The Spirit of the Space Echo

 NuX MDD-7 Tape Echo Review – Capturing the Spirit of the Space Echo on a Budget

If you’ve been hanging around the guitar world for any length of time, you’ll know that certain effects achieve a kind of cult-like status. They aren’t just tools for making music—they become legends in their own right. Few effects embody that mystique quite like the Roland Space Echo.

The original RE-201, and its descendants, have long been worshipped by guitarists, producers, and tone chasers alike. It’s a tape echo machine that delivered not just delay, but atmosphere, warmth, and vibe. When I first started getting into pedals, the BOSS RE-20 (the digital twin pedal that captured the sound of the Space Echo) was already discontinued and widely considered a grail pedal. The mystique only grew from there, with whole communities of guitarists swearing by it as the gold standard for ambient delay.

BOSS eventually answered the demand with two modern versions: the RE-202, which aims to fully recreate the Space Echo experience, and the smaller RE-2, which brings that character to pedalboard-friendly form. Both are fantastic, but both come with fairly premium price tags.

Somewhere in the middle of all this, NuX quietly dropped their own take on the Space Echo sound: the MDD-7 Tape Echo. I’ll be honest—I’ve never been one to get swept up in hype. In fact, I usually head the other way from it. When people online start describing a piece of gear as “life-changing” or “essential,” my instinct is to push back. Surely no pedal can live up to that kind of status?

And yet, after spending some time with the NuX Tape Echo, I get it. I finally understand the appeal of the Space Echo sound.

What is the Space Echo Sound?

At its core, the Space Echo was a mechanical tape echo unit with a built-in spring reverb. That might not sound particularly groundbreaking by modern standards, but the way those two elements interact is what makes it so special.

The tape delay itself is naturally imperfect. The repeats degrade over time, with a bit of wobble and modulation creeping in as the tape runs. Add to that the warm, slightly unpredictable spring reverb, and you’re instantly transported to the sound of vintage records. Huge, expansive echoes, swirling with character, that somehow feel organic rather than clinical.

The NuX Tape Echo captures that beautifully. The moment you plug in, you’re hit with lush repeats that shimmer and wobble in just the right way. Pair that with the characterful reverb, and you’re living inside classic ‘70s guitar tones. If you’re into players who used ambience not just as a background effect but as a key part of their sound, you’ll feel right at home.

Controls and Tone Shaping

One of the standout aspects of the MDD-7 is just how much control it gives you. It’s not just a one-trick pony; it lets you dive deep and sculpt the sound exactly how you want it.

The EQ section is particularly powerful, with separate Treble and Bass knobs to shape the character of your repeats. Personally, I prefer delay to sit behind my dry guitar tone rather than fight with it. Pulling back the treble slightly allows the repeats to melt into the background, almost like a reverb. It thickens and fills out the sound without dominating it.

On the other hand, if you want your delay to be a key part of your sound—think The Edge from U2—you can push the treble up, cut a bit of bass, and suddenly your repeats stand shoulder-to-shoulder with your guitar. Pair that with the Level control, and you can blend the echoes to sit exactly where you want them in the mix.

Of course, you also get the standard delay controls you’d expect: Time for setting the delay length, and Repeats for dialling in anything from a slap-back to a self-oscillating wash. There’s also a dedicated Tap Tempo footswitch, which is a must-have if you want your delay to sync tightly with a song.

The Select Knob and Delay Patterns

Where things get really interesting is with the Select knob and the small LCD screen. This visual element displays three playback heads, representing different tape delay patterns. Depending on how you set it, you can get single, dual, or multiple rhythmic repeats—including dotted rhythms that immediately conjure up iconic guitar tones.

This makes the pedal feel more like an instrument than just an effect. You’re not just adding echoes—you’re creating rhythmic textures that interact with your playing. Whether you want subtle depth or a cascading wash of ambience, the Tape Echo can deliver.

Spring Reverb Built In

Another highlight is the built-in DSP spring reverb control. Spring reverb has a distinctive character—it’s splashy, it’s drippy, and it screams vintage. On its own, it’s fun. Combined with tape echo? It’s magic.

Adding just a touch of spring can transport your sound straight to a smoky club in the ‘70s. Push it further, and you’re in full-on surf rock territory. It’s not a pristine studio reverb, and that’s the point. It’s vibey, imperfect, and dripping with character.

Hidden Features and the Editor App

True to NuX form, the Tape Echo doesn’t stop at the obvious features. There are hidden parameters tucked away for players who want to go even deeper.

Hold down the Select knob, and you’ll unlock controls for Wow, Flutter, Saturation, and even a Kill Dry option for running in parallel setups. These secondary parameters give you the ability to really fine-tune the tape character—whether you want smooth, stable repeats or unpredictable warbles that feel like your tape machine is on its last legs.

For those who don’t want to scroll through menus on the pedal itself, NuX offers an editor app. The app gives you access to all of these parameters in a clean, easy-to-use visual format. It’s intuitive, it’s quick, and it makes experimenting with sounds much less intimidating.

Add in the ability to hook up an expression pedal, and you’ve got even more flexibility. You can assign it to control time, repeats, or level, making the Tape Echo a powerful performance tool.

How Does it Stack Up?

Now, the obvious question: how does this compare to BOSS’s RE-2 and RE-202? Honestly, I can’t say for sure. I haven’t spent any time with those pedals so it would be unfair to make a direct comparison. What I can say is this: the NuX Tape Echo costs less than the smaller RE-2, and yet it offers a serious amount of control and flexibility.

It’s not necessarily aimed at beginners. The wealth of features and tweakable parameters might overwhelm someone who just wants a simple delay. But for players who love to get lost in sound design, or who want to add a very specific vintage flavour to their rig, the Tape Echo hits a sweet spot.

And that’s really the point. It’s not just another digital delay. It’s a love letter to a legendary sound, made accessible to players who don’t want to spend a fortune chasing it.

Two Cents

I’ll admit it: I used to roll my eyes a little at the hype surrounding the Roland Space Echo. It seemed like one of those things guitarists romanticised because of its rarity and vintage status. But after playing through the NuX Tape Echo, I get it.

There’s something about the combination of tape-style repeats, modulation, and spring reverb that just works. It feels lively. It feels organic. And it instantly transports you to another era of music.

The NuX MDD-7 Tape Echo isn’t the cheapest pedal in their range, and it’s not the simplest either. But it’s one of the most characterful, and one that rewards exploration. If you’re a guitarist who loves ‘60s and ‘70s tones, or if you’re chasing ambience with a vintage flavour, this one is absolutely worth a look.

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NuX Trident - First Look!

NuX Trident Review – A Feature-Packed Gigging Solution at a Bargain Price

Digital modelers and multi-FX units are everywhere these days. From the Helix Stomp to the Headrush Prime, the market is crowded with compact processors designed to give guitarists everything they need in one box. The trouble is, most of them still carry fairly hefty price tags, and budget-conscious players are often left choosing between stripped-back multi-FX or shelling out for the big names.

Enter the NuX Trident. At around £300, it sits comfortably below its better-known rivals but manages to pack in a frankly surprisingly rich feature set. Amp sims, IR loading, looper, MIDI, FX loop, balanced XLR stereo out, quarter-inch outs, expression input, dedicated footswitching, and a slick app-based editor — all in one unit. On paper, it’s the kind of pedalboard brain you’d expect to pay twice as much for. I mean, XLR out alone on the Helix doesn't come in until you reach the LT and that is edging closer to the grand mark as we speak.

So is it too good to be true, or has NuX just raised the bar for affordable modellers? Let’s dig in.

A Proper Feature List

At its core, the Trident is a digital modelling processor — which basically means multi-FX with amp and cab simulation thrown in. But unlike some budget units, this one doesn’t feel compromised. The sheer amount of connectivity alone makes it stand out: balanced XLR stereo outs (something neither the Helix Stomp nor the Headrush Flex Prime offer at this size), MIDI, an FX loop, standard quarter-inch outs, and expression input.

That makes it flexible enough for almost any rig. You could run it straight into a PA via XLR, use it as an FX-only unit in the loop of a tube amp, or keep it on your board as an all-in-one portable rig. For live players, that’s a huge deal — the direct-to-FOH simplicity of XLR is a godsend.

A Tighter Selection of Amps and FX

One thing NuX has done differently is keep the selection fairly focused. You don’t get the endless library of amps and effects you’d find in a Helix or Quad Cortex. Instead, the Trident ships with 27 amps and a curated handful of modulation, delay, and reverb types, plus essentials like wah, compression, and boost drives.

For some players, that might sound limiting, but in practice it’s refreshing. Option paralysis is a very real problem with larger modelers. With the Trident, every option feels deliberate — you’re not wading through 20 clones of the same Marshall when you just want one good crunch tone.

Attention to Detail – Amp Modelling

This is where the Trident really surprised me. NuX has clearly gone the extra mile with its amp models. The editor software includes beautifully illustrated examples of each amp — so even if they’re not labelled with official names, there’s no mistaking what you’re working with.

And it’s not just cosmetic detail. Many classic amps had bygone features like high and low inputs, or the ability to “jump” channels for blended tones. The Trident models these quirks, allowing you to pick between inputs or combine channels just like you would on the real thing. That level of detail isn’t common at this price point.

Each amp comes paired with a matching cab sim, and you can apply high and low cuts to shape your tone. If the stock pairings don’t suit, you can freely mix and match amps and cabs — or go a step further and load in your own IRs for custom sounds. For serious tone-shapers, that’s a big plus.

FX – Quality Over Quantity

While the Trident doesn’t drown you in effects, the ones it does include are solid.

• Reverbs and delays – A small selection, but they do the job nicely. The room reverb in particular adds a convincing natural space that helps your guitar feel like it's sitting in a space rather than a sterile recorded tone.
• Modulations – Classics like the Boss CE-1 chorus and a certain orange phaser are represented, plus more adventurous options like rotary and Uni-Vibe emulations.
• Boosts and drives – Every patch can include a dedicated “boost” slot, which functions as a range of overdrives and clean boosts. These have their own footswitches, making them easy to kick in for solos or heavier moments.

The placement of FX is also flexible. Drag and drop in the app lets you shift effects pre- or post-amp, so you can build patches with the feel of a 4-cable method pedalboard without any of the faff.

Footswitching – Definitely Gig-Ready

If there’s one thing small modellers often get wrong, it’s the footswitch layout. Too few switches and you’re stuck tap-dancing through menus. Thankfully, the Trident avoids that trap.

Each patch can include switchable delay, reverb, modulation, and boost. On top of that, the footswitches allow you to cycle through banks, with A, B, and C presets per bank. That’s three distinct sounds available at your feet at all times — each with unique FX toggles.

To put it in perspective, when I was gigging regularly, my rig was essentially two core sounds: a slightly overdriven clean and a crunch rhythm (with a lead boost I could activate for both). The Trident could cover that entire setup (plus more) in two patches, so not even a full bank! Add an expression pedal for wah or volume, and it’s a remarkably flexible live rig.

The Drawbacks – Because No Pedal is Perfect

If the Trident sounds too good to be true so far, here are the caveats.

• High-end sparkle – Out of the box, some amp models have a glassy top end, like a cab mic’d right on the cone. It’s not unfixable — the onboard EQ and cab sim filters are powerful enough to tame it — but it’s not as “plug-and-play” as more expensive units. You’ll have to dedicate a bit of time to learning how to dial it in, especially for some amp models.
• Onboard editing – The pedal itself uses an old-school knob-and-button interface. Some players will love that tactile approach, but compared to touchscreen-driven competitors it feels a little dated. Thankfully, the app editor is excellent — intuitive, drag-and-drop easy, and much quicker to work with.
• Limited FX variety – If you want endless wacky modulations or studio-style verbs, you’ll need a higher-end modeller. The Trident has some crazy moments, but mostly sticks to the essentials.

None of these are deal-breakers, especially once you factor in the price, but they’re worth knowing about if you’re considering it for live use.

Who is the Trident For?

The feature set makes it clear: this is a unit aimed squarely at gigging players. The XLR outs make life easy for sound engineers, the footswitch layout gives you enough flexibility for dynamic live sets, and the price means it won’t break the bank.

It’s also a solid option for:

• Home players who want a straightforward modeler with fewer distractions.
• Studio use, thanks to IR loading and stereo outs.
•  Backup rigs, where you need a compact, reliable solution if your main amp dies mid-show.

wrap up

The NuX Trident is an impressive entry into the crowded modeller market. It doesn’t try to compete on quantity of features, but instead delivers a carefully considered package that covers the essentials with surprising depth.

The amp models have real attention to detail, the FX are well-chosen, and the footswitching system makes it genuinely usable on stage. Throw in XLR outs, IR support, and an easy-to-use editor, and you’ve got a pedal that punches way above its weight.

It’s not flawless — some tones need EQing, the onboard editing is dated, and you won’t get the same variety as pricier competitors. But at roughly half the cost of a Helix Stomp, the Trident offers a compelling alternative that will suit many gigging players just fine.

For my money, it’s one of the most promising mid-priced modelers out there right now. Expect to see it popping up in more of my demos in the near future — because it’s not just good for the price. It’s good, full stop.

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When 5 Vibes Go to War...

 The Infinity Vibe Saga – 5 Univibes Go Head-to-Head

Over on the Budget Pedal Chap channel, we've taken on some chunky comparison videos before—but nothing quite like this. What began as a simple “Vs” series comparing two budget pedals has grown steadily. First two pedals, then four. But this time? Five univibe-style pedals thrown into the ring for a full-on shootout. It’s the biggest and most ambitious comparison we’ve done yet. I’ve been calling it The Infinity Vibe Saga—a playful nod to the Marvel universe’s Infinity War—because it truly feels like the culmination of years of testing and demoing these swirling, warbly modulation boxes.

Each of the five pedals featured in the video had been demoed individually on the channel in the past. But viewers always asked the inevitable: “How does this one compare to that one?” Instead of doing endless pairs or back-to-back comparisons, I decided to go all-in. This shootout features three distinct guitar tracks, each showcasing a different vibe setting from every pedal—fifteen unique vibe tones recorded with surgical precision.

Every element of the rig remained the same throughout: the same guitar, same cables, same power supply, and the same amp settings. I even removed each pedal from the board entirely between takes to avoid any tonal artefacts, impedance changes, or buffer interference (not that most of these have buffers, but better safe than sorry). The only thing that changed between recordings was the pedal itself—and, of course, my playing, which I tried to keep as consistent as humanly possible. This wasn’t about showboating or pushing one sound over another—it was about pure, clean comparison.

The Sound of Vibe – Five Pedals, Five Personalities

The shootout makes it clear: no two univibes are created equal. Each pedal has its own sonic character, its own way of interpreting that classic Hendrix-era modulation. Some had the tell-tale lopsided throb of a traditional univibe. Others veered more toward the smooth sine wave feel of a chorus or phaser. Some offered brighter shimmer, like a harmonica tremolo dancing on top of the signal. Others leaned darker, with an almost chewy midrange pulse.

Take the Moen Shaky Jimi and Jimi Nova, for instance. There’s long been speculation that these two are identical circuits in different enclosures. But back-to-back, the difference is clear. The Shaky Jimi has a gritty, almost lo-fi character. It’s darker and rawer, like it’s clawing its way out of your amp. The Jimi Nova is cleaner and more articulate, with a more polished modulation sweep. They share DNA, but the voicings are distinct.

Feature Wars – Who Offers What

Tone is one part of the puzzle, but features matter too—especially if you’re building a pedalboard with flexibility in mind.

If tap tempo is a must-have for you, then the NuX wins that battle outright. Having tap-tempo control on a vibe pedal is rare, especially at this price point, and it’s great for syncing your modulation to the groove of a track. If budget is the primary concern, the Moen options offer some of the best bang-for-buck tone on the market, albeit with fewer bells and whistles.

The Behringer 69 Vibe brings something unique to the table too, with expression pedal support—giving you real-time control over your speed settings. That makes it great for expressive, dynamic vibe swells or slower ramp-ups mid-song.

Then there’s the TC Electronic Plethora X1/Viscous Vibe, which—on paper—has the most to offer. While we used the stock vibrato mode for the shootout, TC’s signature TonePrint system gives you access to a library of downloadable presets. You can even design your own modulation style via their app. One of my favourites is the Devin Townsend TonePrint, which ramps up the level of shimmer and warble that is a bit more subtle in the stock setting. You’re also able to dig deep into parameters like mix, shape, and filtering—things most univibes simply don’t let you touch.

If you’re after tap tempo, ramping speed control, or even preset switching (via A/B mode), it’s all there in the Plethora X1. Granted, it is the most expensive of the lot, but you can opt for just the Viscous Vibe pedal alone, which sits far closer to the budget end—especially on the used market.

No Bad Pedals, Just Different Flavours

Now, here’s where I take a stance. In the video, I intentionally stayed neutral—I didn’t declare a winner, because the real winner should be you, the listener. I want you to listen to the tones, hear what moves you, and go with your gut. But here on the blog, I’ll let you in on my own takeaway: there isn’t a single bad pedal in this lineup. Each brought something enjoyable to the table. If we strip it all back to basics, isn't that what dabbling with FX is all about?

As someone who owns five standalone univibe pedals, I’ve come to realise each one fills a slightly different gap. Some are better for adding gentle movement under clean tones. Others throb gloriously in front of a cranked fuzz. Each of the manufacturers have prioritised certain characteristics of the univibe sound and so each pedal gives you a different take on the iconic swirl and throb of the classic Shin-Ei sound.

Why This Video Matters – And Why I Made It

What I learned from doing this shootout is that context matters. No single vibe pedal is going to be perfect for every rig or every playing style. That’s part of what makes this Infinity Vibe Saga worth the effort—it lays out the spectrum of options, from stripped-back tone machines to flexible, tweakable Swiss army pedals.

This wasn’t just a demo video; it was an effort to answer the questions people ask all the time: “Which univibe is the best?” or “Should I save up for the TC or grab a Moen now?” Instead of another single-pedal spotlight, I put them all together so you can really hear the nuance. You’ll notice some vibe pedals feel more phase-y, others more vibrato-heavy. Some vibe pedals really come into their own when paired with heavy drive and fuzz, where as some prefer to sit gently on top of a cleaner tone.

Pick Your Vibe

Whether you want budget simplicity, deep tweakability, expression control, tap tempo, or just a classic chewy throb, there’s something in this list for you. If you need something that covers all the bases in one box, go for versatility. If you just want pure tone with no distractions, pick the one that made your ears perk up.

I don’t think you’ll go wrong with any of them—but I do hope this shootout makes your choice a little easier. And if you’re like me, you might just end up with more than one on your board.

Until next time—stay vibey, chaps and chapettes.

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Behringer 69 Vibe 

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Team Britain or Team USA?

NuX Reissue Series

NuX have really been knocking it out of the park lately with their Reissue Series. Around a year ago, I featured the '63 Diamond on the channel—and it blew up. And no wonder: it’s basically a wallet-friendly Vox-in-a-box. Just look at it—it even looks like a vintage amp. The attention to detail in both tone and design is bang on.

The controls are exactly what you’d expect from a Vox-style amp sim: tone, volume, and gain. Though, in true vintage fashion, they’re labelled volume, master, and cut—a nice nod to the original amp’s layout. You also get a Top Boost switch, which gives you instant access to those rich, driven tones that have become synonymous with Brian May. While it’s not quite as sparkly clean as a real AC30, it absolutely nails that gritty, chimey crunch that made everyone from The Beatles to Queen sound so iconic.

These pedals were so highly anticipated, UK stockists struggled to keep them in stock when they dropped.

Enter: The '59 Bass Guy

Fast-forward to this year, and another NuX contender has stepped into the spotlight. Meet the '59 Bass Guy—a name that sounds like it wandered out of a spaghetti western, guitar in hand and fuzz in its heart. But behind the goofy name is a seriously impressive little tone machine.

Like the Diamond, the Bass Guy features a familiar control layout: volume, tone, gain, and a cheeky little toggle switch. This time, though, the toggle simulates the channel-jumping trick—a classic move among players of the original Fender Bassman amp. On the real amp, jumping the bright and normal channels adds fullness and a bit of grit. Here, it works in a similar way, giving your tone a noticeable presence boost and kicking the gain into another gear.

Two Legends, Two Flavours of Classic Rock

Both pedals do a brilliant job of capturing the essence of legendary tones. Whether you're chasing the rich harmonic crunch of The Who, the gritty drive of The Stones, or the tight low-end bite of early Zeppelin, these two stompboxes deliver more than a taste of rock history.

Best of all? You’re getting iconic tones without spending thousands on vintage tube amps—or dealing with the headaches of keeping them serviced.

So... Are You Team Britain or Team USA?

The only question left is:

Do you pledge allegiance to the jangly Vox chime of the '63 Diamond?

Or are you drawn to the gritty American growl of the '59 Bass Guy?

Either way, NuX have made the choice a whole lot more affordable—and a lot more fun.

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