Behringer Pedals Clone List

Last Updated on August 31, 2025 by Justin

Below is a fully elaborated catalogue of Behringer pedal clones. For every pedal, I not only list the original model but also comment on how closely the Behringer version matches it, based on my personal experience, available reviews, expert opinions and general consensus. Where explicit quotes or sources exist, they are cited; in other cases, the assessment is based on the typical performance of Behringer’s clones (good tone but weaker build). Special shout out to the JHS video and article on this very topic.

Acoustic & DI

AM100 / AM300 Acoustic Modeler → Boss AC‑2

Closeness: Reasonably close. These pedals copy the AC‑2’s acoustic simulation algorithm, allowing an electric guitar to approximate an acoustic. They deliver similar voicings, though some users find the sound a bit artificial and the plastic case flimsy. There are no direct reviews, so this assessment is based on general user feedback.

AM400 Ultra Acoustic Modeler → Boss AC‑3

Closeness: Approximate. The Ultra Acoustic Modeler adds digital reverb and multiple modes, like the AC‑3. It emulates the feel of the Boss but with slightly less realism in the high end.

DI21 V‑Tone Acoustic Driver → SansAmp Acoustic DI

Closeness: Very close. Users on Acoustic Guitar Forum were impressed by its warmth and smoothing of harsh under‑saddle pickups, reporting that blending its mic emulation “added warmth. It remains in their signal chain over more expensive DIs, indicating strong parity with the original.

BDI21 V‑Tone Bass Driver → SansAmp Bass Driver DI

Closeness: Close. Bass forums often note that the BDI21 produces convincing SVT‑like drive and EQ similar to the SansAmp Bass Driver, though the plastic housing and less robust switches are downsides.

---

Overdrive & Distortion

PO300 Power Overdrive → Boss PW‑2

Closeness: Unknown. Few reviews exist; it likely approximates the PW‑2’s mid‑scooped drive but may sound harsher due to cheaper components.

OD300 Overdrive Distortion → Boss OS‑2

Closeness: Reasonable. These pedals combine overdrive and distortion like the OS‑2. They offer a similar range of tones, though the sweep between overdrive and distortion is less smooth. I have used the OD300 and it is one of the worst pedals I have ever used. There are way better option in the Behringer range.

OD400 Overdrive → Boss OD‑3

Closeness: Good. The OD400 captures the warm, amp‑like breakup of the OD‑3; differences are minimal except in physical build and slightly increased noise.

TO100 Tube Overdrive → Ibanez TS9

Closeness: Good. This pedal provides the TS9’s signature mid‑boost and overdrive. Players report that it sounds close, albeit with a slightly harsher top end due to cheaper parts.

TO800 Vintage Tube Overdrive → Ibanez TS808

Closeness: Extremely close. JHS Pedals declared the TO800 “sonically identical” to the vintage TS808. Killer Guitar Rigs agreed, stating it produced fat, tube‑like break‑up with minimal noise and only minor clarity differences.

VT911 Vintage Tube Overdrive → Chandler/BK Butler Tube Driver

Closeness: Very close. JHS notes that the VT911 and original Tube Driver “stack up extremely well”. Both run at 9 V and deliver comparable creamy, amp‑like overdrive. The Behringer uses a plastic chassis.

VT999 Vintage Tube Monster → Ibanez TK999 Tube King

Closeness: Moderately close. JHS observes that because it runs at 9 V rather than the Tube King’s 30 V, it has less headroom but still sounds “great” It thus captures the character but with a darker tone.

VD1 Vintage Distortion → EHX Big Muff

Closeness: Reasonable. Provides the Big Muff’s thick, sustaining fuzz. It lacks some of the harmonic richness of EHX units but is close enough for many players.

HD300 Heavy Distortion → Boss MD‑2

Closeness: Approximate. The HD300 emulates the MD‑2’s high‑gain, scooped distortion. It gets the general vibe but can sound fizzy at high gain due to inexpensive op‑amps.

HM300 Heavy Metal → Boss HM‑2

Closeness: Good. JHS says the HM300 compares surprisingly well to the original HM‑2, though its mid‑range voice is slightly different. Many players use it to achieve the “chainsaw” tone on a budget.

SM400 Super Metal → Boss HM‑3

Closeness: Close. Mirrors the HM‑3’s compressed, scooped distortion. Not as popular but largely accurate.

UM100 / UM300 Ultra Metal → Boss MT‑2 Metal Zone

Closeness: Very close. JHS describes it as “basically a Metal Zone”. It reproduces the MT‑2’s dual‑band EQ and high‑gain character; differences lie in the construction and noise floor.

XD300 Distortion‑X → Boss XT‑2

Closeness: Moderate. It replicates the rare XT‑2’s mid‑heavy distortion. There are few direct comparisons; players note it lacks refinement.

FD300 Ultra Feedback/Distortion → Boss DF‑2

Closeness: Reasonable. Copies the DF‑2’s overdrive and feedback circuit. It can create sustained feedback but may be noisier.

DM100 Distortion Modeler → Boss DS‑1 / MXR Dist+ / ProCo Rat

Closeness: Variable. Its three modes approximate the DS‑1, Distortion+ and Rat circuits. They deliver similar flavors but with lower fidelity.

WD300 Warp Distortion → Hughes & Kettner Warp Factor

Closeness: Moderate. Provides high‑gain, scooped distortion reminiscent of the Warp Factor. Differences in build may affect clarity.

SF300 Super Fuzz → Boss FZ‑2 Hyper Fuzz

Closeness: Highly regarded. JHS called it “perfect,” urging players to get one. SoundGale praised its three modes but cautioned that at high gain it can become harsh and feel cheap.Overall it closely captures the FZ‑2’s versatility.

UZ400 Ultra Fuzz → Boss FZ‑3

Closeness: Approximate. Delivers vintage fuzz tones similar to the FZ‑3 but without the same build quality.

---

Delay & Reverb

VD400 Vintage Delay → Boss DM‑3

Closeness: Very close. Reviewers describe it as giving “warm, bucket‑brigade repeats” with a range of 20–300 ms. The tone can be dialled from clear slapback to self‑oscillation. Overall, it’s an affordable way to experience analog delay.

DD100 / DD400 Digital Delay → Boss DD‑2 / DD‑3

Closeness: Good. Both replicate early Boss digital delays; they deliver clean repeats but may have slightly more noise or latency. The main difference is the build.

DD600 Digital Delay → Boss DD‑5

Closeness: Good. Includes tap tempo and multiple delay modes. It approximates the DD‑5 but with less refined algorithms.

DR100 / DR600 Digital Reverb → Boss RV‑5

Closeness: Moderate. They offer similar hall, plate and spring algorithms. Some users find the reverbs slightly synthetic compared with the RV‑5.

DR400 Reverb/Delay → Boss RV‑3

Closeness: Moderate. Combines delay and reverb like the RV‑3. It emulates most modes but can sound more digital.

VM1 Vintage Time Machine → EHX Deluxe Memory Man

Closeness: Good but darker. Because it runs at 9 V instead of 24 V, its repeats are “darker and fuzzier” and there’s less headroom. Despite that, it’s a cost‑effective way to get close to a Memory Man

EM600 Echo Machine → Line 6 Echo Park

Closeness: Fair. Captures several delay types (tape, analog, reverse) like the Echo Park. It lacks some of the nuance of the Line 6 and is less rugged.

RV600 Reverb Machine → Line 6 Verbzilla

Closeness: Fair. Offers similar reverb modes (Hall, Spring, Shimmer) but with simpler algorithms and more digital artefacts at high levels.

RM600 Rotary Machine → Line 6 Roto‑Machine

Closeness: Moderate. Simulates rotating speaker sounds; it gets the gist but lacks the depth and realism of the original.

---

Modulation

BCH100 / BUC400 Bass Chorus → Boss CEB‑3

Closeness: Good. Retains low‑frequency clarity while adding chorus; comparable to the CEB‑3.

CO600 Chorus Orchestra → Boss CE‑5

Closeness: Good. Provides similar chorus with hi/lo EQ adjustments.

CD400 Chorus Space‑D → Boss DC‑3

Closeness: Reasonable. Emulates the DC‑3’s digital chorus; may sound slightly sterile but close.

CC300 Chorus Space‑C → Boss DC‑2

Closeness: Good. Recreates the DC‑2’s preset modes and lush stereo chorus. Many players find it a convincing substitute.

UC100 / UC200 Ultra Chorus → Boss CH‑1

Closeness: Very close. Killer Guitar Rigs said it provides a “natural and rich chorus” and that the tone is “nearly identical” to the CH‑1. For me, sound differences are negligible; the main differences are colour and build.

UV300 Ultra Vibrato → Boss VB‑2

Closeness: Extremely close. Gear Page comments describe it as warm and almost identical to the VB‑2.

UF100 / UF300 Ultra Flanger → Boss BF‑2

Closeness: Mixed. The circuit replicates the BF‑2’s analog flanging, but an Ultimate‑Guitar review complained that the pedal flanged its own hiss, causing fuzzy distortion. Users seeking quiet operation may be disappointed.

SF400 Super Flanger → Boss BF‑3

Closeness: Fair. Delivers digital flanging with multiple modes and stereo output. It sounds somewhat colder than the original.

HF300 Hi‑Band Flanger → Boss HF‑2

Closeness: Good. This pedal sweeps only the high frequencies, creating a shimmering effect similar to the HF‑2.

PH9 Phaser → MXR EVH‑90 Phase 90

Closeness: Good. It provides the classic Phase 90 swirl; differences are minimal.

SP400 Super Phase Shifter → Boss PH‑3

Closeness: Moderate. It offers multiple phasing stages like the PH‑3 but can introduce digital artefacts.

UP100 / UP300 Ultra Phaser → Boss PH‑2

Closeness: Good. Analog phaser replicating two phasing modes; plastic housing aside, it is close.

UT100 / UT300 Ultra Tremolo → Boss TR‑2

Closeness: Very close. Recreates the TR‑2’s amplitude modulation with rate and depth controls. A Gear Page user paired it with the UV300 for a wobbling effect and only disliked the flimsy case.

TP300 Tremolo/Pan → Boss PN‑2

Closeness: Good. Adds stereo panning and tremolo like the PN‑2. It captures the essential functionality.

SO400 Super Octaver → Boss OC‑3

Closeness: Moderate. Generates one and two octaves down, plus a drive with octave. It approximates the OC‑3’s tracking but may glitch more.

UO100 / UO300 Ultra Octaver → Boss OC‑2

Closeness: Good. Produces one or two octaves down. Tracking is decent though not as precise as the original.

---

Compression, EQ & Utility

CS100 / CS400 Compressor Sustainer → Boss CS‑3

Closeness: Close. Killer Guitar Rigs observed that the CS400 provides a “natural, organic boost” and strong sustain with minimal noise when off. It behaves much like a CS‑3; differences include plastic housing and minor noise at extreme settings.

CL9 Compressor/Limiter → Ibanez CP9

Closeness: Good. Users praise its tone but point out the flimsy plastic case. It effectively compresses and limits like the CP9.

DC9 Dynamic Compressor → MXR Dyna Comp

Closeness: Mixed. A  tdpri.com forum user liked its metal chassis and hardwire bypass but said it “adds top end” and loses bottom frequencies. Thus, it doesn’t fully replicate the Dyna Comp’s fat tone.

BEQ700 Bass Graphic Equalizer → Boss GEB‑7

Closeness: Good. Provides seven bands of bass EQ; functions similarly to the GEB‑7, but build quality is lower.

EQ700 Graphic Equalizer → Boss GE‑7

Closeness: Very close. Killer Guitar Rigs stated it shapes tone effectively and is neutral when set flat. JHS confirms it is basically a GE‑7.

SE200 Spectrum Enhancer → Boss SP‑1

Closeness: Unknown. This rare clone boosts selected frequencies like the SP‑1. Few reviews exist; it is likely close.

PB100 Preamp Booster → Nobels Pre‑1

Closeness: Functionally off. A forum user noted that while it is silent and doesn’t colour tone, its design is flawed because only one level knob adjusts both channels, rendering it “useless” for balancing two instruments. Thus, it fails to replicate the flexibility of the Pre‑1.

AB100 / AB200 Instrument Selector → Nobels AB1 / Boss LS‑2

Closeness: Partly off. Like the PB100, it lacks independent level control. It switches between signals but doesn’t replicate the original’s versatility. Source.

---

Noise Reduction & Filters

NR100 / NR300 Noise Reducer → Boss NS‑2

Closeness: Fairly close. It suppresses noise with threshold and decay knobs. Killer Guitar Rigs found it effective but noted that at extreme settings the gating sounds “choppy or artificial”. The original NS‑2 sounds smoother.

IG9 Intelligate → MXR Smart Gate

Closeness: Unknown. Provides threshold control to tame noise. Lacks detailed reviews; likely a basic gate.

Slow Motion SM200 → Boss SG‑1

Closeness: Moderate. It replicates the SG‑1’s auto‑swell effect by fading in notes. It captures the idea but may have less dynamic tracking.

VB1 Vintage Bass → EHX Bassballs

Closeness: Reasonable. It is an envelope filter for bass, offering vowel‑like sweeps. Differences are mainly build.

---

Wah, Filters & Synth

HB01 Hellbabe → Dunlop DB‑01 Dimebag Cry Baby

Closeness: Mixed but versatile. The Hellbabe is optical with many controls. One user said it has a “nice sweep” and its hard‑plastic casing is sturdy. However, it requires careful setup, and early units needed modifications to improve the sweep. Another user liked it as much as a Cry Baby, suggesting tonal parity once set up correctly. In my experience, this pedal is nt even close to a cry baby. I was no impressed.

DW400 Dynamic Wah → Boss AW‑3

Closeness: Good. Offers envelope, wah and human‑voice modes like the AW‑3. Build is inferior but tone is similar.

UW300 Ultra Wah → Boss AW‑2

Closeness: Moderate. Provides a classic envelope‑controlled wah. Plastic housing and limited durability are main issues.

BSY600 Bass Synthesizer → Boss SYB‑5

Closeness: Reasonable. Produces monophonic synth tones with filters. It captures much of the SYB‑5’s character but may glitch more.

FM600 Filter Machine → Line 6 Otto Filter

Closeness: Fair. JHS says it doesn’t sound exactly like the Line 6 because of different digital algorithms but gets close when tweaked.

---

Amp & Preamp Simulators

ADI21 V‑Tone Acoustic Driver → SansAmp Acoustic DI

Closeness: Very close. Acoustic Guitar Forum users praised it for smoothing out harsh pickup tones and adding warmth. One player preferred it over more expensive boxes, indicating a strong match to the SansAmp.

BDI21 V‑Tone Bass Driver → SansAmp Bass Driver

Closeness: Good. It provides SVT‑style drive and EQ. Differences are mainly in ruggedness and slightly noisier electronics.

GDI21 V‑Tone Guitar Driver → SansAmp GT2

Closeness: Good. Simulates multiple amps and mic placements like the GT2. Tone is comparable; build is cheaper.

TM300 Tube Amp Modeler → SansAmp GT2

Closeness: Good. JHS recommends it as a budget way to try amp modelling. It approximates the GT2’s versatility but is less durable.

---

Final Thoughts on The Behringer Clone Pedals

By detailing each pedal’s closeness to its original counterpart, we see that Behringer often comes remarkably close in tone—especially with models like the TO800, VD400, UC200, UV300 and ADI21. However, lower‑quality materials, plastic casings, and occasional design flaws (e.g., UF100’s hiss, PB100’s unusable level controls) mean that some pedals fall short of the originals. Players should weigh tonal accuracy against longevity and decide whether they need a faithful workhorse or an inexpensive way to experiment with classic effects.