A trip down plastic-covered memory lane...

Today we’re taking a nostalgic step back with the Behringer TO100 Tube Overdrive, a pedal that, for better or worse, was the gateway drug into the world of effects for me at very least.

My own first foray into pedals came courtesy of Behringer’s gloriously affordable plastic boxes. I was in a band at the time, and the other guitarist had a Boss BCB-60 absolutely chock full of Boss pedals. Naturally, I wanted to follow suit. The only problem was that he was deep into his apprenticeship years and pulling in actual money, while I was a skint student. A board full of Boss pedals was pure fantasy, but scraping together enough cash for a few £15 plastic alternatives? That I could manage.

One of the very first pedals in that budget collection was the Tube Overdrive. And I’ll be honest — when I first plugged it in, I wasn’t impressed. My teenage idea of good tone was simple: more gain, everything on maximum. How could less possibly be more? More is more (Yngwie, is that you?). Even with the gain dimed, the Tube Overdrive just wasn’t enough for my under-developed ears. I was, of course, completely wrong.

Fast forward a good few years, and it’s worth revisiting this pedal with a much more experienced — and slightly more sensible — set of ears.

The general consensus is that the TO100 is heavily “inspired” by the Ibanez TS9, and it behaves exactly as you’d expect from a Tube Screamer-style circuit. It’s a single-coil player’s best friend, filling out that naturally scooped midrange and adding a lovely sense of weight and chonk to the tone. It also excels at the classic Screamer job of pushing an already driven amp, tightening up the low end and adding a bit of grit and growl to a cooking sound.

Of course, the big complaint that oh so many had was about the plastic enclosure. To keep costs as low as possible, Behringer opted for plastic rather than metal, and at the time the internet was full of horror stories about switches collapsing under a heavy foot mid-gig.

Here’s my real-world experience: I’ve had this pedal since I was about 19, and this exact unit endured roughly two years of weekly gigs and numerous rehearsals. On top of that, it’s spent the last decade being stored… let’s say not carefully. And yet, it still works absolutely fine. No drama, no failures, no sudden structural collapse under a Chuck Taylor. Blokes on the internet not knowing what they're talking about? Funny that...

I will concede that the pots feel a bit cheap, and if anything were to give up the ghost, I’d expect it to be one of those. But functionally? It’s as solid today as the day I bought it — or more accurately, the day it was bought for me. And for the £15 it cost at the time, it doesn’t owe me a single thing.

The Behringer TO100 might not be glamorous, and it might not win any awards for build materials, but as a no-nonsense Tube Screamer-style overdrive, it absolutely does the job. Looking back, I wasn’t unimpressed because it was bad — I was unimpressed because I was bad. It's ok, my ears got better.

Joyo Baatsin – The Swiss Army Knife of Overdrive

8-in-1: Overdrives greatest hits 

The Joyo R-Series has always impressed me. I’ve tried a few on the channel — from the Klon-inspired Tauren to the fire-breathing Uzi — and they’ve all punched well above their weight in terms of tone and build quality. So, when Joyo got in touch and asked if I wanted to try out the Baatsin, I jumped at the chance.

As a bonus, a few of you in the comments had already been recommending it, while others were asking when I’d be getting around to it — so this one was definitely for the fans (and a little bit for me too, I do love a good overdrive).

The big draw of the Baatsin is its 8-way rotary control, which lets you flick through eight different overdrive voices. It’s essentially a tour through some of the most iconic drive circuits ever made — from Tube Screamer and Timmy territory to heavier hitters like the Riot and OCD.

Rather than give a blow-by-blow on every mode, I’ll focus on a few highlights that really stood out.

8 Drives in One Box

T.OD – Timmy Territory
The T.OD mode is based on the Paul Cochrane Timmy, and although it lacks the original’s two-band EQ and toggle switch, it’s probably the most versatile mode on the pedal.

You can take it from a barely-there, gritty boost to a thick, saturated crunch that feels dynamic and touch responsive. The single tone control is voiced beautifully — it never gets mushy at the low end, nor does it stray into harsh, ice-pick territory when pushed. It’s just right.

B.Boost – Clean, Clear, and Pushing Hard

If you want to use the Baatsin purely as a clean boost, this is your mode. B.Boost strips back most of the clipping, giving you more headroom and a noticeable increase in volume.

It’s perfect for slamming the front of your favourite overdrive or amp — pushing a crunchy clean into that glorious edge-of-breakup zone without colouring your tone too much. You can also use it to push an already pretty cooking tone up to eleven. It’s a very usable and versatile boost.

Overdrive 1 – Classic Rock Energy

The Overdrive 1 mode has a gain structure that stands out from the rest. The user manual subtlety (ha!) hints at it's Boss origins and this one just has a different kind of vibe to the rest. The grit was a bit more raw and raucous, less of that typical overdrive mid-range character . For me, this one ended up being a personal favourite.

Rioter – Suhr Sound Without the Price

The Rioter mode, as the name suggests, draws from the Suhr Riot, and it does it surprisingly well. Many Riot clones tend to overdo the saturation and compression, which can make them great for sustaining lead tones but lacking the definition for any rhythm work.

The Baatsin’s take keeps enough aggression for singing leads but still retains the note clarity and definition needed to not get lost in a mix.

Not Just Another Bonsai Clone

When I first saw the Baatsin, I immediately thought of the JHS Bonsai — another multi-overdrive pedal that serves as a “greatest hits” collection of classic circuits.

To Joyo’s credit, they didn’t just lift the idea wholesale. They took the concept and went their own way with it, choosing a solid mix of mainstream favourites rather than diving into the more obscure options that the Bonsai features. That feels pretty on-brand for Joyo — reliable, accessible tones that don’t break the bank. Likewise, the Bonsai is very much aiming at those more niche tones that Josh Scott loves to share with us all. Kudos to Joyo for not just straight ripping off and kudos to JHS too, props where props are due.

Style, Substance, and Serious Value

Add in the sleek, Tron-like aesthetic of the R-series — complete with the soft-glow LED surround — and the Baatsin becomes a genuinely useful addition to almost any pedalboard. It’s like having a Swiss Army knife of tone under your foot, ready to cover everything from transparent boost to full-blown rock gain.

It might be green, but don’t be fooled — this isn’t just another Tube Screamer. The Baatsin is proof that Joyo knows exactly how to balance variety, tone, and affordability.

What's better than one Tube Screamer? Three Tube Screamers...

 All the Screamers in One Box

Warm Audio have been steadily building a reputation for creating incredibly faithful recreations of classic circuits — usually with a twist or two that modern players will appreciate. The Tube Squealer is their take on the Tube Screamer legacy, but instead of copying just one of the many famous versions, they’ve decided to include all the greatest hits in one pedal.

On the front panel, you’ll find a small toggle switch that lets you move between the TS808, TS9, and TS10 variants.

TS808 Mode gives you the open, slightly less compressed tone of the original late-’70s Screamer. It’s smooth, warm, and dynamic — perfect for players like to maintain all of the feel whilst getting some Screamer goodness.

TS9 Mode adds that classic mid-push and extra compression that so many guitarists associate with the definitive ‘80s overdrive sound. It’s punchy and focused — ideal for solos or tightening up heavy rhythms.

TS10 Mode, the softest of the three, gives a gentler, more transparent character that works beautifully for blues or edge-of-breakup tones - there is a reason this version is favoured by SRV (and John Mayer).

Each version has its own unique voice, and switching between them feels like swapping entire pedals on your board.

Extra Features That Make Sense

Warm Audio didn’t stop at the circuit voicing — they’ve added a handful of clever, practical upgrades that make this one of the most flexible Tube Screamer-style pedals on the market.

Right up top, you’ll notice another toggle switch marked Buffer / True Bypass. Some players swear by the sound of a good buffer at the start of their signal chain, while others need that versatility as not to anger the impedance-fussy fuzz in the chain. With this switch, you get to decide what works best for your rig — a small touch that makes a big difference.

Then there’s that fourth knob. Most drive pedals stick to the classic trio of Drive, Tone, and Level, but Warm Audio have added a Clean Blend control. This one’s a game-changer. It lets you mix your clean signal back in with the overdriven tone, which not only restores clarity but also enhances pick attack and articulation. If you’ve ever wished your Tube Screamer gave you a little more sparkle or a touch more definition, this control is your new best friend.

There’s also a Single Coil / Humbucker switch, which subtly shifts the EQ profile to better suit your guitar. In Single Coil mode, you get the traditional Screamer midrange. In Humbucker mode, the mid-push moves slightly higher in the frequency spectrum — think of it as leaning a little closer to a Blues Driver or Klon-style EQ. It’s a thoughtful tweak that actually works in practice, not just on paper.

And then there’s the feature hidden round the back — a Voltage Boost switch. When engaged, it bumps the internal voltage from 9V up to 18V, giving you more headroom and preserving your dynamics even when the gain is cranked. Best of all, it still runs off a standard 9V input, so there’s no need for a special power supply.

Warm Audio Means Business

Warm Audio could have easily stopped at making a single, well-built TS-style pedal and called it a day. But the Tube Squealer feels like a product designed by people who really understand guitar players. It’s versatile enough to cover everything from vintage blues tones to modern high-gain tightening duties, and all the little usability touches — like the buffer toggle and clean blend — make it more practical than the originals it’s based on.

Yes, it’s technically above the “budget” line, coming in at just over the £100 mark. But considering it gives you three Tube Screamers in one plus a clean blend, selectable buffering, EQ tailoring for pickups, and internal voltage doubling — it’s actually excellent value.

The original Ibanez TS808 costs more than this on its own, and it only does one thing. The Tube Squealer does them all, and then some.

Final Thoughts

At its heart, the Tube Squealer is still a Tube Screamer — and that’s a good thing. It’s got the familiar warmth, compression, and mid-push that made the circuit famous, but with modern flexibility that lets you tailor it perfectly to your guitar, your amp, and your playing style.

If you’ve ever agonised over whether you’re a TS808, TS9, or TS10 person… now you don’t have to choose. Warm Audio have bundled them all together, sprinkled in a few smart upgrades, and wrapped it up in a tank-tough enclosure.

It might not be the cheapest overdrive on the shelf, but for what it offers, the Tube Squealer is arguably one of the best value Screamers you can buy right now.

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