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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Killer Price for this EHX hidden gem?

 Royal fuzz with a reptilian twist.

It’s not every day you see Electro-Harmonix team up with another brand. But the Lizard Queen, their joint venture with JHS, is exactly that—a rare collaborative release between two titans of the stompbox world. EHX, the home of Big Muff legends; and JHS, known for modern innovation with a vintage heart. It’s a match that raises eyebrows… and expectations.

So, what is the Lizard Queen? In essence, it’s an octave fuzz/distortion pedal. Simple layout, simple controls—but don’t let that fool you. There is more under the hood than you'd first expect.

Regal Simplicity

There are only three knobs on the Lizard Queen: Octave, Balance, and Volume. The gain is fixed—so no classic gain knob here—but that’s all part of the charm. The Octave control blends in a glitchy, all-analogue octave effect, and the Balance knob (cleverly labelled Sun and Moon) shifts the character of that octave from bright and brittle to dark and smooth.

It’s not your average octave fuzz—there’s real texture on offer here. The Balance control doesn’t just act like a tone knob; it feels more like a mood switch. The Sun side is spiky and raw, perfect for cutting through a mix. The Moon side? Smooth, warm, and perfect for adding a more subtlety to the octave.

Not Versatile, but Full of Voice

Now, let’s be clear—this isn’t a "jack-of-all-trades" pedal. It does a very specific thing, and it does it very well. But thanks to the Balance and Octave controls, it’s got more range than your average octave fuzz. You can go from fuzzy, riffy garage rock goodness to piercing lead tones that sing when you venture up to the tiny frets up at the dusty end.

This thing absolutely LOVES riffs. Stick it in front of a clean amp and you’ll find yourself abusing those pentatonic rock riffs in no time. And if taking the spotlight is your thang then it does a superb job of elevating your lead lines, especially up high where the octave becomes extra pronounced—it really latches onto those upper overtones  to add a sprinkle of something special to your tone.

Budget Pedal Chap Approved Bargain

We’ve looked at a few pedals in this fuzz-adjacent space before—EHX’s own Octavix comes to mind—but the Lizard Queen offers something a bit different. The fixed gain makes it an instant hit pedal: no faffing, just stomp and go. It’s also worth mentioning that, as of writing, this thing is on sale for less than half its original RRP. That’s exactly why I picked one up—and if you’ve been eyeing it for a while, now’s probably the time to pounce.

It might not be for everyone, but if you’ve got a space on your board for a garage-rock fuzz with a crown, the Lizard Queen is ready to rule.

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Behringer's Hidden Gem

Not just 80's tones

There’s a certain joy in stumbling across gear that punches well above its weight class, and the Behringer UC200 Ultra Chorus is absolutely one of those hidden gems. Sitting comfortably in that unmistakable citrus-coloured plastic enclosure, it might not scream “boutique tone” at first glance—but what it does scream is value.

At first glance, it’s clear that the UC200 is taking some heavy inspiration from the Boss CH-1 Super Chorus. It shares the stereo output, the familiar layout, and that bright, airy character that’s become a staple of 80s shimmer and jangle. But where the Boss might run your wallet a little ragged, this little Behringer sits firmly in the “loose change” category of pedal prices. And, perhaps surprisingly, it’s more than just a knock-off with good intentions.

Surprisingly Serious Chorus

One of the standout features of the UC200 is the inclusion of a dedicated EQ control, something that even some more expensive chorus pedals leave out. It allows you to dial in a warmth that’s often lost with budget modulation units, especially ones leaning too hard into that bright, glassy character. Whether you're after that syrupy analogue swirl or something more hi-fi and defined, the UC200 has the range to deliver.

Sure, the casing is plastic—but that shouldn’t necessarily be a red flag. It’s sturdier than you’d think, and let’s be honest: for the price, you’re not going to cry if it takes a knock or ends up wearing someone else’s pint mid-gig. It’s built with function in mind, not flash.

Budget Brilliance

Going into this, I expected “budget chorus tones,” something passable and usable, but not much more. What I actually got was far better: rich, lush chorus that genuinely surprised me. In mono it does a solid job, but run it in stereo and things open up beautifully—giving you that expansive, airy spread that makes you want to write a 12-string power ballad immediately.

Try It Before You Mock It

If you’re just dipping your toes into the world of modulation and don’t fancy parting with serious cash just to try out a chorus, the Behringer UC200 is a fantastic starting point. It’s dirt cheap, does a great job emulating a classic sound, and gives you enough tonal shaping to make it your own.

No, it’s not going to win any pedalboard beauty contests, and no, you’re not going to impress boutique snobs with it—but your audience won’t care. They’ll just hear the sound, and the UC200 delivers where it counts.

Definitely one to keep an eye out for—especially if you’re building a board on a budget and want great tone without the premium price tag.

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Exciting? Maybe not. Essential? Oh yes.

 The Unsung Heroes of the Pedalboard

Some pedals are glitzy and glamorous—the hot new fuzz, the weird modulation that makes you sound like space lasers, or the reverb that transforms your tone into glittery clouds. These are the headline acts. But then there are the pedals that quietly get on with the job—no drama, just pure function. Boost pedals are a prime example. Often designed to make things just one louder, so you can (as Nigel Tufnel says) push things over the edge of the cliff.

Anything that goes above unity gain can technically be used as a boost, but the aim is more specific than that: it's about cutting through the mix, poking your head above the frequency parapet, and having your spotlight moment heard in full HD glory.

Try doing that with a Muff-style fuzz and you'll struggle—the scooped mids mean you'll have to crank the volume so much that you'll drown out the rest of the band. A pedal with a nice mid-hump can help, but it adds its own color to your tone, which might not be what you're after. Clean boosts are often the go-to when you just want to lift your volume a bit—maybe with a slight presence bump, if you’re feeling spicy.

More Than Just Boost

Another example of something you definitely want on your board is a buffer. Long cable runs and true bypass pedals can sap your tone, dull your highs, and leave everything sounding a bit lifeless. A buffer solves this by preserving your signal—think of it as taking the blanket off your sound and bringing the sparkle back.

Here’s where the Sonicake Super Sonic Master earns its stripes—not only does it deliver that trusty boosty goodness, but it also gives you the option to engage a buffer. It’s a classic case of doing more with less. We all hesitate to dedicate pedalboard space to the so-called "boring" pedals, but when one tiny box handles two essential tasks? That’s a no-brainer, surely.

Boost pedals—and their often overlooked buffer friends—might not be glamorous, but they quietly make everything better.

Subtle? Definitely. Disposable? Never.

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A sleeper hit for Sonicake?

What’s Better Than One Klon?

How about three?

Enter the Sonicake Trio Rider, part of their latest line of mini pedals. At first glance, it doesn’t scream "Klon clone"—no gold paint, no mythical creature graphic, no enchanted-sounding name. It might fly under the radar for most, but it hides a rather intriguing feature: the mini switch.

Where the Magic Happens

Next to the switch, you’ll spot three letters: G, S, and R. If you’re even casually familiar with Klon lore, you’ll know that the original pedals came in both silver and gold finishes—each with its own sonic personality. Silver was the more aggressive, raw-sounding version. Gold? Smoother, rounder, and a bit more refined. Several clone pedals, like the Mosky Silver Horse or the NuX Horseman (gotta love that Tolkien-esque naming trend), let you switch between the two.

But what about R?

After the original Centaur was discontinued in both gold and silver, Klon creator Bill Finnegan released the KTR, a modern take in a smaller red enclosure. While there’s no official confirmation from Sonicake, it’s hard not to believe that R stands for Red, right?

In Practical Terms

Silver mode: The most aggressive of the three. It offers the highest gain and the most neutral EQ. If you're using the pedal primarily as a drive, this is likely your sweet spot.

Gold mode: Lower gain and a softer EQ. It leans vintage, making it a great choice for boosting solos or pushing an amp into sweet overdrive.

Red mode: Thickens up your tone with a noticeable low-end bump. Ideal for fattening up a thin-sounding rig.

As with all things Sonicake, the price point makes it an easy "why not?" kind of purchase. But as always, the final verdict is up to your ears.

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The reason I got rid of my MXR...

I Got Rid of My MXR for This…

Let me take you back—about ten years ago now. I was playing in a blues-rock band and running a modest pedalboard: a couple of overdrives, a compressor, reverb, a boost, and the all-important phaser.

We played a few funkier numbers, and that’s where the phaser came in. It gave my guitar a smooth, swirling movement—kinda like a wah, but without needing to hover awkwardly over a treadle mid-set. Naturally, I followed the advice of every guitarist with a forum account and picked up the MXR Phase 90. I mean, it’s on countless classic records, and even EVH thought it was good enough to put his name on it. If it’s good enough for Eddie, it’s good enough for me, right?

What made it even more appealing was its simplicity—just one knob to control speed. Foolproof.

First Rehearsal: The Rise and Fall

I took my new Phase 90 to rehearsal, buzzing to show off my upgraded board. First few songs were more rock-based, so I paired the phaser with some drive. Tonal nirvana. It was that swooshy, syrupy sound I’d always admired on Thin Lizzy records. I felt like a pro. I sounded like a pro.

Then came the funkier tunes. Phaser time. My moment.

The intro starts, my cue hits, I step on the pedal and—

BOOM.

My guitar exploded in volume. It shot up out of the mix like a rogue fireworks display. I scrambled to roll off my guitar volume just to bring myself back into the same sonic postcode as the rest of the band.

After the song, I checked every knob, every cable, every patch lead. Nothing. Then the sinking feeling hit. It was the Phase 90.

Never Meet Your Heroes

Turns out, the classic Phase 90 has a bit of a reputation for a noticeable volume bump, especially when used with clean tones. I just hadn't expected that much of a jump.

The Budget Saviour

Enter the Joyo Vintage Phase.

Same one-knob layout. Same orange aesthetic. But crucially—no volume spike.

Now, is it a perfect clone of the Phase 90? Not quite. It gets you about 90% of the way there. You still get that lush movement, the same sweet modulation, but it’s missing a touch of the crunchy texture that makes the MXR a bit more lively. Honestly? I’ll take that trade-off every time for consistent volume.

I ended up selling the MXR. The Joyo’s, on the other hand, has been my go-to ever since, and it’s earned its place. It’s my go-to for simple, swooshy, phasey goodness.

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Team Britain or Team USA?

NuX Reissue Series

NuX have really been knocking it out of the park lately with their Reissue Series. Around a year ago, I featured the '63 Diamond on the channel—and it blew up. And no wonder: it’s basically a wallet-friendly Vox-in-a-box. Just look at it—it even looks like a vintage amp. The attention to detail in both tone and design is bang on.

The controls are exactly what you’d expect from a Vox-style amp sim: tone, volume, and gain. Though, in true vintage fashion, they’re labelled volume, master, and cut—a nice nod to the original amp’s layout. You also get a Top Boost switch, which gives you instant access to those rich, driven tones that have become synonymous with Brian May. While it’s not quite as sparkly clean as a real AC30, it absolutely nails that gritty, chimey crunch that made everyone from The Beatles to Queen sound so iconic.

These pedals were so highly anticipated, UK stockists struggled to keep them in stock when they dropped.

Enter: The '59 Bass Guy

Fast-forward to this year, and another NuX contender has stepped into the spotlight. Meet the '59 Bass Guy—a name that sounds like it wandered out of a spaghetti western, guitar in hand and fuzz in its heart. But behind the goofy name is a seriously impressive little tone machine.

Like the Diamond, the Bass Guy features a familiar control layout: volume, tone, gain, and a cheeky little toggle switch. This time, though, the toggle simulates the channel-jumping trick—a classic move among players of the original Fender Bassman amp. On the real amp, jumping the bright and normal channels adds fullness and a bit of grit. Here, it works in a similar way, giving your tone a noticeable presence boost and kicking the gain into another gear.

Two Legends, Two Flavours of Classic Rock

Both pedals do a brilliant job of capturing the essence of legendary tones. Whether you're chasing the rich harmonic crunch of The Who, the gritty drive of The Stones, or the tight low-end bite of early Zeppelin, these two stompboxes deliver more than a taste of rock history.

Best of all? You’re getting iconic tones without spending thousands on vintage tube amps—or dealing with the headaches of keeping them serviced.

So... Are You Team Britain or Team USA?

The only question left is:

Do you pledge allegiance to the jangly Vox chime of the '63 Diamond?

Or are you drawn to the gritty American growl of the '59 Bass Guy?

Either way, NuX have made the choice a whole lot more affordable—and a lot more fun.

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Sonicake Pocket Master - Worth It?

Sonicake Pocket Master – Tiny Box, Big Surprises

The Sonicake Pocket Master has been getting a fair bit of buzz since its release—and for good reason. As I mention in the video, it’s basically a mini, battery-powered version of the Matribox. That’s no small thing. The Matribox was already a great bit of budget-friendly kit, and a brilliant tool for practice. The Pocket Master manages to do about 80% of what the Matribox did, but in a smaller, more convenient form factor.

And honestly? You won’t miss the few amps and effects that didn’t make the cut. There’s still plenty here to keep your tone options fresh and your practice sessions productive.

Now, in the demo I mentioned a bit of software for the Pocket Master, and I want to clarify that a little. What I said was partly true: the software I used allows you to apply firmware updates (more on this in a sec) and import files. Originally, the Pocket Master shipped with firmware that let you load up to five impulse responses (IRs) for guitar cabs. Pretty solid on its own.

But here’s where it gets exciting—once you install the latest firmware update, you unlock the feature everyone’s been talking about: NAM file support.

There’s also a companion app for iOS and Android that opens up even more functionality. I’ll dig into that in a future post, but for now, let’s talk NAM.

NAM Profiles: The Game-Changer

The big reason the guitar community has taken notice of the Pocket Master is its support for NAM files—short for Neural Amp Modeler. Think of it as a kind of open-source alternative to the profiling tech you’d find in something like a Kemper. Is it as detailed or refined as a Kemper profile? Of course not. But let’s be real—you’re not dropping a grand here.

In my initial demo, I said that NAM’s limitations felt appropriate for the price point, rather than being disappointing. But since recording that video, I’ve had the chance to try out more NAM profiles… and I’ve got to say, this little box has exceeded my expectations. It still isn’t Kemper-level, but it sounds far better than a £50, battery-powered amp modeller has any right to.

What’s Next?

I’m seriously considering curating a few choice NAM profiles to help new Pocket Master users get the best possible start. If that’s something you’d find useful, drop a comment and let me know!

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Gokko Octave Fuzz - big ol' heap of nostalgia

Gokko Octave Fuzz

 A big ol' heap of nostalgia

The Gokko Octave Fuzz is a dual-footswitch fuzz pedal with the classic controls you'd expect: volume, tone, and fuzz. But don’t let the straightforward layout fool you—it’s not your average face-melting fuzz. It’s more of a *wink, wink* vintage New York-style distortion/fuzz. If you’re chasing those saturated, soaring tones of a Fuzz Face, or the gnarly rasp of a Tone Bender, this one might leave you wanting.

But for me? It took me somewhere else entirely.

The first time I plugged it in, I was hit with a wave of nostalgia. The tone had this old-school metal edge that instantly transported me back to my early days of guitar playing.

I started playing guitar in my teens, mostly drawn in by what I was hearing on the radio, TV chart shows, and—of course—the Tony Hawk's Pro Skater soundtracks. Pop-punk had broken into the mainstream, and that was my gateway drug into the world of rock. I picked up my first guitar around 16 or 17, keen to learn all those catchy punk tunes I’d been obsessing over.

While pop-punk was my first love, it wasn’t long before I started digging deeper. Growing up in the Midlands in the UK, it was only natural that Black Sabbath eventually entered the picture. Once I’d mastered the power chord (the holy grail of punk guitar), I wanted more—more challenge, more depth, more riffs.

Enter Tony Iommi.

Discovering Sabbath was like unlocking a new level of guitar mastery. It felt like I was getting a private lesson in riff writing. From the simple chug of “Paranoid” to the more intricate “Fairies Wear Boots” or “N.I.B.,” each riff pushed me further. I still remember hitting the breakdown in “Black Sabbath” and realising my picking hand wasn’t up to snuff—no amount of downstrokes were going to get me through that cleanly!

So yeah, when I plugged in the Gokko Octave Fuzz, it brought all of that rushing back. Sabbath riffs started flowing out—maybe not perfectly played (it's been a decade or more since I tried some of them), but close enough to relive the moment. Besides, I’ve got to be careful with those note-for-note renditions. You know... copyright. That’s my excuse for any ahem artistic interpretations in the demo, and I’m sticking to it.

The octave switch on this pedal adds a subtle upper octave overtone—it’s not in-your-face like the Behringer Octavia or other more aggressive octave fuzzes. It’s more of a gnarly top-end boost, which honestly feels more like a treble booster getting mixed into the fuzz. And that’s pretty on-brand for that Iommi-esque sound.

Now, let’s talk about that little switch nestled between the tone and fuzz knobs.

It’s labelled mid-cut, but don’t trust it. Of all the things I liked about this pedal, this one feature didn’t do it for me. Rather than cutting mids cleanly, it seemed to add this odd, muffled mid-hump that just made everything sound… worse. Your mileage may vary, but for me, it was one of those “set it and forget it (off)” kind of controls.

So, what’s the verdict?

The Gokko Octave Fuzz definitely has a sound. It’s a nostalgic one for me, and maybe it’ll be for you too. It’s probably not going to become your go-to dirt box unless you’re after that vintage metal distortion that flirts with fuzz but doesn’t fully commit. But as with most Gokko pedals, it’s affordable enough to be worth a punt.

Give it a go—you never know what memories it might dig up.

Centaur of Attention

The Great Pedal Hype Train of 2024

Everyone’s been going Klon crazy the last few months, haven’t they?

It all kicked off just before Christmas, when Behringer announced their rather cheeky take on the legendary Klon Centaur. The pedal community was caught off guard—not just by the surprise drop of this vintage-inspired reissue, but by Behringer’s brazen use of the Centaur name and even the little horse-man graphic. Naturally, a hotly anticipated and affordable pedal like this had to make its way onto the channel.

And with that, the hype train left the station.

A Scarcity-Fuelled Frenzy

Behringer’s distribution wasn’t exactly stellar worldwide. Stock was limited in many countries, and delays only added fuel to the fire. Scarcity kept the buzz going well into the new year—long after the initial release.

Then, just as things were starting to cool down... Bill happened.

That’s Bill Finnegan—the man behind the original Klon circuit. He reportedly began legal proceedings against Behringer for copyright infringement, citing their use of the Centaur name and artwork. Whether it was a principled stand or just a frustrated move to protect his legacy, it had an unexpected side effect:

People started talking about the Behringer pedal all over again.

The Aftermath

If there’s one thing guitar players love more than a great-sounding pedal, it’s a hard-to-get one. It’s the same reason the original Klon Centaur now fetches over £5,000 on the used market. That elusive status gives gear a mythic glow.

In Behringer’s case, the legal action forced them to change both the name and the artwork. Suddenly, those early ‘pre-lawsuit’ models became collector’s items. Listings started popping up on eBay for five times the original price—overnight.

So, did Bill’s plan backfire? Maybe. But Behringer did stop using the IP, so I guess he got what he wanted in the end.

But... Is the Pedal Any Good?

Honestly? Yeah, it’s a decent take on the Klon circuit.

To my ears, it leans a bit more mid-heavy than the original (which, yes, I once played through headphones at FX Expo—of course I remember what it sounded like). But overall, it’s a nice-sounding overdrive. Not the holy grail, but definitely solid for the price.

My advice? Please don’t pay through the nose for one of those ‘pre-lawsuit’ models. Just grab the Centara—it’s exactly the same circuit, minus the myth.