[Context]

– I’ve taken two extended test runs separated by a few weeks; this, to allow some time to form some thoughts and reconsider first impressions.

– I would like to thank my friend, and owner of https://www.zstringmusic.com/, who helped facilitate this review in allowing me to demo the pedal. As both of us are self-confessed Gear Nerds and musicians, we have enjoyed many an in-depth conversation about such pedals and, when the MAKO D1 Delay was announced at NAMM, it peaked both or our interest. Once in hand, he challenged me to identify what other similar delay pedals this would best compare to … and/or … to be a replacement for on one’s current board; I’ll try to address these questions below.

[First Impressions]

The MAKO D1 High-Fidelity Stereo Delay has some fantastic sounding Algorithms, well thought-out and innovative control schemes, and a solid build quality. The design aesthetic is clean, simple to understand, and easy to navigate; something I find helpful when there are a lot of options for one to work through. The combination of the [TWEAK] Dial with three-way switch provides a fresh approach to secondary functions while affording one clearly labeled controls; this, to also include a 3rd function, all assigned to one dial.

The choices of Delays cover many of the most common/desired types of Delay: Digital, Modulation, Vintage (almost a blend of characteristics between Analog & Tape), Dual (Digital), and Reverse. While one can quickly dial in some very straight forward and great sounding delays, there are some unique twists provided to indulge those seeking some fun and creative exploration. The most obvious example would be the inclusion of the [ATTACK] control which softens the initial repeats allowing for more ethereal washes. In addition, each algorithm provides some more unique and off-the-beaten-path control parameters/adjustable attributes via the tweak knob. An example: the Tweak/Age control on the [DIG]ital setting introduces a Bit Crusher effect and intensity thereof.

To the question I was asked as to what other pedals I would most likely compare this to … my feeling is that this would find a comfortable position somewhere between a TC Flashback and a Source Audio Nemesis. While it has more on-board controls and utility functions than the Flashback, it has less depth of editable options (many thanks to the APP editors) than the Nemesis.

In some respects, the MAKO D1 has an identity crisis to contend with. It’s design and implementation speak to being a compact, WYSIWYG pedal, with a lot of great options and yet … the way the presets work, the MIDI implementation, and the way that the Tweak Knob controls differ as to some of the attributes assigned per algorithm, there is some hidden complexity.

[Second Thoughts]

After really enjoying the first go-around with the D1, there were some things that didn’t quite vibe with me and, I tried to revisit these sticking points before posting this review.

Before I continue, let me pause to say: much of this is simply personal preference.What I might think does not work well, others might prefer or love. At the end of the day, this is a great pedal that many people will love and create great music with.
​One of the first things to catch my eye (I had actually assumed it was just there and was not), was the omission of a USB port. My personal opinion is that, for these more complicated, multi-algorithm, midi capable effects pedals, a USB port should be almost mandatory if, for nothing more, as a ‘just in case’. With highly sophisticated coding involved, one never knows what issues or desired tweaks might be brought to light once the product makes its way out to a creatively diverse marketplace. To update firmware with a USB port is so easy and extends the potential life of most electronics.

As I continued to explore and dial-in some fun delays, the second thing to nag at me was the prominence given to the [ATTACK] control. While it certainly is a touch unique, allowing for both nuanced delays that fit well in the mix and/or more ambient washes, this was a control that I didn’t use as frequently when just dialing in the standards. As I interacted with the on-board controls, I felt like the [TONE] control on the tweak would have been much better served, this as a more standard delay attribute, to have its own dial, while swapping the [ATTACK] function to that of a secondary [TWEAK] settings. Again — all personal preference.

My final sticking point felt the most bothersome although, to be honest, through the second demoing session, it seemed to subside a touch — this addressing the implementation of presets (hence the identity crisis). For a pedal that appears to embrace a design and implementation that seeks to provide a balance between WYSIWYG controls and that of affording one great many adjustable attributes, the fact that it always boots to the first preset (whatever that was saved to be) feels disorientating (read: no reference point to what one sees on the controls as currently set on the pedal). A bit more frustrating, if you dial in a delicious delay and forget to save it as a preset before powering down the pedal, one will have effectively lost those settings when it boots back to the preset. Perhaps WALRUS can provide a bit more clarity on this concern/observation. My preference would have been for the pedal to always start in the last settings it was, whether that be a Preset or WYSIWYG mode (as the dials are set on the face of the pedal). In this were to be the case, by default, the WYSIWYG mode could effectively behave like a temporary preset.

[Quick Conclusions]

The MAKO D1 is a great multi-delay pedal in an uber-compact format that retains some solid depth of controls and utility function. From standard delays to more creative effects, the pedal has a lot to offer and can faithfully fulfill the primary role for said effects on one’s pedal board. As to some of my sticking points, I still believe them both valid concerns and worthy observations for future consideration. A sincere thanks again to my friend at https://www.zstringmusic.com/ for making this quick review possible during ‘Stay at Home’.

** Please note: As shared, it’s my opinion that the delay voices/algorithms are of fantastic quality. Already subjective in nature, to compare and contrast them against other pedals speaks more to an exercise of determining one’s taste. As one of the defining philosophical ideals of this pedal centers around the control, mechanics, and general simplicity of function, I seemed counter-productive not to go into a complicated in-depth review of every little nuance ** 

I can’t say this pedal was ever something I was on the hunt for and yet, being that is was just around St. Patrick’s Day, the visual design caught my eye and, the fact that there was some relation to U2 and the Edge, my interest was piqued.  After taking some time to learn about the pedal – a modified/enhanced version of the Boss FA-1 circuit – and considering it’s various functions and intended uses, I believed it could potentially be a good fit for my board to cover some utility roles. At the time, I was using the Buffalo TD-X for always on EQ sculpting which somewhat limited the use of it’s overdrive effect capabilities. My thought: the Clover could offer subtle signal boost with additional EQ adjustments, feeding into my drive/gain selection of pedals, thus freeing the TD-X to serve more as an OD option to go along with my Muffs.

As to my experience with the JHS Clover …

Solid construction and feel, fun and clean visual design, and simple control layout. The Boost is very sensitive with such expansive range — unity was just around 8pm on the dial for my setup and only rockets up from there (currently set just under 9pm for a slight boost). The EQ adjustments are solid; well targeted with respects to frequencies — speaks to the intended use/design of the circuit. I find it adds a bit of chime and clarity in the treble, reduces some muddiness in the middle, and tightens up the bass (or optionally expanding). The Full EQ setting allows the mids to be boosted which can introduce a touch of overdrive/breakup as the levels are increased. It can definitely serve as an always on pedal; bonus: I find that it restores a touch of presence and clarity to delay and modulation effects that sit after — perhaps speaking to one of the practical uses by the Edge and his love for dotted-eighth delays.

The JHS Clover/FA-1 Circuit feels very much, in a good way, like it is polishing, preparing, and then boosting the signal to effectively drive and successfully deliver your guitar’s voice through the effect chain without losing character, life, or clarity. It’s one of those pedals that makes important nuanced tweaks to the point that, turn off the pedal and you will feel like you are missing something important.

Editors Note: The context of this blog entry was originally posted as a response to a threaded discussion on theGearPage.net forums and subsequently has been edited/updated before re-sharing here. The link to the original thread can be found here: https://www.thegearpage.net/board/index.php?threads/jhs-clover-anyone-seen-this-yet-boss-fa-1-style-pedal.2013478/

[The Summary]

The Source Audio Nemesis Delay is a fantastic pedal; one that provides a great range of voice and depth of control thereof, attributes often associated with rack-mountable units, all within the confines of a pedalboard friendly enclosure. To achieve this carefully-honed balance, setting the unit apart from similar options in today’s market, Source Audio provides an expansive set of onboard controls allowing for precise/granular configuration of the effect which is then complemented (read: not required for daily use & operation) with enhanced editing options via both a mobile app and/or desktop software. Almost every parameter and nuanced characteristic of the 24 unique delay engines can be modified to one’s delight. As covered in numerous other reviews and demonstrations, the quality of the various delays algorithms is fantastic, faithfully representing the core delay types and then reaching beyond with some very unique offerings. It is quickly apparent from the second the effect is engaged that Source Audio invested a lot of time and resources in the quality of the delay engines (voicing/characteristics). Much like the Leatherman is to one’s toolbox, the Nemesis serves as the versatile go-to multi-tool for one’s delays needs. It is both a Jack-of-All-Delays & Master of Many.

[Expanded Thoughts]

The Nemesis has been incorporated in my setup for several weeks, waiting until having used the pedal in live performance before writing this NPD (New Pedal Day) review. As the Nemesis has been available for sometime, and with no shortage of coverage, I took pause to consider how I wanted to approach this piece so that it brings a fresh perspective to the conversation. While the quality of the delay algorithms (engines) and their ability to faithfully replicate the characteristics of their inspirational counterparts can be a very subjective observation, my thought was to focus on the controls/mechanics and feature sets of the Nemesis; this assuming a baseline of quality with concerns to the resulting effect tones.

Over the past few years, I’ve partook in a methodical journey into the world of delay, having started with the TC Flashback before moving on to spend time with the TC Nova (In-depth Review), the Strymon DIG, the El Capistan (Quick Review), and the Eventide H9. Yes; certainly there are countless other options to explore but, specific to these pedals, they provide a baseline of high-quality delay, each bringing some different strengths and challenges with respects to how the user can both control and manipulate the effect. To this point, the Source Audio Nemesis replaced the El Capistan on my board because, 1) offered Multiple Pre-Sets and, 2) offered a variety of Delay Voicings. While both pedals produce a beutiful delay effect with solid control options, the El Capistan is limited to one preset (requiring external switch) and I found that, in practical use, it was troublesome to make more dramatic adjustments mid-set/performance (note: I have not as yet needed to switch delay settings mid-song.) The El Capistan has a nice range of the Tape inspired effect, cleaning up nicely to provide a passable digital-esque delay, and yet it always remained close to its inspired roots. The Nemesis, in contrast, offers 24 different delay engines that, while many will probably stick to the most common options for daily use, within that subset, there is a great uniqueness of voice, character, and function. They sound great; period. I’ll leave others to debate how authentic they are but I have to believe that even a more seasoned audience will not find issue.

Diving a bit deeper beneath the surface of the Nemesis, in defining presets in preparation for live performance, I used the desktop software to edit/adjust (in real time) almost every trait of the delay engine of my choosing; quick and easy. Further, and of notable value, the user has the ability to make some key adjustments to the onboard control scheme for both global functions as well as each preset (read: assign the adjustment of a defined parameter to one of the available control knobs.) As I navigated through this process, and in spending a few weeks just having fun with the Nemesis, it really is worth reiterating a point made in the summary above: Source Audio successfully targeted and provided a great balance of on-board controls, allowing for refined and in-depth adjustments, powered with what feels like a rackmount delay system, all so nicely packaged in a pedalboard friendly enclosure. With the presets saved, I was quickly able to deploy the right amount and style of delay as we jumped around through our ever changing setlist. If needed, it was easy to make slight adjustments thereof.

[PC/Mobile In-Depth Editing]
Since placing the Nemesis on my board, I have used both the Source Audio Mobile App (via Ipad) and the newly released PC Neuro Editor. At the time of this review, they both share the same abilities to edit/manipulate the core functions and attributes of the delay engines and global settings but the mobile platform adds the ability to publish/download/and share presets with other users. While both platforms are easy to work with, I found it more preferable to use the PC Editor as it provides live feedback (feeling of interaction) between the software and the pedal. The Mobile app only communicates one-way; settings/adjustment set in the app can then be sent to the pedal while, the PC (via USB) communicates both ways with any changes made on the pedal (turning a knob) showing on the app. Either way works just fine, just my preference shared, but credit given to Source Audio for providing both platforms. SA has shared that they will be bringing the publishing and sharing of presets to the PC application soon. These platforms, factoring in the controls they provide, speak to and enforce both the power and breadth of the Nemesis Delay system, well beyond the confines of the physical package.

[Concluding Thoughts]
In evaluating the pedal on its own merits, I am thrilled with the sound and quality of the delay engines, and the flexibility to alter (if not outright customize the delay effect) to one’s content. The Nemesis is beyond flexible while still providing a concrete foundation that exudes trust in a live performance setting. Routing and global control mechanics can also be tweaked. There are, what feels like, countless possibilities within this pedal — like a leatherman that reveals useful tools and hidden surprises every time it’s opened. Based on the needs and budget of those searching for a powerful delay system, I highly recommend the consideration of the Source Audio Nemesis; a true delay platform that speaks to both performance and exploration.

[Some additional thoughts]
I still love the El Cap., one of the few pedals I’m keeping as part of a slowly expanding effects catalog and, while the H9 remains on my board serving in the ‘Jack-of-all-trades’ role, the Nemesis is now faithfully serving as my primary delay pedal/engine. Taking nothing away from the H9, it is an awesome system and powerful tool, Delays and Reverb is one thing is does master quite well. This does then demonstrate/speak to the quality and strength of the Nemesis Delay (having both on my board.)

This is the second Source Audio product I now own and currently incorporate as part of my rig, the other being the Source Audio Programmable EQ (review here) <– also highly recommended.

Finally, with no previous experience or knowledge of Source Audio, I was invited to participate early last year in a Source Audio Tourbox; funny to note: neither of these products were featured in this particular tour. That said, I really enjoyed my time with their pedals as well as interacting with the Source Audio team who, rightfully take great pride in their products and care in their customer’s experience. It was a very positive first impression; one that opened up the door for these future purchases. The following is my shared thoughts and perspectives on the tourbox: https://www.thegearpage.net/board/i…audio-one-series.1537376/page-7#post-21551283