Guitarists are always on the lookout for pedals that deliver great tone without breaking the bank. The market is saturated with options, from boutique wonders to budget-friendly alternatives. Recently, we had the opportunity to test out two offerings from NUX pedals: the ’63 Diamond and the Plexi Crunch. These pedals are designed to emulate classic amp tones – the ’63 Diamond aiming for a Vox AC30 flavor, and the Plexi Crunch targeting the iconic Marshall Plexi sound. In this review, we delve into their performance, comparing them to higher-end pedals and exploring whether they truly offer value for money for guitar players.
First impressions matter, and NUX pedals certainly make a good one right out of the box. The build quality of both the ’63 Diamond and Plexi Crunch pedals feels solid and well-constructed. A particularly nice touch is the slightly recessed footswitches, a design element that speaks to attention to detail. It appears the newer ’63 Diamond model features upgraded input and output jacks, a subtle but welcome improvement. Considering their price point – around £45 for the ’63 Diamond and £39 for the Plexi Crunch at Andertons – the initial impression is overwhelmingly positive. These are undeniably affordable options in the world of guitar effects.
Starting with the NUX ’63 Diamond, the goal was to see how well it captures the essence of a Vox AC30, a tone beloved for its chime and responsiveness. For testing, the pedal was set with Volume and Master controls cranked, High Cut dialed back, and Top Boost engaged – settings aimed at pushing the pedal to its limits. Immediately, the ’63 Diamond produces a satisfying overdrive tone. However, when compared directly to higher-quality pedals in the same Vox-inspired category, some distinctions emerge. As is often the case with guitar pedals, spending more typically translates to increased sonic depth, richer textures, and more nuanced detail. While the ’63 Diamond is commendable for its price, it doesn’t quite reach the level of sonic sophistication found in premium Vox-style overdrive pedals. These higher-end options often exhibit greater vibrancy, textural richness, and a more responsive feel under the fingers, particularly when played through a detailed amp setup.
This brings up an important point regarding pedal demos and reviews. Many demonstrations showcase overdrive and distortion pedals through amps that are already set to a slightly overdriven state. In such scenarios, the pedal often functions more as a boost, with the core tone largely originating from the amplifier itself. To truly evaluate a pedal’s inherent character and quality, it’s crucial to use a clean pedal platform rig. This setup, with a pristine clean amp, immediately reveals any weaknesses in a pedal’s output while simultaneously highlighting the strengths of pedals with superior fidelity and tonal quality.
Moving on to the NUX Plexi Crunch, this pedal aims to capture the legendary sound of a Marshall Plexi amplifier. Having heard guitarist Rob Chapman use the Plexi Crunch in Andertons videos with seemingly good results, there was initial optimism. However, in a direct playing scenario, it became apparent that much of the perceived quality in those demos likely stemmed from the amp used. The Plexi Crunch, while capable of producing distortion, falls short of delivering the truly magical, chewy-mids Marshall tone that many guitarists crave. It possesses a somewhat unusual searing sustain quality, lacking the fat, chewy, and instantly recognizable Marshall character found in top-tier Plexi-style pedals. Extensive tweaking was undertaken to dial in the Plexi Crunch, and the Presence knob emerged as a critical, albeit somewhat finicky, control. The Presence knob significantly impacts brightness, gain, and sustain simultaneously. However, finding a balanced setting proved challenging; the Presence control often felt like it offered either too little or suddenly too much of everything, making it difficult to achieve a consistently pleasing tone. In retrospect, a Tilt EQ and a Mids contour knob might have offered more nuanced control and improved the pedal’s overall usability. Ultimately, the Plexi Crunch felt somewhat anemic in capturing the full Marshall Plexi experience.
While the ’63 Diamond offered a degree of satisfaction, the Plexi Crunch proved less appealing in this test. Past experiences with budget pedals, particularly mini pedals from brands like Mooer, have shown that affordable options can sometimes surprise. However, this NUX pairing largely reinforces the general understanding of budget-friendly pedals. The manufacturing quality is undeniably high for the price, but the sonic limitations often stem from the use of less expensive and fewer core components. Consequently, these pedals typically struggle to compete with more refined boutique counterparts. Simpler circuit designs are sometimes an exception; these can be difficult to significantly degrade in cheaper implementations, and certain effects like fuzzes can often sound surprisingly good even in budget versions.
However, for more complex overdrive and distortion tones, the gap between budget and boutique pedals often becomes more apparent. While not necessarily equating to exorbitant prices, boutique pedals often utilize higher-quality components, sometimes including New Old Stock (NOS) parts, which can significantly increase the pedal’s cost and, crucially, its sonic performance.
The goal is always to find the best pedal for a specific genre or sound, understanding that “best” is subjective and preference-driven. Personal sensibilities, rather than generalized opinions, should guide pedal selection. While budget constraints are always a consideration, occasionally, a truly exceptional pedal may warrant exceeding pre-set price limits.
However, the pricing strategy of some brands, particularly in the fuzz pedal realm, raises questions. Brands like Isle of Tone, for example, charge upwards of $1,000 or even $2,000 for fuzz pedals that are essentially replicas of vintage circuits in larger enclosures. In contrast, Steve Williams of Pig Dog Pedals offers meticulously crafted fuzz pedals at considerably lower prices, even providing a detailed “ingredients list” of all components used, often including the year of manufacture. Isle of Tone’s approach feels somewhat opaque and reminiscent of a blend of Zvex’s boutique mystique and Pig Dog’s circuit inspiration, but with a price point that seems disproportionate to the rest of the market – perhaps analogous to Philipp Plein in the fashion world, a brand favored by a specific, perhaps less discerning, clientele.
In conclusion, the NUX ’63 Diamond and Plexi Crunch pedals offer an accessible entry point into classic amp-style tones. The ’63 Diamond provides a more convincing Vox-esque overdrive for its price, making it a potentially worthwhile budget option. The Plexi Crunch, while well-built, struggles to capture the authentic Marshall Plexi character and may leave players wanting more. For guitarists seeking high-fidelity emulations of classic amp tones, particularly for discerning ears and detailed amp setups, investing in higher-end boutique pedals remains the recommended path. However, for players on a tight budget looking for decent, usable overdrive and distortion, Nux Guitar Pedals offer a viable starting point, with the ’63 Diamond edging out the Plexi Crunch in overall satisfaction.
