Today we’re taking a nostalgic step back with the Behringer TO100 Tube Overdrive, a pedal that, for better or worse, was the gateway drug into the world of effects for me at very least.
My own first foray into pedals came courtesy of Behringer’s gloriously affordable plastic boxes. I was in a band at the time, and the other guitarist had a Boss BCB-60 absolutely chock full of Boss pedals. Naturally, I wanted to follow suit. The only problem was that he was deep into his apprenticeship years and pulling in actual money, while I was a skint student. A board full of Boss pedals was pure fantasy, but scraping together enough cash for a few £15 plastic alternatives? That I could manage.
One of the very first pedals in that budget collection was the Tube Overdrive. And I’ll be honest — when I first plugged it in, I wasn’t impressed. My teenage idea of good tone was simple: more gain, everything on maximum. How could less possibly be more? More is more (Yngwie, is that you?). Even with the gain dimed, the Tube Overdrive just wasn’t enough for my under-developed ears. I was, of course, completely wrong.
Fast forward a good few years, and it’s worth revisiting this pedal with a much more experienced — and slightly more sensible — set of ears.
The general consensus is that the TO100 is heavily “inspired” by the Ibanez TS9, and it behaves exactly as you’d expect from a Tube Screamer-style circuit. It’s a single-coil player’s best friend, filling out that naturally scooped midrange and adding a lovely sense of weight and chonk to the tone. It also excels at the classic Screamer job of pushing an already driven amp, tightening up the low end and adding a bit of grit and growl to a cooking sound.
Of course, the big complaint that oh so many had was about the plastic enclosure. To keep costs as low as possible, Behringer opted for plastic rather than metal, and at the time the internet was full of horror stories about switches collapsing under a heavy foot mid-gig.
Here’s my real-world experience: I’ve had this pedal since I was about 19, and this exact unit endured roughly two years of weekly gigs and numerous rehearsals. On top of that, it’s spent the last decade being stored… let’s say not carefully. And yet, it still works absolutely fine. No drama, no failures, no sudden structural collapse under a Chuck Taylor. Blokes on the internet not knowing what they're talking about? Funny that...
I will concede that the pots feel a bit cheap, and if anything were to give up the ghost, I’d expect it to be one of those. But functionally? It’s as solid today as the day I bought it — or more accurately, the day it was bought for me. And for the £15 it cost at the time, it doesn’t owe me a single thing.
The Behringer TO100 might not be glamorous, and it might not win any awards for build materials, but as a no-nonsense Tube Screamer-style overdrive, it absolutely does the job. Looking back, I wasn’t unimpressed because it was bad — I was unimpressed because I was bad. It's ok, my ears got better.
Today, we continue with the next instalment in the long-running series titled “Behringer’s lawyers are certainly earning their keep.”
This time, we’re looking at the Behringer Dual Phase — formerly known as the Bi-Phase — a pedal that is very clearly, ahem, “heavily inspired” by the legendary Mu-Tron Bi-Phase. And when I say inspired, I mean lovingly, meticulously, and with an eye on exactly how far one can push things before legal letters start arriving.
Behringer are more than happy to tell you that this pedal contains 12 opto-couplers, which I’m assured is very important if you want to recreate the wild, swirling madness of the original. Somewhere along the line, however, someone in a suit must have cleared their throat, because the name quietly shifted from Bi-Phase to Dual Phase. Much like the saga with the mythical horse-themed overdrive that eventually became the Zentara, Behringer have a habit of colouring just inside the lines… until someone reminds them where the lines actually are.
Now, onto the pedal itself.
You do not accidentally buy a Dual Phase.
First of all, it is absolutely enormous. It is, without exaggeration, about the size of a fully grown human face. I even took a photo of it next to my own head, and it pretty much eclipsed the lot. Choosing this pedal means committing a serious amount of pedalboard real estate. This is not a casual “I’ll just pop a phaser on the end” kind of decision.
Then there’s the power draw. Those opto-couplers don’t come cheap — electrically speaking. This thing demands a whopping 700mA. Not asks. Demands! So not only does it take up half your board, it also insists on the finest quality current you can provide. You’re not choosing this pedal by mistake. This is a deliberate, intentional life choice.
If you’ve got the relevant cajones (or cajonas — I am definitely inclusive 😂) to make this your modulation of choice, there is an absurd amount going on under the hood. With more knobs and switches than a small aircraft cockpit, this is a long way from your set-and-forget Phase 90.
The left side handles what you might consider the “business end” of the operation. You’ve got rate, depth, and feedback — everything you need to sculpt your phaser from a gentle, shimmery swirl to a thick, chewy warble. The feedback control lets you tiptoe right into those glorious 1950s B-movie sci-fi laser sounds too, which is always a bonus. You can also switch between sine and square waveforms, adding either smooth movement or a more abrupt, choppy modulation feel.
The right side, however… this is where things go completely off the rails.
Alongside similar controls, you get access to Sweep Generator 2, which fundamentally changes the voicing of the phaser. Sweep Generator 1 is the “normal” phaser — lush, musical, and familiar. Sweep Generator 2 is its unhinged cousin. It leans hard into weirdness, chaos, and full-on sci-fi nonsense. If the left side is business, the right side is very much the party. It takes the logic of the humble mullet.
And of course, being called the Dual Phase, you’re not expected to keep these two worlds separate. Engaging both sides at once is not only possible — it’s actively encouraged. This is where the pedal truly earns its place, unlocking sounds you probably didn’t even know you wanted, and finally justifying why you’ve dedicated half your board and most of your power supply to a single modulation effect.
Is it practical?
Absolutely not.
Is it for everyone?
Definitely not.
Is it huge fun?
Without question — and with an emphasis on huge.
It’s also still far cheaper (and likely far more reliable) than hunting down an original Mu-Tron on the used market. If you’ve ever wanted to dive headfirst into the deep end of phaser madness, the Behringer Dual Phase might just be the most gloriously excessive way to do it.
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.
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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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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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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.
