NuX Trident - First Look!

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

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

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

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

A Proper Feature List

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

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

A Tighter Selection of Amps and FX

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

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

Attention to Detail – Amp Modelling

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

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

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

FX – Quality Over Quantity

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

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

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

Footswitching – Definitely Gig-Ready

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

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

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

The Drawbacks – Because No Pedal is Perfect

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

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

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

Who is the Trident For?

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

It’s also a solid option for:

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

wrap up

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

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

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

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

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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.