Perhaps a reference to the mythological three-headed beast or, intended to represent the power and characteristics of water, in either way one is so inclined to think of it, by providing the traditional effects of Reverb & Tremolo/Vibrato, the Keeley Hydra serves as a fantastic pedal to perfectly finish off one’s pedalboard.

[Quick Conclusions First]

For those that like to skip to the end, I’ve made this very easy …

The core functions and control mechanics are the strengths of this pedal; three absolutely solid reverb algorithms, three unique modulation options, three presets, expandable control options, and other meaningful utility features are all included. Encased in a standard sized enclosure, there are a multitude of onboard controls allowing one to quickly dial in desired settings while providing carefully chosen assignments for secondary controls (as needed), all facilitating a healthy sense of steadiness as one sets off on their exploration.

For those giving careful consideration to the Hydra, there are a few constructive critiques I walked away with after a few weeks of use. One or two of the ‘bonus’ features relating to the reverb effects were a bit underwhelming (to be explained more later) and, in having bigger hands, the top set of controls and switch placement can make things feel a bit cramped when needing to make quick adjustments. To the first concern, this is certainly a matter of taste and, when one considers it more of an add-on than that of a core function, it should not be assigned that much weight when determining the overall value of the pedal. To the second point, when providing this many on-board controls on a pedal of this size, I think the Keeley team provided a very effective and efficient layout that retains a clean design aesthetic.

[Context & Disclaimer]

To say these past twelve months were strange and chaotic would be the understatement of the year. Between the pandemic and our national elections, one could be forgiven if they found it difficult to keep up with anything else much less the latest news and updates from the music industry. With little ability to do much else at times, many turned to our instruments and these forums as a welcomed escape. That said, it remains completely understandable if various product announcements and related launches slipped past one’s radar.

I think I was mid doom-scrolling on the phone or, perhaps just browsing the forums one day when, out of the blue, the Keeley Hydra made its existence known, instantly catching my attention. I remember quickly jumping into some initial research, excitement and interest piqued, before being promptly dragged away by the distractions of life, not to think of it again for another month or two.

Of no surprise to forum veterans, I happened across one of the countless threads asking for alternatives to the Strymon Flint, the unofficial standard-bearer of trem/verb combo pedals. It was then that the Keeley Hydra came racing back to mind. I proceeded to watch the usual youtube videos but, in not having played the pedal personally, I only felt comfortable in raising awareness of the Hydra as a possible choice in forum discussions.

Given the popularity of this discussion, I reached out to the fine folks at Keeley to inquire if they might have some interest in a forum-based user review to include some element of ‘ compare & contrast’ to the Strymon Flint. After thoughtful discussion they kindly agreed to provide a demo unit with no preset expectations or explicit obligations (read: this was my idea and I’m not being paid.) Also, they were given no advanced viewing and will be reading this at the very same time as all of you if not after.

[Reverb & Tremolo, the Classic Pairing]

Well documented as to ‘the why’ and history, Reverb and Tremolo have commonly been included as a classic pairing of effects on guitar amplifiers from the early days of electric guitars. The Keeley Hydra sets aim to recreate this magic combo while providing modern day features and expanded functionality. After two weeks of thorough exploration and enjoyment thereof, I can easily and honestly say that the Hydra absolutely hits the mark.

Important side note: this is not Keely’s first pedal to deliver this combination of effects; the company still offers the Verb o Trem. It is however, a more complete solution offering greater independence of controls and usage of said effects.

On receiving the pedal, I purposefully opened the box and added it to the board without pre-reading the instructions (usually not a good idea); this, wanting to get a good feel for the intuitiveness of the control scheme and ease of navigation between settings. The momentary toggle switch quickly caught me by surprise but everything else was rather straightforward and well labeled. The use of a dual-purpose dial/push control at the center position is appreciated for its central location to the other controls, allowing for easy adjustment of secondary settings while not overcrowding the overall face/layout of the pedal. Perhaps something others would have quickly figured out, my first peek into the manual was in effort to learn how one switches between the modulation types – expectantly, it was simple enough.

Considering a holistic view of the control mechanics, I found Keeley to have established a healthy balance of primary and secondary controls and, of equal importance, properly prioritized and assigned the controls for optimal/ease of use and access accordingly. To this point, all but the Reverb Modifier [Mix Knob] and Modulation Selection [Option Switch] have been assigned to more utility-esqe functions: trem sync, trem level, effect order, and wet/dry configuration.

It’s here that I will highlight my first bit of constructive critique; the option switch is placed so very close to the middle control that, for someone with bigger hands and clumsy thumbs, it feels a tad cramped. If the switch and labels were all shifted down by just three or four centimeters, I believe it would provide one just the right amount of space to comfortably navigate said controls.

Before moving on from control mechanics, I’ll take this opportunity to highlight the ease of use and navigation of the preset system – simple enough even when switching by foot.

[Reflections on the Reverbs]

While there is certainly a subjective element inherent to such reviews, I confidently put forth that the reverb algorithms found on the Hyrda are of absolute solid quality. As I quite enjoyed the chamber reverb on the 30ms Double Tracker and, very often recommend the Aurora, it is safe to say that the team at Keeley continues to move forward in the right directions here.

Specific to the spring algorithm, there are debates to be found ad nauseam as to the level of authenticity and successful emulation, certainly the Source Audio True Spring is a crowd favorite and, as this continues to remain a matter of opinion, I will simply share that after spending hours, days, weeks, and months hands-on with countless reverb pedals, the Hydra spring algorithm excels; finding great comfort in spanning the range between amp and outboard-style implementations. With the settings increased, there is certainly a surf vibe to be enjoyed.

The Plate and Room algorithms provide a nice range of projected size and, to each, one can easily hear the nuanced traits of the medium (i.e. I get a visceral sense of response from the vibrating metal plate or, feel the reverberations off the surrounding walls providing hints as their material composition.) From my explorations over these past few weeks, I would suggest that for the larger room sizes to be found here, the effect is more cathedral-esqe than hall, and/or chamber-like in medium sized spaces; this, as I the reflections/trails provide a more articulate simulated response (like waves bouncing off tile surfaces) as compared to the diffusion that would occur with softer materials present.

Thanks to easily accessible secondary controls, the Keeley offers a customized attribute for each algorithm: Spring = age/vitality of the physical springs (e.g. punchy vs diffused), Plate = added Shimmer, and Room = size of space (this in addition to the dwell). It is here where put forth my second constructive critique: the shimmer effect, as implemented, left me a bit underwhelmed. Used with nuanced settings, it adds some very nice complimentary tones to the natural reflections of the plate. With more intense settings, and as the control is limited to dialing in an cascading octave-up shimmer, I found that it can play a touch of tug-of-war against the natural decay of the plate, especially when the higher frequencies are dampened via the tone control (read: a darker plate fades quicker vs. the rising shimmer tones). Just a suggestion that no one asked for, it would have been ideal if the shimmer control was neutral at the noon position with, in turning clockwise one was provided an octave-up shimmer and, adjusting clockwise from center provided an octave-down shimmer — with intensity ramped thereof. When considering this thought and keeping a healthy perspective, I’m discussing a bonus feature that may or may not see great usage to begin with (i.e. one’s motivations for purchasing the Hydra are probably never going to be focused on its shimmer feature).

[Diversity of Modulation]

Keeping this section succinct, the key takeaway here is that the Hydra offers three very complimentary and diverse selections of modulation appropriate for use towards the end of one’s effect chain to include: tremolo, harmonic tremolo, and vibrato. If ever to have been included on a classic amp, one will find it here …. well, for the most part at least (read: I am thinking of the chorus included on the Roland JC-120). The standard controls are provided in addition to a secondary level control to compensate for any perceived drop in volume with the effect engaged. Additionally, the order of the modulation and reverbs can be easily switched. I successfully dialed in a whole host of standard tones often associated with said effects.

[Concluding Thoughts]

I’ve already shared my conclusions at the start of this review but will take this opportunity to reiterate my opinion that the Keeley Hydra is an exceptional pedal that successfully brings together the classic effects of Reverb and Tremolo/Vibrato to include helpful pre-amp utility/routing functions. As with all of my reviews, I will keep tabs on the ensuing discussion and answer questions as best possible. As more time is spent with the pedal, I will make a point of updating this review if my thoughts were to change or there is something new to add.

As I have said many times before, guitar pedals and effects are not a one-size fit all sort of products, what I might enjoy and works well for my needs may not be everyone’s cup of tea. Accordingly, I try to focus on things like feature sets, control mechanics, etc. vs that of making bold proclamations like “this is the best, most authentic reverb ever”. Be sure to have fun and enjoy the journey! Thanks again to the Keeley Team for indulging me in this project and providing a demo unit to complete the exercise.

To be clear, I was not on a search for a new overdrive; I wasn’t even in the market for a new pedal. Pause … Who am I kidding?, my eyes are always scanning the horizon for fun new toys (I mean gear) to play with. That said and per my usual engagement on the GearPage.net forums, while actively participating in a few discussions about compressors, I started to notice the ThorpyFX Fat General kept getting mentioned. As my journey with compressors has been like a long and winding road, my curiosity got the best of me even though, at the time, I was not familiar with the ThorpyFX brand or story. As I was quite content with my Effectrode PC-2A compressor and, while the Thorpy’s Fat General looked interesting, it was the Peacekeeper that ultimately peaked my interest. For whatever reason, I had come to neglect my curatorial responsibilities pertaining to to my small collection of gain pedals, giving much more care and attention to other things like delays and modulation. It didn’t take long before I decided to take the plunge into the world of Thorpy and, happy to report, I’ve truly enjoyed the waters ever since!

[The Peacekeeper plays nice and gets the job done]

My days of shredding through chordal progressions and riding waves of distortion are definitely farther and fewer between, having now settled in comfortably on that cusp-of-breakup, a dash of crunch, with the occasional sprinkle of Muff sound. To these characteristics, having an overdrive that finds its home within low gain levels is a nice tool for one to have. Enter the Peacekeeper.

Important to note: at the time of posting this review, I’ve spent several months with the Peacekeeper in use and on my board.

Absolutely top quality build (like a miniature tank), a design aesthetic that is both clean and fun, there are several control mechanics that make the Peacekeeper stand out in the crowded field while, most importantly, providing great adaptability in working with most any other piece of gear ( pedal, amp, and/or guitar) one chooses to use. Some key points to these controls include:

• The [Gain] covers a very nice range, starting with a simple clean boost and, ending with a thick healthy crunch; this, while providing a nice smooth taper on the control pot, making it rather quick and easy to dial in that cusp-of-breakup touch-sensitive tone and response.
• The EQ controls, specifically the [PRES] dial, speaks very much to the idea of how this pedal can work in most any situation and gear combination. The [PRES] control works very much like a combination of both MID & PRESENCE settings, venturing from a mid-scooped [think: Fenderish] voicing to that of providing a mid-focused hump with that bright switch turned on [Think: Voxish], all before the signal is processed by the gain stage. After the gain stage, the active [TREB] and [BASS] controls kick in, allowing a great plethora of adjustments thereof. All three EQ settings are very interactive, providing a variety of possible voices and, flexibility of use.As for a setting I settled into (pictured just below), while I tend to keep the [BASS] around 12pm on the dial, the [PRES] Control anywhere between 10pm ~ 2pm depending on the desired flavor, I then would adjust the [Treb] to taste and/or, to compensate for the initial tone of the guitar (bright vs dark).

[Some additional and final thoughts]

As I would generally use the Peacekeeper for light gain settings, I think it is helpful to share that it stacked well with other drives — often using it in combination with the Buffalo TD-X and/or the Mojo Hand Iron Bell. (Pictured below, although the order has changed over time)

In conclusion, the Peacekeeper is a great overdrive pedal that covers a wide spectrum of gain levels, provides robust EQ controls, is adaptable in general and stacks well with other pedals, all delivered within a high-quality package. The price can be a bit steep compared to other options on the market BUT, when one considers that this could very well cover the ground of a few gain pedals, the end value is that much more appreciated. I was so impressed with the Peacekeeper that I soon thereafter acquired the Fat General (now my main compressor) and, a month or so later, the ThorpyFX Camoflange — all fantastic pedals.

[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/