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Hovedbilde Keeley Filaments High Gain ...

2.629,-

Warm tube like amp tones to high gain overdrive pedal Keeley Filaments High Gain Distortion Three Stacked Gain Stages Seven Layers of EQ Tube Amp High Gain Keeley Electronics, the leading manufacturer of pedals built in the U.S., announces the release of our most potent and aggressive metal stompbox to date: the Filaments High Gain Distortion Pedal. The Filaments accurately replicates high-gain tube amps by layering 3 stages of gain while providing 7 ultra-flexible ways to EQ the tone. The Filaments has more flexibility in tone-shaping than any other Keeley stompbox. Level and Gain set the stage for rich layers of high gain tube-amp saturation. Bass and Body give you the punch and authority of a gain monster no matter what size amp you are playing. Even if you’re running a 10-inch speaker the bass and body controls will give you the low end bass response you need. Running through a 4×12 already? Just dial back the body control to keep the sound tight and focused. Have an amp that’s hard to push? The Boost and Crunch switches give you two different levels of gain and compression to get your edge just right for your tone. The Presence control works with the Bright control to give any guitar or pickup combination the authority to stand up and shout. Lastly, the Treble control gives you that added range of highs to make your amp sing. Style is a Metal Head’s Swagger Metal is more nuanced and subdivided that nearly any other style of music outside the classical stuff. The Keeley Filaments High Gain Distortion pedal feels your pain, brother. So of course its amazing 7 layer toneshaping lets you chameleon into any of these types of metal: Christian or Death Metal, Black Metal or Folk Metal, both types of Core, Grind and Metal. Crust Punk or Glam Metal? Progressive Jazz Metal or just good old Stoner Metal? We got ya covered. Get a Keeley Filaments High Gain Distortion pedal and pound it out !! Get creative! Create your own Metal. Heavy Metal (often shortened to just Metal) 😉 #noshitsherlock Keeley is well-known for high-end tone and durability. His attention to detail in stompbox tone, tube amp building experience and “tough as nails” build quality ensures his new Filaments pedal will dominate the high-gain pedalboard. Isn’t it time you had a high gain pedal that gives you everything you need for the road? Tech Specs: 9-18 VDC – Louder and More Powerful at 18 Volts! Ultra Low Current = 10mA Center Negative Tip Power Supply Required – No Battery Operation True-Bypass 100% Analog – Made Right Here.

Keeley Fuzz Bender pedal

2.070,-

Ginormous Fuzz pedal with active EQ and Gate controls Fuzz Bender 3 Transistor Hybrid Fuzz Silicon and Germanium Fuzz Stages Huge Gyrator Bass and Treble Controls Pummel your amp with over 20dB of boost/cut at 100Hz and 10K Hz. The Keeley Fuzz Bender is a 5 knob – 3 transistor modern fuzz using a combination of high-gain silicon and silky smooth germanium. What makes fuzz better? Active EQ. Using two gyrators as an active EQ gives you the ability to create massive fuzz tones not possible with typical square-wave boxes. The Fuzz Bender is built around vintage Japanese germanium to create its monumental fuzz tones. With the all new Bias Control, you control the attack and decay of your notes. Anything from Fat Square Waves to Angular Fuzz to glitchy-Velcro attacks are possible with the Bias Control. The Fuzz Bender’s five knobs confirm size matters when creating a new and epic world of fuzz. Click here to try this pedal out. Fuzz Bender Features: Five Knob Hybrid Fuzz with Japanese Germanium Transistor Ginormous Level and Fuzz controls you can move with your feet! Gyrator Bass and Treble controls with 20 dB boost each! Bias Control for glitchy-velcro attack Great for guitar AND bass! Simple in/out top mounted jacks, true bypass 9 volt DC, 20mA power jack, no battery Designed and Made in the USA

Keeley GC-2 Compressor ...

2.785,-

Limiting Amplifier (For Guitar and other instruments) Keeley Compressor GC-2 Limiting Amplifier Compressor and Limiting Amplifier Check out the Pete Thorn Demo on YouTube! Precision Rack Mount Quality Compression At Your Feet The Keeley Compressor GC-2 Limiting Amplifier. The same great professional compression/limiting technology available in our Bassist Limiting Amplifier, for musicians and compressor fans of all kinds! Precision Compression The Keeley Compressor GC-2 Limiting Amplifier provides true high-fidelity compression and limiting. The Keeley Compressor GC-2 Limiting Amplifier is built around the exotic and extremely high-fidelity THAT Corp. 4320. Think of it as very musical studio-grade compressor in stomp box format! It uses high performance Voltage Controlled Amplifiers, on board true-RMS detector, and ultra-high performance op-amps to bring you the very best quality. This type of compressor gives you precise control and very musical results. This along with a full frequency range means that the GC-2 Limiting Amplifier compressor is well suited for guitar, keyboards, drum machines and, really, anything you can throw at it. The Keeley GC-2 Limiting Amplifier is both musical and transparent. Where our older compressors were based on the CA3080 or the LM13700 and are perfect for that “Compressor Effect” and are still in use by tens of thousands of players, the new Keeley GC-2 is a different style compressor, aimed at being the ultimate in low noise and transparency. Not only can it handle astonishingly large signals, but it has an incredible bandwidth of over 20 KHz. No detail in your guitar’s tone will be lost. The Keeley GC-2 will be a sound investment in your tone–you now have genuine rack-mount quality at your feet. Compression and Threshold When musicians use the new Keeley Compressor GC-2, they will be greeted with a sound that is more easily amplified and heard. Using the effect as a limiting amplifier saves your speakers from clipping and distortion. Set the Threshold to look for peaks in your signal and limit distortion from your amplifier or damage to your speakers. Simply watch the Threshold Indicator light to see what type of playing you want to limit; it’s that easy! Next, set the Compression Ratio Control to determine how much squash you want when the signal is above Threshold. Set Compression all of the way down (1:1) for no compression and use the Gain control as a boost. Set Compression all of the way up for an above-Threshold, hard-knee limiter. Attack and Release There is a certain figure that just sounds good as far as compression goes, and that’s 125 dB/second. With feed-forward compressors that use this type of true-RMS detector you use a single time-constant parameter. The timing capacitor gives you attack and release times that are adaptive to your playing level or the signal input to the compressor. Bottom line: Attack and Release times vary on program content. Attack times are, generally speaking, about 100 times faster than release times. Attack Time: typically 15ms for 10dB, 5ms for 20dB, 3ms for 30dB Release Time: typically 8ms for 1dB, 40ms for 5dB, 80ms for 10dB, 160ms for 20dB, 240ms for 30dB Specs: Voltage Input: 9V Current Draw: 50mA Input Impedance 1 Meg ohm Output Impedance: 100 ohm Output Voltage Gain: +30dB Boost Bandwidth > 20kHz Total Harmonic Distortion: 0.1% Noise: -95dBV Threshold Indicator: Dual LED

Keeley HALO Andy Timmons Dual ...

4.016,-

Andy Timmons Signature Dual Echo Halo – Andy Timmons Dual Echo Andy Timmons signature HALO sound 5 delay rhythms – 8 factory presets 0 to 1500ms of delay time for ambient creations Tap Tempo and Infinite Hold Andy Timmons’ mysterious sounding “Halo” effect is a modulated dual echo sound that has long been kept a secret by the tone wizard himself. Andy spent decades combining and crafting the sounds you can now get from the HALO. Notes from the HALO dance rhythmically, almost creating a reverb diffusion. Those notes are held together with tape-style effects like modulation, saturation and compression. The results are stunning. The pedal comes loaded with his signature delay tone and you can program your own sounds and save them as presets. Easily bounce between Side A and B on the fly, essentially giving you two delay pedals in one. In addition to Andy’s signature “Halo” sound, there are numerous other rhythmic delays including: quarter note, dotted 8th, stereo rack mount analog delay, and a vintage multi-head tape echo. Stunning stereo and pristine sound quality are further enhanced with controls for saturation, tone, and shelving filters that give you the ultimate delay pedal. Tone Factory Use the Saturate control to add tape compression texture to your tone. The Tone and High Pass Filter controls your overall delay shape and mix. The Rhythm Mode selector delivers 5 delay types, including Andy’s unique “Halo” sound. Set the Time and Feedback controls low, and you can open up a world of ambient chorus and flanger effects. Run the HALO in stereo for incredible true-stereo imaging. Save your favorite combination of settings as a preset and the HALO becomes an incredibly compact multi-effect workstation. The Sound of Two Delays Use the HALO as two delay pedals that work in tandem, letting you switch between your main delay (side A) and an alternative (side B). With up to 1500 ms of available delay, set sides A and B for different delay times, then simply foot switch between the two. Our Smart Stomp System allows you to press and hold either stomp switch to engage tap tempo mode. Press and hold the alternate stomp switch for infinite repeat/hold. Each Preset bank gives you 2 delays settings for a total of 8 user-storable effects! Let’s Dance Use the Rhythm control to select between different echoes like HALO, Analog, Tape, Quarter and Dotted Eighth. HALO Dual Echo Features: Andy Timmons signature “Halo” sound saved as a preset! The HALO functions as 2 delay pedals with up to 1500ms of available delay time – save different sounds to A and B – then switch between the two! 5 delay rhythms including stereo rack BBD and multi-head tape delay. 8 factory presets loaded with new delay and modulation sounds. Status light indicates when you’ve adjusted a knob from home settings. Soft stomp switches for tap tempo, infinite hold, preset save/recall, and more. Remote switching and programmable expression pedal control. DREAM multi-core DSP for stunning sound quality. True-Bypass or Trails. Made in the USA.

Keeley Halo Core Custom Shop ...

4.128,-

HALO Core The Halo Core is a streamlined version of our iconic Halo delay, offering Andy Timmons' incredible tone with a simplified control set. Powered by our latest DSP technology, the Halo Core delivers pristine sound quality and versatile delay options, including classic Halo, quarter note, and dotted eighth note modes. Andy Timmons’ mysterious sounding “Halo” effect is a modulated dual echo sound that has long been kept a secret by the tone wizard himself. Andy spent decades combining and crafting the sounds you can now get from the HALO Core. Notes dance rhythmically, almost creating a reverb diffusion. Those notes are held together with tape-style effects like modulation, saturation and compression. The results are stunning. Discover the latest from Keeley Electronics: the HALO Core, a streamlined version of our top-selling HALO Andy Timmons Dual Echo. The HALO Core has three modes: Andy's iconic ‘HALO’ sound, Quarter Note, and now Dotted Eighth. Key Features: • True Stereo Input and Output: Enjoy immersive sound quality with true stereo capabilities. • Switchable Trails or True Bypass: Easily switch between trails or true bypass operation on the fly to suit your playing style. • All-Wet or All-Dry Modes: Engineered to work perfectly with straight-into-amp and effects loop setups. • Tap Tempo Footswitch: Achieve perfect timing with the new dedicated Tap Tempo footswitch. • Redesigned ‘Infinite Hold’ Feature: Experience enhanced sound with our improved Infinite Hold feature. • Intuitive Alt Controls: Fine-tune your sound with adjustable High Pass Filter, Delay Tone, and tape-like Saturation controls. The HALO Core is the ideal grab-and-go, studio-grade delay pedal, offering professional quality in an easy-to-use format. Elevate your music with Keeley Electronics' HALO Core. Musings from Andy Timmons: I’m thrilled that the Halo Core has “struck a chord” with so many folks! This new version has a third mode with the “dotted eighth” setting which for me is the ultimate division for creating great sounding tap tempo textures. Robert Keeley and his incredible team continually strive to make better and better quality pedals and this Halo Core is the best sounding Halo yet! - Andy Timmons

Keeley Hooke Reverb pedal

2.450,-

Hooke Spring Reverb Spring Reverb Black Face Trem-n-Verb Fugue Organ Setting The new Hooke Spring Reverb from Keeley brings vintage tube-amp spring reverb and tremolo into one package. Bring your Blackface reverb and tremolo on the road with you without lugging around your prized possession! Choose from Classic Spring, Blackface Trem-n-Verb, or an organ-like Fugue-Verb. Classic Spring Reverb The Hooke Spring Reverb begins with a Spring Reverb mode. The main features of this mode include the Tone and Spring controls. The Tone control allows you to work within the range of bright and spanky to dark and thick. The Spring control is the amount “looseness” or “Sproing!” in the reverb pan. Loose springs seem to generate a lot of reflections, and you can hear the reverb “bounce.” With the Hooke, you can simulate a specific reverb pan of a vintage amp, two-springs, three-springs, short, medium, long decay … it’s all in there. What’s more, combinations of these two controls allow you to fine-tune the tone and the character of the springs and tubes in order to dial in your favorite vintage reverb response. The depth and warmth of the Hooke reverb is simply remarkable. It’s one of our finest creations. Blackface Trem-n-Verb Trem-n-verb is designed to give you the ultimate Fullerton, CA black panel Vibrato channel reverb. Everyone knows that it’s not really (pitch) vibrato, it’s tremolo. We carefully EQ’d and filtered the sound to not only be tube-like, but we crafted a tonal modification that makes for a deep, throbbing tremolo. By adjusting the bias of the output tubes for the volume tremolo, you also dip the volume of the reverb. We created a special recipe in which the reverb washes over the tremolo texture just a little thickened in order to craft a tone that is truly magical. Fugue, an Organ Reverb The Hooke Reverb needed something crazy, something that just didn’t exist. We started playing with shimmer-springs, octave down and sprung, and all sorts of other coiled manifestations of things springy and coily when it hit us. The problem was we could hear the original guitar part. Ah, yes, all wet. All wet is where magic can happen. No original signal, all wet spring reverb with octave up and down. Church Organ, Organ Reverb, Fugue It! Get Hooked and Go Fugue! Spring for More! Three More Reverb Patches! Want more from your Keeley Reverb? Take the back plate off your Hooke Spring Reverb and change the Bank Switch to Bank 2. Now you have three more spring reverb patches! Long Decay Trem-n-Verb – Same as in Bank 1, but set up for single coil guitars and super long decay/reverb trails. If you want a huge springy mess of reverb and you have some spaghetti logo guitar for making surf music … yeah, this is it. Spring’s up, dude! Spring-Plate – Another Keeley Original. After a YouTube commentator wrote, oh man no plate reverb? I said, Beeeeetch! I got your plate reverb! How about this, I said: Cross Fade between Spring Reverb and Plate Reverb. And that’s just exactly what it does. Dial in 25% spring reverb and 75% plate, dial in 50/50, dial in your own perfection. This is like taking your tube amp with spring reverb into the studio and then the producer adds plate reverb. Classic. Happens all the time. Well, now you can do it anywhere with the Keeley Hooke Spring Reverb. Thank you. Vibro-Spring – What if a Blackface and Magnatone amp had a love child? Yeah, a pitch vibrato spring reverb. Something that would have been right up Lonnie Mack’s alley? Well, it’s in there too. The Fugue Mode becomes what I call the Mack Mode. Mack Mode was inspired by Eddie Heinzleman’s love of Lonnie Mack. I texted Eddie about this possibility and in a few seconds I had YouTube links to Wham and Satisfy Suzie. Yup, Vibrato and Reverb. Sounds Delish. Mack ‘n’ Cheese! Wait, wrong page… Mack Mode! Spring Reverb with Pitch Vibrato.

Keeley HYDRA Stereo Reverb & ...

3.456,-

HYDRA Stereo Reverb & Tremolo The new HYDRA is a high fidelity and true stereo Reverb and Tremolo. Designed to be the perfect end to ANY pedalboard, regardless of genre. Save up to 3 presets and dive deep into the HYDRA’s potential using our Alt Control feature. The Hydra features on-board or remote tap-tempo, you can swap the order of the Tremolo and Reverb, expression pedal control, Infinite Hold Reverb trails and so much more! The HYDRA combines high-fidelity Reverb and Tremolo to add space and dimension to your guitar, bass, or keyboard signal. After the team at Keeley completed the ECCOS, we wanted to craft the perfect companion pedal, the tone of which had to make it impossible to turn off. Bathe your sound in Spring, Plate or Room Reverb, then add tap-tempo enabled Harmonic, Vibrato, or Sine Wave Tremolo with the press of a button. You can easily change the order of effects or the character of the Tremolo or Reverb with the HYDRA’s smart Alt Controls. You can even create an Infinite Hold Reverb Trail! Save up to three presets with ease using our intuitive save feature. Engage Reverb Trails on the fly, no more internal dip switches. The Hydra can be used with pro remote switching systems and offers both TRS Expression Pedal and External Tap-Tempo inputs. The HYDRA is a complete end-of-pedalboard solution that fits perfectly in any musician’s rig, regardless of genre. Experience next-level processing power in this pedalboard-friendly enclosure. The sky, or more appropriately, the ocean floor, is the limit with the new Keeley Electronics HYDRA! View, download, and print the HYDRA manual here: Click here to view and download HYDRA Features: Stereo high-fidelity Reverb and Tremolo effect pedal Dreamy and accurate sounding Spring, Plate, and Room Reverbs Vintage-voiced Harmonic, Vibrato, and Sine Tremolo 3 Preset locations On board or Remote Tap-Tempo Smart Alt Controls for Shimmer, Spring Age, Room/Hall Size Infinite Hold for Reverb trails Expression pedal can be assigned to any knob Effect Order, Reverb or Tremolo first, switchable on the fly True-Bypass or Trails switchable on the fly 9 Volt DC, 146mA ultra low-current design Made in Edmond, USA

Keeley Katana Mini Boost ...

1.622,-

Miniature version of our Katana Clean FET Boost Mini Katana 35dB Boost Dual Class A JFETs 4 Modes with Filter + Gain Clean and super powerful MINI KATANA CLEAN BOOST! Keeley’s oldest design made smaller and with tasteful updates including an additional feature. The Katana started back in 2002 within the Time Machine Boost. It was a dual class A JFET design that gave players and incredible boost and sounded so good they never turned off. In fact they often ran two or three on stages like John Mayer! The Mini Katana boost provides over 35dB of boost. Enough for the most demanding players and sound reinforcement. New for the Mini Katana – 4 MODES! The new Mini Katana is now a 4 Mode Booster! With the dual micro switches you have a total of four sounds possible. Need drive, just flip the micro Hi-Gain Switch inside and you’ve got overdriven tone! Flip the Hi-Cut Switch (NEW for the Katana Mini!) on the inside and you have a warmer tone to soften any Strat or Tele. Flip both switches and you have the ultimate sounding boost, thick, creamy, tube-amp sounding, and plenty of volume on tap! Obsessed with cleanest, most enjoyable tone boosted? Well, Before other people started using Blue LED’s and non-diode clipping stages, there was the TMB and Katana…. Cascading FET stages do the tube-amp-thing like nothing else! Now made smaller, it will fit any board – any budget. Enjoy a tasteful update to the pedal that redefined clean boost in the boutique era!

Keeley Loomer Fuzz Reverb ...

4.128,-

Wall of Fuzz pedal, Drenched in Wash of Reverb Loomer Wall of Fuzz Soft Focus Reverb Reverse/Trem Bar Reverb Hall/Octave Reverb The Loomer is a Wall-Of-Fuzz drenched in a Wash-Of-Reverb. Heavy Gain, Soft Focus, Reverse, Cascading Octave Feedback, Tremolo Bar Strummed Reverb. A stoned, morning floaty, messed up, thrill machine is what it is. Washes of reverb in new ways you’ve not heard in a stomp box before and a fuzz that’s like a cigarette burn on your forearm. It rages. Jesus, Mary, and Reverbs Can’t live without these three and the new reverbs are born of a Shoegaze dream. Hall Super long ambient wash with the ability to add octave regeneration in the feedback loop. More than shimmer it’s more like ascension shimmer. Reverse Set different delay times with the Decay control which gives you rhythmic reverse. This is based on the Yamaha SPX90 and the Alesis Midiverb II. This is not a true reversed reverb as it reads through a delay line at various points in the delay while increasing in volume. The Decay control is more of a switch in that it is chooshing between 8 different set “decay” times: 150ms, 200ms, 250ms, 300ms, 350ms, 400ms, 450ms, and 500ms allowing you to set all kinds of delay times in which the notes come back at you. This is where it gets really cool. The vibrato in this mode is envelope controlled. The range runs from 0 to 50ms of time shift.Tone control is loosely based on the Jazzmaster rhythm tone control with a low pass filter centered at 156.6Hz Strum hard at it pitch bends like you are playing the trem bar on a Jazzmaster or Jaguar! Combine the two for an unreal dual-guitar player effect! Soft Focus Because all of the reverbs can go All-Wet by means of the Blend Control, this is a great approximation of the Yamaha FX500 patch. Soft Focus Reverb features a dense reverb with two delays in parallel (one set for 250ms, the other set for 380ms.) Muffdive Grabs you by the fuzz. When you’re a gazer, you can do those kinda things.

Keeley Magnetic Echo Delay ...

2.069,-

Vintage "Tape Echo" Style Delay pedal Magnetic Echo – Modulated Tape Echo Keeley Magnetic Tape Echo 40-600ms of Delay with Modulation Keeley Magnetic Echo – The Mag-Echo pedal simulates tube tape echo sounds by using the delay circuit and a little bit of modulation. Tape echos have long been regarded as a warm and very guitar friendly form of delay. The Mag-Echo achieves similar results by using a touch of Lo-Fi delay, a slightly filtered echo response to keep things warm, and some modulation. Modulation, or “Wow and Flutter” in the tape world is a slight pitch shift or wavering that occurs as the tape is pulled across the heads. The modulation we use is similar to what we use in our Seafoam Chorus, a slight wavering of pitch on the trails of the repeats. With a simple set of controls for the delay – Time, Regen, and Level and with the “Wow and Flutter” controls – Depth and Rate you can create some very vintage or rather unique tones. ECHO CONTROLS Delay Time – This Time control roughly sets the length between your repeats between 40ms and 600ms. This range is well suited for classic, vintage delay sounds that are great for slap-back or medium length delay times. Regen – This control sets the number of repeats. You can set this for a single slap back echo or turn it up for a runaway, self-oscillating or self-regenerating echoes. (Now go back and twist the Time control for some crazy sounds!) Delay Level – The Level control is your mix, how loud you want to hear the echoes. WOW AND FLUTTER CONTROLS Depth – Turn this control to achieve deeper and deeper chorusing and pitch shifting on your echoes. As you raise the control the Depth and Rate LED will start to glow giving you a visual indication as to the amount of modulation you are applying to the repeats. Rate – This is your Flutter control. It’s another way to control how poorly your tape echo is performing! Not that any tape deck was every in this bad of condition, but it sure sounds good to have a little pitch modulation on your echo! Using these controls gives you a nice way to create unique and very musical delays. Whether you’re into Rockabilly slap-back echoes, experimental sounds, or just want a great classic rock sounding echo, the Magnetic Echo will sound great in your rig. Keeley Electronics started to develop and produce this delay way back in 2005. But as things happened, we worked on other projects, always keeping an eye on the growing delay and echo market. We sure you will be very happy with the tone of this echo/delay/modulation effect. It’s pretty clear from this unbiased shoot-out that the Magnetic Echo wins. The delays sound more like the original and not as filtered and cut off. The modulation is more sophisticated. Price point is the same! 😉

Keeley Manis Iconic Overdrive ...

2.673,-

Keeley Electronics Manis Iconic Overdrive Pedal With the introduction of the Manis Overdrive, Keeley pens the next chapter in the legend of the mythical Klone. The essential germanium diodes at the heart of the myth faithfully deliver the iconic tones that are as expected, but that’s far from where this story ends. With additional options for switching between both clipping and bass boost modes, Manis is sure to conjure up a suitable saturation for any situation. Main Features • Voltage-Doubled Hard Clipping “Clean Boost” • Updated Ge-Trans Switch – Diodes or Transistors – Huge difference in feel with increased saturation and tube-like compression • Bass+ switch – for selecting between 2 bass settings o Down: Stock mode - “Transparent” Mid Boost o Up: Bass+ mode - Adds 3dB of low end for enhanced bass response • Clipping switch – for selecting between 2 distinct clipping modes o Down: GE Diode - for classic “Klone” style clipping o Up: GE Transistor - for increased compression and saturation • Top-mounted jacks and soft touch relay switching • True Bypass or Buffered Bypass (selectable) • Hand-made in Oklahoma, USA • Powered by a regular 9-18V DC PSU (centre -, 2,1 mm, ~15 mA current draw) Keeley recognises that not every guitarist relates to the sound of the original horse related pedal, so while the Manis totally nails the sound of the fabled original, it also delivers a worthwhile evolution of this renowned circuit. By using GE Transistors as opposed to the fabled GE diodes, the result is representative of the same well-known flavour, but due to the different cutoff voltage there is increased saturation, compression and sustain. The additional “tube like” second order harmonics and extra gain on tap are like a miracle cure for anyone with the “Klone blues”. Toggle the clipping switch to swap in cold-war era GE transistors for more sustain, saturation, and tube-like response that you can really feel under your fingertips. Or leave the pedal in Diode mode for that authentic Klone experience. Control the character and punch of your sound by dialing down the upper-mid honk with the Tone knob. Need more low-end? A dedicated bass boost switch lowers the cutoff an octave and adds 3dB of gain, ideal for single coil low-end recovery. Manis is built tough and uniquely capable of running on 18V for more headroom, a true first of its kind. Being a modernised voltage-double hard clipping boost, Manis is a one stop solution for clean boost amp saturation, sure to please Klone purists, newcomers or converts alike.

Keeley Memphis Sun Echo Verb ...

2.450,-

Neo Vintage Echo Verb SlapBack DoubleTracker Memphis Sun – Lo-Fi Reverb, Echo and Double-Tracker Memphis Sun NeoVintage EchoVerb SlapBack Double Tracking Head into the Memphis Sun and bask in the tones of the 1950s! Studio sounds of the 1950s and more. Small Room Reverb, Slapback Echo, Futuristic Double Tracking. Ah, the sounds of Rock and Roll…. Clickety Clack, noun: A rhythmic, swiftly paced succession of alternating clicks and clacks, as the sound produced by the wheels of a train moving over tracks. I hear that train a comin’ Memphis Sun! The new Memphis Sun – Lo-Fi Reverb, Echo and Double-Tracker is our second studio themed pedal. Like the Keeley 30ms ADT this pedal gives you a wealth of tones for capturing that classic Rock-and-Roll sound as well as sounds you’ve not heard before. It’s NeoVintage. It’s an Echo and Reverb pedal. Toggle through the different effects presets: SLAPBACK 600 – Echo for long delays SUN MODE – Auto Track-Doubling and slapback with short delays ROOM – Studio simulation reverb Both of the ECHO 600 and SUN MODE effects have a Room Reverb. It’s a one-knob, rock and roll type of room reverb. SLAPBACK 600 Rock and Roll is the Devil’s music, right? So of course we made the delay time up to 666ms to simulate some unearthly echo machine that never really existed. Filtering in the Slackback mode is done in stages. First, we heavily filter the response at 1 kHz then compress the thing. Remember the concept: pack a bunch of sound in a small room and it compresses. Next, we filter it again at 1 kHz ! Sounds like Rock and Roll, right? Aaron Tackett is our Rock and Roll Doctor of DSP here at Keeley. Not only is he devilishly good looking, he has a way of making waves look good — adding curves so to speak. He has added 2nd and 3rd order harmonics to this mix to simulate tape response and equipment distortions. Waves folded back on themselves. You’re gonna love his curves. Time – 30-666ms m/ m/ Regen – As Jack White says: “Three.” Up to three repeats. Or sometimes six…. Reverb – Old Rock-and-Roll Room Reverb. Sun Mode Let’s Do it Twice Mama, It’s Alright! Automatic Double Tracking (ADT) was not available in the 1950s, but we sneak it in here because it makes a wonderful sound. And, if you lengthen the time, it goes right into slapback territory which is at the heart of Country and Rock and Roll guitar sounds. Like our Keeley 30ms, this pedal will do ADT. The Memphis Sun creates a vintage-voiced double-track in mono. Your guitar-playin’ “Gemini-Twin” has a very warmed-up tone. Adjusting the Time Control lets you easily create anything from Double Tracking to Slapback with up to 180ms of delay time. Time – Delay Time is 0-180ms. For Automatic Double-Tracking set this control at the second mark or lower, 0-30ms. For slapback echo 30-180ms sounds great. The knob markers notate 0,30,60, 90, 120, 150, and 180ms Regen – Modulation for the ADT. Set to OFF for NO Rate or Depth. Increasing this control increases both the Rate and Depth of “Tape” modulation. Reverb – It’s Still Rock-and-Roll Room Reverb to Me Room The Room Reverb simulates a small 33′ by 18′ asbestos-tiled room so filled with music the sounds actually get compressed. We take into account the frequency response of the mics used back then. The RCA 77 is loosely simulated by a group of filters including a HPF = 300 Hz and LPF = 8 kHz. Many artifacts are incorporated in our room reverb. And second and third order harmonics are added to make sure it sounds just right. Time is the Pre-Delay amount: 0-150ms of pre-delay. This allows for a slapback sound as the first reflections come into focus. Regen is the Tone control: this is an active filter +/- 10 dB and is centered around 1.1 kHz. Reverb is the Depth control for the reverberations. That’s What I Say Rockin’ Robbin! NeoVintage – Low Fidelity. That’s right. That’s what I say. This doesn’t sounds like some merry band of pixie nymphs playing digital fiddles in your ear. It sounds freaking great!! If this pedal had a smell it would be too intoxicating to play. The Keeley Memphis Sun – Lo-Fi Reverb, Echo and Double-Tracker Pete Anderson!

Keeley Mk3 Driver Andy ...

2.673,-

Andy Timmons Full Range Overdrive Overdrive Mk3 Driver – Andy Timmons Full Range Overdrive Tone Crafted with Andy Timmons Germanium Diodes for Perfect Compression Clean Boost to Square Wave Fuzz Buffered Bypass or True Bypass Manufactured by RKFX in the USA The Mk3 Driver – Andy Timmons Full Range Overdrive is an overdrive workstation that allows you to orchestrate everything from a clean boost to a treble supercharger, a chimey tube-amp overdrive to a square-wave, germanium fuzz generator and more. This pedal combines a three-control blues driver circuit with two switches for the voicing Drive and Tone characteristics. Robert and Andy developed these switches to give players a broad range of drive tones. The Drive toggle engages two germanium diodes for a smoother, slightly compressed drive. Switch to Andy’s clipping style for a brighter and more articulate attack. Every part of the circuit has been optimized for tone and the demanding needs of a recording and touring artist such as Andy Timmons. Simply adding the Mk3 Driver to your pedalboard will likely make your rig sound better. This pro sounding overdrive can be switched between true-bypass and buffered bypass at any time. Classic blues driver circuit with decades of Keeley mod experience Germanium based overdrive crafted with Andy Timmons’ direction AT/RK Tone Switch cuts lows for a clarity or boosts low-end for power AT/RK Drive Switch alternates between asymmetrical silicon to dual germanium diodes Buffered Bypass or True-Bypass – Change instantly depending on your rig’s needs JFET Transistors, Germanium Diodes and Op-Amp Gain combine to form harmonically rich overdrive 9 to 18 Volt operation for huge dynamic range and headroom Andy Timmons – Tone Switch The Mk3 Driver gives you two tone control circuits to choose from. When the Tone Switch is up and in the AT Position the tone control features Andy’s preferred voicing of the low-end response of a drive pedal. Each note in a chord is clear and articulate. If the Tone Switch is down and in the RK Position that features the legendary Phat Boost in the low-end frequency response, perfect for pushing vintage or single coil pickups. Full Range Overdrive – Germanium Toggle Switch The Mk3 Driver circuit combines JFET saturation, diode clipping, and op-amp clipping in order to create its harmonically rich tone. Drive Switch UP for AT Clipping – this mode features asymmetrical LED diode clipping and is Andy’s Super AT Mod sound. When the Drive Switch is Down for RK Clipping – the circuit features two germanium diodes for clipping. This mode can sound a bit like a vintage fuzz pedal with a softer, smoother feel. Mk3 Driver – Both Buffered Bypass & True-Bypass The Mk3 Driver features our precise buffer for noise-free switching. We have developed a buffer which not only makes your rig sound better, it gives you silent switching with no tone loss. Switch between true-bypass and buffered on the fly. Simply press and hold down the foot switch for two seconds and the pedal will switch between true-bypass and buffered bypass! You can decide what works best in your rig. Made In The USA – Mk3 Driver – Andy Timmons Full Range Overdrive We design, engineer, and manufacture the Keeley Electronics/Andy Timmons Mk3 Driver in Oklahoma City. Everything about the Mk3 Driver is geared towards the professional musician and their quest for an inspiring tone when performance demands it. From the inside of the pedal and its meticulously built circuit boards to the newly fabricated aluminum enclosure – we make guitar effect pedals like finely crafted musical instruments. A Note From Andy Timmons: The Mk3 Driver is the ultimate expression of the clean/slightly broken-up tone I’ve been going for over the last several years. Robert Keeley and his incredible team have once again knocked it out of the park! The AT/AT setting is exactly my Super AT Mod tone: just the right amount of breakup available at your dynamic command. Every note and nuance is clear as a bell. The crazy thing about this mode is that it also sounds great with the gain turned up, providing an incredibly cool Marshall-esque crunch tone. Having the original RK modded BD-2 circuit is sheer luxury as that’s the circuit that I fell in love with years ago! It still inspires me! The real hidden gem here is Robert’s new modification that utilizes germanium diodes instead of the original silicon for a new kind of clipping that works insanely well on its own OR as a boost for my lead tone. It has a lovely way of further taming the low-end that I really love. With the Mk3 Driver and the Halo, I’m in Tone Heaven!

Keeley Moon Op-Amp Fuzz Pedal

2.069,-

Op-Amp Fuzz Moon Op Amp Fuzz Our most bombastic fuzz ever! Tons of gain and volume on tap Refined Filter controls – 3 distinct EQ profiles The Moon Op Amp Fuzz is a supermassive destroyer, spinning galaxies of gain. Tidal wave bass response gives you tones heavy as gravity itself. The filter control offers an expanded range of usable tones and the filter switch gives you three distinct EQ phases: Scooped Mids ‘classic’, Flat EQ, or Full Range. Feed the Moon Op Amp Fuzz with your favorite drive pedals and unlock worlds of complex tones. Megatons of volume and gain, an incredibly musical filter range, and three distinct EQ Modes makes for a stellar fuzz experience. We are proud to offer the most powerful and bombastic ‘wall of sound’ fuzz that Keeley has ever made. Moon Rise The Moon’s massive sound is achieved with a quad op amp delivering four stages of gain and fuzz. This circuit has its roots in our popular Dark Side pedal. In that design we tailored the tone and gain of the pedal to be a vintage sounding fuzz for lead work. We wanted to go 180 degrees in the other direction with the Moon’s tone. We set out to achieve infinite sounding dreamy deep fuzz. This is a punishingly heavy op amp fuzz designed to extend your guitar or bass frequencies as low as possible. This also means that your lead tones are as harmonically as rich as possible. So thick is the fuzz that your notes will rise and peak into brilliant feedback. Keeley’s most lunar sounding pedal: Moon Op Amp Fuzz. “The new Moon Fuzz could be considered a heavily modified Rotten Apple (or Dark Side), but this circuit has changed so much that it ‘s really a different design. Here we stack the gain stages differently and add low-end in a different area of the circuit, thus giving much more gain without the bass eating up the headroom. The tone control has also been re-imagined to tighten up the range. It comes out ‘cleaner’ and much more gainy at the same time!” – Robert Keeley

Keeley Neutrino V2 Envelope ...

2.450,-

Neutrino V2 Optocoupler Envelope Filter / Auto Wah pedal Neutrino Envelope Filter V2 Our Best Sounding Envelope Filter EVER! Improved Note Tracking Upgraded Components External Output Vol. Control Meet the NEW Neutrino. Our best sounding Envelope Filter EVER. Whether you’re in a jam band or playing funk, the Keeley Neutrino V2 delivers incredible vocal-like tone. Keeley has engineered a power supply voltage-doubler so you maintain the highest headroom for your tone. The Keeley Neutrino V2 is an amazingly toneful and compact form of the classic opto-coupler envelope filter. The Neutrino takes your guitar playing and creates an automatic wah sound based on your pick attack! Envelope filters or auto-wahs as they are often called, sound and react best when they are opto-coupler based. The opto-couplers used in the Neutrino are particularly smooth, giving you an amazing vowel-like tone. The Keeley Neutrino gives you 3 filter ranges, 2 directions, 2 ranges for the frequency center and a Peak control. Plus, an incredibly tough build means it will last for many decades to come. The Keeley Neutrino V2 features: Envelope Filter and Auto-Wah for guitar, bass and keyboard Peak Control: Sets how much “quack” there is, or how smooth you roll Filter Selector: lets you choose between 3 types of filters: High, Low, and Band Pass. Range Switch: HI or LO. Direction Switch: Up or Down True-Bypass, 9 VDC, 25 mA, 100% analog and made in the USA.

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