UM100 Ultra Metal review by Behringer

logo Ultimate Guitar
  • Sound: 3
  • Overall Impression: 3
  • Reliability & Durability: 5
  • Ease of Use: 8
  • Reviewer's score: 4.8 Poor
  • Users' score: 7.1 (44 votes)
Behringer: UM100 Ultra Metal
0

Price paid: $ 85

Purchased from: Dr. Music

Sound — 3
I'm a bit worried because I seem to be the only person in the world who pretty much hates this pedal. I bought it in... 2009, I think, with only a year of guitar playing under my belt and immediately plugged it in with everything on 10. Predictably, it sounded appalling. As I grew as a player and learnt more about it, I came to realize that no matter how I set it up, it still sounded unremarkable. My current rig is Gibson Les Paul Custom/Fender Stratocaster MIM/Aria Pro II > UM100 > Behringer Delay > Crybaby Wah > Fender RM65. I play everything from Behemoth to John Denver, and I'm afraid to say that it has exactly 3 usable settings and nothing else. It has an excellent, if very noisy death metal tone, you know, the seething tone that sounds like "...And Justice For All" taken up to the next step, a decent but unremarkable Angels & Airwaves tone, and if I put my output gain up and distortion to about 2, with a tube amp running low gain (i.e. clean on the gain channel), you can use it to push the amp into overdrive. Each of these tones takes a long time to set up and is really quite unremarkable, and if you attempt to get anything else out, either it sounds like balls or alternatively you're much, much more talented than I am. I record my stuff on Guitar Rig 5, and I consider myself quite good at recognizing a good tone when I hear one. I've learnt all the ins and outs of tone, including that mids are good, less gain is more gain etc, but I'm afraid this pedal doesn't really cut it. The treble knob behaves more like an on/off switch than a variable tone control, the bass knob is much the same, and the gain is noisy, rough and pathetically weak under low-gain conditions. I'll keep using it in my live rig because I'm poor and it does the job with the softer stuff, but in general I didn't like it at all.

Overall Impression — 3
I play in 2 bands at the moment, and I record lots of different music on the periphery. In the metal band I played in when I bought this, it was satisfactory. Noisy and it had insane feedback, but I couldn't really complain. I played in a band at a youth club at about the same time, and playing through the house Marshall/Mesa combos, it was bad. I took it out of my rig because the house amps were better in every way. Playing live with my current bands, it does the job in both (Rock/Alternative bands) of adding an extra layer of gain to my relatively clean amp sound. Nothing about this pedal blew me away. I wasn't enamored with the tones, or the build, it didn't have any redeeming features other than being pink, and nothing in the 4 years I've owned it other than budget restraints has made me want to keep it. If it was stolen, I'd use my amp's gain channel solely and wouldn't really miss it as I don't play live often enough for a distortion pedal to be vital. I'd rather get my digital rig sounding better. Eventually I'd probably replace it with a Boss DS-1 or Tubescreamer. If you like seething solid-state metal tones or you want a satisfactory starting pedal, then by all means, buy one, but there's a whole lot of much better gear out there and although I've tried to eke as much out of this as possible, it feels too much like polishing a turd.

Reliability & Durability — 5
I do gig with this (if you can call the shows I do "gigs") without a backup, but I always, always change my battery before I use it because it has died on me before. It's also worth mentioning that the rubber footpad fell off in the 2nd month. It's plastic and whilst it seems tough enough, I imagine that if one was playing some Slayer and stomped on the box mid-headbang, one could crack the plastic casing without too much difficulty. Generally speaking, I use this pedal because when I play my softer stuff, it does the job of adding a little bit of Overdrive to my relatively clean amp tone. I have used it with metal bands before, and whilst I'm gentle with my pedals, I Imagine at a proper metal show it could get broken.

Ease of Use — 8
Right, so formalities out the way first: it is exactly what you'd expect from a distortion pedal: drive, treble, mids, bass, mids freq., output gain. It can run off a 9v battery or wall power. Annoyingly, it wasn't sold with a power lead which meant that I have been running it off a battery since I bought it. It's also bright pink, which imho is wonderful because black pedals are a bit cliche and I love the old EVH mantra of "let's make it colourful, because that's better". It spices up my pedalboard a bit, so despite the fact that there are no patches and the manual is of more use as a bread filler than a manual, because it is intuitive to use (to the extent where you don't need a manual) and has everything you'd expect from a distortion pedal, no complaints here.

3 comments sorted by best / new / date

    Evergrey
    Behringer pedal clones Distortion/Overdrive/Fuzz HEAVY METAL HM300 - Boss HM-2 Heavy Metal SUPER METAL SM400 - Boss HM-3 Hyper Metal ULTRA METAL UM100 - Boss Metal Zone ULTRA METAL UM300 - Boss Metal Zone VINTAGE TUBE MONSTER VT999 - Nady TD-1 Tube Distortion WARP DISTORTION WD300 - Hughes Kettner Warp Factor DISTORTION-X XD300 - Boss XT-2 Xtortion ULTRA FEEDBACK/DISTORTION FD300 - Boss Feedbacker Distortion HEAVY DISTORTION HD300 - Boss MD-2 Mega Distortion DISTORTION MODELER DM100 - Digitech HotRod Distortion (Boss DS1 / Proco Rat / MXR Distortion +) ULTRA DISTORTION UD100 - Boss DS-2 Turbo Distortion POWER OVERDRIVE PO300 - Boss PW-2 OVERDRIVE/DISTORTION OD100 - Boss Overdrive / Distortion VINTAGE TUBE OVERDRIVE VT911 - Chandler Tube Driver BLUES OVERDRIVE BO100 - Boss Blues Driver OVERDRIVE OD400 - Boss Overdrive OD-3 VINTAGE TUBE OVERDRIVE TO800 - Ibanez Tube Screamer TS-808 TUBE OVERDRIVE TO100 - Ibanez Tube Screamer 9 SUPER FUZZ SF300 - Boss FZ-2 Hyper Fuzz ULTRA FUZZ UZ400 - Boss FZ-3 Fuzz VINTAGE DISTORTION VD1 - Electro Harmonix Big Muff Octave ULTRA OCTAVER UO100 - Boss OC-3 Super Octave ULTRA OCTAVER UO300 - Boss OC-3 Octaver SUPER OCTAVER SO400 - Boss OC-3 Super Octave Reverb DIGITAL REVERB DR600 - Boss RV-5 Digital Reverb REVERB MACHINE RV600 - Line 6 Verbzilla DIGITAL REVERB/DELAY DR400 - Boss RV-3 Reverb / Delay DIGITAL REVERB DR100 - Boss RV-5 Reverb Echo/Delay ECHO MACHINE EM600 - Line 6 Echo Park DIGITAL DELAY DD600 - Boss DD-6 Digital Delay DIGITAL DELAY DD400 - Boss DD-3 Digital Delay DIGITAL DELAY DD100 - Boss DD-3 Digital Delay VINTAGE DELAY VD400 - Boss DM-2 Delay VINTAGE TIME MACHINE - Electro Harmonix Deluxe Memory Man Chorus CHORUS ORCHESTRA CO600 - Boss CE-5 Chorus Ensemble CHORUS SPACE-C CC300 - Boss Dimension-C DC-2 CHORUS SPACE-D CD400 - Boss DC-3 Digital Dimension/Digital Space-D ULTRA CHORUS UC100 - Boss CH-1 Super Chorus ULTRA CHORUS UC200 - Boss CH-1 Super Chorus Phaser VINTAGE PHASER VP1 - Electro Harmonix Small Stone PHASER PH9 - MXR EVH Signature Phase 90 SUPER PHASE SHIFTER SP400 - Boss PH-3 Phase Shifter ULTRA PHASE SHIFTER UP100 - Boss PH-2 Phase Shifter Flanger FLANGER MACHINE FL600 - Line6 Liqua Flange SUPER FLANGER SF400 - Boss BF-3 Flanger ULTRA FLANGER UF100 - Boss BF-3 Flanger HI BAND FLANGER HF300 - Boss HF-2 HiBand Flanger Compressor COMPRESSOR/LIMITER CL9 - TC Electronic Compressor COMPRESSOR/SUSTAINER CS100 - Boss CS-3 DYNAMICS COMPRESSOR DC9 - MXR Dynacomp Compressor Tremolo ULTRA TREMOLO/PAN TP300 - Boss PN-2 Tremolo / Pan ULTRA TREMOLO UT100 - Boss TR-2 Tremolo Wah HELLBABE HB01 - Dunlop Crybaby from Hell ULTRA WAH UW300 - Boss AW-2 Auto Wah DYNAMIC WAH DW400 - Boss AW3 Dynamic Wah Other ULTRA SHIFTER/HARMONIST US600 - Boss PS-5 Super Shifter FILTER MACHINE FM600 - Line 6 Otto Filter ULTRA VIBRATO UV300 - Boss VB-2 Vibrato ROTARY MACHINE RM600 - Line 6 Roto-Machine SLOW MOTION SM200 - Boss SG-1 Slow Gear GRAPHIC EQUALIZER EQ700 - Boss GE-7 Graphic Equalizer NOISE REDUCER NR100 - Boss Noise Supressor SPECTRUM ENHANCER SE200 - Boss SP-1 Spectrum PREAMP/BOOSTER PB100 - Nobels PRE-1 Preamplifier V-TONE GUITAR GDI21 - Sansamp GT2 ACOUSTIC MODELER AM100 - Boss AC-2 Acoustic Simulator ULTRA ACOUSTIC MODELER AM400 - Boss AC-3 Acoustic Simulator INTELLIGATE IG9 - ISP Decimator / MXR smart gate INSTRUMENT/AMP SELECTOR AB100 - Boss LS-2 Line Selector ACOUSTIC MODELER AM100 - Boss AC-2 Acoustic Simulator BSY600 Bass Synthesizer - Boss SYB-5 TUBE AMP MODELER TM300 - Sansamp GT2
    jaybrink101
    If you want to sound like Bring Me The Horizon, put your dist. on 10, treble at 20, mids at 10:30, bass at 10,and mid freq at about 110. Regardless of what amp or guitar you use, it sound like BMTH. If you want a good sound, but something else.