The Affordaboard 800 is the latest in a long line of pedals aiming to capture the magic of one of the most iconic amps ever made. If there’s a single circuit that has inspired the most “amp-in-a-box” efforts over the years, the JCM800 has to be right up there. I’m not going to pretend I’ve done the hard maths, but it certainly feels like every second drive pedal released in the last two decades has tried to bottle that unmistakable roar. And for good reason — the JCM800 defined an era. It became the sound of hard rock and cemented Marshall’s reputation as the go-to brand for big, authoritative tone.
Now, let’s not talk about some of Marshall’s more questionable modern decisions… that’s a discussion for another day.
The issue with many older “Marshall-in-a-box” pedals is how one-dimensional they can be. They often fixate on the high-gain side of the amp, giving you that saturated, mid-pushed crunch but not much else. The less refined ones also tend to rely heavily on compression and sheer saturation, which can sound fun in isolation but leaves you buried in a live mix.
The Affordaboard 800 takes a different, far more refined approach. Rather than jumping straight to the high-gain party, the focus here is on the pushed clean tones and low-gain growl that made early Marshall tones so expressive.
Across the gain sweep, the dynamics stay impressively intact. At lower settings you get that classic jangly, slightly gritty Marshall push that responds beautifully to pick attack. Increase the gain and it transitions into a muscular crunch — proper classic rock territory. Max it out and you’re right into hot-rodded NWOBHM tones, with shades of Maiden and Priest baked right in. It’s the sort of gain that feels big but never messy.
The tone control is dialled in exceptionally well. Lower settings give you a satisfyingly thick low-end that supports the gain without becoming flabby, while higher settings introduce a crisp top-end that cuts without ever getting shrill. That balance is harder to nail than people think, and Affordaboard have absolutely found the sweet spot.
At around £80, the 800 is extremely easy on the wallet — especially considering it’s handmade in the UK. The enclosures are printed in the UK too, meaning the pedal supports two small British businesses in one go. For a boutique-leaning, hand-built pedal, that’s a seriously impressive price point.
Affordaboard launched with the Supersonic and the Filthy Rat, and both of those came out swinging. The 800 keeps that momentum going, and based on the trajectory so far, it doesn’t look like the brand plans on slowing down any time soon. They’re very much one to watch.
Tone City Model M V1 – Rediscovering a Forgotten Gem
Around five or so years ago, the Tone City Golden Plexi was making waves. It started popping up on budget boards everywhere, gaining a reputation as the “must-have” mini pedal of the moment. Naturally, I had to try one. To be honest, though, I walked away a little underwhelmed. It wasn’t bad, but the gain knob seemed to start off too dirty and just got dirtier from there, without much room for subtlety. Add in a touch of background noise, and the whole thing just didn’t click for me. It found its way onto the “to sell” pile pretty quickly.
Fast-forward a few years, and I spotted that Tone City had updated the formula with the Model M. This new version promised dual gain controls and even included a built-in boost. That sounded like exactly what the Golden Plexi had been missing, so I snapped one up on the used market at a decent price. When it arrived, I plugged it in for a quick test drive… and felt the same shrug I’d experienced with the Golden Plexi. So, into the cupboard it went, gathering dust among the forgotten toys.
Then came a late “spring clean” in September. I unearthed the Model M, plugged it back in, and — well — I must have been having a bad day the first time, because this time the pedal absolutely sang. What came out of my amp was the gritty, dynamic, amp-like drive tone I’d been chasing all those years ago. There was this beautiful fuzzy edge, a responsiveness to my playing, and suddenly it clicked. I was wrong about this pedal, plain and simple.
The Gain Section – Crunch vs High Gain
One of the most interesting features of the Model M is the dual gain setup. Instead of one generic gain control, you get two: Crunch and High Gain. A little toggle switch decides which mode you’re in, and the corresponding knob becomes active.
In Crunch mode, you can roll the gain almost all the way back, giving you that slightly pushed-clean tone with just a hint of grit. Dial it up, and you’ll find classic British-style crunch that works beautifully for blues, classic rock, and anything that needs an “amp just starting to sweat” vibe.
Flick over to High Gain mode, and things get rowdy. This setting picks up roughly where Crunch leaves off, delivering a more saturated, aggressive tone. It’s not modern metal levels of gain, but it’s got that modded JCM800-at-full-tilt energy. Think classic hard rock, early heavy metal, and fat, roaring leads.
If there’s a small downside, it’s that the mode switch is a toggle rather than a footswitch. You can’t switch between Crunch and High Gain mid-song without bending down. That said, the pedal has a trick up its sleeve that makes up for it.
The Built-In Boost
The second footswitch on the Model M engages the Boost mode. This is a simple one-knob affair that always runs before the drive section. It’s not designed to give you an independent clean boost or EQ tweak; its job is singular — push the amp circuit harder.
The boost itself is pretty transparent, but as you turn it up, it slams into the drive section with more intensity, essentially giving you a “second channel.” It’s like going from crunchy rhythm to searing lead at the tap of a switch. For all intents and purposes, the pedal becomes a two-channel Plexi-in-a-box.
Would it be more versatile if you could choose to run the boost after the drive, adding volume instead of gain? Probably. But honestly, that’s not the spirit of this pedal. The Model M is all about unapologetically British, amp-style drive, and the boost being pre-gain plays into that beautifully. It’s Nigel Tufnel territory — when you need that extra push over the cliff, the boost takes you straight to eleven.
Tone and Noise
If there’s one part of the pedal that doesn’t quite keep up, it’s the tone control. At the lowest setting, things can get a bit woolly before it starts to clear up. From there, though, it does a solid job, never getting too piercing at the top end and keeping things smooth.
The other slight nit-pick is noise. Push the gain hard, and you’ll notice a bit of background hiss — which, to be fair, is par for the course with mid-heavy British-voiced drives. According to Tone City’s website, the Model M V2 addresses some of these issues, which makes me think this V1 review might just be the first chapter in a two-part story.
A story of redemption
The Tone City Model M V1 is a great example of a pedal that deserves a second chance. On first impression, it might not blow you away, but give it time and it can reveal itself as a dynamic, amp-like drive with real character. Between the dual gain modes and the built-in boost, it offers plenty of flexibility for players looking for that classic British roar without the volume of a half-stack.
Sure, it’s not perfect — the toggle switch instead of a footswitch limits on-the-fly versatility, and the tone knob could be a little more refined. But overall, this is a pedal that captures the magic of cranked British amps in a compact, affordable format.
If the V1 was this good once I gave it another shot, I can only imagine how much further Tone City took it with the V2. Maybe that’s a story for another day.
The V1 doesn't exist anymore, but the V2 is available and for sale here (affiliate link): https://thmn.to/thoprod/540179?offid=1&affid=2735
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.
If you'd like one of your own and to show support at the same time, consider using the affiliate link:
https://thmn.to/thoprod/570179?offid=1&affid=2735
Saturday, August 16, 2025
Valeton GP-5 Review – The Mini Multi-FX That Punches Above Its Weight
Every now and then, a pedal comes along that makes you stop and think: how on earth are they doing this at that price? The Valeton GP-5 is one of those pedals. On the surface, it looks like another compact multi-FX box, but spend even a few minutes with it and you quickly realise it’s far more capable than you’d expect. With amp sims, drives, delay, reverb, compressor, EQ, tuner, and even support for Neural Amp Modeler (.nam) files, this little pedal is feature-packed to the brim.
And here’s the kicker: it costs about the same as a Boss DS-1. Yes, you read that right. A full amp and FX rig in a box, for the price of a single distortion pedal.
First Impressions – So Much Packed Inside
The GP-5 isn’t some half-baked toy. It’s a serious piece of kit that covers almost everything you’d need in a *gigging or practice setup. Multiple amp sims, drive pedals, time-based effects, modulation, EQ, compressor, and even a tuner are all packed inside.
What really impressed me is how the amp sims aren't one-dimensional (we all remember the 'amp-sims of 20 years ago). They respond to the guitar’s volume control, cleaning up when you roll back, and they react to dynamics in your playing. That sort of responsiveness is usually reserved for far pricier gear — the kind you’d expect from a Helix or a Quad Cortex, not something that costs a fraction of the price.
Now, are they at that level of refinement? Of course not. The GP-5 isn’t going to replace a £1500 modelling rig. But in its price bracket, it’s astonishingly good.
*there is a caveat with this, I'll cover later on
Neural Amp Modeler Support
One of the most exciting features is its support for .nam files — Neural Amp Modeler captures. If you’re not familiar, NAM is basically an open-source version of the “amp profiling” technology you see in things like the Kemper, Quad Cortex and even Tonex. It’s still in its infancy, but the fact that the GP-5 can already load these files is a huge deal.
As NAM technology continues to improve, this little pedal could give you access to incredibly detailed and accurate amp tones at basically no extra cost. That future-proofing puts the GP-5 in a very interesting position, and makes it a lot more than just a cheap multi-FX box.
Footswitch Flexibility
The GP-5 only has one footswitch, but don’t let that fool you — it’s surprisingly versatile. It can be set up to bank through presets, which is handy enough, but you can also use it in “stomp mode” to switch individual effects within a patch.
That means you can treat it a bit like an amp with multiple channels: have a clean patch with a boost for solos, or a crunchy rhythm patch where you can kick in extra gain for leads. Alternatively, you can set the footswitch to access tuner mode, so you save an extra spot on your pedalboard and get your versatility from external pedals instead.
It massively increases the usefulness of the unit and means you don’t feel nearly as limited as you’d expect with a one-switch design. Valeton have really considered the user experience and it shows with the versatility of the switching options.
Editing and App Control
Let’s be honest: editing sounds on tiny multi-FX units can be a nightmare. Menu diving, endless button pressing, cryptic abbreviations — no thanks.
Thankfully, Valeton went the smart route here. The GP-5 can be edited with an app, and it’s wonderfully intuitive. The learning curve is basically non-existent. The amp models don’t use official brand names (for obvious legal reasons), but they’re easy enough to decode, and you’ll quickly find what you’re looking for.
The only downside? There’s no editing without the app. If your phone battery dies at a gig, you’re stuck with whatever presets you’ve already got. That’s not a dealbreaker for practice or home use, but for live players it’s definitely something to keep in mind. There’s also the bigger concern of longevity: if Valeton ever pull the app from stores, the GP-5’s flexibility would take a big hit.
Tone Quality – The Good and the Not-So-Good
The amp models are, quite frankly, far better than they have any right to be at this price. Clean and edge-of-breakup tones in particular are very usable, in some cases getting quite amp-like. Mid-gain options are solid too, though like with any modeller at this level, you sometimes need to EQ carefully to keep them sitting right in a mix or getting them to sound less 'boxy' in certain cases.
High-gain is where things wobble a little. Some of the heavier amp sims feel a bit less refined, and they can sound harsh compared to the cleans and crunch tones. Still usable, but it’s clear not every amp model received the same amount of polish in development.
The drive pedals are unfortunately the weakest link. They’re functional, but they don’t have the same character or refinement as the amps. My advice for this would be: get as much of the tone you can out of the amps themselves, use the drive pedals only as a last resort.
Time-based effects like delay and reverb are solid, though. Nothing earth-shattering, but definitely good enough for live or practice use. Think of the reverbs especially, there are lots of 'safe' options, but not many wild and outlandish verbs on hand. For those wanting to experience lush soundscapes, this one might not be the best option if you are using it alone.
Latency – The Digital Elephant in the Room
Like all digital pedals, the GP-5 has some latency. For me, it wasn’t something I could really 'feel' while playing, but some players have noted it’s a touch higher than more expensive modellers. That’s to be expected at this price, but it’s worth pointing out if you’re particularly sensitive to latency.
The Price Point – Game-Changing
Here’s where things get silly: the GP-5 costs about the same as a mid-tier drive pedal. Ten years ago, even the most basic entry-level multi-FX units would have set you back at least £200 or more and it wouldn't necessarily be something you could consider gigging. The fact that this level of functionality is now available at “pocket money” prices is frankly mind-blowing.
Valeton have set a new bar here. Other manufacturers need to take note, because the budget end of the market is starting to nip at the heels of the big players. If the likes of Valeton and Sonicake can offer something with such functionality at this price point, you damn well better be offering something better if you're going to charge more.
Use Cases – Where the GP-5 Shines
So, who is this pedal really for?
Beginners – Perfect for players who want to experiment with different amp types and effects without buying loads of individual gear. It’s an affordable way to learn what tones you like.
Practice – Maybe its strongest role. With headphones and one power cable, you’re up and running instantly. No faffing with amps, pedalboards, or cables. Removing that friction makes it much easier to actually sit down and practice.
Gig Backup – A lifesaver if disaster strikes. Keep one in your gig bag and if your amp blows up mid-set, you’ve got a whole rig ready to plug straight into the PA. *
Travelling musicians – Light, compact, and versatile. Perfect for throwing in a backpack and having a full rig wherever you go.
*You could use it as your gigging amp-sim, but it would be incredibly limited and there are some more viable options in the rough ballpark price-wise
At the end of the day...
The Valeton GP-5 is not trying to be a Helix, a Kemper, or a Quad Cortex. If you judge it against those, of course you’ll find shortcomings. But that misses the point.
What it is, is a shockingly capable, feature-rich multi-FX and amp modeller that costs about the same as a single Boss pedal. It offers a taste of high-end modelling features like NAM support, it makes practice ridiculously easy, and it’s good enough to use as a backup gigging solution.
Yes, the drives are weak, yes, editing requires an app, and yes, some amp models shine brighter than others. But taken as a whole, this is one of the most impressive budget pedals I’ve come across in a long time.
It’s affordable, flexible, and genuinely fun to play. For beginners, it’s a no-brainer. For more experienced players, it’s a useful tool to have around. And for the pedal industry at large? It’s a reminder that the budget end of the market is raising the bar — fast. I bet you're probably asking how it compares to the Sonicake Pocket Master though huh? Well, that is a topic for another time...
If you'd like one of your own and you'd like to show support, consider using the affiliate link:
For a lot of guitarists, the dream tone comes from mythical amps: blackface Fenders, fire-breathing Marshalls, or the jangly chime of a classic Vox AC30. But dreams can be expensive — and unless you’ve got deep pockets (and a very understanding partner), chasing those iconic sounds can feel out of reach. That’s where pedals like the Joyo AC Tone step in — not just as affordable alternatives, but as legitimately useful, great-sounding tools in their own right. Whether you’re recording at home, gigging with minimal gear, or just craving some British-flavoured crunch without breaking the bank, this little brown box might just be your new best friend.
From Boutique to Budget – Joyo’s Amp Sim Lineage
The Joyo amp sim pedals are pretty openly inspired by the Tech 21 Character Series, which made waves with their clever analog emulations of classic amp circuits. But where Tech 21 catered more to the boutique crowd, Joyo aimed squarely at the budget-conscious guitarist — and they nailed it.
Each pedal in the series is voiced after a famous amp: the American Sound for Fender-style sparkle and breakup, the British Sound for Marshall-style roar, and the AC Tone for that distinct Vox character. There are others too (California Sound, Extreme Metal, etc.), but in my humble and highly subjective opinion, the big three are British, American, and, of course, the star of today’s show: the AC Tone.
My good pal (and co-host of the Fret Talk Podcast) Matt plays in two bands. In one of them, the lead singer handles some rhythm guitar duties. One evening, Matt — completely unaware of what gear was in use — complimented the singer on his incredible tone. The answer? A £30 Joyo American Sound straight into the PA. That moment said it all. These pedals can seriously hold their own, and if you set them right, they’ll fly completely under the radar — not in a “meh, you don’t notice it” way, but in a “wait, that sounds good” way. The AC Tone, in particular, hits that sweet spot between versatility, affordability, and personality.
What Makes the AC Tone Special?
While the American Sound brings Fender cleans and the British Sound offers Marshall grit, the AC Tone manages to blend elements of both — a dynamic range of tones from bright and jangly to crunchy and bold. Yes, it’s intended to be a “Vox in a box.” Does it absolutely nail the AC30 down to every harmonic nuance? No — and expecting it to would be missing the point. But what it does do is give you a very useful palette of tones, all with a strong British character, and at a price that barely dents your wallet.
All the Joyo amp sims have a “Voice” knob — and this is where the magic happens. On the AC Tone, it feels like you're gliding between two pre-set Vox characters: at one end, tight, clean, and sparkly, like a well-behaved AC15 with single-coils. At the other, bassy, driven, and brash, like a cranked AC30 pushed with humbuckers and greenbacks. As a player, it genuinely feels like you're blending between two amps. Is that what the circuit is actually doing? No idea. If someone gave me the schematic, I’d smile politely and still not understand a thing. But feel-wise, it gives me the feel that it's what's happening — and that’s what matters.
On paper, the AC Tone is a full-featured DI solution, complete with built-in cab simulation. In practice? Well… let’s just say the cab sim isn’t exactly Abbey Road-quality. That said, there are a couple of easy workarounds. One is to run it into a better IR-based cab sim, like the Sonicake Sonic IR — a great budget pairing. Another is to ignore the built-in cab sim altogether and treat the pedal like a preamp into your own rig or recording setup. Personally, I run it into an external cab sim when recording. It results in a tone that’s a bit mid-forward — less “chimey Alnico Blue” and more like a Vox through Greenbacks. Still very usable. Still very vibey.
Hidden Talent: Front-End Tone Shaper
Here's a trick that doesn't get talked about enough: using the AC Tone as a tone shaper into the front of a traditional guitar amp. I’ve got an amp with a fairly sterile clean tone — you know the type: it’s a super clean clean (if that makes sense), but it doesn’t inspire you. Plugging the AC Tone into the front of it immediately breathes life into it. It acts as an amp-ifier — a way to inject personality into any bland platform. Want to give your one-channel amp a Vox-style crunch channel? Done. Stack it with an overdrive pedal for some Brian May edge? Easy. Pair it with a reverb and delay and play ambient shoegaze ballads in your bedroom? Steady on now, we don't do that here (no judgement if that's your bag though).
You’d think a pedal this cheap would be made of cardboard and wishes, but nope — the AC Tone is solid. Metal housing, decent knobs, and a reliable footswitch. It’s not boutique, but it’s dependable. Even better, they’re so cheap and widespread that you don’t have to baby them. Toss one in your gig bag as a backup rig. If it gets a scratch? Battle scars. If it dies? £30 and you’re back in business. That’s about the price of a multi pack of strings and a round of pints (outside of London obviously).
So, Is It the Best Amp Sim Out There?
Let’s be clear: the AC Tone won’t dethrone a Kemper, an Axe-Fx, or even a Strymon Iridium. But that’s not the point. It’s stupidly affordable, genuinely usable live and in the studio, flexible and fun to dial in, built like a tank, and full of character. If you’re a bedroom player, a beginner, a gigging pro with no budget, or just a gear nerd who loves trying new stuff — the Joyo AC Tone is absolutely worth your time.
The Unsung (or kinda sung) Hero of Budget Gear
The Joyo AC Tone (or the Act One, as we lovingly call it on the podcast) is a brilliant example of what budget gear can be when it’s done right. It’s not just a cheap copy. It’s not just “good for the price.” It’s genuinely good, full stop. And it’s one of the most cost-effective safety nets you can keep in your gig bag — the kind that leaves you with enough change for a cheeky bevvy before showtime. Not me obviously, I'm ever the professional... Honest.
So whether you’re looking to expand your tonal palette, build a backup rig, or just want to experiment without breaking the bank, the AC Tone might just be the perfect sidekick. This one doesn't even have a dog on it for no reason, or a scorpion. Classic Joyo.
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