Sonicake Smart Box – From Proof of Concept to Proper Gigging Tool

The Sonicake Pocket Master was one of those pedals (well, FX unit maybe?) in 2025. The kind that quietly landed, didn’t look like much, but then completely changed the guitar landscape. It was one of the first genuinely affordable ways for everyday players to dip their toes into Neural Amp Modelling on the go, and once people realised what it could do, it absolutely took off. Small, unassuming, and way more capable than it had any right to be.

The Smart Box is very much the next step in that journey. If the Pocket Master proved the concept, the Smart Box feels like Sonicake taking that idea seriously and asking, “Right… how do we actually make this usable outside the bedroom?”

The most obvious upgrade hits you straight away: footswitches. Two of them, no less. This might sound like a small thing, but it absolutely isn’t. The Pocket Master relied on those little rubber buttons, which were fine for desk use but always felt like it prohibited live use. The Smart Box fixes that in one move. Suddenly, this feels like something you could actually put on the floor without fear.

It’s hard not to draw comparisons with the Valeton GP-50 here. Both companies seem to be circling the same idea at the same time: take a compact NAM-capable unit and make it genuinely stage-friendly. With proper footswitches, LED rings, tap tempo, and control switching, the Smart Box immediately feels more confident in that role. You can still pair it with something like the M-Vave Chocolate Plus if you want to go even further, but you don’t have to anymore.

The front panel layout is another big win. Instead of burying everything in menus, Sonicake have added dedicated buttons for each block in the signal chain — amp, cab, delay, reverb, EQ, and so on. Editing patches directly on the unit is now much quicker and far more intuitive. The Pocket Master wasn’t hard to use, but this feels friendlier again, especially for players who don’t want to spend half an hour scrolling through menus. Even the most technophobic guitarist should be able to build a usable patch without getting nervous.

Internally, there are some meaningful upgrades too. The effects list has grown a lot. Where the Pocket Master gave you one or two flavours of each modulation, the Smart Box gives you proper choice — including some more adventurous options. There’s a clear nod here towards ambient and shoegaze players, with textures and effects that go well beyond the usual budget multi-FX safe zone. It really feels like Sonicake are pushing the boundaries of what “affordable” gear is supposed to sound like.

Now, we do need to talk about the NAM situation, because this is still the elephant in the room. Like most compact NAM players at the moment, once you engage NAM profiling, the internal cab sim is bypassed. That means you’re either using full rig NAM profiles (amp and cab together) or running an external cab solution. The Smart Box sticks with this limitation, which is a little disappointing — simultaneous amp and cab modelling would’ve been a genuine leap forward.

That said, it’s not a dealbreaker. There are loads of excellent full rig NAM profiles available for free on Tone3000, and realistically, most users are going to find plenty of sounds that work for them without much hassle. It’s just one of those “we’re not quite there yet” moments for NAM tech at this price point.

Feature-wise, the Smart Box is absolutely stacked. You’ve got over 130 effects, up to nine blocks running at once, 100 presets, drum rhythms, a looper, tuner, metronome, stereo outputs, USB audio interface with re-amping, OTG support for phones, wired and wireless MIDI, expression pedal input, headphones out… and it’ll even run on its internal battery for a few hours if you need it to. It’s one of those pedals where you keep discovering another feature you didn’t realise was there.

Crucially, it still comes in under £100. That’s the headline for me. Yes, it’s not the bold technological leap some of us were hoping for, but it is a clear step towards being a proper gigging unit. More usable, more intuitive, more flexible — and still very affordable.

If Sonicake keep refining this platform, especially on the NAM side of things, this could end up being something really special. As it stands, the Smart Box feels like a confident evolution rather than a flashy reinvention — and honestly, that’s probably exactly what most players actually need.

The Matribox II Pro just got a Serious upgrade...

 Sonicake Matribox II Pro Update – Now with NAM Profiling

The latest update to the Sonicake Matribox II Pro has quietly turned an already capable unit into something much more powerful. The big news is that it can now load .nam profiles, which puts it into the same conversation as some very high-end amp modelling units.

For those not familiar, nam profiling is similar in concept to Kemper modelling. You can capture a “snapshot” of an amp and turn it into a digital file. That snapshot can be just the preamp, the preamp and power amp together, or even a full rig including cab. Better still, you can profile an amp with your favourite drive pedal in front of it, meaning you can bake in that pushed high-gain sound as a single file. Once loaded into the Matribox II Pro, you can still adjust the amp’s EQ, gain, and volume, and—most importantly—it reacts dynamically to your playing. Just like with a real amp, rolling back your guitar’s volume or changing your pick attack gives you different tonal responses.

Nam profiling is still relatively young compared to Kemper or Neural DSP’s Quad Cortex, but it’s evolving fast. The community around it is growing, meaning more and more free profiles are available every week, and the tech itself is constantly being refined by a few dedicated developers. That makes this update a very exciting development for the Matribox II Pro, especially for players who want to get in on the ground floor of something new.

Why Now?

The timing of this update is interesting. Sonicake recently released the Pocket Master, a portable multi-FX unit in a mini format, and one of the first compact devices to offer nam profiling. Not long after, Valeton launched the GP-5, another portable modeller with similar functionality. In response, Sonicake pushed an update to the Matribox II to include a nam loader. What they didn’t make especially clear was that the update also applies to the Matribox II Pro—and that’s where things get very exciting.

The Matribox II Pro Was Already Strong

Even before this update, the Matribox II Pro was punching above its weight. One of its best features is the fully customisable signal chain. With many budget multi-FX units (including earlier versions of the Matribox), you’re stuck with a semi-fixed path: an amp block is always an amp, the EQ is always an EQ, and so on. You might get a handful of free-floating effects you can position pre or post amp, but flexibility is limited.

Higher-end units, like the Line 6 Helix, give you the freedom to build your signal chain however you want. You can load blocks in any order, experiment with strange placements, and really shape your sound. The Matribox II Pro gives you that same kind of flexibility. The only real limitation is DSP power, and that’s a fair trade for the price point.

For example, in the sound demos I put together, I used a cleaner Fender-style nam profile paired with one of the built-in drive pedals, a spring reverb up front, and then finished the chain with a studio compressor and subtle room reverb. That last touch adds a polish that feels like a “recorded” guitar tone, and it’s a trick I picked up from Mr Lamby over on YouTube. The end result was dynamic, characterful, and surprisingly refined.

Final Thoughts

The Matribox II Pro was already a hit here at Budget Pedal Chap. It offered flexibility, solid tones, and features you’d normally expect from pricier units. With the addition of nam profiling, Sonicake have taken things to another level.

This wasn’t an update anyone was clamouring for, but now that it’s here, it feels like an upgrade we didn’t even know we needed. Whether you’re already a Matribox II Pro owner or just looking for a budget-friendly way into the world of amp profiling, this update makes the unit far more appealing.

It’s another sign that Sonicake aren’t just keeping pace with the competition—they’re quietly raising the bar in the budget multi-FX world.

A budget 1176 can't be that good, surely?

 Sonicake Source Compressor Review – Studio Sheen at a Budget Price

Compression is one of those effects that divides guitarists. Some players swear by it, others avoid it completely, and many don’t fully understand what it does. When you think of guitar compression, chances are your mind goes to the MXR DynaComp or something similar: a pedal that gives you that iconic squishy, “pop and snap” tone. It’s a sound that has found a home in genres like country, funk, and pop, and while it has its place, it can feel limiting if that’s your only experience of compression.

But compression can be so much more. At its best, it’s not just a special effect—it’s a studio tool that enhances your playing without getting in the way. A good compressor should give you sustain, consistency, and polish. It should make you sound like the best version of yourself, even when you’re just plugged straight into a clean amp.

That’s where the Sonicake Source Compressor comes in. Inspired by the legendary 1176 studio compressor, this little pedal aims to deliver the same kind of studio sheen in a compact, affordable stompbox. And it might just change the way you think about compression.

Not Just Another Squishy Comp

The 1176 is one of the most famous studio compressors of all time. Unlike guitar-focused comps that give you a very obvious “squash,” the 1176 was designed to be transparent, musical, and versatile. It can be pushed into dramatic territory, but most of the time it works behind the scenes—lifting the quieter notes, taming the louder peaks, and giving everything a consistent, professional sheen.

That’s the design philosophy behind the Source Compressor. Yes, you can dial in a squishy, funky snap if you want, but more importantly, you can get that “always-on” sparkle that enhances your tone without shouting about it. For me, that’s the real magic of compression. The best compressors are the ones you forget you’re using—until you switch them off and suddenly feel like your tone has lost something.

A Clever LED

One of the neatest features on the Source Compressor is easy to overlook at first: the LED indicator. Normally, this just tells you if a pedal is on or off. But here, it also changes colour depending on whether the compressor is actively working.

When the LED turns from green to red, you can see the exact moments when the compressor is clamping down on your signal. For compression, that’s incredibly useful. Why? Because the golden rule of compression is that if you can obviously hear it working, you’re probably using too much. A good comp should be felt more than heard, and having that visual feedback helps you set the controls without overdoing it.

It’s a simple addition, but one that makes this pedal stand out.

Controls – Simple but Powerful

The Source Compressor has three controls you need to pay attention to; they’re cleverly chosen and give you more flexibility than you might expect.

In – This is essentially your input control. Push it higher and you’re hitting the compressor harder, which results in a more obvious squish and sustain. Pull it back and you get a subtler, more transparent effect. This is the control that determines whether you’re in “DynaComp country snap” mode or “1176 studio sheen” mode.

Dry and Out – Dry blends in your clean, uncompressed guitar signal - Out blends in the compressed signal. Parallel compression is a studio trick that mixes the original with the processed tone, and having this on a pedal is fantastic. It means you can keep all the attack and character of your natural playing while still benefitting from the sustain and polish of compression.

Between these three knobs, you can dial in anything from a very transparent, invisible polish to a more aggressive, characterful squash. It also has the expected attack, release and ratio controls you'd expect if you've ever used a comp in your DAW or in a studio. Between these controls, there isn't many  comp sounds you can't get.

The Feel of Compression

Describing compression is always tricky because, unlike delay or distortion, it’s not an effect you necessarily want to hear. It’s about feel.

When set right, the Source Compressor makes your guitar feel more controlled, more confident. Notes sustain for longer. The volume between your hardest strums and your softest touches feels more consistent. Chords sound fuller, single notes sound more expressive, and everything just feels glued together.

This subtlety is the exact reason why I really hate demoing compressors on the channel. I absolutely love them to play, but unlike a distortion pedal where you can clearly hear a difference, a comp is a much more subtle beast. Add to that the compression and tonal discrepancies you get by uploading to YouTube itself, it can be very difficult to get across the virtues of a good compressor in a tone only demo. This is my cross to bare, however. I love my job here at BPC, so having to make a convincing compressor demo every once in a while is a small price to pay. 

Spend Some Time With It

This isn’t the kind of pedal you can just plug in, twist a knob, and immediately get everything it has to offer. The Source Compressor rewards time spent tweaking and listening. Because compression is so dependent on your guitar, your playing style, and your amp setup, you’ll need to find the sweet spots that work for you.

But once you do, you’ll realise just how versatile it is. Want subtle sustain for clean picking? It can do that. Want a classic country snap? No problem. Want to push your solos forward without changing your tone? Easy.

It’s the kind of pedal that grows with you, and once you’ve learned how to get the most from it, you’ll wonder why you didn’t use one sooner.

Is It for Everyone?

If you’ve never used compression before, the Source Compressor might surprise you. It won’t wow you with dramatic tones the way a fuzz or delay might. Instead, it will quietly improve everything you play. For beginners, that can be hard to appreciate at first.

For more experienced players, especially those who want that polished, studio-like feel, this pedal makes a lot of sense. It’s also small, affordable, and solidly built, making it easy to add to any pedalboard. 

I was watching an interview with the king of livestreams, The Lamb, and he put it in a fantastic way. I'll paraphrase him here for the lack of having the actual wording he used, but what he said essentially was that the guitar tones we all know and love were never direct. They were flavoured with the microphone used to mic the cab, the room they were recorded in, the console that it was all running into and almost certainly a bunch of studio compression used on individual tracks AND the master tracks too. 

We are striving to attain those iconic guitar tones we have heard on records throughout the years, so doesn't it make sense that we should pepper in a bit of studio style compression every now and then too?

If you’re into subtlety and refinement, you’ll love it. If you’re only into wild, obvious effects, it might feel underwhelming. But remember: compression is one of those “secret weapon” effects. Once you get used to playing with it, it’s hard to go back.

When you think about it...

The Sonicake Source Compressor isn’t about flashy tones or gimmicks. It’s about delivering a studio-grade feel in a simple, affordable pedal. With its clever LED, flexible controls, and inspiration from the legendary 1176, it offers far more than most budget compressors.

It’s not an instant-gratification pedal—you’ll need to spend time with it to really unlock its potential. But once you do, you’ll have a versatile, always-on tool that makes you sound more polished, more consistent, and more confident as a player.

If you’re curious about compression or looking for an upgrade from the more one-dimensional options out there, the Source Compressor is a fantastic place to start. It’s proof that even budget pedals can deliver professional-level results when they’re designed with care.

If you'd like one of your own and you'd like to support what we do here, consider using this affiliate link (use code: budgetpedalchap for money off too)
https://www.sonicake.com/products/source-comp?sca_ref=1425095.S0avGvl0i2

Too good to be true? Sonicake Levitate

 Sonicake Levitate Review – Budget Ambience Done Right

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

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

Breaking Down the Levitate

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

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

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

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

Does it Rival the High-End Options?

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

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

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

Practical Features and Extras

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

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

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

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

Why the Levitate is a Budget Classic

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

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

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

Jerry Springer moment...

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

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

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

If you'd like one of your own and you'd like to throw a bit of support to the channel too, consider using this link (use code:BudgetPedalChap for a saving too!):
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Time to Dime it?

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

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

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

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

EQ – Simpler but Still Powerful

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

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

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

Gain Range – From Blues Crunch to ’80s Firepower

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

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

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

Build Quality and Details

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

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

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

Tone Thoughts – and an Open Question

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

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

Who is the Cowboy For?

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

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

Final Thoughts

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

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

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

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

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

https://www.sonicake.com/products/cowboy?sca_ref=1425095.S0avGvl0i2

What's better than a Fuzz pedal? Three

 Sonicake Fazy Sandwich – Three Fuzzes in One Tiny Box

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

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

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

V Mode – Vintage Bite

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

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

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

M Mode – Modern Muscle

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

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

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

JF Mode – Frusciante (and Doom?)

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

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

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

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

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

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

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

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

Where It Fits in Your Rig

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

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

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

Jerry Springer Moment for our Final Thoughts...

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

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

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

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

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

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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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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Matribox affiliate link

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