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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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.