[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.

[OVERVIEW]

Leading up to the acquisition of the Strymon Flint, I was in midst of researching various options to diversify my reverb selection. The EQD Ghost Echo (click for my review) had served successfully as my one-and-only reverb option for the past year but I felt more variety was needed. I quickly purchased the EQD Levitation (click for review), a great pedal, but one with which I struggled to bond with. Next up? The Keeley Aurora, which proved to be a fantastic reverb pedal; very organic tone and dynamics with a great range of effect, subtle verb to deep space. While the solution worked in concept, it presented a few new challenges: that of consuming valuable pedalboard real estate, additional power requirements, and the need for additional patch cables (read: more points of potential issue.) It is my preference to find a balance of efficiency and effectiveness, a nice ratio of function vs. size, without sacrificing quality — all obtainable in today’s market; usually found at a more premium price point. Continuing in this train of thought, and as a very happy owner of the El Capistan (click for review), I focused in on the Strymon Blue Sky. With three fundamental reverb types and countless variations and range thereof, this looked to be just the pedal I was looking for. It was at this point, in reading numerous threads and reviews, watching countless video demonstrations, comparisons and recommendations for the Strymon Flint kept coming up in the discussion – a pedal that was not even on my radar. As I started to learn more about the Flint, the more it spoke to my ‘needs’ as well as my ‘wants’. There were some very common themes: simplicity, quality, and a perfect combination of classic effects. There was some hesitancy but I made the decision to get the Flint instead of the Blue Sky. A key decision that I worked through when making the choice between these two pedals: the plethora of options on the Blue Sky, and tweaking thereof – vs – the three pre-voiced reverbs of the Flint (forever to be classics), with some moderate controls and range therein; this with the addition of the Tremolo effect.

[ENTER THE STRYMON FLINT: THE PERFECT GENTLEMEN]

Strymon describes the FLINT as ‘A Perfect Gentlemen’ and, after spending the past month with it both at home and in live performance, I would have to agree that it certainly is the ‘Perfect’ description. Like a ‘Gentleman’, there is a simplistic elegance to the Flint, both with the effects it produces along with the ability to dial in just the right mix of reverb, tremolo, or a blend of both. Subtle adjustments, as I came to learn, go a very long way, and within the nuances, there is a rich complexity and variety of each effect; very compelling and natural replications of classic reverbs and tremolos.

[THE FIRST FEW DAYS]

In writing these reviews, I believe it is imperative to convey all parts of the experience. To this point, I’d share that I struggled with the Flint for the first few days – specifically with the Reverb – specifically with the Spring Reverb. I had become so accustomed to the sound and nature of the Ghost Echo, and the control scheme thereof, that I couldn’t seem to dial in the right blend of Spring Reverb. The ‘reaction’ from the simulated springs was too ‘present’ for my taste — or so I thought. Further adding to the frustration, I was using settings as shared online or as seen in videos; settings with a bit exaggerated mix levels for purposes of demonstration. As I came to understand how the provided controls worked and, more importantly the interaction thereof between the three adjustable attributes (Mix, Depth, Tone) and in how they worked together to refine the response and voice of the effect, it soon became quite simple to dial in a very authentic spring reverb – one that sounded and responded more realistically (in my opinion) than that of the Ghost Echo. In better working with the controls provided, my experience and enjoyment of all three reverb selections was enhanced.

[AGED TO PERFECTION]

On the outside, ‘The Gentlemen’ is refined; impeccably dressed and always well presented. Internally, there is a complexity of character and richness of personality. The FLINT provides three classic type of reverbs and, within those choices, there is a great range of both intensity and tone of voice. Nuanced adjustments of the controls can go a long way in establishing the perfect amount of the effect. From simulating the cozy comfort of a small space on lower settings, one can easily ratchet up the controls to take the audience just beyond the outer edge of earth’s atmosphere. While one can flirt/tease some basic ambient inspired soundscapes, I would not suggest this to be a strength of the pedal.

I find the ideal [MIX] level for a natural sounding reverb to be around 10pm on the dial. As referenced earlier, many suggested settings and demo videos have the MIX higher (e.g 2pm ), but I found the tones and responses are more organic at lower levels with nuanced adjustments of tone and depth thereof. As I move between songs on the setlist, it is so very easy and efficient to quickly switch to a reverb that’s ‘just right’. While not required for full enjoyment, with the addition of an expression pedal I already had (assigned to the depth control), I can make refinements on the fly; a small convenience that comes in to play when utilizing more intense settings on the 70’s Plate of 80’s Hall.

Strymon has done a great job of setting the right amount of pre-delay for each reverb although, I did suggest to them that it would have been nice had they assigned a pre-delay control as a secondary function on the tone knob [currently unused] specifically for times when the [DECAY] inches ever-closer to the max setting. This is certainly a personal preference than a knock against the pedal.

While I’ve already discussed the Spring Reverb to some degree , I would add that I’ve come to learn (as almost if there really was a spring tank hidden in the pedal) how to adjust my playing dynamics to either encourage or reduce the simulated reaction from the springs. I can emulate a small space, allowing the guitar to breath a bit, or get that rich Surf Drip depending on the settings. As for the 70’s Plate, I think the implementation is definitely rooted in a mellow vibe that can either reproduce the feeling of being in a small room (bright or dampened) and/or taking one into the heavens with bright reflections. The 80’s Hall shines when the Decay is set from 2pm and 4pm (just before it is maxed out). The setting adds some modulation which makes the resulting effect very rich.

In many ways, the Reverbs on the Flint just work and can easily serve as an ‘always-on’ effect. For live performances, this simplicity and dependability are perfect and, for use at home or in practice, there is plenty of room to do some fun exploration.

[ADDING SOME MOVEMENT | REVERB & TREMOLO = PERFECT FRIENDS]

The 61′ Harm Tremolo Setting, Speed set 9pm, Intensity around 10pm … Subtle Luscious Movement … Suave. A touch of Reverb, A dash of Tremolo … just stop here, no need to venture further. To note: as a secondary control on the Delay Knob, you can route the Tremolo to either be before/after the reverb effect [factory default = after reverb.]. I found it to be more to my taste for the tremolo to be before (the reverb afterwards softens the intensity some). That said, with the Tremolo placed afterwards, one can venture into some very hypnotic/pulsating vibes.

[For now … CONCLUDING THOUGHTS]

As with all my reviews, I will come back and certainly add more insights and observations, make some edits, etc .. etc. What one reads today will be greatly enhanced over the next few weeks. Certainly, I want to discuss and share more about the tremolo effects offered on the Flint. To conclude this review, Strymon hit the mark in how it characterized the Flint, if I might embellish on it a bit, “It is ‘The Most Interesting Man in the World'”. This is a classic pedal, well implemented, and will serve perfectly as a foundation of tone/effect on my board.

The Concluding Summary …

The TC Nova Delay, a bit older compared to the many of today’s new pedal choices, is still by all accounts a great digital delay, certainly worth the current available price of $159. The proper question to ask: is the Nova Delay the right fit for your needs? This depends greatly on what you’re looking for and/or what other pedals are already on your pedalboard. Particular to my scenario, I already own the El Capistan by Strymon and my hope was for the Nova to provide a digital focused delay while having the ability to save presets.

In many ways the Nova Delay succeeds in checking off my list of wants/needs along with meeting my expectations of tone quality. It has some great controls and features, solid effect tones, nice flexibility, and even a few hidden surprises. In the end however, there were a few particular characteristics and control mechanics which, after a thoughtful and lengthy pause, led me to return the pedal. This is less a ‘knock’ on the pedal but speaks rather to my personal taste and desired application of the effect. I will cover these observations with more detail in the review below.

To conclude, if you are in the market for a Digital-based delay with a lot of onboard controls, at $159, the Nova Delay is certainly worth your consideration. With the depth of onboard controls, I believe the Nova Delay is much more ‘Performance Friendly’ than many other similarly priced delays.

[Full Review]

To provide context ….

With the acquisition of the M234 Analog Chorus by MXR a few months back, I’ve been quite pleased with the pedal selections and configuration of my setup; so much so that I’ve spent far less time surfing the gear forums. With the pedalboard set, I placed more attention on refining the incorporation of the effects, when appropriate, throughout my set-lists.

Recently, threads about delays have most often caught my eye. An effect often used, it can be a subtle addition to one’s tone or, when dialed up, take the guitarist and audience on a journey through time and space.

I started 2015 with the TC Flashback, the Swiss Army Knife of Delays. It has many different delay types on tap, from Analog ‘Voices’ to Digital, three different sub-divisions selections, and the TonePrint for endless expansion. The Flashback sounded great but I was left wanting more; specifically more granular control over the effect. The TonePrint feature is great for playing around at home but I did not find it that practical when used in a live setting — nor do I want to fuss around with uploading selections via my phone or laptop.

My current delay is the Strymon El Capistan. I love … L-O-V-E … this pedal. The tonal quality is fantastic and the control scheme is both intuitive and comprehensive — there isn’t much of the effect that one can’t tweak via the controls. A welcomed surprise, the delay can also be cleaned up to a degree, offering some more pristine echos. From Gilmour’s Stadium Leads to U2-Esque Rhythmic Delays, the El Capistan stands tall.

Ok …. so the question being asked at this point, why would I buy the older TC Nova Delay?

Honestly, I was just so very intrigued and, for $159 New …. it was too hard to resist.

A bit more seriously, if there is one limitation of the El Capistan, it would be the lack of presets. YES, it offers one preset, YES, it is easy to dial in different settings between songs BUT … I have found in more real-world use that, during longer sets or, as the night lingers on, I get a bit tired of having to adjust the pedal on the fly. This isn’t a deal breaker but it provided an opportunity to take a second look at the TC Nova Delay as a way to expand my Delay Effect choices.

[Enter the TC Nova Delay]

The TC Nova Delay is a digital delay, inspired in part from the classic TC 2290 Rack Delay, that can venture into darker more analog simulated delay tones. When comparing feature sets to other delay pedals I own(ed), the El Capistan dTape Delay is a digital based as well but, from start to finish, is engineered to simulate the nuances and characteristics of classic Tape Delays systems. In comparison to the Flashback, the Nova Delay gives the guitarist much greater onboard/instant control over the effect via dials with programmable presets.

A summary of features include: Color Control (from Tape -> Analog -> Digital), Modulation (light, medium, heavy w/ control of mix level), six delay types, 6 different sub-division selections, 9 programmable presets, and tap-tempo. The build quality feels fantastic – very heavy-duty. Note: The newer versions purchased now all include the “iB modified” buffer improvements (for those who have seen reference to that edition) The ND-1 is a buffered pedal – not True-Bypass. Being that the pedal is towards the end of the chain, I find that the additional buffer actually restores a tad bit of life & bite to the signal – although, I was already more than happy with the base tone sans the included buffer.

[Pedalboard Environment Notes]

While the pedal comes with an included power adapter, I am using a Voodoo Pedal Power 2 Plus on Output #5 set to 12V. The Delay is the next to last effect in the chain, before the reverb. Important Note: As reviewed, the Nova Delay, as it sits in the effects chain, is placed in front of the amp, NOT in the effects loop

[Observations & Feedback]

Within minutes from unboxing the pedals and powering it on, I was able to dial in U2-esque delay lines. My guitar signal felt a bit more livelier than normal – not in a bad way – something I attribute to the presence of a buffer. I heard a bit of distortion in the delay trails but after calibrating the pedal (helps to read the manual), I had very pristine echos. When I had the Color setting set to Digital (fully to the right), the pedal delay effect picks up the slightest nuances of unintentional noise (finger slides, scratchiness of the pick, accidental bumps, etc.) — read: the digital delay setting is highly sensitive, providing a true echo of anything that you feed it. This threw me off a bit compared to experience to the el Capistan, but I learned to dial back the color which takes a bit of the edge off. Along this same line, I find that the Nova Delay is generally “high throttled”. Even with the mix turned to just 4 or 5 (out of 100), the effect is still very audible. This is not a bad thing, it just take some getting used to. Making subtle adjustments will go a long way in helping to dial in the right blend and voice of effect. As far as personal taste, one concern I have is that there is no way to really reduce the attack of the very first repeat (for it to sit back a bit in the mix) but, to be fair, it’s not like this sort of control comes standard for other pedals anyway and may be just the nature of a clean digital delay. (Editor’s Note: As you will see below, after spending greater time with the pedal, I discovered some interesting capabilities/settings that provided more subtlety.)

To provide some feedback on the COLOR choices, the [Analog] setting is very solid, I find the [Tape] setting to come across as basic dark echos (low-pass/high-cut filter sort of thing) and it sits back a bit in the mix. That being said, I am certainly spoiled by the El Capistan which specializes in Tape Echos – maybe my review here is a bit skewed. I have a feeling that if I play around with the settings, especially mixing in some modulation, that I can get more out of the Tape Echo settings. To quickly note, the el Capistan no longer seemed so “pristine” even on its cleanest settings compared to the Nova Delay with the [Color] dial set to full Digital.

Speaking of the Modulation, I really have enjoyed all the capabilities of this effect. Between the three Modulation Modes along with the Modulation Mix control, it’s a well executed feature adds a nice depth/richness to the trails. While I sometimes utilize a combination of Chorus + Delay, the Modulated Delay provided by the pedal sounds great as is and can provide unique voicings to the effect, thickening up echos while leaving the guitar tone unchanged.

The Delay types are more than enough to cover common uses and most guitarist will probably spend a majority of their time using the delay line (standard), dynamic, and slapback. The [Dynamic] option is very interesting as it only adds the delay at the end of phrases keeping the live signal “cleaner”. This can be quite useful, especially for solos …. Think: Epic Gilmour. Combined with a nice Reverb, the guitar’s voice remains articulate mid phrase to then softly trail-off at the end.

[On-Board Controls & Features]

As with any pedal, the Nova Delay is very much a Plug-‘N’-Play pedal for the most BASIC use. That being said, the best advice I can give is to READ THE MANUAL. From setting presets, calibrating the pedal, to understanding the function, interaction, and nuances of the different controls, these things and more are all covered in the manual; albeit not always the most clearly explained. Things like the [DELAY] time control knob work a bit differently due to the range of times available. The implementation works perfectly but it is a different than some might expect.

The on-board controls on the Nova Delay are what really give this pedal an advantage compared to others available in the market; this despite its age. As a small bonus, the ND-1 practically tells you how to do everything directly on the face of the pedal. Presets are easy enough to set and any manual setting can be adjusted within seconds.

While the control set is vast in its options to adjust the characteristics of the effect, I found that the more granular refinements provided in some of the controls was a bit limited. With respects to the [MIX LEVEL], subtle delays can only be found when it is set between levels 1 ~ 10 with anything much higher than 20 feeling like the effect is on max settings (read: there is is a lack of a more discernible gradient or increments.) As I came to find, there are a few tricks available (see below) that expand this gradient to a degree. This same scenario seems to play out when it comes to the Feedback dial – on the opposite end of the spectrum. While the control goes from 0 -> 120 as one turns the dial, the delay starts to self-oscillate in perpetuity around 100 feeling like there was a substantial amount of space left on the dial for more incremental settings. That said, for both of these examples, there may be a valid explanation; perhaps these controls respond a bit differently when in the stereo mode which does speak to the tricks I discuss below.

The [PRESETS] system has a lot of depth to it but is easy enough to use. Up to nine presets can be stored and then one can limit how many are selectable at any one time. I configured the pedal to switch between four presets. The combination of Foot Switches can be used at this point to turn on/off presets and switch between them on the fly.

Finally, with respects to the controls and pedal configuration, the Calibration is easy enough – works well. I would have prefered two things: 1) a better explanation of what the Calibration actually does (what the reporting numbers mean) and, 2) to adjust the Calibration manually. While I easily cleaned-up the gain in the delay trails, I was left wondering if I would/should re-calibrate when switching between guitars being that they can drive the signal a bit differently. The pedal seemed to work just fine with both guitars regardless.

[Nova Delay vs. Flashback]

… see my follow-up commentary a few posts below for a comparison between these two pedals.​
[Power Options]

In much older threads on the forum, there have been conflicting statements with concerns to powering this Pedal. I used the Voodoo Pedal Power 2+ providing 12V. The Voodoo manual specifically addressed how to power the Nova Series Pedals in the manual and indeed, I have not had an issue. I did test the included power-plug that came with the Pedal and did not notice any difference in tone/effect.

[Tips & Tricks | Unlocking hidden potential]

After completing some additional research along with trial & error, here are some fun ideas and settings:

• As previously shared, a characteristic of the Nova that has been hard to escape, the pedal is very Lively/Full-Throttle. It can be a bit challenging, but achievable, to dial in subtlety. The Mix level has to be set at or below ~10 (out of 100).

  That being said … if one is using the pedal in [Mono] mode, the use of the [PAN] style delay will take the edge off the effect, allowing it to sit back a bit in the mix. Where I may have had the [MIX] level set at 20, I can now turn it up to about 45 to get the same sort of effect level. This provides much greater headroom to play with in achieving some subtle delays. Further, due to the nature of the Stereo Pan delay in Mono use, there is a very nuanced pulse/tremolo effect added that I would liken to the Wobble/Flutter of a Tape Echo. Set the [Color] Level to about 35, dial in the [Modulation] to taste (maybe something like 60 ~ 80), and [Feedback] around 60 you will be able to achieve a very moody, warm, organic style effect that has a uniqueness when compared to the basic settings of the pedal. For more of a Gilmourish Solo, adding to the suggested Color/Modulations settings above, set [Feedback] at 70, [Mix] 15.

• Using the same trick as above, keeping it on [PAN] delay, dive into the combo division types. In these settings, I’ve found many of the subtle and musical delays that I often used on the El Capistan; now very achievable on the Nova. I will not misrepresent that the resulting delays on each pedal are the carbon copies of each other BUT, they share very similar styles/taste. As I started to play around with many different variants of this mode, I really dialed up some great effect tones. It was a joy to then be able to quickly switch back to presets (From manual) to go back to some of my other delay favorites before returning to further play around on manual mode. In these last few hours, I feel like the potential of this pedal has started to open up; my outlook has shifted from “This is a solid pedal” to “I really like this pedal.”
• As I previously owned a Flashback, I went ahead and tried out the often discussed patch-cable trick or running the pedal back into itself (Signal In to Right Input –> Patch Cable from Right Output into Left Input –> Left Output Out to Next Pedal. Talk about some very interesting effect voices. Along with some Out-Of-This-World delays, there can some normal things dialed in as well — just be careful as I came to find that the pedal will easily self-oscillate depending on the Feedback intensity combined with the of type of delay and division.
• Interesting to Note: When using any sort of Overdrive pedal pre-delay, the effect comes across as siting a bit back (without any changes) in the mix in comparison to using the same [MIX] level with a clean signal. A nuanced observation, but one that might be important when using the Nova Delay for leads. This provides a bit more headroom from having to keep the mix level at 10 or below for subtle delays.

[Summary]

The TC Nova Delay sounds great, has a wealth of features, and the in-depth/on-board controls make it very easy to work with. The pedal gains a lot of strength from having so much onhand control over the effect which speaks to its value as a Live-Use pedal. I would have prefered more incremental gradients/adjustments for some of the control parameters along with some sort of manual control over calibration (thinking that this could be used to mute the initial attack a bit). With a bit of time, there are a lot of fun and useful delay effects to be dialed up. While this pedal has been around for a bit of time, I think it still offers many features and performance quality that make it worth consideration. At the $159 price-point, it is ALMOST a “no-brainer” acquisition for one’s pedal/effects library.