fuzz off your board, but it earns its place with tone, dynamics, and a vibe that punches above its price point.

For players just getting into fuzz, it’s a brilliant entry point. For veterans, it’s a solid backup or even a go-to for live use when you want something affordable, replaceable, but still reliable. And on the used market? Absolute steal.

Shout out again to Bimmo for making this one happen — this is one of those “sleeper” pedals I wouldn’t have thought to try otherwise.

And if you’ve got a favorite budget fuzz (or horror story), let me know in the comments below — or ping me on the channel. I’ll be fuzz-deep for the foreseeable future!

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Behringer B-Tron III – Funk in a Box (A Very Big Box)

This one makes you play different

Envelope filters are one of those effects that can instantly change the way you play. They react to your dynamics, they respond to your feel, and they make you dig in just a little more to coax that funky quack out of your strings. The Behringer B-Tron III is a pedal that not only encourages that kind of expressive playing—it practically demands it.

A Mu-Tron for the Masses

The B-Tron III is based on the iconic Mu-Tron III, a pedal that's legendary in funk, soul, and jam band circles. The original was used by players like Bootsy Collins, Stevie Wonder, and Jerry Garcia, and it's long been sought after by those chasing that dripping-wet, vowel-like filter tone. The issue? Originals go for eye-watering amounts on the second-hand market.

Enter Behringer. Never shy of stepping into the legacy pedal arena, they’ve brought the B-Tron III into the world as part of their new wave of vintage-inspired reissues. It’s not subtle in its intentions. In fact, it’s a near carbon copy visually—but at a price point that regular humans can actually afford.

Big, Bold, and Brilliantly Retro

Let’s talk about the enclosure. This thing is huge. Genuinely, delightfully massive. It takes up a fair chunk of pedalboard space, but rather than feeling like a burden, it adds a certain vintage mystique. It feels like a piece of gear from a bygone era, where things were built large and meant to be noticed.

The B-Tron III looks like it was beamed straight out of the '70s, and that aesthetic isn’t just skin deep. It offers a range of modes and controls that let you tailor the filter to your instrument of choice. Whether you’re playing guitar, bass, or keys, the pedal responds with a satisfying sweep and quack that oozes character.

Get your funk on

One of the most enjoyable aspects of this pedal is how it makes you play. The B-Tron III responds dynamically to your picking, encouraging you to dig in and experiment with rhythm and groove. It’s one of those rare pedals that shifts your mindset as a player. Even if you’re not usually the funkiest person on the block, it’s hard not to start channeling Bootsy when this thing is engaged.

Sure, it’s big. And no, it’s probably not going to be for everyone. But if you’re the kind of player who wants to try something a little different—or you’ve always wondered what the Mu-Tron magic is all about—this is a brilliant and ridiculously fun way to get started.

A Question of Ethics?

It’s worth addressing the elephant in the room. Behringer’s recent trend of recreating classic pedals (both sonically and visually) hasn’t been without controversy. They've already caught some heat over their Klon Centaur-inspired design, and the B-Tron III is cut from the same cloth.

But here’s the thing: vintage pedals are expensive. Often prohibitively so. And many are long out of production. What Behringer is doing, at the very least, is giving everyday musicians access to sounds that would otherwise be locked behind collector paywalls.

For the price of a couple of pub gigs, you can own a fully functional, great-sounding envelope filter inspired by one of the most iconic pedals of all time. And if that means stepping on a few toes to do it—well, Behringer doesn’t seem to mind.

At the end of the day....

The Behringer B-Tron III isn’t just a clone. It’s an open invitation to get weird, get funky, and experiment with dynamics in your playing. It’s huge, it’s retro, it’s gloriously unapologetic—and above all, it’s a boatload of fun.

Stick it on your board (if you’ve got the space), plug in, and get ready to grin. Say what you want about this one, but you can't accuse it of being boring.

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