[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

It was August of 2015 when I declared my search for the classic 80’s Chorus over thanks to the MXR M234 Analog Chorus (NPD Review) and, although I did participate in the Source Audio One Series Tour Box in March of 2016 featuring their Gemini Chorus (Quick Review), it was not until this last month that I once again purchased a chorus pedal; the Boss CE-2w. With all of the praise it has received, I could not resist; this, and summertime presented the perfect opportunity to play around with my setup and gear.

The links above provide a quick glimpse into my quest to find a chorus pedal that, in blending the right combination of effect and tone, would provide the classic 80s + 90’s chorus I’ve come to appreciate. While often coming so very close, there was always a nagging feeling that I needed to continue my search.

At some point last year, I parted ways with the MXR Analog pedal; my infrequent use did not warrant keeping it on the board but, I’ve also learned a few tips and tricks along the way that opened up new opportunities for further exploration. One such trick; the ability to use the modulated delays and reverb algorithms on the H9 to achieve a more classic, rich and watery chorus than what can be achieved by using the ModFactor’s chorus (at least in my opinion). Here are two presets (link here) I recently shared that provide a very convincing substitute, if not better, than some of my previous chorus pedals. To note: in A/B testing, the Tri-Chorus preset actually compares favorably to some of the voicings of the Boss CE-2w.

A very helpful addition to my rig, now factored into the overall equation but not previously part of my setup, is the Source Audio Programmable EQ. Placed in the chain before the Chorus, if needed, the EQ can provide nuanced adjustments to the signal helping to facilitate greater flexibility between the various guitars and effects as they interact with the inherent voicing of the chorus. That said, with or without the EQ engaged, I have found the Boss CE-2w to have a very balanced EQ representation that provides warmth but retains clarity.

[Enter the Boss Waza Craft Chorus]

Perhaps to no one’s surprise, and certainly as covered in countless reviews and product demos, the new CE-2w washes over us with the classic 80’s & 90’s chorus effect. As a bonus, and what has become a signature approach of the Waza Craft series, we are treated to both the CE-2 and CE-1 Chorus implementations as well as the CE-1’s Vibrato mode.

Specific to the two difference chorus modes, both are excellent and have just enough difference in personality to make them feel unique. The CE-2 is voiced a touch darker/neutral and with a more subtle blend/mix of the effect; still plenty of movement if desired. The CE-1 is a bit more chimey and the effect tends to feel more present and articulate; note: there is a slight volume bump in this mode. In the past week off use, I have come to favor the CE-1 mode a bit more but equally enjoy both. As for the Vibrato, it’s a nice bonus feature that may prove useful in future explorations — I just don’t have a strong need for it at the moment.

To shy away from making an outright declaration as to which pedal is better (yes, it does tend to be a very much be a subjective observation), I will state that, with respects to the resulting effect/tone that I was in search of, the Boss CE-2w has a solid lead over the MXR M234 but certainly they are in the same ballpark. Each pedal has its strengths and unique implementation of controls but, when I engage the CE-2w, I feel drenched in that classic chorus; period. From Police to Nirvana, the Smiths to Crowded House, these and countless other artists and songs, the CE-2w faithfully reproduces the tones/effect that so many of us have enjoyed throughout the years. That said, considering the price difference and the added EQ and Mix controls of the M234, it is still remains a solid choice and would come highly recommended.

There is a good reason as to why the Boss CE-1 & CE-2 have become synonymous when thinking of what chorus should sound like and, in paying homage to its roots, the CE-2w successfully builds upon the well-deserved legacy of this effect.

Spring is here and what better time to have acquired the Seaverb reverb by Andy Green Pedals. Inspired by the classic Fender Amps, this pedal delivers their reverb effect in spades; it’s soaked with surf-a-licious deliciousness.

A thorough review follows but, for those wanting to jump straight to my concluding thoughts: considering 1) the quality of tone/effect, 2) the build quality and, 3) the price — this pedal comes highly recommended for those looking for a simple, classic, spring reverb; one that is properly voiced/mixed, with a great and fluid range of effect.

The Seaverb reverb is a assembled by hand in Andy Green’s boutique workshop, located in Hollywood, Fl., just down the street from one of the area’s most famous Ice Cream parlours (I share that little detail in case one is hungry when they go to visit). Every pedal conveys a great sense of pride (certainly well deserved), illustrating his attention to detail, professionalism, and mastery of his craft. I was referred to Andy many years ago for his luthier services and, as I have come to expect, my guitars always play and feel better than ever before after he works his magic. As a bonus, the gear-talk and stories shared, while providing a brief glimpse into his years of experience in the music industry, are often both informative and entertaining.

About the Pedal: The Basics

Spring Reverb; Period. The range of the effect goes from very mild (also great for country slap-back) to surf-drip territory and yet, one always remains in sight of the shore; no deep ocean or outer space exploration here.

Simple controls: Depth & Shine. The Depth knob is self-explanatory; in practical terms, it controls the size of the emulated space. To illustrate the setup: imagine a set of springs in the center of the tank with a mic set at a specific distance from them. As one turns the depth knob to the right, the springs and the mic remain stationary but the walls of the spring tank move further away creating the greater sense of space.

The Shine Knob feels very much like a tone knob specific to the reberations of the springs. While the source tone remains constant, turn the knob to the left and the simulated response from the springs/space is a tad bit darker/muted — all the way to the right, and the captured response from the springs/space is bright and chimey.

As seen in the pic below, there is an internal Dip Switch which, when turned on, routes the effect/feedback back into itself which, in practical terms, feels like the reverb is a bit more intense and envelopes the core tone a bit more (read: the blend between the dry signal and the effect shifts to emphasize the effect a tad bit more.)

The Seaverb is a very straight-forward and simple pedal; this is not a bad thing. What it was designed to do, it does with great success. Based on the Belton Brick chip, found in many a reverb pedal, there are many similarities to the EQD Ghost Echo (link to review below) but each pedal has a different approach and end goal as it pertains to sculpting the effect via the available control scheme. Example: The EQD Ghost Echo allows for some low-orbit exploration thanks to the additional dwell and pre-delay controls.

I spent a few hours (on/off) testing and comparing the reverb effect to the Strymon Flint. Both sound great, each with nuanced differences. The simulated springs in the Seaverb feel a bit more relaxed (think: less tension) and thus, the trailing reverberations while present tend to mellow out. The Flint, in comparison, sounds like the springs are very fresh/high-tension and the intensity of their response is a bit sharper to the ear (think: more pronounced). It is not a question of which is better, they are just different — left to the taste/preference of the musician. While my opinion, I feel like the actual quality of the reverb effect of the Seaverb very much stands tall when next to the Strymon.

When envisioning the iconic 60’s longboards, the Seaverb catches the big wave and finds comfort in the heart of the pipeline.

As with all of my reviews, I will come back over time to edit, update, answer questions; jump back up to the top for my concluding thoughts. Sample clips provided in post below. One of the driving motivations for purchasing this pedal and sharing my thoughts was to answer the question, “What Reverb would work well with my Quilter amp?” — happy to say, the Seaverb is a perfect companion; a great reverb pedal and well worth the price.

This will surely be a bit different, certainly shorter in length, than my normal NPD (New Pedal Day) reviews but, no less informative. After a few years of working through the configuration of my board, the project slid into a very comfortable holding pattern this past summer. Besides hosting a few tourboxes, my next purchase was not until 2017 had arrived.

As last year came to an end, I’d occasionally stop by the GearPage.net to see what sort of deals were trending. It was here where I learned about the H9 Max Out discount and, in only being five algorithms from qualifying, I was quick to jump on the opportunity when it went live. Having access to more modulation effects on the H9 freed up some very limited space on my board. The MXR Phase 90, which saw very light usage if any, was replaced by the Source Audio Programmable EQ.

I’ve dabbled with the idea of purchasing an EQ many times before but, for probably the wrong reasons, it never commanded a sense of priority. As much as I have come to appreciate the utility function that a compressor can serve, one might think that I would have given the abilities of a good EQ pedal the same respect. At the end of the day, the idea of having an EQ pedal did not seem as fun or sexy as having some more tangible effect … or so I thought.

Enter the Source Audio Programmable EQ.

In just about one week, I’ve quickly validated what I had suspected but did not want to believe — an EQ Pedal can and is a very impactful tool for one’s tonal foundation. The SA Programmable EQ is placed as the very first pedal in my chain and helps set the base tone before it progresses through the rest of the effects. Specific to my needs, I often switch guitars during and between sets, from a Strat to a Les Paul and, by having the presets, I can easily adjust the frequencies as needed. Thanks to the simplistic setup and operations, I can quickly switch settings mid-song if I want one guitar to sound different between leads and chordal progressions (note: I often use the Ditto X2 to loop the rhythm track live.) I have found that the EQ can give my Strat a bit more ‘oomph’ and warmth (translation: more mids.)

The SA Programmable EQ serves dutifully as a utility pedal, it’s straight-forward in operation is easy to work with while providing a lot of flexibility within the controls, both in how it can help tweak the frequency spectrum but also in how the controls scheme works. One can also use it as a clean boost which can be saved as part of each preset (think: switching to a lead tone: adding a bit of volume and mids.) When using my Les Paul, I have the EQ set so that, when switched on, I drop the mids providing a bit more of an acoustic simulation.

The build quality feels sturdy. The lights are bright but not overpowering. I do not hear any additional noise or artifacts when the pedal is engaged. Not sure what else I can say. For those wanting some more granular control of their tone, perhaps looking for some better compatibility between their guitars and gear, I would highly recommend this pedal. As a Pink Floyd Fan, I will freely admit that knowing Gilmour used two of these pedals as part of his recent Pompeii performances helped seal the deal. If you stop to think about it, part of Gilmour’s fame comes from the fantastic layers of sound he masterly interweaves throughout his performance and, besides the obvious consideration of his skill and passion, I have no doubt that the EQs play an integral role in helping to sculpt his tone.

As with all of my NPD Reviews, I will come back and add & edit over time to update my perspective and experience with the pedal. For those interested in Source Audio’s offering, I did participate in their Tourbox last year. While this pedal was not included, I did thoroughly enjoy the experience and my final review can be found here: Source Audio Tour Box Impressions.

[Update: 16 Months Later …]

Still rocking on my board … just shifted to position to after the dirts and boost but before the modulation and delay effects. With respects to tone and features, I enjoy having this pedal as part of my setup, serving an integral role in establishing a foundation from which the other effects then work with. I’ve calm down in usage, not always having it on but there are times when it is definitely needed.

If there is one critique I could share (perhaps a personal preference), I’m not thrilled with how, when first powered on, the pedal is automatically engaged and has returned to the first preset. Not a deal breaker by any means BUT, it does require that I am most always having to make an adjustment (switch the preset or disengage the pedal) before I start to play. In what should be sort of a set & forget utility role (adjust as needed). One possible work around would be to set your favorite setting in preset 1 and you should be good to go most of the time.